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GRETA
GARBO

Psycho-
inalyzed!

^ See Page 20

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for November 1929

William Fox
presents

- and. did tfieu. teucfi trie

^M MORT

> MOKfTMARTRE

-where "Pike" Peters
met Claudine, the
gold-digging grisette.

Will POGERS

as "Pike" Peters, saw everything that Paris
had to show — and that's an eyeful. At the
Folies-Berge're he shouted "Pike's peek or
bust." He paixed and paixed at the Cafe
de la Paix. Ooo-la-la-la!

At Notre Dame, he spent ail day looking
for the hunchback and thought a chapeau
was a place to live. He was gold-digged from
Montmartre to the Latin Quarter, which he
" thought was two bits in Roman money.

America's favorite comedian and most
natural talking picture actor is a riot in this
hilarious comedy of a newly rich American
family who tried to crash Parisian society.

Go to Paris via this all-taiking Fox Movietone of
Homer Cray's novel, dramatized by Owen Davis.

directed by FRANK. BORZAGE

BOULEVARD
de CUCHV

— Claudine's apartment where
Mrs. Peters went to find Pike.

_where Mrs. Pete"
met the Marqu.s de
f. BrissacCoudrayand
4 a possible title for her
< unmarried daughter.

of^'.^kto^"-

N o v ember, 19 2 9

FEATURES

Cover — Greta Garbo. Painted by Rolf Armstrong

The Flapper Fan's Forecast.

By Evelyn Ballarine 4

Movies in the Air. Screenland's Movie-Radio

Department. By Julia Shawell 6

Lot Talk . . . . 8

Best Lines of the Month 12

Confessions of the Fans. Letters from Readers 1?

Honor Page — Joan Crawford 16

Editorial. By Delight Evans IS

Taking a Talkie Scene . . 19

Greta Garbo Psycho- Analyzed!

By James Oppenheim 20

The Battle of the Beauties.

By Alice White and Dorothy Mackaill . . 22
Dr. Watson Explains Vital Force Behind

Motion Pictures. By Rosa Reilly ... 24

Mr. and Mrs. John Barrymore's Gift Offer 26
Chevalier — Lubitsch — Success!

By Rob Wagner 28

Fannie Hurst Says: "Talking Pictures are

Here to Stay!" By Alma Talley ... 30

Don Juan from Broadway. Basil Rathbone.

By Bradford Nelson

Greta Garbo — An Insert. By Charles Sheldon.
The Most Beautiful Still of the Month.

The Love Doctor 33

Lessons in Lure. Myma Loy 34

Clara Bow and James Hall — A Portrait . . 36
Kay Francis and William Powell —

A Portrait 37

Dorothy Sebastian — A Portrait 38

Ruth Chatterton — A Portrait . . . . . 39

Fay Wray — A Portrait ' . . 40

The Transformation of Fay Wray.

By John Engstead 41

The Gangs of Hollywood.

By Herbert Knight Cruikshank . . . 42

Is the Star System Doomed? By Helen Ludlam 44

The New Lila Lee. By Margaret Ettinger . . 46

Delight Evans' Reviews 48

Malibu Beach Star Parties. By Grace Kingsley 54

'Sugar1 Kane! Helen Kane. By Sarabelle Lowis 56

Helen Kane — A Portrait 57

Dorothy Mackaill — A Portrait 58

Marilyn Miller — A Portrait 59

Fredric March — A Portrait 60

Corinne Griffith — A Portrait 61

Loretta Young and Douglas Fairbanks Jr. -

A Portrait 62

Norma Talmadce and Gilbert Roland —

A Portrait 63

A (Hop) -Scotch Holiday. Josephine Dunn . . 64

Lewis Schuyler Stone. Gentleman.

By Ralph Wheeler 65

On Location with Bebe Daniels.

By Helen Ludlam 66

How Laura La Plante Entertains.

By Jason Carroll 68

In New York. By Anne Bye 70

Make-Up a la Mode. Screenhnd' s Beauty De-
partment. By Anne Van Alstyne .... 72

Come into the Kitchen with Louise Fazenda.

By Sydney Valentine 74

The Spirit of "Paris." Irene Bordoni ... 76

Yeah? Yeah! Robert Armstrong.

By Joseph Howard 77

Let's Go to the Movies! Revuettes .... 78

Hot from Hollywood. Screenland's Gossip . . 80

Ask Me! By Miss Vee Dee 86

Let's Talk About You! By the Publishers . .112

Vol.
XX

Published monthly by Screenland Magazine, Inc.
Executive and Editorial offices: 49 West 45th Street,
New York City. William Galland, President;
Joseph M. Hopkins, Vice-President; C B. Mantel,
Secretary. Frank J. Carroll, Art Director. Yearly
subscriptions $2.50 in the United States, its de-

pendencies, Cuba and Mexico; $3.00 in Canada;
foreign, $3.50. Entered as second-class matter
November 30, 1923, at the Post Office at New York,
N. Y., under the Act of March 3, 1879. Addi-
tional entry at Dunellen, N. J. Copyright 1929.

Member Audit Bureau of Circulations

No.
1

for l<lovember 1929

THE TWO BLACK CROWS
on the Talking Screen!

OU'VE heard them on the radio. You've laughed your
head off at their phonograph records. Now hear them real
as life in one of the funniest, most thrilling ALL-TALKING
entertainments ever screened! It has everything; a million
laughs, sensational new song hits, pathos, tense drama,
grand singing and dancing. Don't miss it — be an "early
bird" yourself and make a date now to see and hear

MOHAN & MACK

WHY BRING THAT UP?

A Paramount All-Talking, Dancing, Singing Hit of The
New Show World. Directed by George Abbott. Story by
Octavus Roy Cohen. With Evelyn Brent and Harry Green.
tf If it's a Paramount Picture it's the best show in town!"

(paramount

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Previewing the Picture
Parade

She sees all the
studio activities
through her tele-
scope and relays
it to you.

By Evelyn Ballarine

ET S check up on our film boy
friends. We'll start with Rudy Vallee.
j He's in Hollywood making "Vaga
' bond Lover."

: es,

le wi

ill

sing

his own composition. Vagabond Lover, and
six other songs too! Mammy! Rudy! I
mean. Now is a good time to tell you the
one about Dumb Dora (just try and stop
me!) who heard so much about Rudy
Vallee that she decided to spend her va-
cation there! We've heard better ones
than that, too. Oh, well!

Ramon Novarro is at work on "Devil
May Care" — and so do we. In fact, we care
so much that we are going to tell you that
Dorothy Jordan and John Miljan are also
in the cast and that Sidney Franklin is di'
recting. Ben Lyon besides being engaged
to Bebe Daniels has been engaged by Radio
Pictures to play opposite his Bebe in "Her
Man." Clever, these producers!

You'd better add the name of Alexander
Gray to your movie list because he seems
to have clicked. He plays the lead opposite
Marilyn Miller in "Sally" and according to
rumblings from the coast — he has every-
thing! Incidentally, he played in the origi-
nal Ziegfeld production of "Sally." On
the strength of his work in this picture, his
first, Warner Brothers have signed him for
the male lead in "Song of the Flame" op-
posite Vivian Segal. First National have
him scheduled for "No, No, Nanette."
Now, don't say you weren't warned!

Make way for Billy Haines! He's
coming through with "Speedway." Of
course, he wins the race — and Anita Page,
too. Clive Brook just completed his role
of that famous detective, Sher!oc\ Holmes,
and is to play the lead opposite Jeanne
Eagels in "The Laughing Lady." Just as
we were getting accustomed to William
Powell playing Plnlo Vance in the S. S.
Van Dine mystery thrillers, Metro-Goldwyn

comes along with the news that Basil Rath-
bone will play Philo in "The Bishop Mur-
der Case." We're not complaining because
Mr. Rathbone proved to be a good picture
bet in his first talkie. "The Last of Mrs.
Cheyney." Meanwhile, Bill Powell is in
"Behind the Make-up." Come on out,
Bill, you can't fool us! Edmund Lowe has
been borrowed by Pathe for the male lead
opposite Constance Bennett in "That Thing
Called Love." Eddie has just signed a new
contract with Fox. With "The Cock-Eyed
World" such a success Fox didn't want to
lose its wise-cracking sergeant. That other
marine, Vic McLaglen is making "The
Well-Dressed Man," with Raoul Walsh
directing. Says me!

Football season is here and to prove it
Douglas Fairbanks Jr. is giving us "The
Forward Pass," with Loretta Young co-
starring. Robert Armstrong continues to
give us his swell good-bad heroes. His next
is a bootlegging yarn with Carol Lombard
called "The Racketeer."

Then there's Buddy Rogers in "Here
Comes the Band Wagon" on its way. Jean
Hersholt and Gibson Rowland are to play
together again. It's their first picture since
Von Stroheim's "Greed." You'll see them
in "Out of the Night," with Lupe Vele;
as the 'feminine lead and Henry King
directing. John Barrymore's next is "The
Man." It seems to me that this title is
going through the process of elimination
or something. First it was "My Man,"
then "Her Man," and now just "The Man."
These men!

Lillian Gish has not sung her swan song
to the movies. As a matter of fact, her
come-back picture is Molnar's play, "The
Swan." Lillian plays the Princess, Con-
rad Nagel, the tutor, and Rod La Rocque,
the Prince. A royal welcome to you, Miss
Gish!

for l^ovember 1929

Irene

EOEDCNI

With Jason Robards,
Zasu Pitts, and Louise
Closser Hale. A Clar-
ence Badger produc-
tion. Based on the
play by Martin Brown.

\w ~ Dlfl TDkAl UAAiT I 4

"Vitaphone" is the registered trade-
mark of the Vitaphone Corporation

A FIRST NATIONAL and
VITAPHONE PICTURE

whij ijotill call
this the qreafeif
lirqinq-dancinq
picture ever/

JACK BUCHANAN

SCREENLAND

MOVIES

the c^IR

Screenland is first in line to encourage
a closer alliance between two great
industries — motion pictures and radio

By Julia Shawell

[OTION PICTURES and radio are
two great industries whose futures
are so closely allied that within the
next ten years one will be dependent up-
on the other. Development in each field
invades the other's fundamental province,
and Screenland, acknowledging the pres-
ent trend and anticipating the future
closer alliance, is establishing this depart-
ment to cover news and information con-
cerning radio as it affects the films.

TEN years ago, radio was looked upon
as an intruder which would seriously
interfere with the theater, and partic-
ularly the movie business. That this sup-
position was an error has already been
proven. With nearly twelve million radio
receivers now in use throughout the
United States, the picture public has con-
sistently increased, production has ex-
panded, film sales have grown and profits
have been comparatively larger. The recent

A I Jolsoti, talkie trouper who wise cracks, sings, laughs and
cries all in one breath and his wife, Ruby Keeler, musical
comedy star formerly in Ziegfeld's "Show Girl."

advent of the talkies on the screen was
made possible only through knowledge
gleaned in radio.

TELEVISION, though still in an ex-
perimental stage, is assured. W hether,
as the present situation indicates, it
will be feasibly marketable in about ten
years, or whether unexpected improve-
ments and developments hasten the com-
mercial possibilities, television is a cer-
tainty. Already, amateurs throughout the
United States are receiving wireless pic-
tures and the broadcasts from Schenectady
have been picked up as far west as San
Diego. Several large intervening areas
have been proven dead spots, however.
Television which is a development in the
radio field is not to be confused with the
wired transmission of pictures which the
telegraph companies have already estab-
lished as part of their regular service. It
remains to be seen if television will be
used exclusively on radio receivers, or
whether it will be part of the motion pic-
ture theater equipment.

SEVERAL of the large film companies
have already direct tie-ups with sta-
tions and chains. Paramount's assump-
tion of control in the Columbia Broad-
casting Company, representing one of the
three largest radio chains in the world,
emphasizes the importance of this tie-up.
On the Paramount-Publix hour, for ex-
ample, all the varied resources of this
great organization are utilized for fashion-
ing radio entertainment. With WABC in
New York as the key station and with
broadcasting wave lengths covering the
entire United States, Paramount can reach
every hamlet, city and town where Para-
mount theaters and exhibitors are located.

RADIO - KEITH - ORPHEUM which
owns Radio Pictures with its Radio
Corporation of America association,
has its representation with the National
Broadcasting Company and uses a coast-
to-coast tie-up twice a week. Metro-Gold-
wyn-Mayer is directly identified with
WHN and WPAP in New York which
has as yet only a local coverage. Warner
Brothers have their own station in Cali-
fornia, and First National has been using
WGBS in New York to broadcast special
premieres.

BEFORE the talkies, radio used movie
celebrities as name bait on its pro-
grams. Prominent players, directors
and executives were interviewed. The first
imposing entertainment program was the
national broadcast from the United Artists

for ?\[o v e mb e r 19 2 9

Marion Davies is popular
before the microphone or
away from it. Note the
gleeful expressions of
Billy Haines and George
K. Arthur, not to mention
the decorative bit of
background, Constance
Bennett.

dio in Hollywood when John
•rymore, Dolores Del Rio,
ry Pickford, Douglas Fair-
ks, Charles Chaplin and
ers were heard. Al Jolson
on the air many times

stui
Bai
Ma
ban
oth
has

since he became a Vitaphone
star.

BUT recently, the movies have
been reciprocating and have
been drawing for talent on
radio names. Practically every
prominent radio artist has made
a short subject for one of the
movie studios. Rudy Vallee,
Paul Whiteman and others, have
been given lucrative west coast
contracts on the strength of their
radio popularity. Vallee was
made by broadcasting. When
his crooning voice first went
out from the Heigh-Ho Club
!n New York, he was unknown except
to a few thousand people in New Haven.
But he has become one of the best bets
on the air and is now in Hollywood
making his first feature-length picture,
"Vagabond Lover," for Radio Pictures.

RKO resumed its Tuesday night radio
programs over WEAF and a national
network of stations extending to the
Pacific, and is also inaugurating a Thurs-
day afternoon series for women on the
same system. Rosalie Stewart has been
riade director with Graham McNamee as
the weekly guide.

WALTER O'KEEFE, night club en-
tertainer who deserted New York
for Hollywood studios, has made a
short' in which he burlesques Graham
McNamee announcing a football game.
The subject has been incorporated in
Pathee's program feature, "The Sopho-
more," starring Eddie Quillan.

AN interesting development is the for-
mation of an international sound-
film program in various tongues
which can be put on the air simultaneously

in many nations. Under this plan, accord-
ing to Cinema Vision Corporation, singers,
entertainers and orchestras will give their
renditions in the studios before micro-
phones linked with a recording device
which contains unexposed films like mo-
tion picture films and just wide enough to
adjust themselves to the picture of the
sound vibrations intercepted by the micro-
phones. These films will be prepared in
their individual languages in the New
York studios, and films for various nations
will be shipped abroad. It is said that 43
stations in this country and 30 abroad are
to be allied with the new system.

Another new company — the Jewish
Broadcasting Company — plans to operate
its own station in the near future. In
addition to furnishing the teachings and
ideals of Judaism, it will broadcast the
best in Jewish and classical music, and
will render service to all undertakings for
the advancement of art and culture.

Did You Know That:

Adolph Zukor was the first movie ex-
ecutive to deliver an address via the

radio? Nearly ten years ago he talked
over WJZ from its old Newark studio
in the Western Electric Building, and in
speaking on the future of the movies never
dreamed that his company would some
day control that station?

That Charlie Chaplin was one of the
pioneers in the era of radio interviewing
and that he broadcast brief programs on
nearly every musical instrument he could
find in the studio, but as a joke on his
audience, did not tell them that other
men were actually doing the playing?

That although Vincent Lopez was the
first orchestra leader ever to go on the
air from any station in this country, he
is one of the few who hasn't bought a
ticket to Hollywood?

That Ramona which brought on the
theme song rash, actually popularized the
picture of the same name before the pro-
duction was released, and that Dolores
Del Rio sang it in the first big radio pro-
gram on which it was introduced to air
audiences?

SCREENLAND

TALK

News and Views from the
Sound Studios

A nnouncement that Lawrence Tib-
/N\ bett. famous baritone of the Met-

/ VV ropolitan Opera Company, has
•A- been placed under contract by

Metro-Goldwyn-Mayer and will make a pic-
ture entitled "The Rogue's Song." lends
credence to the belief that sound films will
offer outstanding vocal artists an excep-
tional new outlet for their talents.

"The Rogue's Song," an original story
by Frances Marion and John Colton, author
of "The Shanghai Gesture," is a musical
romance. It will be an all-color produc-
tion, and will be directed by Lionel Barry-
more.

This will be Tibbett's initial venture in
the motion picture field. Born in Bakers-
field, California, Tibbett lost his father at
the age of six, when the latter, a county
sheriff, was shot to death in a fight with
a gang of bandits. Brought up by his
mother, the boy attended high school in
Los Angeles, appeared in several amateur
theatricals, and made his professional debut
with a Shakespearian repertoire company.
When the United States entered the war,
Tibbett joined the navy. Three days after
his final discharge he married Miss Grace
Mackey Smith, a former Los Angeles
schoolmate.

Determined to become a concert singer,
Tibbett came to New York. In order that
his wife and twin boys could accompany
him, he mustered all
his financial resources
and even borrowed
money on his life
insurance. After five
months of arduous
study and persistent
attempts to get an
audition for opera,
his efforts were suc-
cessful, and he was
given a contract with
the Metropolitan
Company.

The singer's first
great triumph in
New York was scored
in the role of Ford
in Verdi's "Falstaff."
The audience gave
the young baritone
an ovation lasting
fifteen minutes, and
following that event-
ful night Tibbett's
operatic successes
have come in rapid
succession. Roles in
which he has ap-
peared include those
of Telramund in
"Lohengrin," Ionic
in "Pagliacci," the
King in "The King's

Henchman," and Capertutto in "Tales of
Hoffman."

Catherine Dale Owen, prominent on the
New York stage, will have the feminine
lead opposite Lawrence Tibbett when the
Metropolitan star makes his screen debut
in "The Rogue's Song."

The talking movies are beginning to
produce not only assorted noises but also
an entirely new array of industrial statis-
tics. After careful consideration of the
reports of operations for six months of the
current year, Terry Ramsaye, editor in
chief of Pathe, admitted that for each sec-
ond of screen time of Pathe Sound News,
the sound recording camions had had to
deliver 44.63 ton miles of haulage. Only
0.168 ounce of film is required to occupy
a second of talking screen time in the
theaters.

"It therefore appears," observes Mr.
Ramsaye, "that the jewels of wisdom,
oratory and music which we glean in our
function of recording current history hot
off the griddle of life, run, by assay, about
as rare as "radium in relation to the ore.

"One sound recording camion has trav-
elled in excess of six thousand miles keep-
ing pace with President Hoover and we
have given the public screen just seven
minutes of his voice."

Water babies.' Girls of the chorus of "Sally" take off their
shoes and wade in the lily pond to cool off between scenes.
The Technicolor lamps on this set were too hot for comfort.

Aspirants for screen fame may find food
for thought in director Paul Stein's belief
that middle-aged extras are easier to handle
in groups than boys and girls appearing in
the ranks of atmosphere players.

"I have found that extra players past
their first youth show less self-consciousness
in entering into the spirit of the scene than
does the average American youth or maiden
who has had limited or no screen experi-
ence," says Stein. "There is often a ten-
dency among the latter to giggle, or whisper
quips to each other about the action in
which they are supposed to be taking place.

"In my latest picture, 'Her Private
Affair,' I directed a courtroom scene in
which more than two hundred people were
supposed to be spectators. About ninety
percent of the group were men and women
of mature years. They chatted at the proper
times in the manner of real men and
women in an actual courtroom, making to
each other the remarks which would have
been natural in discussing the probable in-
nocence or guilt of a man on trial for
murder.

"In handling large groups of youngsters
for former pictures, I often have had to
work long and hard to get the 6ame natural
reaction. It is as though the spirit of play
is being stifled in our modern young
people, and when an aggregation of them
are asked to call it into existence, en masse,
they find something
ridiculous in the
procedure. This is a
real hindrance to
screen success, and
any young players
who step from the
extra ranks will first
find it necessary to
eliminate its pres-
ence."

Ann Harding plays
the featured role in
"Her Private Affair,"
under Stein's direc-
tion.

D. W. Griffith,
veteran producer-di-
rector, will make an
epic-type all dialog
feature woven around
the life of Lincoln.
Griffith, for several
years, has had the
idea of bringing
Lincoln, the man,
not the president, to
the screen in a story
of vast sweep, and
what was impossible
in silent pictures is
now possible through
the new medium of

f o r o v e mb e r 1 9 2 9 9

screen entertainment.

The pioneer direc-
tor, who is already
working out the pre
liminaries of huge
production with his
staff, has not as yet
started actual camera
and microphone activ-
ity as a vast amount
of research and other
work will be neces-
sary before he starts
filming what he is
ambitious to make
the crowning achieve
ment of his long and
notable career.

Motion picture stu-
dios, cities within
themselves, require
police and fire pro-
tection the same as
other communities.
At the First National
Studios, in Burbank,
Calif., a police force
and fire department
of sufficient size to
protect an ordinary
city of 25,000 people,
are maintained.

The members of
the police force,
while under control
of the studio, are all
sworn members of
the Burbank police

department.. They work in three shifts
daily, a captain or lieutenant being in charge
of each shift.

The police department provides gatemen.
patrolmen, traffic officers and watchmen. A
regular day and night patrol guards every
part of the seventy-five acre studio.

The department is under the direction
of Chief of Police Lou Holtzsendorff , for-

He's her little gum-drop! Joe Abced,
two and a half year old Eskimo boy, sup-
ports Lenore Ulric in her first talkie,
"Frozen Justice."

Two sky birds! Jimmy Granger, stunt flyer, tells Ruth Elder
how he piloted his plane into this embarrassing position for
"The Sky Hawk." Ruth just married Walter Camp Jr.,
movie magnate.

merly a star football player of Columbia,
and who has had extensive experience on
police departments in various cities.

The fire department is directed by Chief
A. M. Rounder, for many years an officer
in the Indianapolis, Ind., fire department.
The most modern equipment is provided,
and the department, including volunteers
from the studio staff, totals two hundred
men, each well trained in his own task in
case of fire.

The biggest part of Rounder's work is
in fire prevention. He keeps men on all
sets where there is danger of fire, and
checks carefully all sources of fire hazard.
Only one serious fire has occurred since
Chief Rounder has been on the job, and
this was confined to one building, which
was saved.

With the use of Technicolor, which re-
quires more than twice the lights used in
black and white pictures, the fire danger
on stages has greatly increased.

Rounder was instrumental in having .a
new system of ventilation installed in the
First National Studio which will prevent
any serious danger of fire or spontaneous
combustion from the terrific heat generated
by the Technicolor lights. With its effi-
cient police and fire departments, the First
National Studio has about everything that
an incorporated municipality boasts, except
a city government, mayor and councilmen.

Do you like them fat or thin? This is
the paramount question in Hollywood to-
day. The Mayo Brothers have refused
credit for the famous 18-day diet, but never-
theless, the film colony is trying it. Here
is what well-known stars have to say:

"The starvation shape is a product of this
decade," according to Monte Brice. "Flesh
was never so spurned before. I am on the
diet because of over weight, but for pretty
girls to starve themselves into skinniness
for a fad, is a serious matter."

"I persuaded my 220 pound cook to go

on a diet with me,"
says Mrs. James
Gleason. "Her food
was irresistible. The
only chance for me,
was to convince Mar-
guerite that a dark
figure should be wil-
lowy, as well as a
white one. It works
fine."

Louise Fazenda re-
fuses to diet. "I like
to cook too well to
diet," she says. "My
roles call for plump
old ladies more fre-
quently than svelt
girls, anyway. Now
is my time to laugh
at the beauties who
kidded me in my
Mack Sennett days."

Robert Armstrong
went on, just to be
sociable. A friend in
New York and Bob
agreed to the diet,
and they exchange
telegrams twice a
week to check up.

Morgan Farley
says no one should
have to diet. "Pride
should keep one thin.
No one can be at his
best mentally, if over
weight. Starve if
need be, but keep thin," says the New York
actor.

Mary Eaton never had to diet as she
was reared by a careful mother who always
watched the proper balancing of foods.
"We never had a chance to eat improper
food," says the musical comedy star. "We
keep thin without thinking about it — thanks
to Mother."

Lawrence Tibbett, baritone of the Metro-
politan Opera Company, will make his
screen debut in "The Rogue's Song."
Hark, hark!

SCREtNLAN D

New York chorus girls who have flocked
to Hollywood expecting to find an 'easy
snap' in pictures are rapidly becoming dis-
illusioned. They find that the work is
much more arduous than playing in a single
production on Broadway, and that their
rehearsal hours are never ending on the
studio lots, although, of course, their actual
hours of daily work are limited.

In other words, while a girl may go to
work at nine in the morning and finish
at five in the afternoon, or go to work
at two in the afternoon and finish at mid-
night, she may be dancing in five different
pictures at one time, and must know thor-
oughly the routine for each dance in every

picture.

In a Broadway show, once the routines
are learned, a girl is usually 'set' for the
season, and her hard work of rehearsing is
over. In Hollywood she is rehearsing every
day, sometimes under different dance in-
structors and almost always in different pic-
tures.

At the First National Studios in Bur-
bank, Calif., for instance, about ninety girls
and fifty boys are now under contract for
singing and dancing pictures. While play-
ing in "Sally," starring Marilyn Miller;
"Little Johnny Jones" with Eddie Buzzell
and "Paris," starring Irene Bordoni, they
were rehearsing dances for "No, No,

Nanette" and other big musical pictures
about to start. These chorus people are
directed by Max Scheck and Larry Ceballos.
noted New York dance directors. Both
Scheck and Ceballos have a dozen assistants
to aid them in rehearsing and staging the
dance ensembles.

When working in a picture the boys
and girls have a nine o'clock 'call.' That
means they must be in the rehearsal hall
in their work clothes, ready to start re-
hearsing at nine in the morning. Which
in itself is quite a task for a Broadway
chorus girl, used to late hours and seldom
rising before noon.

The rehearsal rooms at the First National
Studios are equipped with sound-proof
walls. The floors are constructed of a
special hard wood, suitable for tap dancing.
In each rehearsal room is a loud-speaker,
so that a choral number or dance can be
'played back' to the chorus immediately
after it is recorded for practice purposes.
In this manner the boys and girls can hear
their voices, or the sound of their tapping
feet, and have their mistakes pointed out
by the instructor.

For the preliminary reheasals, when the
song or dance is not recorded, the end
of any available stage my be used. Here,
with the huge doors open to provide venti-
lation, the girls go through their routines
with a crowd of workmen standing in the
doorway watching the proceedings with ex-
treme interest. It's a far cry from Bryant
Hall, in New York, where many New York
chorines attended their first rehearsals.

A lone pianist sits at a piano providing
music for the rehearsal. She must be a
musician with an accurate sense of time,
and she plays, from the first script, the
actual music which will be used in the
number. This music is written on the lot,
by the staff of song writers.

The director sits on a low stool in front
of the chorus, his eyes on a level with
the girls' knees. The girls and also the
boys wear an assorted, nondescript con-
glomeration of costumes. The girls are
dressed in bathing suits, rompers, shorts or
even street clothes. The boys wear sweaters
or sweat shirts. Their costumes look gro-
tesque, as compared with the elaborate,
tinseled garments they will wear when the
picture is made.

These reheasals may continue for several
days, covering a dozen dancing numbers
and several productions, before the girls
appear in a single scene before the camera.
And each dance routine must be letter per-
fect, for the slightest slip before the all-
seeing lens means a scene retaken, and the
loss of a considerable sum. It is only fair
to say that in the records of 'talent break-
down' which the Vitaphone engineers apply
to mistakes of the actors, causing a 'retake,'

the chorus errors are greatly in the minority.

* * *

Elsie Janis, affectionately known as 'Sweet-
heart of the A.E.F.,' American musical
comedy and vaudeville star, has been signed
to a contract by Paramount Famous Lasky
Corporation 'to contribute material, ideas
and talent and to supervise production of
a super-talking, singing and dancing produc-
tion with every star and leading featured
player under contract to Paramount in East
and West Coast studios taking part.'

According to Mr. Lasky the full resources
of the company's writing, acting, directorial
and technical departments will be placed be-
hind the picture; each director and writer
contributing his or her share to the prepara-
tion plans.

* * *

The modern chorus girl is bearing up as

Will Rogers in "They Had to See Paris" submits
to osculation. But he doesn't like it.

for November 1929

best she can under the stigma given her in
the days of the Florodora and 'beef trust'
choruses.

"It's all a relic of the past, when they
talked of 'perfect thirty-six' and meant 'per-
feet forty,' " declares Frances Grant, one of
the hundred and ten 'big-time' chorus girls
assembled from all over the world by the
First National Studios.

Here are Miss Grant's 'de-bunking the
chorus girl fable' items in tabloid form:

1. The chorus girl of today who dances
in 'big-time' is not a heavy eater.

2. She does not diet to make her thin.
Her diet is that of an athlete.

3. She is not a 'perfect 36.' Her most
popular number is 32.

4. She takes no exercise except her danc-
ing, which keeps her from getting fat.

5. She never fails to average seven hours
of sleep per night for the six working days
of the week.

6. She practically always enjoys perfect
health.

7. She drinks milk, buttermilk and orange
juice, seldom coffee or tea, and often has
never tasted champagne.

8. She seldom marries a millionaire.

9. She's usually well educated.

10. Her average age is eighteen.

* * *

Mary Pickford's first screen grand-
mother, Gertrude Norman, has proved that
veteran screen players can be just as good
in dialog pictures as in the old silent films.

Miss Norman, who plays Mrs. Tobias
Greene in the "The Greene Murder Case,"
Paramount's all-dialog mystery drama, made
her debut with the Edison Company in
"Laddie," one of the first motion pictures
to be produced. Later she was called to
Biograph where a little girl with long curls,
Mary Pickford, was starting on the series
of pictures that made her 'America's Sweet-
heart.' In many of these pioneering pro-
ductions. Miss Norman was Miss Pickford's
mother or grandmother. Since then she

has played in hundreds of pictures.

# # £

After a long separation, Robert Arm-
strong and Jimmie Gleason, who made such
a tremendous hit in that phenomenal stage
success, "Is Zat So?" are together again.
These reunited friends are playing the
featured roles in the Pathe all-talking at-
traction, "O, Yeah?" for which Gleason
wrote the dialog — all of which may help
to explain the following conversation over-
heard recently on their set:

Cameraman: "Just a little hotter with
the lights on the back of their necks."

Head Electrician: "Okay. Hey, Pete.
Hit them on the back of their necks with
a coupla broads."

Bob Armstrong: "Hit who on the back
of the neck?"

Electrician: "You and Mr. Gleason."

Jimmie Gleason: "Is ZafSo? Well looka
here "

Bob: "Now pipe-down, Jimmie. This is
my scrap."

Jimmie: "Oh, yeah?"

Bob: "Yeah. Let me do the talking."

Jimmie: "Listen here, big boy. I'm the
guy that puts 'talk' in 'talkies.' '

Bob : "Is zat so?"

Jimmie: "Yes, zat's so!"

Bob: "Then give me silent pictures."

Jimmie: "Oh, yeah?"

Bob: "Oh, yeah!"

* *

When Meriam C. Cooper's name was
found among those on the passenger list
of the first Graf Zeppelin flight, close
friends of the adventuring motion picture
director were not unduly surprised.

Hardly anyone knew that he and his
brother camera-explorer, Ernest Schoedsack,
were filming a picture called "Grass" several
years ago, until that epic of the Bakytari
tribe of Persia had been completed. While
"Grass" was still being pointed out as a
film classic, Cooper and Schoedsack had
slipped away to the jungles of Siam. Almost
a year later they turned up with that tre-
mendous, natural drama of a native family's
battle against the jungle, "Chang."

When they decided to make "The Four
Feathers," without telling anyone their des-
tination, or plans, they embarked for Dar-
Es-Salaam, Tanganyika Territory, on the
east coast of Africa, in the late spring of

1927. A trading ship took them south to
Mikindani, at the mouth of the Rouvuma
River. In June they trekked upstream with
200 native carriers and returned in Decem-
ber. They then proceeded on the Indian
Ocean up the African Coast, through the
Gulf of Arden, through the straits of
Bab el Mandeb, and up the Red Sea to
Port Sudan. From Port Sudan they traveled
700 miles southwest to the Nuba Mountains
of the Soudan and finally to the Red Sea
Hills, the land of Kipling's Fuzzy-Wuzzys,
'first class fighting men.' There they buried
themselves for eight months and shot 60,000
feet of film, as local background for "The
Four Feathers."

That collegiate quartet! Two members of the University of
Southern California Glee Club, left and right, are assisted by
Marion Byron and Phyllis Crane.

SCREENLAND

^he £8est j^ines

of the Month

From "The Dance of Life"

Bonnie (Nancy Carroll) : "Keep on takin'
them falls and you won't have no more teeth
than a juvenile."

Skid (Hal Skelly) : "Don't worry about me,
kid, I'll be eating corn off the cob when
you're shaking like a vibrator."

From "The Cock-Eyed World"

Top-Sergeant Flagg (Victor McLaglen) :
"What are we drilling men for — thousands of
What are big battle ships bein' built

for? Everything to kill, wound, maim and
destroy! Why, half de dough dey're spendin'
on dem dere airplanes would educate de
woild!"

From "The Awful Truth"

Lucy (Ina Claire) : "Would you call on me if I asked you?"

Norman (Henry Daniel) : "I would not! There is a small
restaurant in the business section where for a long time I
was in the habit of lunching. One day the food was bad and
I had a severe attack of ptomaine poisoning. Nowadays
when I meet the proprietor on the street, I nod pleasantly
and hope that he is well ; but you don't catch me going there
any more to eat!"

From "Fast Company"

you

Bert Wade (Skeets Gallagher): "Why don't
really start to take an interest in him yourself?"

Evelyn (Evelyn Brent) : "Maybe I will. He's the first
man I've met yet that seems to me to be really a man,
and not just a collection of vaudeville jokes fixed up by
an expensive tailor."

for "November 19 2 9

CONFESSIO
of the FAN

This is YOUR department, to which yon are invited to contribute your opinions about
motion pictures. Say what you think about the screen and its stars. We offer $50.00 in
prizes for the best letters — first prize, $20.00; second prize, $15.00; third prize, $10.00;
fourth prize, $5.00 — received before November 10, 1929. By 'best letters' we mean the
cleverest and most interesting on screen topics, not to exceed 200 words in length. Next
best letters will be printed by way of honorable mention. Sign your full name and ad-
dress, please! Letters should be sent to Confessions of the Fans Department, Screen-
land Magazine, 49 West 45th Street, New York City.

The Editor

FIRST PRIZE LETTER
$20.00

To travel over the world, seeking ad'
venture and meeting strange people has al-
ways been to me an ambition which I mean
to realize some day. Meanwhile, the movies
have acted as a medium between me and my
desire.

Often have I glimpsed the crystal clear-
ness of a mountain lake set down like a
jewel between its huge green guardians with
their snowy caps; or have been transported
to some fairy isle of romance in the South
Seas, where the moon is a thing of awe
inspiring beauty as it .sheds its rays on the
gently moving waters of the lagoon. Then,
too, has come before the vision and to the
ears, the pulse-beat that is Africa — weird,
eternal, the unsolved riddle of the tropics!

I have seen, through the movies, the
most beautiful lands in the world. I can
only thank my lucky star that there is such
an art, and never cease to marvel at the
wonders that it brings forth as time goes
on. There is more reality and idealism in
motion pictures than can be found any-
where else that is touched by civilisation
in the world.

Virginia Byrd Pearce,

Chester, Va.

SECOND PRIZE LETTER
$15.00

Just a few months ago, I was one of
those fans who held out bitterly against
the invasion of the talkies, and prophesied
that they were just a passing diversion, and
would not last. I used all the latest and
snappiest arguments to tell just why they
wouldn't 'click,' why they wouldn't last,
and why we would eventually return to
the all-silent picture.

But now I'm using all the arguments I
can think of in favor of the talkies. Here
are a few of the most potent reasons for
my hasty jump from the negative to the
affirmative side of the talkie question:

Mary Pickford's voice in "Coquette" —
eloquent beyond my words to express; Pat
O'Malley's rich baritone, with just the hint
of an Irish burr to it; Louise Fazenda's de-
lighted and delightful giggle; Paul Muni's
voice, which held me entranced throughout
two showings of "The Valiant"; Johnny
Mack Brown's delicious southern accent;
Betty Compson's lilting soprano, and
Groucho Marx's ridiculously irrelevant
speeches.

Whenever I think of these, and other
treats afforded me by the talkies, I shudder
to think of their being taken away from
us, and I sincerely hope that my prophecy
never will come to pass.

Miss R. Palonsky,
628-4th Avenue,

San Francisco.

THIRD PRIZE LETTER
$10.00

Some people spend a lot of time worry-
ing about the birthdays of the movie stars.
Much of the time, missing the correct
answer by ten or twenty years, they say:
"Yes, yes! She's getting on in years. She'll
be through before long."

I don't like that. And I'll just bet you
never saw one of those unappointed critics
get up in meeting and read reports on their
own birthdays, beginning, "I am sorry to
report another year gone. In a few more
years, I'll be junk." You bet they don't!

And this is not all. These same devotees
will discuss at length the most intimate
details concerning the lives of the stars.
We can't tell what effect such seemingly
trivial things may have on the lives that
are spent sowing pleasure and joy to the
multitude. Why shouldn't they, in turn,
have praise, power, money, every good
thing in life?

Let's check our own birthdays, together
with all the unexotic facts of our lives.
Step right .up and throw the first stone.
But aim straight! Who's first?

(Mrs.) F. R. LeBrecht.

1700 E. 15th St.,
Brooklyn, N. Y.

Davey Lee is one screen star about whom
there is no possible argument. Everyone
loves him.

FOURTH PRIZE LETTER
$5.00

Garbo, like some faint, elusive perfume,
steals into your heart — and you are charmed
by her!

SCREENLAND

She is somewhat of a mystery; that is
why she is so very fascinating. If we
knew her every movement, she would only
be commonplace. Her appeal lies in the
fact that she is different.

Knowing nothing of her real self, it is
of the screen Garbo that I speak. Having
seen some actresses play a part, we more
fully appreciate the Garbo who lives her
role. For the time being, she ceases to
be Garbo, but becomes the character to be
portrayed. A star so talented becomes an
artist, and when this is true you not only
see a picture, but you feel it as well — her
joys are your joys, her sorrows yours, too.
You love with her; laugh with her; cry
with her.

Garbo's every movement is expressive of
deep emotion. A lift of the eyebrows, a
curve of the lips, a gesture of the hand, a
glance of the eye will turn sunshine to
pathos, then back again in lightning-like
succession.

I have no fear of hearing her first talkie,
for I know that she will do that as superbly
as she does all else.

H. L. Parks,
3000 West Avenue.
Newport News, Virginia.

Three Loud Cheers !

Three loud cheers for the way in which
our favorite film players have made their
debut in the talkies. They have proved
themselves in my opinion, more capable in
this new development than the recruited
stage players. And the picture fans have
shown that they prefer to see the well-
known faces rather than unknowns from
the New York stage.

The best of the stage players survive, but
the best are few in number. Maurice
Chevalier and Al Jolson have made big hits
and, perhaps, Ruth Chatterton and Jeanne
Eagels. But look at the list of film stars
who have given such perfect characteriza-

Kenneth Harlan has a loyal band of fol-
lowers to whom each new Harlan film
is a real event.

Norma Talmadge adds another fan to her
already enormous collection. Norma's first
talkie is "New York Nights."

tions since the advent of talking pictures.
There's Myrna Loy, for example, in "The
Squall"; and Mary .Pickford, whose enact-
ment of the title role in "Coquette" was
nothing short of perfect. Bessie Love and
Conrad Nagel have achieved new popularity
by reason of their splendid accomplishments
via the talking screen. Corinne Griffith
has added glory to her name since first
being heard. Ronald Colman proves that
he can more than hold his own.

As for the younger players, they have
proven that they are just as good in the
talkies as some of the more experienced
stars.

Ellen W. White,
5247 Florence Ave.,

Philadelphia, Pa.

A Hand to Rudy Vallee

Practically all my life I have been asso-
ciated with musicians. Being a music critic
has made that necessary. I firmly believe
that a musical profession is the most color-
ful, intriguing profession of all. In the
past six months I've noticed a change in
modern music. Rudy Vallee, I believe, is
responsible for that change. With his in-
troduction of soft, sweet music, the blare
of jasz is disappearing. Rudy Vallee has
started something!

But. because he has started something, I
sincerely hope that Hollywood will not try
to make a screen actor of Rudy. His place
is in music, there he should stay. Under-
stand, I'm not adverse to his making "The
Vagabond Lover." I, for one, am anxiously
awaiting its release.

Miss Marjorie Howe,

"The Pines,"
Shreveport, La.

Thanks to Talkies

Here's to the greatest entertainment me-
dium in the world — talking pictures. I
do not believe that anyone can be antago-
nistic to this marvelous development in mo-
tion pictures after seeing and hearing such
wonderful pictures as "Broadway Melody,"
"The Singing Fool," "Alibi," and other
worthwhile pictures.

To those people who have not the means
nor the opportunity to see great Broadway
productions, a new field of entertainment
will be opened. They, too, will be able
to see the finest plays and hear the glorious
voices of the great stage stars. The scope
of talking and sound pictures is tremendous.
Its possibilities are unlimited. I look for-
ward to the development of this new art
into an educational field as well.

Then too, thanks to the talking pictures,
some of our old favorites have not been
lost to us, while on the other hand we have
learned to know and admire lesser lumi-
naries whose personalities have become en-
hanced by the beauty of their voices.

Among the actors and actresses who de-
serve sincere praise are Ruth Chatterton,
Norma Shearer, Ronald Colman, Louise
Fazenda and Chester Morris.

Gloria Kaflow.
245 Broadway. Room 601,
New York City, N. Y.

To Talk Or Not To Talk

I would like to ask all the fans of this
department if they think Charlie Chaplin's
next picture should be a talkie or a silent
one. And I wonder if that dear man isn't
thinking very hard about it, too.

Come on, fans, tell Charlie to make it
silent! He will be glad to know what you
think about it. I love the talkies but you
can't laugh out loud and hear a talkie too,
and I would like to see more silent pictures.
My favorites are Mary Pickford, Douglas

Mary Nolan's popularity has increased
since talkies have added a melodious voice
to her blonde beauty.

for 7\[ o v e mb e r 1929

A fan writes in praise of Pat O' Malley's
rich baritone with its hint of an Irish
burr to it!

Fairbanks, Charlie Chaplin, Mary Nolan,
Charlie Farrell, Mr. and Mrs. John Gilbert
and that all-hot-and bothered Lupe Velez.
What she did to Old Man Pittsburgh —
and how! And I won't forget that nice
boy, Gary Cooper.

Margaret Siles,
53 Fleming Park,

Pittock, Pa.

Not Too Acid!

Here is a shower of bouquets, acid drops
and comments.

We want: — to congratulate Myrna Loy
for T^ubi in "The Squall"; Ronald Colman
for Bulldog Drummond, and Lily Damita
for Camilla in "The Bridge of San Luis
Rey." Also to recommend this picture for
not having a theme song called "San Luis
Bridge is Fawing Down."

I also want to remark on how well Ruth
Chatterton is named; to request another
theme song like Oh, Alight of Splendor,
but not too much like it; stars to pretend
stop pretending their lime-light love is
artistic; a smile from Greta Garbo, and to
demand better chances for Diane Ellis.

Mildred Smith,
Manassas, Va.

Garbo Again !

In an interview Greta Garbo said: "Talk'
ing pictures are so far beyond the experi-
mental stage that anyone unwilling to rec-
ognise their superiority to silent pictures
is either hopelessly old-fashioned or plain
stubborn." Miss Garbo has fine intelligence
and strength of character. She is interested
in making pictures which will be dramatic-
ally worthwhile. I believe her opinion of
the talkie is sound.

While hearing and seeing talkies recently,
I have been struck by the number of

superior features which the speaking screen
has in contrast to the legitimate stage. On
the stage the action must be over-emphasized
to be made effective. How much more
sensitive is the living picture. What delicate
and significant suggestions may be made!
The quiver of a lip, the hint of a smile,
a slight gesture of the hand, the low in-
flection of a charming voice — all are pos-
sible and natural. And there is the flex-
ibility of the screen, flashing from one action
to another. Is not one justified in holding
to the conviction that in the future some
of the great dramatic creations will be on
the screen and that the talkie as a vehicle
for good entertainment will have no

superior.'

Bert S. Chewning,
1205 Bennington Ave.,

Kansas City, Mo.

A Hand for Personal
Appearances

The following statement appeared re-
cently in a local paper:

"The value of personal appearances of
movie stars in picture houses about the
country has long been a mooted question.
Sometimes producers feel that these appear-
ances harm the drawing power of a player.
Other times they feel that such tours are of
real benefit to film productions."

I would like to state my opinion on the
subject.

First of all, who isn't thrilled beyond
words to sit in the theater and see before
them, in flesh and blood, one of their favor-
ite stars?

I have seen personally, such stars as Buddy
Rogers, Davey Lee, Lily Damita, Jackie
Coogan, Lew Cody, Anita Stewart and
Robert Agnew. How I enjoyed their per-
formances! Buddy Rogers did one of his
scenes from "Close Harmony" and sang
several songs. Davey Lee lisped a little
speech in his cute manner and sang "Sonny

Lily Damita won new friends with her
colorful characterization in "The Bridge
of San Luis Rey."

Boy." Lily Damita talked to the audience
and her French accent was charming.

I cannot see where a personal appearance
harms the drawing power of a star. Instead,
it brings him more admirers, and affords
many fans their only chance of seeing, per-
sonally, their favorite stars.

I think Buddy Rogers and Mary Brian
form the best movie team. Here's hoping
we see, and hear, more of them.

Maxine Tweddell,
415 E. Euclid Ave.,

Detroit. Mich.

'Broadway Melody" brought new fame to Bessie Love. You'll
see her soon as the trouping heroine of "Road Show."

SCREENLAND

CREENLAND

Joan Crawford, Take
Stardom and Screen-
the Same Picture,

"^wo years ago, Screenland received a
telegram from Joan Crawford. It
read: "God bless you! Every other
magazine has said I look like Pauline
Frederick or a few other girls. You say I can
stand alone, on my own feet. May I always
merit your praise."

Joan, you're a nice girl; and Screenland is
happy to be able to report that you are now
a star in your own right, standing fairly and
squarely on your own, without the aid of
mirrors. You are an original personality and
a brilliant actress. There is no star quite like
you in motion pictures. 'Very much _ the
modern girl, yet quaint and old-fashioned
enough to work hard and consistently for
screen success, you deserve all our applause.
You are a good sport in "Our Modern
Maidens" sharing some of your close-ups with
Anita Page; and it is your reward that you
should shine more brightly than ever in your
very first starring picture. May you make
many more! P.S. Regards to Doug!

Joan, a dancing girl from musical
comedy, has become one of the
most important dramatic actresses
on the screen.

She's a sweet, natural, sun-tanned girl off the
screen, who goes in for sports clothes and
sincerity.

for T^ovember 1929

A new portrait of Mrs. Douglas Fair-
banks Jr. She assumed her new role
Mrs. Doug about the same time
she stepped into stardom.

She hasn't forgotten how to dance! Joan
Crawford in one of the wild costumes she
wears in "Our Modern Maidens."

Joan is more than a mere whoopee girl.
She is a real actress, capable of putting
over drama in a great big way.

1 8

SCREENLAND

THE EDITOR'S PAGE

^HIS mad movie world!
A living electric
sign on Broadway-
brings out the crowds and the
reserves, while 26 shapely
show-girls spell out the name,
"Hollywood Revue," sing a
little, and do a few dance
steps high above the White
Way.

C[ A rowdy and somewhat
ribald entertainment, "The
Cock-Eyed World," plays to
800,000 people and grosses
something like $650,000 in its
four weeks' run at the Roxy,
formerly attracted by reason

a theater which
of its superior

stage presentations rather than the pictures
presented.

((Bobby Jones, national amateur golf cham-
pion, turns down an offer of $50,000 for two
weeks work making a talking picture.

(( Bobby Jackson, millionaire script girl, arrives
for work at a California studio in a $10,000
motor car.

C[ About 38 years ago Thomas Edison took out
his first patent upon a device to produce motion
pictures. It was granted August 24, 1891. At
that time it was suggested to Mr. Edison that
he protect himself by foreign patents as well.
"How much will they cost?" Edison is said to
have asked. "About $150," was the reply. "It's
not worth it," is the reported reply of the elec-
trical wizard. He saved $150 and he might
have made millions.

C[ Ufa begins to make talkies in Germany. And
to show they are in earnest about it, they have
created a new directorial post, that of "Dialect
Doctor." The explanation is that English really

consists of two languages,
English and American, and
the chief duty of the Dialect
Doctor is to see that results
are equally understandable in
both Yorkshire and Vermont.
For instance, "Swell Baby"
in American would be "Bon-
nie lass" in English. Ufa di-
rectors maintain that, as a new
language is evolving in the
United States, "it is fitting
in the highest degree that such
an objective entertainment
medium as the screen should
properly recognise it."

C[ Seven producing companies donate 778,000
feet of feature pictures to the Culion leper
colony in the Philippine Islands. The pictures
include the best comedies and features pro-
duced in the past year. Movie-night is the one
gala night for the world's saddest shut-ins —
their escape from grim reality.

C[ The cry from the partially-deaf theater pat-
rons against the talkies has been heeded. A de-
vice has been perfected to be attached to seats,
the operation of which will permit all those not
totally deaf to hear the dialog and music of
talking and synchronised screenplays.

C[ Dr. Sheldon Shepard of the First Univer'
salist Church of Los Angeles, sums it all up:
"We have not yet begun to realise the almost
illimitable benefits that will come to humanity
from the development of the talking motion pic-
ture. There is far more in its potentialities than
improved entertainment and widened education.
It has that subtle, spiritual something, a char-
acteristic of all true art, which ministers to the
inner peace and growth of human-kind."

D. E.

for l<lovemher 1929

TAKING A TALKIE SCENE

flow they shoot a sound scene. A bird's-eye view from the 'wings' of the cabaret
set of "The Painted Angel" starring Billie Dove, with workmen and tech-
nicians preparing the arrangement of lights, cameras, and equipment. Director
Millard Webb is seen at table in middle foreground, with Cissy Fitzgerald.

SCREENLAND

GRETA GARBO

An Amazing Psycho-Analytic Portrait
of the Screens Mystery Woman

Greta Garbo as she looked when she first
arrived in Hollywood — a lonely, moody, shy
Swedish girl. Hollywood direction, lighting,
and clever costumes helped her to burst her
bondage and become a world celebrity.

The poised and perfect Garbo of today!
She found in America just that help whicft
has allowed her to bring her real self — shut
in, a being of inarticulate moods — out into
the glare of the Kleig lights.

How about the lovely Miss Garbo, who has but
22 years to her credit (or debit), a Swedish
woman who already has become what the psy
chologists call the soul-image to the American
people, and to many millions besides? Everything about
her, so we are told, is mystery. To begin with, her his'
tory since she came to these shores reverses the theory
that foreign actors are ruined by Hollywood and American-
ization; their peculiar novelty wears off; their fire dies; from
being passionate they become good sports, and from being
unique they become commonplace. But Greta Garbo,
while she was always Greta Garbo, has undergone an amaz-
ing development, as if she had added to herself only what
was best in America and rejected the shoddy.

No amount of success has rooted out her initial qual-
ities, and, were it not for the new psychology with its
knowledge of types, we could have no key to her mystery.
Her mystery is this: She is genuinely shy, yet she broad-
casts herself to the world; she loves solitude and is not
a mixer, yet she stands in the glare of terrific publicity;
it is not easy for her to express herself to others, yet she
is today one of the truly remarkable actresses of the

screen. America has, every year, a Prize Beauty contest,
and every district of the land sends its favorite good-
looker, and from these one is chosen as Miss America.
Yet none of these Prize Beauties even faintly resembles
Greta Garbo. She is not in any way the typical American
beauty, whose symbol is the American beauty rose,
shapely, open and frank of face, familiar, a good fellow,
a mixer, with nothing in the least mysterious about her.
She might live down the next block. Greta Garbo lives
in Never-Never Land, and she is more popular, more
loved of Americans than any of these.

Her appeal is not direct, like that of an Anita Page
or a Mary Pickford; it is subtle, evasive, often unexpected.
She is not changeless, like a Norma Shearer or a Marion
Davies. Most actresses have what we might call one face.
Greta Garbo is a woman of a thousand faces. She always
looks different. Spread out a set of her photographs and
each is quite different. Here is the face of a very worldly
woman, here is the face of an innocent, here is sheer
loveliness, even magic; here is something approaching
plainness. If we can say that almost every woman moves
with a certain rhythm by which we place her — the

for 7\J o v e mh e r 19 2 9

Psycho-Analyzed

^By James Oppenheim

athletic motion of a Helen Wills, the comedienne light-
ness of a Marion Davies — we can say of Greta Garbo
that she has a thousand rhythms, as if she were all women
in one, as if she were typical of all the women of all time.

Such women are comparatively rare and they correspond
with what the psychologist calls the soui-image, that is,
the ideal woman, the woman that every man seeks in his
dreams, the woman who will mean everything to him;
and because she is changeable and varied, so unexpected
in her thought and action, so different always, remains
forever a mystery. The soul-image type woman, as Dr.
Jung points out, runs the gamut of what women have
been: from the shady to the light, from the
demonic or devilish to the divine. Of course
she may not have lived these things; but one
senses in her nature all feminine possibilities —
the child-like, the naive, the worldly, the

irregular; maiden, mistress, wife, mother. She is Mona
Lisa with her mysterious smile, a smile that sometimes
looks like sadness, sometimes like joy. She is Cleopatra.
She appears on the world-stage always as a disturbing
beauty, a Helen that launches a thousand ships and de-
stroys a kingdom.

Psychologically this means that the woman is many-
sided, instead of being caked and fixed like most of us.
She is a mystery even to herself, and hence to men she
furnishes the lure of the unknown and her many-sided-
ness gives promise of rich relationship.

This, of course, does not explain Greta Garbo, so

The popularity of Garbo points to a change in the
American people. The great audience has come
to appreciate subtlety in beauty, depth in character,
artistry in acting.

According to Oppenheim, Garbo has become
the 'soul-image' to the American people — that
is, the ideal woman that every man seeks in
his dreams! Above, in a love scene with
Lew Ayres.

much as describe her.

For explanation we must turn to the problem of types.
To begin with, Greta Garbo is an introvert, not an ex-
travert. The extravert is normally well adopted to the
world, a doer rather than a dreamer, a good mixer, one
who plays the game with a certain lightness of touch;
among women usually a good hostess, a good pal,
sociable, tactful, charming, 'selling' herself easily, and just
born that way. The introvert is the opposite. He tends
to withdraw from the world into the world of imagina-
tion, of dream, of inner things. Such men and women
in the Middle Ages became monks and nuns and retired
to the cloisters. Such women sought not 'carnal love1
as they put it, but became the brides of the church. The
introvert usually isn't a good fellow, he finds it almost
impossible to 'sell' himself, he (Continued on page 107)

SCREENLAND

The Battle of the

OME things burn me
up ; and one of them
is to hear people
say that stage ex-
pcrience is terribly valuable
in the movies!

Where do they get that
stuff? Why don't they open
their eyes and look about
them?

The biggest picture stars
today have never been
backstage in their lives, ex-
cept on social visits. I'll
admit there are a few ex-
ceptions— not more than a
handful of them — who
prove the general rule.

As to Hollywood chorus
girls, I've worked with

them in quite a number of pictures now, and I find every
time that the brightest, the snappiest and the smartest
of them are girls who have walked right up to the cast-
ing bureau and filed their applications without an hour
of stage experience back of them.

They are fresh — I mean in the nice, unspoiled way.
They haven't been through the Broadway musical comedy
mill- which is pretty sure to take away some of their
freshness.

Think what it must be to play in an old-fashioned show!
You rehearse for weeks; and then you go on doing the
same thing for months and months, night and day —

Alice insists stage experi-
ence is not essential to
screen success.

Broadway 'Follies' Graduates

Who'll Win the

By Alice White

HOLLYWOOD ALUMNUS

that is, if you're lucky enough to be in a suc-
cessful production! I know that I couldn't stand
it for a month.

You can sometimes see the effects of it in the
girls who come out to Hollywood with all the
so-called 'glory' of Broadway behind them ! They
lack elasticity; they are not adaptable. The stu-
dio routine gets them. No wonder some of them
fail to fit into the studio life and have to go
back to jobs along the Great White Way!

There's one funny thing
about this business of the
actors and actresses who
come out to California
full of wise-cracks. They
may like to pose as high-
hatting the screen, but
{Continued on page 106)

Hollywood's "Show Girl" kicks up her heels
at the idea of a Broadway background for
tnovie maidens.

Broadway never produced a prettier show-
girl than Olive Hatch — in fact, Olive is a
strictly Hollywood product!

for 7^o v e mb e r 19 2 9

Beauties

Versus Studio -Trained Stars!
Purse, Screen Supremacy?

By Dorothy Mackaill

TOLLIES1 GRADUATE

Dorothy Mackaill believes her
stage training made her movie
career possible.

j/" "j njhere is no better way of getting into motion
pictures — for a girl — than through the magic door'
way of the stage.

And I think it is the easiest and surest way.
It is the best preparation; it educates a girl in self -con'
fidence, in poise and in the development of her latent
talents.

If that was true in the old days of silent pictures (and
I believe very firmly that it was), then surely it is even
truer in this talking picture era.

And the stage gives a glamour — an atmosphere of
romance — which means a tremendous lot to the public.
I don't want to be immodest, but if you could see my
fan mail you'd realise what I mean!

I remember my own experience so well. I am English,
you know; and when I was in my early teens I was like
most English girls — sweet and shy and retiring. Yes, I
was positively bashful! (My Hollywood friends will find
that very hard to believe, but it's true!)

Just the same, I wanted to be an actress, so I went up
to London and got a place in the chorus of the Hippo-
drome. I had everything to learn ■ — ■ and gradually I
learned it!

At first they put me in the back row, while I was being
trained. Then I was advanced to the front. The show
went to Paris, and I went with it. And at that time
I first faced the cameras — in a French moving picture that
I've never even seen, and I've never met anybody else
who ever saw it either!

I was frightened to death, much more so than I ever
was on the stage. "No more cinema for me," I thought.
"I'm going to America and see (Continued on page 106)

Dorothy has that
'Follies' figure and
that Hollywood
smile and that
Vitaphone voice!

Photograph,
by Yandamm

SCREENLAND

Dr. Watson Kxplains

Rosa Reilly

Dr. John B. Watson, eminent psychologist, tells Screen-
land readers that the motion picture acts as a fine
emotional outlet for the American millions.

EX appeal,1' says Dr. John B. Watson, "is the
foundation of life. It is the vital force behind the
motion picture industry, as well as all other in-
dustries— the one sure road to human happiness."
up and meet the Doctor!

all know, of course, that he is one of the most
eminent psychologists of America. He is a graduate of
the University of Chicago, a former Professor at Johns
Hopkins, the founder of the Behaviorist School of Psy-
chology, author of five books on Behaviorism, and a two-
fisted, high-powered advertising executive as well.

But that's not the reason I want you to know him. I
want you to meet him because he is the IT Doctor himself.
He is an expert on how to get your man — or woman, and
has all the answers down pat — with words and music.
But we mustn't interrupt him. He's going to settle, once
and for all, this controversy about whether Sex Appeal
is or is not necessary in moving pictures. Listen to

what he says:

"The motion picture," continues Dr.
Watson, "functions as one of the best
of pathological laboratories. In Amer-
ica, just as in other countries, because
of the upheaval of the World War,
we have lost our sense of security.
We wonder why we were born, why
we have to work, why our lo\;e affairs,
many times, turn out tragically. We
continue wondering about the uneven
economic conditions of life, the dif-
ferent interpretations placed on justice
and honor — one for the overlord and
another for the underdog. And we
end by wondering where we can turn
in sorrow, disgrace or defeat.

"To turn our minds from these
oppressive thoughts, we all need recrea-
tion. But recreation to the mass of
the people is often prohibitive on ac-
count of its cost. However, there is
one relaxation within the reach of all
— the motion picture theater. And in
these theaters, seeking surcease from
worries and woes, we find each week
over a hundred and ten million people.

"But do they go there because they
want to see a news-reel or Ramsey
MacDonald, or a cartoon of Mickey
Mouse?

"They do not.

"They go because the one sure ob-
jective they have in all this uncertain
life is the overmastering desire for
love and affection. And because, in
many cases, these desires are unful-
filled, they visit the picture houses to grasp what has
eluded them. They want to see that lovely, slender per-
son, Greta Garbo, lay her golden head upon the powerful
chest of John Gilbert. They want to see that virile man
kiss this yielding woman in a way they have missed being
kissed. Then they want to go home — to dream. To dream
that the person to whom they are married or engaged is
leading them through a scene of mutual passionate beauty
such as they have just watched Greta Garbo and John
Gilbert enacting on the screen.

"In this fashion, the motion picture distills a powerful
influence. It acts as a fine emotional outlet for the
American millions.

"To be specific, let's imagine Mary Hamilton, we'll say.
Mary is married to a young lawyer. She was a beautiful,
wistful bride, speaking her vows with the low-voiced
assurance of first love. But something went wrong with
that marriage. Mary can't exactly fathom the reason for

for 7s[o v e mb e r 19 29

Vital Force

Behind Motion Pictures

Dr. John B. Watson, the Famous Psychologist, Founder of the
Behaviorist School of Psychology, Settles Once and For All the
Controversy: is Sex Appeal Necessary to the Motion Picture In-
dustry? Read What this Authority Says

it. She only knows she feels frustrated, miserable. But
instead of brooding about it, she dresses herself prettily
and goes to the Roxy or the Capitol Theater.

"Settling herself comfortably in her seat, she watches
Charles Farrell and Janet Gaynor in an exquisite love scene.
Soon Mary isn't unhappy any more. She is dreaming.
Day dreaming that she herself is Janet; and that on her
lips, the tender kisses of Charles Farrell are falling.

"A little later the picture is over. The lights go on, the
orchestra begins to play and Mary goes home — happy.
Life isn't any more a dreary routine. Even broiling the
chops and fixing the pineapple and lettuce salad has a
touch of romance to it. For all the time she is imagining
that she is the heroine of a love
drama, in which her husband,
transformed into a dream lover,
is the hero.

"And so another marital
crisis is past. Once again the
movies have proved a positive,
alleviating factor.

"Many of these people who
seek their happiness in the mo'
tion picture theater write me
letters and ask for advice. I
can do little to aid them. One
psychologist can't remake the
world. But where I can help
is by trying to stir the senti-
ment of the movie millions up
to the point where young
boys and girls from birth up-
ward can be trained so they
mature in truth and beauty."

Although Dr. Watson is al-
most fifty, he looks a young
forty. He is a big, splendidly
built man with the energy of
a Mussolini and the pep of an
Alaskan dog team. He has a
Rabelaisian laugh and a broad

sense of humor. He is physically a combination of George
Bancroft, William Powell and Lewis Stone. He is the
Bill Haines of the scientific world. A Bad Boy among
the psychologists all right, for he is always stirring up
scientific controversies over his original solutions of human
behavior.

Although Dr. Watson writes profound books on Behav-
iorism, he is just a human being like the rest of us, with the

Dr. Watson Says:

"The motion picture functions
as one of the best of pathological
laboratories.

"Whenever I visit a motion pic-
ture theater, I don't do so to study
the sex habits of the penguins or
the geologic structure of the great
Antarctic Barrier. I go there for
the same reason that a hundred
million other people go there — to
enjoy youth, warmth, beauty. To
see the perfect consummation of
masculine strength with feminine
loveliness — the one Paradise of
which a man may be eternally
sure!"

same problems. It has only been nine year^ since with little
or no money, a young wife and heavy financial obligations,
he gave up academic honors to seek a place\in the busi-
ness world. Starting out selling coffee to the\etail trade
in order to gain business experience, he is now a member
of the crack advertising corporation, J. Walter Thompson
Company. He has risen steadily, both in the advertising
and in the scientific world.

"Most movie goers, just like most other people," goes
on the doctor, "make the miserable mistake of thinking
they will be happy tomorrow. As children we think we
will be happy when we can act as we please. Whereas,
Huxley said: 'A man's worst difficulties begin when he is

able to do as he likes.

"The pursuit of happiness is
almost always an unhappy
quest. I dislike that word
'happiness' anyway. Fulfill-
ment is a better word for it.
And my idea of fulfillment
is throwing yourself so heart-
ily into work and into out-
door sports that there is neither
time nor energy left for re-
pinings, repressions, inhibitions.
That is the ideal I should
like to see worked out for every
child born on the earth.

"I myself am not a movie
fan," Dr. Watson concludes.
"My work and my family leave
me little leisure for keeping up
with current pictures.

"But I sincerely believe that
the motion picture industry
would shortly come to grief
— just as the human race
would cease to exist — if it were
not for the appeal of one sex
for another.

"Whenever I do visit a mov-
ing picture theater, I don't do so to study the sex
habits of the penguins or the geologic structure of the
great Antarctic Barrier. I go there for the same reason
that a hundred million other people go there — to enjoy
youth, warmth, beauty. To see the perfect consumma-
tion of masculine strength with feminine loveliness—
the one Paradise of which a man may be eternally
sure!"

SCREENLAND

Mr. and Mrs. John Barrymore's

The Famous Stars Offer
For the Five Best Letters

John Barrymore and Dolores Costello
want to know what kind of a picture
you would like to see them co-star in.
Costume drama, or modern comedy
drama? Can you suggest any particular
book or play that could be adapted to
suit their screen requirements? For the
five best letters on the subject the Barry-
mores offer five twenty-dollar gold
pieces. By 'best letter1 is meant the most
interesting suggestion written in the
clearest and cleverest style.

A new portrait of Dolores Costello
Barrymore. W ouldn't you like to see her
play opposite her husband?

^either John Barrymore nor Dolores
Costello has ever offered a gift contest
before. Mr. Barrymore is one of the
most reserved and secluded of all motion
picture stars, preferring to let his screen personality
speak for him. Personal appearances, interviews,
autographing pictures — all such things are taboo.
But he is really interested in this Screenland gift
contest. It is his first gesture of comradeship
towards his many fans. His wife, Dolores Costello,
joins him in this friendly offer. $100 in prices of 5
$20 gold pieces for the 5 best letters.

Address : — MR. and MRS. JOHN BARRYMORE
Screenland Contest Department
49 West 45th Street, New York City
Contest closes November 10, 1929

John Barrymore was the star and Dolores Costello the
leading lady in '"When a Man Loves," adapted from
"Manon Lescaut." They have not appeared together on
the screen since this picture.

for J^overriber 19 2 9

Gold -Piece Prize Contest

Five $20. Gold Pieces
Answering their Question

"ot since "The Sea Beast1' and "When a
Man Loves" have these two famous stars
appeared together on the screen. John
Barrymore discovered the beautiful girl
who later became his wife when she was play-
ing 'bits' at the Warner Brothers Studio and he
was looking for a leading lady for "The Sea Beast."
The delicate charm of the daughter of Maurice
Costello captured the interest of America's great
actor and he requested that the lovely little un-
known be given an opportunity to prove her talent
in his picture. You all know the result: with the
release of "The Sea Beast" a new favorite was born.
Dolores Costello's grace and beauty and ability won
the hearts of her audiences. The Barrymore-Cos-
tello team became one of the most popular combina-
tions in motion pictures. They played together
again in "When a Man Loves" and both earned
new laurels. And now that Dolores is a star in her
own right, and the exquisite love scenes enacted
on the screen were made reality when John Barry-
more married his leading woman, the Barrymores
want their fans to suggest what kind of a picture
they should co-star in — costume drama or modern
comedy drama; and they will welcome suggestions
of any particular book or play which could be
adapted for them. The prize offer is $100 — in
prizes of five $20 gold pieces, for the five most
interesting; letters.

A close-up of the celebrated Barry-
more profile. The star himself
prefers to play roles which offer
him opportunity to characterize.
The famous Barrymore voice will
first be heard from the screen in
"General Crack," a special produc-
tion starring America's greatest
romantic actor.

Mr. and Mrs. John Barrymore on the Barrymore yacht,
on which they honeymooned in the South Seas.

1 he Costello-Barrymore romance
is one of the favorite real-life love
stories of Hollywood. Like that of
Mary Pickford and Douglas Fair-
banks, and Joan Crawford and
Doug Jr., the Barrymore romance
was born in the colorful atmos-
phere of the studio, and presents
the always-fascinating picture of
two great stars turning screen love
scenes into the real thing!

SCREENLAND

(^hevalier ~ /Lubitsch ~ .Success!

A French Star and a German Direc-
tor Work Together on the Screen's
First Original Operetta, "The Love
Parade," for American Audiences!

By Rob Wagner

last, the
dream of
cinematic
produc-
tion— a screen oper-
etta! Not a revue
or Follies show of
patched'together acts
and gags, but a full'
length opera with its
own story, casts,
solos, duets and
magnificent choruses.

Nor is "The Love
Parade" simply one
of our well-known
operas like "Car-
men" or "The Mi-
kado" translated to
the screen. Such
operas, like the pres-
ent screen revues,,
are essentially of the
stage and carry with
them all the stage
limitations.

Leave it to
Lubitsch to remem-
ber that the screen
has a glorious tech-
nique that in the
first excitement of
sound pictures has
been largely tossed
aside. De Mille be-
gan the renaissance
by returning to the

"tools of his trade in "Dynamite." Now the
great German director is making a musical film
in which he uses all the triumphs of the cine-
matic idiom.

Needless to say, "The Love Parade" has
been written and scored directly for the screen;
and while it is basically an operetta, the action
is not confined to the time-and-space limits of

Above: shooting the royal
staircase scene, showing
the Queen, Jeanette Mac-
Donald, descending the
stairs between two lines
of grenadiers. Note the
seated figure of Director
Lubitsch at the foot. As
Miss MacDonald descends
Lubitsch and the camera
truck will precede her
across the marble hall.

ts seven

Howdy, Queen! Her train
yards long and two yards wide, weighted
with sequins, pearls, and rhinestones.

a stage. There are, in fact, over fifty
sets and locations used, and the songs
and dances extend in many instances
over several sets.

So much for the mechanical and
technical side of the screen's first
original operetta.

The most interesting phase of the
artistic adventure is that it has
brought together three great foreign-
ers— Lubitsch, Chevalier and Guy
Bolton. Lubitsch is regarded as one
of our greatest directors. (He is the
only one whose pictures have ranked
among 'the ten best' every year since
votes were taken) ; Chevalier's in-
stantaneous repetition of his Euro-
pean successes has placed him at the
top of our screen entertainment, and
Guy Bolton's name
as an author is fa-
mous throughout the
operatic world.

A German, a
Frenchman, and an
Englishman — and an
American cast! Who
says the war is not
over and forgotten?
Perhaps the most
eloquent evidence is
the devotion that
has developed be-
tween Chevalier and
Lubitsch.

The other day I
barged over to
watch them work.
Chevalier was sing-
ing a song beneath
an apple tree — an
amusing song about
his out-of-work
charms — while
Lubitsch sat beside
the igloos (sound-

for November 19 2 9

Above: Director Ernst Lubitsch
plays a Victor Schertzinger duet
with Jeanette MacDonald, the
heroine of "The Love Parade."
Lubitsch is an accomplished
pianist.

Photo by E.

Schoeiibauni

Lubitsch and Chevalier agreed
to limit themselves to one cigar
a day. The director's eight-hour
smoke shows up the star's fa-
vorite little panatella.

proof camera booths) and
smiled in happy approval.

"Chevalier is a wonderful
fellow, Bob," he said as we
strolled over to the play-
back room to hear the result.
"He has a fine figure, a
splendid voice, intelligence,
magnificent art, and above
all — sharm'." (Lubitsch still
has difficulty with his c's.)
"Even his accent, instead of
being a handicap, adds to his
sharm. And such a gentle-
man, Bob, don't you
think so? This has been
the happiest picture
I've ever made. Not a
cross word or an angry
look. Everybody loves
Chevalier. He is just
as sharming as his
screen personality. No
wonder he is such a
colossal success."

"It seems strange,"
he went on later as
we lunched together,
"that I have made so
many French comedies
and this is the first
time Eve ever made
one with a real French-
man!"

"I understand he is
the greatest male IT-er
of the screen. Do you
think his American
success will w to his

Above: ten girls in the Paramount wardrobe depart-
ment worked for two weeks on the Queen's beaded
white satin train. Here are the workers on the job.

The royal lovers in the original operetta, "The
Love Parade" — Jeanette MacDonald and the star,
Maurice Chevalier.

head?" I asked.

"You forget, Bob, he
was already a tremendous
success in Europe. He
gets a big salary here, but
he also got one there.
No, he is very sensible,
and, like his countrymen,
he is thrifty and saving.
No foolishness, no, no.
Americans think the French
are gay spendthrifts. But
they are not. Chevalier
will take good care of his
future.

"You'll laugh, Bob,
when I tell you the
greatest kick I get
making this picture.
It's correcting Cheva-
lier's English! Yes, he
comes to me and asks
me how to pronounce
words. Me! Isn't
that amusing? You
remember how you kid-
ded me when I first
came over. Remem-
ber, you printed a story
about how I couldn't
think of the word
'naked' and said I was
just 'plain?' Well, now
Chevalier asks me how
to pronounce every-
thing."

The little episode,
however, is not really
(Continued on page 103)

SCREENLAND

Fannie Hurst, author of "Lummox," is delighted with
the way her book promises to emerge on the screen.

C/ANNIE j#URST

StiyS: "Talking Pictures
are Here to Stay!"

By Alma T alley

<<T7" Ah
J[co,

AM delighted with the way 'Lummox' promises to
:merge on the screen. I have not yet seen the
completed film, cut, edited, etc., but I did see most
of it in the making."
Yes, prick up your ears and listen; it's Fannie Hurst
talking. Fannie Hurst, the highest paid writer in America,
whose yearly income from stories is something we all dream
about when we read the success ads. Fannie Hurst, whose
fictional characters have animated miles and miles of film.

And this is the author who is actually pleased with
what a producer has done to her novel!

You didn't know such things could be, did you? Nor
even suspect? The usual picture of an author after view-

ing his work on the screen is of a man hesitating between
gas and a leap out the window. A man with his teeth
all gnashed.

"Is this what they've done to my lovely, beautiful story?"
he moans. Miss Hurst herself felt just that way about it
some ten years ago when "Star Dust" was filmed.

But now, after the filming of "Lummox," there's not a
moan from Miss Hurst. Only a delighted smile. For
they have done right by our "Lummox"; her brain child
has not been treated like a step-child at all.

Perhaps it's those cursed, but popular, talking pictures
which are making things look up for an author. Way,
way up. For it says right in the author's book just how

for 7\£ o v e mb e r 19 2 9

The First Interview
on the Talkies
Granted by Ameri-
ca's Highest Paid
Woman Writer

Miss Hurst in her study, dictating one of
her vivid stories of modern life.

Mary, or 7s[el! — or Lummox — talks, and you
know how we all believe anything a book
says. And so dialog can bring an author
into his own.

Not always of course, even yet. For isn't
there a report that Mary's and Doug's new
co-starring picture is being advertised: " 'The
Taming of the Shrew' by William Shakes-
peare, with additional dialog by Sam Taylor?"
Sophisticates are already chuckling at Mr.
Taylor cutting into Bill Shakespeare's laurels
like that.

But Mr. Shakespeare couldn't be reached
to supervise his own production.

Miss Hurst was right on hand when "Lum-
mox" was filmed. In fact, she was consulted
in the casting.

"I was amazed," she said, "at the number
of actresses who wanted to play Lummox.
On the surface she is a dull, plodding creature,
with no opportunity to wear clothes. Yet
hundreds wanted to play her. It was the
most coveted role in years."

Miss Hurst spoke with justifiable pride.
She has the simplicity, the sincerity of great-
ness. Her voice is rich, musical; and she has

the same vivid vitality which comes through the printed the trees, behind the hundred year old farmhouse which
page to her characters. She looked very picturesque, is her summer home.

with a red scarf tied around her hair, a red silk work "Of course you know how Winifred Westover was
smock over her white linen dress. Two Pekingese dogs selected for the part of Lummox?" she said,
sprawled at her feet. We sat in a couch-hammock under The story has been told before, but Miss Hurst's

version is amusing.

"One day in New York a girl came
to see me, just as I was going out.
She must see me, she said. She had
an appointment made six weeks be-
fore. An appointment? Nonsense.
I had no record of an appointment.
But she had one, she insisted, and she
had come thousands of miles to see
me — all the way from Hollywood.

"So finally I agreed to talk to her
and she introduced herself as Wini-
fred Westover. I'm playing Lum-
mox,' she said.

"That rather staggered me, because
Mr. Brenon and I had been working
closely together and he hadn't noti-
fied me of any such decision.

" 'You can't be,' I told her. 'In
fact, we're not even sure who's to
make the picture.' "

" 'Mr. Brenon will make it,' she
said, 'I've been praying that he will.
And I'm going to play it. He doesn't

Herbert Brenon, the director, and Fannie Hurst with Bobby know k Yet- No one knows but me—

Ullman, the little godson of the late Rudolph Valentino. and now (Continued on page 96)

SCREENLAND

Basil Rathbone brings his voice and his technique to
the Hollywood studios. Welcome to our talkies!

Don Juan from Broadway

A 'Great Lover' of the Stage Succumbs to the Screen

By Bradford Nelson

PERHAPS the talkie invasion has brought Hollywood
no more interesting figure than the man who has
been known for eight years as the 'Great Lover'
of the stage.

Gilbert, Valentino, Novarro et al have all had their
adherents among the followers of the screen. Stage
devotees, however, have been unswervingly loyal to one
man, Basil Rathbone.

Over six feet tall, with flashing black eyes and a real
profile, Basil Rathbone has brought 'ohs' and 'ahs' from his
audiences without stint during the runs of such romantic
successes as "The Swan," "The Czarina," "The Captive,"
and "The Command to Love."

The silent pictures didn't intrigue Rathbone at all.
Contracts from movie producers were sent back untouched.
He continued to give his services as a great lover exclusively
to the stage.

Talkies came, however, and the highly capable Basil,
with many others, succumbed.

Where once he kissed before the footlights, today a
microphone records his romantic interpretations. And
already movie fans are showing great interest in his por-

trayals. Unknown except to followers of the New York
stage, his first picture, "The Last of Mrs. Cheyney," has
given Basil Rathbone a picture following over night. The
'great lover of the stage" has 'clicked' on the screen!

Now he is playing his second talkie role, the lead oppo-
site Kay Johnson in William C. De Mille's picture, "This
Mad World." Day by day fan letters pour in asking,
"Who is this Rathbone? Where did he come from?"

When I visited the gentleman in question he handed me
a big batch of these letters and gave me that very delight-
ful grin which is so much a Rathbone characteristic.

"This movie thing is certainly a great cure for any one
with a tendency to egotism," he said. "After playing for
years before big houses, I thought a few people knew me.
Now, however, I realize how very few people the speak-
ing actor really reaches. 'The Last of Mrs. Cheyney,' for
instance, has only been out a few weeks, and yet I've
received letters from every State in the Union. On the
stage such communications were always confined to the
states immediately around New York.

"I'm enjoying every minute of this movie experience,
and I hope they'll like me well (Continued on page 109)

The JMost beautiful Still of the <JMonth
RICHARD dix and JUNE COLLYER in ffThe Love Doctor.

Wessons _

in oCure

Hei art doesn t depeni'
upon clothes And jusi
between us, she could
struggle along without the
feather duster, too, ij she
really had to1

Myrna was a dancer before she
became an actress. T^ow she is
a good actress who hasn't for-
gotten how to dance.

Something from "Songs of
India' would come in handy
Tight now — if we could only
remember it.

Miss Loy lends her grace to Vita
phone pictures and the publn u
properly grateful

Learn About Lissome Grace
from lovely Myrna Loy

Myrna making be-
lieve she's Mrs.
Samson. We could
go right on about
Myrna — columns
and columns about
her!

All photographs of
Wigs Myrna Loy
*>W Fred R. Archer

CLARA BOW and James Hall in a Little
specialty entitled: "Love and Kisses
Ssh — it's all for "The Saturday Night Kid."

WILLIAM POWELL and Kay Francis in
"Behind the Make-Up." They quarrel,
then they kiss and make up — you know'

THE talkies may be known as 'the drawiies'
as soon as Dorothy Sebastian's sweet
southern voice is heard from the screen.

Irving Chidnofi

RUTH CHATTERTON, distinguished star
from the 'legitimate,' has been adopted
by picture audiences. She's one of the family?

CAN this be Fay Wray? No longer a demure
ingenue, but an exciting woman. Read
all about the new Fay on the opposite page.

for November 1929

The TRANSFORMATION of

FAY WRAY

A Sweet Little Girl Grows Up

Fay Wray when Erich von
Stroheim discovered her for
"The Wedding March"— shy,
sweet, and serious.

ontagious en-
thusiasm envel'
ops a certain
stage 13 at the
Paramount studios in
Hollywood.

Every time one of the
giant sound doors opens
after a scene has been
taken, there is a little
more of the feeling in-
side and a little more
leaks out.

On this stage "Behind
The Make-Up," a dra-
matic story of an actor's
life at home, is being

By John Engstead

filmed with Hal Skelly, William Powell
and Fay Wray. It's not Hal Skelly who is
the particular reason for enthusiasm. It's not
William Powell.
But Fay Wray!

In a quiet, reticent girl is developing the
charming woman, Fay Wray. She talks with
ease. She cries with ease. She walks with
ease. Director Robert Milton shakes his red
head with pride because he helped to put her
in the important part. The script girl under-
stands the lovely Fay. All the film 'rushes'
back the firm belief in their Fay Wray.

A year ago, it was rumored that the young
actress was to be dropped from Paramount's
contract list. There was no confirmation of
the report.

Today, she is still with the same studio.
She has moved into a dressing room in the
same row with Clara Bow, Charles 'Buddy'
Rogers, William Powell, Ruth Chatterton,
Evelyn Brent and Gary Cooper.

People ask how it happened.

Some say it's her marriage to John Monk
Saunders. Some believe it is a change in Fay
Wray herself. Others point out that it is be-
cause of the multitude of all-singing, all-danc-
ing, all-more-or-less-artifiicial girls of Broad-

Fay Wray, her husband, John Monk Saunders
(left), and her boss, Jesse Lasky. Fay is one of
Paramount's most promising players.

Fay Wray today — an eman-
cipated ingenue, gay and
gallant, the season's sensa-
tion in talking pictures.

way now in Hollywood.

Whatever it is, on the
same stage where Hal
Skelly is giving a per-
formance better than his
S\id in "The Dance of
Life," and where Wil-
liam Powell is speaking
with an Italian accent
and accounting for him-
self in a splendid man-
ner, Fay Wray is the
source of all enthusiasm.
It is gradually spreading
throughout the entire
studio.

(Continued on page 108)

SCREENLAND

Polly Frederick's 'gang' know they're
welcome when they see the flag flying
from her lighthouse beach home. It
means 'Come on over!' Miss Fred-
erick and director Archie Mayo are
the sun-tanners on the beach.

Doug and Mary have the most select
and exclusive 'gang' in all Hollywood
— with Princes and Duchesses among
those present.

The Gangs of

Yes— Talkie Town has its Gang

FsjOR an up and coming community Hollywood is
sadly lacking in the development of a colorful crim-
inal element so necessary to the modern metropo-
lis. The lack of 'Little Augies,1 'Scarface Als,1 'Hip
Sing Tongs1 and 'Cry Baby1 gangs has a markedly deleteri-
ous effect upon civic industry. For instance, Hollywood
has only one tabloid. And it, poor thing, never has a
chance to set a headline more thrilling than 'Man Bites
Dog While Thousands Cheer.1 Never any really organ-
ised massacres. And those 'taken for a ride1 merely roller-
skate home again!

But Hollywood has its gangs just the same. And, as
elsewhere, they are the very heart of Talkie Town. You
either belong. Or you don't. Yes, to be a social success
in the Cinema City, one prerequisite is membership in a
gang.

So now that we have graduated from the underworld
to society in two not-too-long paragraphs, here goes for
advice on What a Young Goil Should Do To Enjoy Gang
Life in Hollywood.

Well, First of all, try to get an invitation to Marion
Davies" beach home. Just try to get one. That's half the

By Herbert Knight Cruikshank

fun. It adds a sort of tang to the game. And if you
are successful, you're in for a flock of fun that you'll
never forget.

Someone pulled the bon mot: "Marion Davies Closes
Beach Home — Hundreds Made Homeless!" This, however,
was rather poetic license, or something. Because even
though Marion's hospitality has included guests in four-
figured numbers, three figures of 'em never came back.
And even the one remaining re-fill order would be care-
fully weighed before welcomed to the inner circle. To
be included in the Davies coterie, it is necessary to have
something. Not money, or beauty, or any of those things;
but facile wit, a charm of personality, a modicum of mental
agility. Consider, for instance, a few of the regulars to
whom Marion would introduce you: Charles Spencer
Chaplin, the Marquise de Gloria, Wild William Haines,
George K. Arthur, Bebe Daniels, Adophe Menjou, Seena
Owen; brilliant directors whose names seem to mean so
little to the fans writing celebrities like Bess Meredyth,

for November 19 2 9

Marion Davies is the social queen of
younger Hollywood. She is a royal
hostess and invitations to her beach
house parties are eagerly sought.
Here's Marion with Billy Haines and
George K. Arthur.

The theatrical invasion
required social leadership,
capably supplied by Jim-
my and Lucille Gleason,
to say nothing of Grand-
ma and Russell!

Hollywood

Life! But It's All Good, Clean Fun

Frances Marion, Louella O. Parsons, Agnes Christine
Johnson and even Madame, herself — Madame Glyn, of
course. There is conversation. And good things to eat.
And many interesting things to see and do. A good time
is had by all, and there is no indignation except on the
part of those who aren't invited.

Yes, I should say that if you can get into the Marion
Davies set you're of the socially elect in Hollywood.

Then, of course, there is the Manor House on the hill.
Here dwell Massa Fairbanks and that perfectly ado'able
Mary Pickford. This is a sort of cross between the Ameri'
can Consulate at Swatow and Queen Marie's summer
place. On Fourth of July the American Consulates run
open-house whoopee for visiting dignitaries . And when
any of these are in town, Doug-and-Mary do a Jimmy
Walker with keys to the city and a dignified olla
podiclra of entertainment. Prince Whoosis — you know
whom I mean, the kid brother of that nice-looking chap
who's always falling off horses — was a guest at Pickfair,
and as for Duchesses and things, they fairly crawl up your
sleeves.

Then there are visiting delegations of "Coquette" con-
test-winners and accompanying newspaper women, and
once in a while a kind of Inaugural Ball when hoi-polloi

Edmund Lowe and Lilyan Tashman
Lowe have lions like Lionel Barry-
more and visiting celebrities to
their parties.

clutters up the
place like Con-
gressmen in
the East Room
of the White
House. Mary

and Doug are seldom seen at Hollywood festivities, and
excepting selections from the United Artists group there
is little intimate entertainment activity visible.

Before Florence Vidor said 'yes' to that fiddler, and
before Dick Barthelmess demonstrated his matrimonial
courage, she and Dick and his pal, William Powell, and
Ronald Colman (Ronnie, they call him) used to get to-
gether for a feast of reason, and probably a little caviar
or corned-beef or something. But that's shattered now,
as is the Foreign clique over which Emil Jannings and
his Gussie reigned with rod of iron. The great 'Yannings'
told a dosen Mittel-European stars what they might ' do
and what they might not. And meantime he busted around
the house in his pajamas, unconcerned as a baby. It may
be added that many a temperamental gypsy has been called
on the Jannings' carpet for indiscretion, and lectured
soundly.

Before her marriage Lina Bas- (Continued on page 110)

the St

SCREENLAND

System

That's a Ouestion that Stalks, Ghost-

Byways of Hollywood.

"Sj| HERE is a question that stalks, ghost-like,
through the highways and byways of
ollywood. Appearing and disappearing,
causing some to shiver and some to rejoice,

some to ignore; yet there it is, just the same!

What is the question that lurks in the pleasant paths of
pictureville? It is this: will the vivid and lovely visions
of the screen, these mysterious beings who make us laugh
and cry, hate and adore — these glamorous creatures we
call stars, eventually pass forever from our notice?

Now why, you ask, should I get that idea after all these
years of star supremacy? The answer is talking pictures!

Talking pic-
tures that have
changed every-
thing else in Hol-
lywood are at
last checking up
on the stars. Are
they going to get
awa\> with it?

By Helen Ludlam

When I decided for one reason or another that there
was something to the idea, I burst about asking questions
of everyone I met. Actors, directors and executives "What
about the star system," I demanded, '"Is it tottering?"

Almost everyone stood pat on the notion that the
sound screen would have as many great personalities as
the silent. Their reasons for their belief alone had inter-
csting differences.

And yet, and yet — in spite of what they said I found
that production plans in almost every cast bore out my
hunch; and one company is planning to do away with the
star system altogether! So it is really a crisis, and a
spectacular one.

John Robertson, who has given us some of the finest
pictures ever made, believes that as long as there are
human beings there will be idolatry of strong personalities.
'"But the public will choose its own," he said. "The only

stars worth the name have been
exalted by public opinion. Man-

Dolores Del Rio, Mexican ac-
cent and all, has survived the
assault of the exacting talkies.

Evelyn
will be
pictures
An

Brett
less
than
d sh

t believes
important
in the old
e's a new

that stars

in talking
silent days,
star!

Ramon Novarro thinks the fate of a star
in the future hangs on his ability for
characterization. Novarro is safe.

for J^ovember 1929

DOOMED?

Like, Through the Highways and
Read the Answer

agers have never been entirely successful in forcing stars
on the public, and with talking pictures it will be prac-
tically impossible.

"For one thing, while talking pictures take some thing
away from the mystery surrounding the stars, making
them more intimate, more touchable, it also strengthens the
sincerity of the adorer's feeling. He refuses to accept a
personality he is not really attracted to, no matter how
much publicity he reads about the beauty, charm and
marvelous abilities of that star. If Mr. Adorer doesn't
think so he won't stand for the imposition.'1

Fred Niblo, the distinguished director, was inclined to
take an opposite view; yet when we got to arguing I found
his ideas on the subject were about the same as Mr.
Robertson's.

Mr. Niblo felt the star system was unbreakable, human
nature being what it is. But he qualified that statement
with another. He thought there would perhaps be a weed-
ing out of stars due to talking pictures. Some personali-
ties improve with the added quality of sound and others
are dimmed by it. Both men feel that a well-balanced
cast is a necessity in sound pictures.

Edmund Lowe elaborated on this
thought by saying that sound pic-

tures could not be the succession of flash-backs that were
both possible and popular in silent pictures. A scene is
a scene, just as it is on the stage; and although it may
be but a few lines, if it isn't played well it won't mean
a thing. In the old days they could flash back to a girl
for a second and if she was pretty that was all that
mattered. Now, the gal has to be able to read lines
intelligently or she won't do.

Corinne Griffith also thinks a strong cast a necessity in
talking pictures. It makes for better entertainment, and
whatever strengthens the entertainment qualities of a pro-
duction is a step upward and should be observed. Corinne
thinks talkies demand the best from every department, not
acting alone, and
when crudities
are all ironed out
the world will
have finer enter-
tainment than it
has ever had.

Evelyn Brent
(Cont. on page 98)

// the star system is on the wane,
why was Irene Bordoni coaxed
from the stage to make movies?

Richard Arlen asks nothing better
than to be allowed to play inter-
esting roles, with or without
stellar billing.

Joan Bennett has signed a long-
term contract with United Artists.
Stars are still with us!

46 SCREENLAND

The New Lila Lee

The latest portrait of a brand-new star — Lila Lee!
Smart, stunning, and emotionally mature, with a
background of heart-break and struggle.

A year ago Bryan Foy, then a director and super-
visor of sound at Warner Brothers, was talking
to a group of people around a luncheon table
- at the Montmartre in Hollywood. He was
using plenty of adjectives in telling about a girl whom he
prophesied would ride the crest of the wave in the talkies.
He intrigued the listeners with his enthusiasm over the
'It' in her voice; the understanding in her interpretations.

From that small luncheon table group — there were seven
or eight — word spread throughout Hollywood. Long
before Foy's picture was finished, Warners were besieged
with requests from various companies and directors, to let
them run off some of the scenes in which the girl, Lila
Lee, played.

Once the film was seen the Foy enthusiasm caught on.
Contracts were proffered to Lila from all sides.

I first met Lila several months before the Foy luncheon.
In those days she was disconsolate. She had not had a
job in months and she felt she was licked — through in
pictures.

Her career had been one of such easy ascent from the
time she was a baby of four, when she appeared with the
Gus Edwards show, "School Days,11 on through the days
when at ten she was a star in motion pictures. Life was
easy. Success was handed to her without a struggle.

Hollywood Calls her cThe
Girl with the It Voice.'
This Frank Story of Cud-
dles' Courageous Come-
Back is More than a Mere
Interview. It is a Touch-
ing Human Document

By Margaret Ettinger

Then with a crescendo note the crash came. Every-
thing went at once. She had married and had a
little son. She and her husband had put all of their
savings in a ranch, out in a rich country where citrus
fruit grew without any coaxing. There was never any
frost in that region, nor any blight. But the frost
and the blight hit at the same time and as fate would
have it, both Lila and her husband lost their hold on
the whimsical fickle machine of motion picture success
simultaneously with the ranch disaster.

"There is such a thing as a mortgage coming due,"
said Lila the other day when we were sipping tea on
the terrace of her beautiful beach place, overlooking
the Pacific.

"I always thought a mortgage being foreclosed was
a good angle for fiction and all right for a motion
picture sub-title, but I didn't believe such a thing
could actually happen.

"But it did, and the ranch was swept away and
with it all my hopes and money."

Then came a two-year period that must have been
frightful for Lila. Having been used to success and ac-
customed to luxury, she felt acutely the meagerness of her
existence.

Of course, there were dozens of friends, close friends
who didn't suspect the true condition of things. They
knew Lila was out of a job, but so were lots of other
people.

She had a way nevertheless, all through those lean days,
of looking jaunty in a last year's suit; and she had a
knack of tilting a two-year-old hat so that it looked smartly-
new. So she kept her mettle up during those tragic,
lagging months.

"I thanked God that it had been necessary in the years
that had passed, for me to have a large and assorted
wardrobe,11 says Lila. "There were two full years when
the thought of ever having a new hat again would have
sent both my head and heart into ecstasies of delight.11

"I remember, I kept saying over and over again, 'this
is a good experience for you, come on, get a kick out of
it. Dramatize it!1 But the creditors were endless and I
became so sensitive that I felt when I went with old
friends that they looked on me as a failure. I know now
that was not so; but it's queer how one's mind works

for J^ovemher 1929

immediately depression hits, and
how, try as you may, you do get
the feeling strongly that the world
is against you.

"I did the worst thing I could
have done under the circumstances.
I stopped going out, refused invi-
tations and became morose. I
know now that many of my
friends tried to help me. But I
shied away from them, thinking
they were patronizing me, pitying
me. Can you imagine such in-
gratitude?

"Fortunately for me a few of
them refused to be so ruthlessly
cast aside. Probably they sus-
pected true conditions because they
did everything possible to bring me
out of myself.

"I made, during this time, one
'quickie.1

"Then I met Bryan Foy. We
had known each other as kids
when we played on the same bill
— he with his father Eddie Foy
and I with Gus Edwards.

"Brynie had come to Hollywood
and was with Warner Brothers.
I had read of his good fortune in
the papers, but do you think I
would have gone to see him? There
was that old pride of mine stand-
ing in the way, saying, 'he has
succeeded — you have failed.'

"Finally, one day, quite by ac-
cident, we met. His friendliness,
his real delight at seeing me, the

fun we got out of talking over old times, buoyed me up.

"I was half hysterical when he suggested I come over
to the studio for a voice test, that he had a part in his
next picture, 'Queen of the Night Club,1 for me.

"I can't begin to tell you what Brynie did for me,"
said Lila.

"Not only was he
responsible for getting
me the job, which was
a god-send, but he
gave me confidence in
myself when my grip
was almost gone.

"It is one thing for
a director to direct a
person who is full of
assurance and quite
another matter to take
one who has lost her
nerve and courage.

"Yet not one day
passed that Brynie
didn't say 'that was
great, kid,' or 'Lila,
your work is corking.'
He probably didn't
think so at all, but his
terrific understanding
told him that was ex-
actly what I needed.

"He did more than

Remember little Lila in De Mille's
"Male and Female?" This is the
same girl, grown-up!

Lila throws off the shackles of stardom and rakes
Iter own front-yard at her Malibu Beach home.

that. He went everywhere and
talked about me. He told pro-
ducer friends, actor friends, direc-
tor friends that I was a great
actress.

"Even now, and that is a year
ago, people tell me, 'Oh yes,
Brynie Foy told me about you. He
thinks you're a great actress.'

"You know how it is in any
business and particularly so in
motion pictures, where everyone
is more or less closely associated.
If one person of importance says
you are good, everyone else is will-
ing to be convinced that you are."

That picture was the turning
point for Lila. She has worked
constantly ever since. She reached
a very high note in "Drag" in
which she played an intensely in-
teresting role opposite Richard
Barthelmess.

She has created a new screen
personality. Whereas she was once
identified solely with ingenue and
'sweet young thing' parts, she is
now cast in highly emotional parts.
Perhaps those years of 'time out'
have made her a better actress by
building her character and gearing
her up emotionally.

I asked her what element she
thought most important as a force
to success.

"Two factors can be respon-
sible," she said.

"The one is need. Dire neces-
sity will drive you on to do something. Necessity puts
the fight in one, of course.

"Then there's the other thing. Wanting to accomplish
something because some person believes in you. That
pushes you on and you are feverishly eager to click be-
cause of their belief in
you.

"All during that
period of my trying to
come back, there was
Brynie. I couldn't fail
because he believed in
me and I wanted to
make good for his sake.
The pressure of neces-
sity was there also,
driving me on."

Personally, I believe
there is no one in
Hollywood who isn't
thrilled with Lila's suc-
cess. She is such a
popular, attractive,
wholesome, outdoor
person.

She is tall and wil-
lowy slender, and at
present is more than
usually tanned; be-
cause, as I mentioned
(Continued on page 99)

SCREENLAND

30 stars in one show!

THE HOLLYWOOD REVUE

All-Dialog

y W XJHIRT

it is.
little

I stars in one show! It can't be true. But
Along about the 20th star you may be a
little da^ed but I can assure you that you are see'
ing absolute, authentic stars as nearly in person
as possible. The revue is in color, all-singing and danc-
ing— and positively no doubles!

This is probably the most expensive show ever staged
for the screen. It fairly bristles with stars: Marion Davies,
Joan Crawford, Bessie Love, William Haines, Norma
Shearer, John Gilbert, Lionel Barrymore, Karl Dane,
George K. Arthur, Gwen Lee, Polly Moran, Marie Dress-
ier, Anita Page — stop, stop! I can't bear it.

It has Stan Laurel and Oliver Hardy.
It has Shakespeare. It has — oh, everything.
Marion Davies dresses up in her soldier
suit and sings a song. Marion is a
vision and I wish she'd hurry along in her
first talkie. Stan Laurel and Oliver Hardy
appear in a magic act, culminating in Oli-
ver's slipping on a banana peel and a close-
up in which he
says pathetically :
"I faw down and

go blop!" (my favorite scene.) Norma Shearer and John
Gilbert enact the balcony scene from "Romeo and Juliet"
with due regard to the sensibilities of possible Shakes-
pearean students in the audience; and then please every-
body by burlesquing it, directed by Lionel Barrymore.
William Haines is so really funny in his scene with Jack
Benny you wish you could call him back for an encore.
This Mr. Benny, by the way, looks good to me. The role
of master of ceremonies in a revue like this is a thankless
one; but he is singularly inoffensive. Charles King croons
a Mother song. Conrad Nagel sings a little, clowns a
little — all without losing his customary calm. Bessie Love,
Polly Moran, Marie Dressier, Cliff Edwards, Charles King,
and Gus Edwards trip the light fantastic with convulsing
results. Joan Crawford has a nice voice. There's an
Albertina Rasch ballet and hot stepping by other
choruses. Marie Dressier has a number called
"I'm the Queen" and pretty nearly convinces her
audience that she is the queen of this show. She's
a great trouper.

Marie Dressier and
the chorus in "Holly-
wood Revue."

for November 1929

It's rough and racy

The Cock-Eyed World

All-Dialog

c<J/">/^HE Cock-Eyed World" is breaking records
— for theaters and frank fun. Motion pic-
ture audiences have been polite long
enough. They want to have a good time.
"The Cock-Eyed World" gives it to them. It is rough
and racy. It says right out all the things that "What
Price Glory?" only hinted. You had to be a good
lip-reader to know what Captain Flagg and Sergeant
Qitirt were saying to each other in the war picture.
But all you need to get the general drift of the
repartee in "The Cock-Eyed World" is good hearing
and a little imagination. It's bold and brazen, and
how they love it! At the Roxy in New York where
I saw it in its third week of record-breaking busi-
ness— I couldn't get in before — I was surrounded
by nice, quiet, home folks, who sat there clucking
and uttering other disapproving sound until they
forgot to be refined and just let themselves go in
good, robust laughter.

"The Cock-Eyed World" is mo-
tion picture America's revolt against
puritanism. It is downright indel-
icate. It has scenes which Rabelais
would have loved, and probably did.
It has bawdy farce and on the other
hand, scenes of shameless sentiment
reminiscent of "What Price Glory?"
It is a box-office phenomenon. One
of the best newspaper critics in New
York reviewed it the day it opened
and raised horrified eyebrows. It
wouldn't go, he said. It is still
running as I write this, and to show
what they think of its pulling power
outside Manhattan the Fox Com-
pany have booked it in their other
theaters for at least two weeks' run
instead of the customary one week.
You go to see the picture and figure
it out for yourself. «

Raoul Walsh has directed in the
breezy and buoyant style demanded
by the material. We resume rela-
tions with Flagg and Squirt in their
soldierings here and there, from
Brooklyn to Nicaragua. And when
they fight they fight; and when they
love — well, they fight some more.
Jean Bary is the Brooklyn blonde;
Lily Damita, the tropical temptress.
Lily appeals to both boys in a big
way and they are rivals for her
fickle favors. There are farcical
scenes in Mile. Lily's boudoir.

Next season: "The Cock-Eyed
World Boys in Paris."

Victor McLaglen, Lily
Damita and Edmund
Lowe in "The Cock-
Eyed World."

SCREENLAND

This negro epic is beyond doubt a masterpiece

HALLELUJAH!

All-Dialog

An impressive scene from "Hallelujah," with
Daniel Haynes as Zeke exhorting from the
revival train.

IF the talking pictures never scored another tri-
umph, "Hallelujah" would justify their existence.
For this negro epic is beyond doubt a masterpiece.
King Vidor, who sprang to greatness as the direc-
tor of "The Big Parade," has been known as the most
promising of all picture directors. He has registered
with the classes and the masses. Critics have watched
him. The public has waited for his pictures. And he
has proven again that he stands head and shoulders
above most of the men directing today. He is a
young genius working in a new medium. "Hallelujah"
is the hardest task he could have set himself; but his
amazing accomplishment is the answer to those few
who still deny the motion picture a place among the
arts. Whether you will enjoy "Hallelujah" is another
question. It is big — powerful — and often painful. But
it must not be missed. The story of Ze\e is a black
man's struggle against sin — his temptations, his trials,
his defeats and victories. He becomes a preacher, con-
ducting revival meetings — only to yield again to his
dusky siren. We follow him through his wanderings
which finally lead him back home, to his Mammy and
Pappy. The revival scenes with their pulsating music
are the most startling ever filmed. They are pictorially
magnificent and dramatically shocking. Daniel Haynes
lends his splendid voice to Ze\e. The vibrant little
Nina Mae McKinney is the Clara Bow of her race —
an amazing natural actress. You needn't be ashamed
of* your movies, now that "Hallelujah" has set a new
artistic standard.

Meet the Missus!

The AWFUL TRUTH

All-Dialo<

OYS and girls, ladies and gentlemen, and friends:
meet the Missus! Meaning Mrs. John Gilbert nee
Ina Claire. She makes her talking picture debut
here, and "The Awful Truth" is that she would
be hailed as a great talking picture star even if she hadn't
married our Jack and had all that publicity. Pathe can
pick them! Last month Ann Harding; now this dazzling,
brilliant and beautiful person, Ina Claire Gilbert. Her ini-
tial talkie is not an important picture, perhaps; but she
makes it significant with her inimitable acting, her blonde
piquancy, her sly humor, and — not least, ladies! — her amaz-
ing wardrobe. Never have you seen clothes like this! Ina
retorted when a New York exile in Hollywood exclaimed
over 'those Manhattan clothes': "New York, nothing! They
came from Paris." And they look it. As a fashion show
and nothing else, "The Awful Truth" should be seen. But
there is more: it is expert comedy, rather fragile, about a
delightful divorcee; slow in spots, but mostly diverting, and
always amusing when Miss Claire is on the scene. A new
leading man, Henry Daniel, has an interesting voice. Ina
Claire is one of the potentially great stars. Hurry back to
Hollywood, Ina!

Ina Claire, brilliant and beautiful, and Henry
Daniel, her interesting leading man, in "The
Awful Truth."

for November 19 2 9

The best entertainment of the month

Gold Diggers of Broadway

ONT miss this show! It is the best amusement

|\ of the month. And when I say that I am
JJ not forgetting such a masterpiece as "Hal'

lelujah," such a box office wow as "The Cock'

Eyed World," such an expensive pot-pourri as
"The Hollywood Revue." But it's my convic-
tion that "The Gold Diggers of Broadway,"
judged simply and solely on its merits as good
entertainment, leads them all. The test of the
amusement value of a show is: do you get to
fidgetting before it's through? Or do you sit there
for two hours and forget yourself and then, when
the lights go up on the final fadeout, blink and think:
"Why, it can't be over so soon?" "Gold Diggers of
Broadway" offers a full measure of evening's enter-
tainment; but it seems short. It is gay and rollicking;
spontaneous and unforced. It is a feast of beauty.
Darling scenes in color. Comedy scenes, as funny as
any you've ever seen. Love scenes with a nice natural-
ness. And tinkling tunes of the type that will send
you whistling out of the theater, if you're not care-
ful. What a cast! Lovely little Nancy Welford, a
welcome newcomer, has what movie musicals need:
grace, charm and a real voice. She's a find. Ann
Pennington dances. Conway Tearle comes back. Nick
Lucas croons. Winnie Lightner clowns and sings —
she's the star feminine comic of the talkies. Albert
Gran is grand. "Gold Diggers of Broadway" is a
gorgeous show.

All-Dialog and Color

One of the dazzling color scenes from "Gold
Diggers of Broadway," with Nick Lucas, Nancy
Welford, Ann Pennington, Winnie Lightner
and others.

Another picture of backstage life, but this one is different!

DANCE

LIFE

All-Dialog

Hal Skelly and Nancy Carroll in "The Dance
of Life," the talking picture version of the
stage play, "Burlesque."

J/" w NJHIS is the long-heralded talking picture version of the pop-
ular stage play, "Burlesque." And it looks as if it will
be even more popular in its celluloid version than it was
on the stage. The medium of the motion picture affords
the opportunity to paint the colorful background of the burlesque
troupe — the stuffy dressing rooms, the cheap hotels, the tawdry
shows — in strong, bold strokes. And the original S\id, Hal Skelly,
repeats his stage success. This Skelly is a weird person to pick for
a movie favorite. He is tall and awkward and homely. He doesn't
seem to act. But somehow, before you know it, he has won you.
He's lovable. He's pitiful. He's real. There is one scene in
which he does some of the finest acting I've ever watched on the
screen — the scene of his goodbye to Bonnie, when he is leaving to
accept a big-time offer in New York. Nancy Carroll as Bonnie is
good; but it is Skelly 's scene. It approaches greatness. This tale of
the hoofer with a weakness for liquor is a tolerant, wise and
sophisticated show. There are revue scenes in color — songs — dances
— chorus girls, both of the Broadway and burlesque variety. Another
picture of backstage life, but this one is different — you can count on
on it. It has some of the real smells and savors of life behind
the scenes.

5CREENLAN I)

Ta-rah-ta-rah! To 'ounds! To 'ounds with the Mud Varichs

HER PRIVATE LIFE

Walter Pidgeon provides the love interest for
Billie Dove in "Her Private Life," talkie ver-
sion of " Declassee."

All-Dialog

jT-ypxj.vRAH-TA'RAH! To 'ounds! To 'ounds with
the Mad Varicks. And sec Lady Helen
Varic\ — ixnay, it's Billie Dove — taking the
'edges at one bound on her black charger.
"Her Private Life" gives some sort of an idea as
to what makes Merrie England so top-hole merrie,
what with its fox hunts, its blue-blooded aristocracy,
its card tables, and its well-bred boredom.

A handsome Lady Helen is Billie Dove whose
private life we peer into. Here is a Billie dovelier —
I mean lovelier than ever, whose technique before
the microphone seems to improve with each talk-
ing picture. You're going to enjoy a song sung to
Billie by Walter Pidgeon, for Walter becomes the
exciting part of the love interest when Billie comes
to America after divorcing her blundering hus-
band— Montagu Love. A splendid performance is
contributed by Holmes Herbert, who endeavors to
win the love of the English beauty, then gives her
up to the one she loves. Roland Young, the stage
favorite, flits about in a role in which he is wasted —
I fancy he's getting some microphone and camera
practice, don't you know!

Now here's a real murder case for you!

The Greene Murder Case

All-Dialog

"^"ovv here's a real murder case for you! Not
one little murder, nor even two — but four!
Four fine, juicy, elegant murders in one pic-
ture. "The Greene Murder Case" is the very
best of all the mystery dramas so far. It is better than
the book. In fact, so much better that when author
S. S. Van Dine saw the picture he must have felt pretty
silly to be confronted with a better climax than he
offered in the book. At last, a picture that goes the
book one better! The director has managed to maintain
the brooding chill of the old, old mansion which shelters
so many unhappy and uncongenial souls; one by one,
you watch them drop off — until there are only a few
left. And pretty soon, you begin to wonder if you
won't be the next, even if your name isn't Greene. It
is then that the soothing presence of Philo Vance makes
itself pleasantly felt. What would we do without Philo?
Particularly as played so superbly by William Powell.
Good old Fido — I mean Philo. When he sets to work
to unravel the mystery of the disappearing Greenes,
you may rest assured that the murderer will be brought
to book — wherever that is. But if you didn't read the
book, you're in for a real shock. The cast is excellent,
especially Morgan Farley, Florence Eldridge, and Jean
Arthur.

William Powell, Florence Eldridge and Jean
Arthur are important players in the excellent
cast of "The Greene Murder Case."

for 7*1 o v ember 1929

// you like melodrama, you'll fall right into the "Woman Trap'

WOMAN TR A

All-Dialog

Here's an out-and-out melodrama, one of
the grim-and-gripping kind. If you like
that sort of thing, you'll fall right into
the "Woman Trap.''' It has Chester
Morris in one of his now famous bad boy roles, and
Chester is enough for me. I could watch him in-
definitely — that graceful panther-like tread, that
sudden brave turn of his sleek head, that — here,
here! Chester is running right away with me, and
I can't let that happen, fun or no fun. Mr. Morris
is one of the three stars of this film; Hal Skelly and
Evelyn Brent are the others. Hal and Ches are
brothers — Hal a policeman, Chester a crook. Of
course younger brother gets into trouble, testing
Hal's devotion to duty. But in the end it is the
crook who straightens things out so that justice, and
Evelyn, may be served. This is no part for the
subtle Miss Brent. She is wasted on a regular-girl
role; she should always be cast as a suave and silken
siren. It's Chester's show as far as I'm concerned.

Evelyn Brent and Hal Skelly in a scene
from the grim-and-gripping melodrama,
"Woman Trap."

My, my — what will these young folks do next!

Our Modern Maidens

Silent

Douglas Fairbanks Jr. and Joan Crawford
getting married in the interests of "Our
Modern Maidens."

y, my — what will these young folks do
next! Things weren't like this when "Out-
Dancing Daughters" were mere slips of
girls. The well, but not so favorably known
younger generation seems to get younger and giddier
with every new picture. Their latest fling is "Our
Modern Maidens," which is a sort of sequel to "Our
Dancing Daughters" in that it presents more adventures
of Joan Crawford and Anita Page, in new guises. And
it is Joan Crawford's first starring picture, the reward
of her good-bad behavior in that first flaming-youth film.
Or maybe it wasn't the first; it may have been the 1 16th,
for all I remember. You lose count after a while. It's
a good vehicle for Joan, and swift-moving entertainment
all the way. Joan plays the ring-leader of a little band
of whoopee artists, which numbers among its members
such popular players as Douglas Fairbanks Jr., Anita
Page, Josephine Dunn, and Eddie Nugent. Then there
is Rod La Rocque, as the man of the world whom Joan
captivates. Just to prove they're all quite, quite modern,
Doug Jr. and Anita Page stage a little romance of their
own on the side, when Doug is supposed to be in love
with Joan. Therefore that gay and gallant young lady
nobly gives up her boy friend to her girl friend — only
I suspect that she knew that Rod was waiting all the
time. Joan is splendid. She is sincere, dramatic, and
always interesting, with a newly-added patrician appeal.

SCREEN LAND

MALIBU 58EACH

Sun— Sand— the Blue Pacific! Come
to Hollywood's Pet Playground

e, Patsy and I, had gone down to Wesley
Ruggles' new summer home at Malibu Beach.
That's where picture stars go, just to be them'
selves.

Wesley has a new house,
with a lovely walled-in gar-
den at the back, with a
charming sun-parlor where
the sun can hit it in the
morning, and where he has
his breakfast. Out in front
is a broad terrace, looking
over the ocean.

Clara Bow lives next door.
Harry Richman was there at
her home that
afternoon, and
all afternoon
they played
Harry's r e c -

Clara Bow rests up at
her beach house after
the week's arduous
studio It-ing.

ords on the phonograph.

"And I don't know any deeper devotion than that!"
remarked Patsy.

Kathryn Crawford, Wesley Ruggles' fiancee, aided him
in receiving at the party, which was in the nature of a
house-warming — that is, if one warms houses in summer
time.

Guests already overflowed the house when we entered,
and we found others sitting on the terrace or on the
beach before the house.

We said hello to Mrs. Neil Hamilton, who was wearing
a suit of beautiful blue and white silk pajamas. She said
that everybody wore pajamas at Malibu nearly all the
while — that even if you were married there, probably the
bride, in a white veil, would be wearing white silk pajamas!

Laura La Plante came up just then, and Mrs. Hamilton
reproached her for not wearing pajamas also, reminding
her she had promised, but Laura declared, "This is my
summer dress," — indicating a pretty white silk sports out-
fit— "and if I don't wear it now it will be winter and
I'll have it on my hands."

Neil Hamilton wasn't there, being away
on his yacht.

Kathryn Crawford was looking daintily
radiant in green organdie. She is one of
the loveliest and most popular of the film

for 7\[ o v e mb e r 19 2 9

(STAR PARTIES

By Grace Kmgsley

actresses, kindly, charming, witty.

We asked Wesley when the wedding was coming off,
but he generously exclaimed, "I'm ever so much older
than Kathryn. I wonder if it would be fair to her!"

We hadn't thought about that, Wesley being one of
those perennially young people, vital, energetic and alert.
Besides he is really not

old

at all — only
course Kathryn
around eighteen, which
makes any man over
thirty seem a bit vener-
able, perhaps.

We found Walter
Catlett out on the sand,
and he was telling about
a monkey owned by a
friend of his, Ray Ray
mond, and of the amus-
ing things the animal
did.

"He missed his voca-
tion of actor by one
generation!" commented
Walter.

Walter told us of the
dire fate that befell
Gershwin because of his,
Walter's, singing in
"Lady Be Good."

"I never knew the
lyrics and I can't sing,"
averred Walter. "So
Gershwin sold only one
million copies of the
song, 'Lady Be Good,'
instead of five million."

Gertrude Olmstead
joined the little crowd
listening to Catlett, and
(Continued on page 104)

Wesley Ruggles, the director, and Kathryn
Crawford are among the sun-tanned mem-
bers of the Malibu Beach movie colony.

A major attrac-
tion of Malibu :
beautiful Billie
Dove in her
ivhite bathing
suit!

SCREENLAND

Helen Kane is the new hit of the singing
movies. She is seen and heard in
"Sweetie" and "Pointed Heels."

'eJugar' ^ane!

Sweet Baby Eyes, Baby Voice, Baby Pout! How Helen
Became the Pet of Broadway and a Bet for Talkies

By Sarabelle Lowis

Today over a couple of million phonograph records are
grinding out 'boop, boopa, deeps'; radios are broadcast'
ing Miss Kane's singing, and last but not least, the 'mikes'
in Hollywood are being tickled in the diaphrams as she
shows them a few new vocal tricks.

In a cozy, five'room green stucco bungalow of doll-house
proportions in Beverly Hills, with an orange tree or so
in the backyard, one maid in its domain and a studio piano
in its living room, Miss Kane has taken up her abode
while she makes her two pictures for Paramount, to whom
she is under contract. In order not to interfere with a
musical comedy career, her contract reads that she makes
two pictures in the east during the winter and show time.
With her are her sister and her five-year-old nephew.

Noted for a baby voice that can sing naughty little songs
and just make them sound cute and funny, she looks
exactly as she ought to look. She is just so high with
round, round hazel eyes that look up at you appealingly.
Wisps of short black hair curl around an oval face. She
is cuddly, with bona fide curves in a town gone diet mad.

Her way of talking in a baby voice is as natural as
breathing to her. Like everyone else she was born with
a baby voice, with baby looks and with baby eyes, only
as she grew up — but not very much up — she kept certain
tones in her voice, held onto (Continued on page 100)

"Y"E\V York might be likened to an Achilles. It
has its vulnerable spot, but it's in the heel and
hard to find. Once in a while, however, some-
body strikes that vulnerable spot and New York
succumbs from her subways to her towers. Every tenth
person treading on her concrete pavements is looking for
the tender spot; the rest are satisfied to have steak to go
with their mashed potatoes.

While the Big City might be said to be as cold as the
steel in the girders of her big buildings, when she softens,
she does it right, with two-inch headlines on her front
pages, names etched in electric lights and her throngs eager
to give the victor the glad hand.

Helen Kane, born within one of the boroughs, .the
neighborly Bronx, poked around New York from the time
she was fourteen, and only a little over a year ago hit it
square in the heel, so to speak. But with that one stroke,
the city literally crumbled up and fell in her lap.

Instead of smiling at New York, Helen Kane pouted
a provocative, puckered pout at it. Instead of using
sophisticated terms to woo it, she muttered half under her
breath a soft "Boop, boopa, doop." All the chimneys
pricked up their brick ears and harkened, for when had
they ever before heard a baby voice sing, "Boop, boopa,
doop?"

Gene Robert Rich

ERE'S the Baby-Talk Girl of Broadway,
Helen Kane, now a sweet sensation in
the singies. Boop-boopa-doop!

Elmer Fr\er

DOROTHY MACKAILL in a brand-new
role, as a gay Senorita. With her, who
wouldn't be willing to build castles in Spain.''

Elmer Fryer

THIS woodland nymph is really Marilyn
Miller, who makes her screen debut in the
all-color, singing and dancing "Sally."

FREDRIC MARCH is of the new school
of screen heroes. He has agreeable man-
ners and a soothing voice. He can stay!

CORINNE GRIFFITH refused to be
daunted by the mike' menace. Result: she
is a greater star tn the audibles than ever before.

Elmer Fryer

FOOTBALL, football! Loretta Young is in-
spiring Douglas Fairbanks Jr. to score a
touch-down for the honor of First National!

idmirers with potent love scenes — like this!

A (Hop) -Scotch Holiday

Josephine Dunn Goes In for Athletics

Josephine is discouraged.
She has added and add-
ed and still she says her
figure's all wrong. Ex-
cuse us, Josephine — but
it loo\s very good from
here.

Josephine jaw down
and go blop!

for T^ovember 1929

Lewis

Schuyler

Stone,

Gentleman

Something about
a Reserved and
Aristocratic Actor

By Ralph Wheeler

You would never expect to find the aristocratic
Lew Stone sprawled on a divan in the sunny
living room of his beach house, a week's stubble
on his jowls, roughly clad in woolen pullover
and corduroy trousers, a pungent pipe dangling from his
lips, would you?
Well, he wasn't!

The suave gentleman of the screen is quite the gentle'
man — and equally suave — in his home — properly barbered,
properly groomed and properly puffing a non-nicotine
cigaret.

Around Lew's beach bungalow is a wall which he doesn't
need. For the wall of reserve he has built about himself
is quite sufficient to keep out the unwanted. Few people
penetrate beyond that wall. Lew keeps his thoughts and
private life to himself. It is shared only by the diminutive
circle into which his magnetic personality has drawn those
whom he chooses to call his friends.

They tell a story about Lew that may or may not be
true, but it's illustrative, nevertheless:

There was a formal party in a very formal home. Several
hundred guests were at the affair, playing bridge, dancing,
enjoying open-house hospitality.

Along toward the end of the evening, a blase individual
stepped out into the cool patio and came upon Lew Stone
silently smoking, regarding the moon as it rode in silvery
grandeur above the tips of the whispy cypress trees.

"Don't blame you for coming out here," growled the
intruder. "This is a bum party, eh? Whose joint is this,
anyway?"

Lew flicked an ash from his cigarette, glanced quickly
at the man and shrugged his shoulders.

"Mine," he replied simply, and walked away.

Lew Stone is the acme of gentility. Always affable,
ever discreet, never unbending from that poised reserve
that is reconciled only with his great love for the military.
Indeed, if Lew has any regrets whatever as he looks back

Lewis Stone — always affable, ever
discreet, but never unbending!

over his long and glowing career, it is that he did not
yield to his first flame of desire, to be a soldier.

Reared in a military school, Stone graduated just in
time to join up for the Spanish-American war (oh, yes
— he's that old!) Continuously since that time he has
cherished that association and never has broken his con-
tacts with the army, remaining in reserve units, priding
himself upon his records as a horseman, rifleman, fencer,
boxer. When the World War came, Stone again donned
khaki as a military instructor, emerging a major, a rank
he holds today in the Reserve Corps.

It is a strange fact that Stone, at an age where most
men are at the carpet-slipper and fireside cycle, is as great
an attraction for women as in the days of the old Burbank
Theater on Los Angeles' Main Street, when he was the
reigning matinee idol of the West.

Lew himself sniffs at the very mention of sex appeal.
He would not care to analyze his magnetism for the oppo-
site sex. In fact, he is more gratified by the letters he
receives from men and elderly people. You see, he went
all through the 'mash note' stage many years ago.

Whenever he wants to get away, Lew unlimbers the
gear on his yacht — a sturdy belly-beamed craft — and stands
out to sea with no particular destination in mind. Her-
misillo, Ensemada, Guadaloupe Island, Magdalina Bay-
almost any port along the dreamy Mexican coast will do.
There he cruises at will, anchors where he will and does
as he will. There is no one to intrude. Whatever is to
be done will be done Mexican style, manana — which means
it won't be bothered with!

On a recent sea jaunt, Lew stopped in at Catalina Island
to see the new Wrigley aviary of tropical birds. Smart
as an admiral's barge, his trim launch swirled to the yacht
club dock, and Stone stepped (Continued on page 99)

SCREENLAND

ocation

By Helen Ludlam

John Boles and Bebe Daniels in one of the
many beautiful love scenes from "Rio Rita,"
the vivid musical romance.

"ere off to the "Rio Rita" location!

To the most gorgeous country, with lovely
rolling hills that remind one of Maryland ex'
cept that they are not so green. A grace-
ful Spanish hacienda had been built as
the home of Rio Rita, with patios,
balconies and winding staircases that were
enchanting. Gardens had been planted and
large trees transplanted to add to the
beauty of the place — magnolias and accasias
and a quantity of flowering shrubs. Near
this set a wooden shed had been built for
the comfort of the orchestra. It wasn't a
shed exactly. It was a roof with adjust-
able canvas flaps on all four sides which
could be arranged as awnings whichever
way the sun moved.

When I arrived Bebe Daniels was having
her hair dressed in her tent dressing room.
These dressing rooms are the cleverest I
have seen. Made of heavy and attractive
striped canvas they, too, had the adjust-
able sides that let a current of air through
the place and kept the sun from its vic-
tims. There were about fifteen of these
tents all furnished with wicker furniture,
dressing tables, lounge chairs and couches
for the noon hour siesta. Some of the extras
and bit players were enjoying a game of
bridge in an unused set, the tavern, which

had been shot the week before. It had not
been dismantled, for there is always the chance
that there might have to be a retake, and
strings of garlic, chili peppers, salami and
Mexican hats hanging from the rafters and any
available outjutting beam. Graceful ollas sup-
plying cool water for the thirsty ones were sit-
ting about on benches or on the flagstones. I
thought the term olla was known to everyone
until I asked how to spell it and to my amaze-
ment I discovered that not one person knew
what I was talking about except the native Cali-
fornians. Just why they should have the
monopoly I can't see, because these containers
were found on every ranch in the country
in the old days. But perhaps I'd better ex-
plain what they are. Long ago the Indians
discovered that ,by mixing and baking a cer-
tain kind of red clay they could make a jar that
kept water as cool as the spring from which
they drew it, no matter how hot the weather or
even if the jar is exposed to the direct rays of the sun.
The California water companies have adopted the method
and make their coolers of this same clay, only with the
modern craze for adulteration they don't make the con-

The
orch

company on location for "Rio Rita." The 35- piece
estra conducted by Victor Baravelle is holding forth
in the shed at the right.

for 7^1 o v e mb e r 1929

with Bebe Daniels
for "Rio Rita"

Beauty— Color— Songs-
Bebe! Come Along on
this Alluring Location

tainer one hundred per cent clay so the water isn't as
cool. The word olla is pronounced auya.

At the scene of action five or six horses pranced in
front of the cameras mounted by fierce desperados bent
upon entering the senorita's domain — for no good reason,
you can be sure. In real life the 'desperados' were very
nice men indeed, most of whom had little knowledge of
horseback riding and none whatever of how to crash a
lady's home. But we are in the movies, and in the movies
we do many strange things! The smallest horse held the
largest and fattest man. Isn't that always the way? As
he galloped down the hill for another 'take' the side lines
roared with laughter. "I'll bet that horse isn't laughing
so hard," said Don Alvarado. "Gosh, no! He's sway
backed already," said one of the grips. But the pony
kicked his heels so I took it for granted that he was
cheerful and undismayed.

"Rio Rita" is Don Alvarado's first talkie and he is very
excited about it. In "Rio Rita" he plays Bebe Daniels'
brother and a very handsome young blade he is, though

John Boles, Helen Ludlam — Screenland's Location
Lady — Bebe Daniels, Victor Baravalle, director Luther
Reed, and assistant Justin H. McClosky.

John Boles adopted an old Spanish custom,
the siesta, when the troupe went on location
in the Rio Grande country.

don't tell him I said so. I'm just letting you in on a secret
— he's really handsomer off than on the screen. He is
not at all the delicate-looking youth that his fine character'
ization of the 'fire and ice' man in "The Battle of the
Sexes" might lead you to believe. He is lean and sinewy
and looked as if he might be a difficult person to worst
in a scrap.

I didn't see John Boles until almost time for lunch.

He had been doing some hard riding dur-
ing the early part of the morning and had
gone to his tent to change and get a rub
down.

We had lunch in the mess tent that was
large enough to shelter four hundred people
—and just the week before it had been
asked to do so when the choruses were
working. The sides of this tent were also
elevated as awnings so that instead of being
hot as most tents are it was delightfully
cool.

I don't think I ever saw a more luxuriant
location lunch. Two kinds of salad, salami,
cold ham, cold tongue, cold roast beef, hot
soup, hot or iced tea and coffee, milk and
ice cream. It was swell, and served by the
McHuron caterers. They brought every
thing out in chuck wagons, one with a
charcoal incubator. It is quite a trick to
keep so many people comfortable in so
isolated a spot, two or three miles from a
habitation of any sort. Two hundred and
fifty five-gallon bottles of drinking water
were used daily as well as one thousand
pounds of ice, Justin McClosky, the assist-
ant director, (Continued on page 94)

SCREENLAND

Come Along to the
Quaint Norman-
French Farmhouse
that Laura and Bill
Seiter call Home!

wit! I'M t *

a #r<?a/ racket," and so is this tennis court
on Malibu Beach where Laura La Plante's new
home is located.

How Laura La Plante

Entertains

By Jason Carroll

E started in Hollywood, drove through the
bewildering beauties of Beverly Hills where
scores of picture stars and other celebrities
reside, on through Bel-Air and the famed
Riviera until we finally dropped down over the Palisades
at Santa Monica. But we had really just started. We
drove on past the beach clubs and public beaches where
thousands are seen daily, bathing or acquiring their sun-
kist tans, on through the new Castellmare region on the
high cliffs, on and on past Topango canyon, the ruins of
the old Ince-by-the-sea studio, until finally we found our-
selves approaching Malibu.

Here in this exclusive spot, nestling between towering
purple mountains and the booming breakers of the Pacific,
is the far-famed beach rendezvous of the elite in the
Hollywood picture colony. But we didn't tarry here.
The goal of this story, the end of the rainbow, was still
ten miles further on, over the new State highway which
runs along the ocean from Santa Monica, through the

immense Rindge rancho which has just been opened to
public traffic after long years of litigation.

Ten miles more, making exactly thirty-six miles from
Hollywood! During this mileage one may still see some-
thing of the old West, real cowboys ridin' herd on some
stray cattle, both horses and riders stopping to stare curi-
ously at the never-ending stream of metal monsters which
have invaded their domain.

Finally, we dropped down off the cliffs to gaze upon
a large bay, where only an occasional cottage dotted the
primeval shores. There is a lighthouse, next a steam-
boat, and further off, nestling against a point, a picturesque
Norman farmhouse. The keeper of the lighthouse is Pauline
Frederick, the captain of the steamboat is a wealthy busi-
ness man and the dwellers in the quaint Norman farm-
house on the beach are Laura La Plante and William A.
Seiter. We had reached our destination!

What price seclusion? Laura and Bill actually live in
this far-away spot. It's beautiful beyond dreams, but

for 7s(o v e mh e r 19 2 9

Laura and Bill are work-
ing folks. They work
from ten to twelve and
fourteen hours at their
studios when they're mak-
ing pictures, and as they
are highly popular in their
respective professions of
star and director, they are
always working. Yet they
cheerfully drive approxi-
mately seventy-five miles
six days out of every
seven to enjoy the abso-
lute seclusion of the night
or day at their beach
home because they love it
with a love that is easily
understood, once one has
seen this exquisite retreat
and thrilled with the
peace and comfort of it
all.

"Isn't it great to be so
far away from the hurly-
burly of Hollywood — and
yet so near?" asked mine

host, Bill Seiter, as he settled down in an immense
easy chair. Laura hied herself upstairs for a siesta, before
making preparations for the influx of guests on the mor-
row, Sunday.

"I drive down here from the First National studio in
an hour and Laura can make it in the same time from
Universal. Of course," and he grinned, adding a know-
ing wink, "it takes much longer going back. For pure
enjoyment we wouldn't trade this little home for all
Beverly Hills. We have to spend one night in town at
our apartment in the Country Club Manor, and darned
if we don't feel all cooped up. Tell you a funny one
about Laura. She used to have a dickens of a time getting

This spacious living room is
modern and comfy, yet in keep-
ing with the true Norman sim-
plicity which is the keynote
of the house.

Of Norman French architecture is this quaint farm house
on the blue Pacific, home of Laura La Plante and her
husband, William Seiter.

Arched doorways are popular in the neigh-
borhood of Hollywood. This one is framed
colorfully with antique maps.

from our city apartment to the studio
on time when she had an early morning
call, and now she almost gets there in
time to help the janitor open up in the
morning. This is the life, buddy — nothing
but vim and vigor, and believe me, you
need gobs of that in these hectic days of
making movies that talk, sing, dance, or
what have you!"

Suiting actions to words, Bill donned
his tennis togs which consisted of the neces-
sary part of a bathing suit, whaled the
daylights out of the writer two out of
three sets, and then led a dash, in which
Laura joined, into the booming surf. We
swam out to a (Continued on page 111)

SCREENLAN1)

Gloria Szcanson on her way to
join her husband and attend the
London premiere of "The Tres-
passer."

Left: Walter Huston, the Broad-
way star who divides his time
between pictures and stage.

Lower left: Phillips Holmes,
who, Anne Bye predicts, will be
one of the new movie idols.

Keeping Up With the Broadway Parade

OLLYWOOD — where men are men and women
are glad of it!"

Credit Eddie Buzsell with that wise crack,
as well as many others. Eddie is the original
wise-cracking kid of Broadway. And, like all the other
stage stars, he"s in the movies now!

I saw Eddie after he returned from Hollywood, where
he made "Little Johnny Jones." "The movies can have
me; I'm theirs," says Eddie. "If they like me as much as
I like them, it's a real love match."

Eddie's life in Hollywood was made exciting because of
the fact that he had to ride a horse, for the first time, in
his role of jockey in the picture. He formulated some
rules of equine etiquette a la Emily Post, as follows:
"Mount from the horse's left side. A horse considers

it a serious breach of etiquette to attempt the reverse.

"Gather the reins firmly in the left hand. The stronger
grip of the right should be reserved for holding the saddle.
You'll need it.

"Begin conversation with your horse in this manner:
'Whoa, Ginger. Steady, boy. Easy now. Hup-hup-hup-h-
h'U'U-p! (The latter part of the conversation will come
naturally, for your mount has started to trot. Hold tongue
well within teeth to prevent removal by jogging motion.)

"Now you must post. Posting is a purely defensive
move. It will come naturally enough after you have trotted
for a few minutes. You simply transfer part of the wear
and tear to your feet by standing in the stirrups.

"On leaving the horse, try to hold the body limp. This
avoids broken bones; only a few bruises are likely to result."

for November 19 2 9

Eddie Quillan comes to town to
make personal appearances with
"The Sophomore," accompanied
by Dad Quillan.

Right: Eddie Buzzell, one of
Broadway's favorite comedians,
who has been converted to talkies.

Lower right: Gertrude Lawrence,
star of "The Gay Lady," left for
London to fill a stage engagement.

In spite of the required horseback riding, Eddie enjoyed
every minute of his picture-making. He was sorry when
the film was finished. I wouldn't be surprised to see Eddie
return to Hollywood soon; and this time he will take his
wife with him. Mrs. Bu^^ell? Why, she's the popular
musical comedy star Ona Munson. She is having her first
screen tests now, and if they do justice to her beauty,
charming voice, and clever dancing, she will be a hit.
Ona has just closed a long run in "Hold Everything," one
of the Broadway successes. The Buzzells will be a distinct

addition to talking pictures.

% % %

Eddie Quillan came up to the Screenland editorial
offices while he was in town, just to say hello. Dad Quil-
lan came with him; and you should know Dad; he's a real

character. He is Scotch, and when he talks you can easily
imagine you're listening to Harry Lauder. But Dad isn't
on the stage any more. He and his family used to be
popular in vaudeville as The Four Quillans. But now
all the kids are in the movies — especially Eddie, who is
Pathe's particular pride and joy. Eddie is a little fellow
with a handsome head and a grave air of responsibility —
at least, he was awfully serious when I saw him. Perhaps
the strain of personal appearances — five or six a day —
was to blame. Anyway, he was very much in earnest,
with the gravity of the very young. It was Dad Quillan
who sprang up to illustrate with a few spry steps some
of the routine that Eddie does in his act. The younger
Quillan has a very professional manner for one so young;
he talks about his work with the (Continued on page 91)

SCREENLAND

zMAKE-ZlP

The girl of today expresses her personality through
the medium of make-up carefully applied, and
chosen with an eye to the subtle art of accenting

her natural beauty

Parisientie to her finger tips, Irene Bor-
doni makes up for a scene in "Paris,"
before her elaborately equipped French
dressing table.

IAS'

AST month we discussed different types of
skins and I promised to go on from
there with a talk on make-up. But

before we begin this dissertation I
want to state, girls, that an unhealthy or neglected skin
cannot be made beautiful by the use of cosmetics alone.
Powder and rouge never can take the place of proper skin
care. But if you will adopt a system of wholesome living,
intelligent skin treatment and careful cleansing, you can
acquire a good skin if you haven't one already. And when
you have it, hold that pose — as the movie directors say —
and don't spoil it by using make-up so obviously that it
destroys your natural beauty. And don't go to the other
extreme and use none at all!

Cosmetics probably have been used ever since there was
a woman in the world. The Egyptians of the Old Em-
pire, some thirteen hundred years or so before Tut-ankh-
Amen knew about cosmetics, for we have it on good
authority that 'the painting and rouging of the face was
as important to them as their clothes — and even the de-
ceased were not happy without seven kinds of salve and
two sorts or rouge.' And the learned gentlemen who

By Anne Van Alstyne

busied themselves a few years ago in digging up Palestine
found that about thirty centuries back women had the

usual assortment of
cosmetics and price-
less alabaster bowls
to keep them in!

But, no matter
how ancient the
practise, painting
and rouging the face
did not become pop-
ular with the best
people until quite
recently. Courtesans
from Marc Antony's
day to Elmer Gan-
try's painted and
powdered. Actresses
used cosmetics as a

Corinne Griffith re-
news her make-up be-
tween scenes at her
portable dressing table,
which is easily moved
from one set to an-
other.

Loretta Young, a lovely representative of
medium type of charm, adds a few touches
to her make-up.

for 7\[o v e mb e r 19 2 9

This department is dedicated to popularity and charm.
Miss Van Alstyne, authority on all problems con-
cerning the modem girl, will gladly answer any ques-
tions you may care to ask

part of their stock in trade and grand dames followed their
colorfui example. As time passed, and modern life
marched along, great hosts of women began pinching
their cheeks and biting their lips to produce color.

Then specialists appeared with special prepara-
tions and more
or less good re-
sults. Women be-
gan to realise that
beauty must be
more than skin
deep. Dental sur-
geons and oculists
got in their good
work. Beauty
specialists im-
proved and mul-
tiplied. The hard-
boiled complex-
ions of thirty
years ago are but
a memory. Wo-
men have learned
the gentle art

Anita Page cleverly
completes her toilet
with the shade of lip
rouge that best accents
her blende coloring.

Nancy Carroll protects her auburn tresses
from powder and greasepaint. Note the
strong lights needed for camera make-tip.

Laura La Plante's mirror is fittingly modern
to reflect the discreet make-up of the
modern girl.

of make-up. The neatly tinted girl of today has
learned to express herself and wear rouge and
lipstick at the same time. And this is how — ■
as Mr. Kipling might say — make-up came to be
"just so."

Every woman, in this modern age, needs cosmetics. She
may be ever so beautiful, but there comes a time in every
woman's life when a few dabs of powder and a bit of
rouge will go a long way toward helping her physically
and morally dejected soul. I don't mean that cosmetics
will save her soul, but they won't ruin it, and they will
cheer it up. And they will hide, temporarily, at least,
the effects of fatigue and illness.

And the comforting thing is— if comfort is needed! —
that science and the law have combined to protect the
woman who depends upon toilet preparations as she de-
pends on her daily bread. No longer does one need to
doubt the purity of creams, powders and other beautifying
agents. Whether displayed in the beautiful salons of the
famous beauty specialists, at the corner drug store or in
the department stores, every reputable brand of cosmetics
today is scientifically made and is composed of ingredients
that must measure up to a high (Continued on page 92)

74 SCREENLAND

Come into the Kitchen

A Comedy Queen the World
Over, but in Hollywood They
Know Her as a Culinary Artist

LOUISE FAZENDA'S FAVORITE
RECIPES

2 cups butter
1 cup sugar

1 cup finely chopped

almonds

2 egg yolks

Grated rind and juice of
V? lemon

1 teaspoonful baking powder
5 cups pastry flour

2 teaspoons vanilla

Cream butter and sugar, stir in egg unbeaten, add lemon,
vanilla and nuts. Add 2 cups of the flour and all baking
powder. Mix well and add as much more flour as needed.
Bake thin in moderate oven.

PRUNE CAKE

1% cup prunes, stewed and

chopped
1% cup sugar
1% cup pastry flour
1 teaspoon soda
% teaspoon baking powder
% teaspoon salt

1 teaspoon cinnamon

1 teaspoon nutmeg

1 teaspoon cloves

V-2 lemon extract

1 egg and 2 extra yolks

5 tablespoonsful sour cream

Vs cup butter

Cream sugar and butter, add eggs, beaten together, add
prunes, extract and milk. Sift all dry things together well
and add to first mixture. Bake in layer cake tins about 30
minutes in moderate oven. Serve with whipped cream.

IOL

Louise Fazenda suggests the cookie-and-tea
treatment to every director who has come
to dread the zero hour from jour to five.

ouise Fazenda, comedy queen!

Louise Fazenda, culinary queen!
^ Nearly all the world knows her as the first.

Hollywood recogniz.es her as the second and will
tell you she is as expert a cookie maker as she once was
a pie tosser in the early days of her comedy career.

"No, I never make pies," said Louise. "A pie to me is
something soft and squashy that you either throw at
someone or that someone throws at you. I see other
people eating and enjoying pies. But I always lean
toward a roll or a good substantial cookie. Somehow I
cannot imagine custard pie being a pal for the palate of
anyone who was identified with the old Sennett comedies.
Can you?"

Cooking — particularly cookie cooking — has always been
a hobby of Louise's. It isn't the actual preparation of

This exclusive beach cottage is the habita-
tion of Miss Fazenda' s prized possessions,
two Scotch and Irish terriers.

/or November 19 2 9

itb L

ouise

Fazenda

By Sydney Valentine

Let the Crumbs Fall
Where They May!

BUTTERSCOTCH ICE BOX COOKIES

2 cups orown sugar

1 cup butter

2 eggs

1 teaspoonful cream of tartar
1 teaspoonful soda

1 teaspoonful vanilla
1 teaspoonful salt
3% cups cake flour
1 cup chopped nuts

Cream sugar and butter and add eggs, one at a time. Beat
well. Sift all dry ingredients together and add. Shape into
rolls 2 inches in diameter and 6 inches long. Wrap in oiled
paper and place in ice box. Bake any time after 24 hours,
in thin slices. Cut with knife. Bake in cookie tins.

FUDGE

2 squares bitter chocolate
2 cups sugar

% cup milk

2 tablespoonsful light corn
syrup

2 tablespoonsful butter

Hold out butter and vanilla and cook all else until soft ball
forms in cold water. Remove from fire and add butter and
vanilla. Do not beat until almost cold. Then stir until
ready for buttered tins. If fudge sugars when cold, put
back on fire, add small quantity lemon juice, 2 tablespoons
vanilla and 1 tablespoon corn syrup. Treat as before.

Louise Fazenda and her mother at their
beach house, where the comedy star retreats
for rest and relaxation.

Allan Crosland, director of "On With the
Show," is tasting Miss Fazenda's famous
cake while William Bakewell and Sam
Hardy look on hopefully.

delectable dishes that absorbs Louise so much as that
intangible bond of friendliness which the personally cooked
dish creates.

Louise may work all day on a talkie set at First Na-
tional. But she isn't too tired to make that sample dish
of fudge that she promised Dorothy Mackaill.

You are liable to telephone her at 9 o'clock at night
and learn from her maid that she is engrossed in stuffing
18 squabs against tomorrow night's dinner party.

"Oh, I like to do it," is Louise's explanation. She
has been cooking since her school days at the old Los
Angeles High School when there was no maid or cook
in the Fasenda family. Now, when every luxury is at
her finger tips — well, there is a certain combination of
condiments that lifts squab out of the bird class into
something approximating the spiritual in cuisine, Louise
will tell you with a twinkle in each eye.

"I remember how it was when I was a little girl and
watched my grandmother on entertaining afternoons.
Everybody usually sat around stiff and formal until tea
and cakes were served. Then the self-conscious atmos-
phere seemed to disappear at once. There is something
about people eating together that creates a certain little
intimacy between them."

Louise discovered this early in the game of her comedy-
making days. She would make cookies and cakes and
bring them on the sets in the old Mack Sennett studio.
She could worm out the birth date of the most reserved
player in the cast. We have it on the authoritative state-
ment of any number of responsible persons that she never
let the birthday of any player in (Continued on page 103)

SCREENLAND

mmmmmm

Elmer Fryer

THE SPIRIT OF "PARIS"

Only a French sophisticate like Irene Bordoni, actress of smart musical comedy roles,
could -wear this 'ostrich' gown designed especially for her first Vitaphone production,
"Paris." This graceful bouffant gown is of gray chiffon velvet trimmed in sequins and
ostrich feathers. The striking head-dress is developed in sequins and matching plumes.

for November 1929

The talkies bring Jimmy Gleason and Bob Armstrong together
again, in a talking comedy called "Oh, Yeah?" Is zat so!

9^EAH? A H

Robert Armstrong Speaks his
Mind about Talking Pictures

"s^HE introduc-
tion of talk-

ing pictures
was just
about the nicest thing
that could have hap-
pened for the stage

actor who liked Hollywood and films but who felt that
the technique of silent pictures discounted his ability
about 50 percent."

Robert Armstrong made this statement in answer to the
query put to him on his opinion of talking pictures. The
young actor was working on "Oh, Yeah?" the talking
comedy in which he and James Gleason will be teamed
together.

"What I mean," continued Armstrong, "is that the stage
actor feels that 50 percent of his power lies in his voice.
Eliminate that, as was necessary in the old days of picture
making, and you will see that the finest actors suffer a
tremendous handicap.

"Despite the discrepancies that everyone is howling
about, talking pictures — even at their present stage — are
very much more interesting than silent films at the peak
of their progress. Of course, I feel that Fm just a novice
in the new development and really have no authority to
announce my views. But who in Hollywood doesn't air
himself on this subject!"

By Joseph Howard

Armstrong declared
that he very rarely sees
a talking picture which
does not interest him in
some detail, even
though the entire pro-
duction does not ap-
peal to him. He contrasted this reaction to that he felt
for silent pictures.

"Either I liked a silent picture or I didn't like it. If
I liked it, I kept my eyes open. Otherwise I was likely
to fall asleep. Now it's entirely different with talking
pictures. I invariably find some little characterisation or
some clever innuendo of voice that holds my interest even
though the production as a whole does not come up to
expectations. I find this feeling general among a lot of
people with whom I have discussed the question."

Armstrong said he believed the great danger imperilling
talking pictures is their tendency to be too mechanical.
The man who controls the sound apparatus is not an
artist with his eye on the picture as an artistic whole.
He is interested only in seeing that each sound has as
nearly perfect recording as is possible.

"I can explain this best by telling of an incident that
happened to me during the shooting of 'Big News.' I
played the role of a typical newspaper reporter. Now
it would have been ridiculous for (Continued on page 102)

G o

SCREENLAND

"What Picture Shall We See Tonight?" Let
tion and Guide You to the Worth- While

Man and the Moment

There's more fun in following the conven-
tions than in defying them, might be the moral,
if any, drawn from the new Billie Dove-Rod La
Rocque opus, written by Madame Glyn. Billie
— just a nice girl from a small Iowa town —
gets mixed up with a jazzy, ginny, yachting
crowd. Climax comes when Billie's clothes are
tound in La Rocque's bed room the morning
after a wild party (shame on you, Billie) by a
night club blonde out to ruin Billie's rep. Later,
in the battle heat La Rocque breaks through a
glass swimming pool revue to rescue his wife —
you knew it all the time — from another man's
arms. Fitzmauriee takes this impossible peach
parfait of a tale and whips it into a mildly amus-
ing comedy, saved by Billie's beauty and charm.

The Gamblers

H. B. Warner and Lois Wilson are the featured talkers here.
In this supposed behind-the-scenes story of stock market manipu-
lations we find George Fawcett and Jason Robards mixed up in
crooked deals, with Warner, the bank examiner, married to Lois,
who still loves Robards. Not a cough of truth in this carload
of film.

Madonna of Avenue "A"
The beauty of Dolores Costello and the talent of Louise Dresser
can't save this melodrama. Dolores is in a private school, and
mama, Louise, is doing business in a low Manhattan dive to pay
the bills. Grant Withers, a bootlegging Lothario, falls for
Dolores but mama has him framed and jailed away. A happy
ending for daughter, an unhappy ending for mama.

The C onstabule

A baby comedy feature with Andy Clyde. Harry Gribbon and
Thelma Hill pulling funny surprises faster than you can laugh.
Thelma's gone and got herself graduated from college. Pa wants
her to marry the village constabule — but Thelma objects. A rob-
bery and a race between a Ford and a hand car which bursts
the last button off the vest.

Hungarian Rhapsody

Filled with beauty, young love and Magyar melodies. Lil
Dagover, the luscious vamping wife of a general, flirts with
Willy Fritsch, a Lieutenant, whom Dita Parlo, a country girl,
loves. This triangular romance staged in rolling Hungarian
wheat fields with picturesque peasants and harvest festivals as
a background, is a film worth seeing.

for JS( o v e mb e r 19 2 9

the

Screenland's Revuettes Answer Your Ques-
in Screen Entertainment, Talking or Silent

zJkf o v i e s !

Fast Company

Funny gags, lively songs, plenty of love mak-
ing, in this baseball story, one of the first to be
filmed by the talkies. Lardner wrote it, Suther-
land directed. Jack Oakie is the hero, a dumb
country boy who loves to eat. But hot Evelyn
Brent takes his mind off his food. Oakie's the
Home Run King when he can keep his eyes on
the ball and off chorines and gamblers. 'Skeets'
Gallagher, Gwen Lee, Sam Hardy, Chester
Conklin support Jack and Evelyn. High lights
of the film come when Oakie gives a speech over
the radio — only to learn 'mike' is disconnected;
and when you see and hear the big game of
the World Series with Jack doing a Babe Ruth.
Mike Donlin and many old-timers of the
Diamond are among the technicians and extras
in this snappy picture. Don't miss it.

mm i

The Drake Murder Case

Another movie murder, and a well-knit one. Amateur sleuths
can have fun trying to guess the outcome. There are court-
room scenes in which Forrest Stanley — remember him? — as
prosecuting attorney, and Robert Frazier for the defense do
splendid work. The defendant is a lady with a past. Director
Edward Laemmle makes the most of his material.

Half-Marriage

A hotsy-totsy picture, full of boudoir stuff, studio parties,
and country club dances. The high light is where Olive Borden
is pursued out on a studio window ledge by said menace who
clutches, wavers, falls — forty feet below. Morgan Farley, from
Broadway, Ken Murray, and Richard Tucker ably support Miss
Borden. An exciting picture well worth seeing.

Ticklish Business

Shylock called the turn on this one. He said, "If you tickle
us do we not laugh?"1 And that's what I say on this talking
comedy. Monte Collins and Vernon Dent start tickling us from
the time the film unrolls. It's the story of a ham song-writing
team whose best artistic efforts are busted up by the wife. A
safe bet for anybody's evening.

The College Coquette

Just another college picture! All the old ingredients are here:
a girl expelled because she tried to save her room mate's honor;
hops and dates, and the college coach falling for the dear little
collegiate Lorelei. Ruth Taylor, William Collier Jr., and Jobyna
Ralston put up a good but losing fight against a story without
merit.

SCREENLAND

I'ltntograplis of
Sully .Starr by
J! nth Harriet Louise.

Sally Starr is registering
a kick — but not because
she was chosen to illus-
trate Screenland's
"Hot from Hollywood"
heading.

last there threatens to be another epoch in the
style of men's clothes. Not since the days when
men outdid women in a sartorial display of
silks, brocades and laces has there ever threat'
encd such an open revolt as seems to be in the air now.
And for once Hollywood didn't start it! We don't blame
the men — we've often wondered why they didn't do some-
thing about boiled shirts and high, stiff collars long ago.
Now the thing seems to be for the gentlemen to go about
in their pajamas!

Hollywood has had so much to worry about recently
that the subject of new clothes for men hasn't been given
paramount consideration; but Sam Hardy is going to sound
the Masquers on the subject and George Fawcett thinks
that pajamas of a conservative cut in silk pongee, linen or
flannel wouldn't be a bad idea at all. Nick Stuart hopes
they won't start wearing shorts because he thinks they
would be ugly, but the collars certainly should be altered.
They arc the things that cause all the discomfort. Eddie

Lowe thinks it is all a tempest in a teapot. He's per-
fectly satisfied with men's clothes as they are. But then
Eddie wears his 'soup and fish' with as much ease and
grace as a lounging robe, and has made quite a name for
himself thereby, so perhaps he shouldn't be chosen to

speak for the rest.

% % %

Norman Kerry had been in England just three days
when he got a cable from Universal to come back pronto
and step into his old role in "Phantom of the Opera,"
which is to be done as a talkie. So Norman hurried back.
Not alone into his old part, but into his same old dressing-
room as well. It is number 107, and when he went to
the Western Costume Company there was the old suit
which fit him just as it did four or five years ago when
the silent picture was made. Not so bad, Norman, not
so bad!

The Brown Derby is giving the Montmartre Cafe some
competition. The film stars go there more often than
anywhere else right now and seem to feel perfectly at
home, for they appear in costume and make-up during the
lunch hour frequently.

Lupe Velez dashes in looking like a little gypsy in a
bizarre creation, and Gary Cooper with her. For a minute
we thought Gary had on make-up, too. He sported a
three-day beard and a tramping outfit that looked as if
it had led a hard life. "Oh, is that Gary Cooper?" cried
a disappointed fan who had evidently expected to find
him in faultless flannels or something.

Just the old shock of finding that our idols are flesh-
and-blood folks as we are, and that they like to bust
around in old clothes sometimes, just as we do. The only
difference is that we can slip out once in awhile and get
away with it, whereas a screen celebrity can never be
himself unless his nature is great enough to let him treat
the world as his family, as Gary occasionally does.

# rfc !jC

Enid Bennett was standing at the door of her husband's
office on the Metro lot when she caught sight of Bessie
Love walking toward her dressing room. "Why," she
said, "I thought I was the only person in the world who
had an Indian blanket coat just like that, and look at

for T^ovember 19 2 9

News and Gossip about
the Screen and its Stars

Bessie Love with the twin of mine!"

Enid Bennett's husband is Fred Niblo, you know, and
they just returned from an automobile tour of the northern
states and Canada. While in Canada Mrs. Niblo bought
her coat of an Indian and she never supposed that any-
thing like it would ever reach a Hollywood shop. But
everything travels nowadays. There is no standing still
any longer.

By the way, the films are trying to persuade Enid

Bennett to come back. So watch out for her.

* * *

Who says that once a picture goes the rounds it's
through? Marion Davies chartered the Film Arts Theater
on Vine Street to give a benefit week for orphans of war
veterans, and ran some of yesterday's successes as attrac-
tions.

The enterprise is in its third week and still going
strong! You have to stand in line sometimes for three
quarters of an hour and one friend of ours was turned
away at the end of that time because the house was full.

The first day of the benefit offered "The Four Horse-
men of the Apocalypse"; the second offered "The Kid"
and a midnight performance of "Broken Blossoms." Then
followed "Blood and Sand," "The Sheik," and other
favorites, as well as a quantity of old Mack Sennett come-
dies made in the days when Gloria Swanson, Phyllis

Haver and Charlie Chaplin were members of the cast.

* * *

Movietone weddings seem to be the thing in Hollywood
today. Movietone recorded the nuptial vows at the wed-
dings of May McAvoy and Anita Stewart, and was about
to record Harry Langdon's when something went wrong
with the mechanism at the crucial moment. The heavy
load on the electric transformer plunged not only the home
of Alice Calhoun, in which the wedding was held, into
total darkness but the whole of Benedict Canyon as well.

For once the principal actors in the scene didn't have
to wait until the electricians did their stuff, for everyone
scurried about and dug up enough candles to carry on
with. And although Harry and his bride will not have
a strip of sound film to remember the occasion by, the soft
light of the candles stamped a lovelier memory of the scene
than the grinding of the cameras would have done.

:|!

An old friend is coming back to Screenland. Remember
Charlotte Merriam when she starred in Vitagraph pic-
tures? Well, she and Rex Lease got married and it didn't
go so well; so, although each still thinks the other is
marvelous, they decided to part matrimonial company.
And now Charlotte is back on the job again and just
adoring it. Her first picture was "Pleasure Crazed" for
Fox; and she has just finished "Second Choice," in which
she plays the girl who gets Chester Morris away from

Sally is a new Starr, but ambitious.
That's why she is holding fast to
Hollywood !

Dolores Costello. And you must admit that a gal has to
be pretty good to get a .boy away from the fair Dolores,
once he has definitely looked her way.

sji Hs

The other day we were driving back from the beach
when a swanky-looking touring car passed us arrogantly
on the left driven by a chauffeur. The top was down and
the occupants of the back seat were too engrossed in one
another to notice that they were passing friends. We
honked frantically, whereupon Patsy Ruth Miller and Tay
Garnett looked around.

"Look," cried Pat, taking Tay's face in her two hands
and turning it so that we could see. Tay was growing
a moustache!

More honking made us all turn and there were the
Gleasons bobbing along. Jimmy was driving, Mrs. Gleason
was beside him and Russell and the pup were on the back
seat. Pat had to show off Tay's new attraction to them.

SCREENLAND

And then there was Sue Carol curled up on
the front seat reading a letter to the driver as
she dashed up along in a stunning Cadillac.
The driver? Well, everybody says she is going
to marry him some day, but Sue says it is so
much fun just being engaged she doesn't think
she will ever marry. The driver, as you may

have guessed, was Nick Stuart.

# * / #

A young lady who should have known bet'
ter because she was born and raised in Holly
wood and knows all the celebrities, went to the

Bebe Daniels becomes a colonel of the 322 Pursuit
Group, U. S. Army Air Corps. Major Kenneth Decker
has the enviable job of giving Miss Daniels her 'wings.'

She was on her knees by that time, turning Tay this way
and that, the better to exhibit him. All this while we
were clipping long Sunset Boulevard of a Sunday after-
noon if you please, by some miracle keeping our wheels
unentangled. But our frantic gesticulations and scream-
ings to each other from the three cars at. last attracted so
much attention a traffic jam threatened unless we broke
away.

Pat and Tay will probably be married by the time you
read these lines, as the wedding is set for September and
the invitation list is being made out.

Here's our lovely Anita Stewart in bridal array.
Lucille Murphy, Anita's sister, is maid of honor, while
C. M, Converse, brother to George P. Converse the
lucky bridegroom, is best man.

Another bride? No, not realty. It's Billie
Dove in a bridal gown for her new film,
with an old friend — Georges Carpentier —
noted pugilist.

Breakfast Club the other morning for some ham and eggs.
She created a bit of a stir as she made her entrance because
she is a very lovely blonde — so lovely that when people
first see her it takes their breath a little.

Near the entrance stood a small group of men dressed
in white with shirts open at the throat. They were very
brown. They, too, looked at the young lady but she dis-
missed them after a casual glance and a mental note since
she did not recognize them: "Some of the new Mexican
help, probably."

Feature her embarrassment when the 'Mexican help'
turned out to be Joseph Schenck, Harry Richman (Clara
Bow's boy friend), and Douglas Fairbanks!

'M ❖ ❖

Joe, Mary Pickford's favorite pet, is no more. Joe was
a macaw, given Mary by her mother who brought it with
her from South America. For years Joe has occupied a
large outdoor cage back of Mary's bungalow on the United
Artists lot. He made friends with everyone in his sleepy,
grouchy way, and all of us who used to stop and pass
the time of the day with him will miss him. Mary and
Doug have left for Europe, where they will install Mary's
niece, little Mary, in a school in Switzerland.

for 7^o v e mb er 1929

Over Universal way John Robertson is direct-
ing "The Shanghai Lady" in which Mary
Nolan is featured. That nifty little lady was
dressed just as you would imagine a white girl
living by her wits in China would be dressed.
Saucy blonde curls with a captivating scarlet
tarn cocked on one ear; cream silk blouse and
scarlet jacket and skirt to match, so short and
scant that its mother would blush if she saw it.

The company works at night and sometimes
Mary does not get home until the early hours
of the morning. On one of these occasions,
Mary, too tired to change and remove her make-

rs three husky musketeers are Nick
Stuart, Charles Farrell and Richard
Keene — rivals for screen roles at the Fox
studio, pals in private life.

up, drove to the Roosevelt Hotel where
she is stopping, just in her working
clothes. As she asked at the desk
whether there were any messages for
her she noticed a girl and her young
man eyeing her in an interested fash-
ion. They evidently lived in the hotel
too, for they waited with her for the
elevator. When Mary saw they were
'taking her big1 she rose to the compli-
ment and flashed some of the terrible
imitation jewelry she was wearing at
them. "Hot Dawg!" said the man. The
girl fro2,e until Mary thought they
were going to have to turn on the
steam to thaw her out.

"These picture people !" she heard
the girl remark as she left the elevator
at her floor.

"I suppose I should be careful how I
look when I go in and out of the
Roosevelt," Mary smiled, "but I
couldn't resist teasing them when they
fell so hard for the way I looked. They

Hollywood has as many beauties as Broadway. Doraine
Lee, Ruth Morgan, Evelyn Pierce and Colette Moore
are the four picked by Samuel Goldwyn to play in
Ziegfeld's "Show Girl."

never did get on to the fact that I was in costume."

^ % &

"Are you coming to our party?" asked Vivian Duncan of SCREEN'
land's representative. "You were invited two months ago, remem-
ber? We don't know when it is going to be, but sometime soon.
You see, I like the mountains and Hymie (meaning Rosetta) likes
the ocean, so to have any peace we rented two houses. Mine's on
a hill in Hollywood and Hymie's is at the beach and the party will
progress from one house to the other."

Senor Don Carlos Davilla, Chilean ambassador to the U. S. and
a group of officers were entertained recently at the M etro-G oldwyn
studios. Note Renee Adoree, Anita Page, Dorothy Sebastian, Leila
Hyants, Gwen Lee, Sally Starr and Joyce Murray.

SCREENLAND

Do you know about adagio dancing? William
Haines and Ramon Novarro are demonstrat-
ing it here, ably aided by Polly Moron.

Of course the Dunes would do something
like that. But they give the cutest parties in
the world. Always some rare entertainment as
a central attraction, and spread around are
bridge tables for the card fiends. But when the
entertainment begins everything else stops, be-
cause no one would miss it.

We saw them the first day of their picture
for Metro, "Cotton and Silk." Vivian didn't

have much to do that day so she could be sociable, but Rosetta
was cramming lines and rehearsing like a little war-horse with —
whom do you think? Crane Wilbur! Yep. He's back on the
screen because he happened to be just the type for this part. Not
exactly a villain this time. He was rather a nice person, I should
say by the action of the scene we saw. A trifle stern, but
honorable.

Crane has been directing and writing for Metro all summer.
He wrote the scenario and dialog for "Lord Byron of Broadway,"
which William Nye will direct.

A certain actress from the east not yet used to Hollywood con-
viviality asked some friends to tea. She asked a friend of her
mother's to drop in too. But the friend had lived in Hollywood for
many years and did not go to parties. The young actress saw the
older woman a day or two afterwards and said, "My dear, you
were quite right not to come to my party. I never saw such a
party in all my life. I asked about 150 people to drop in between
three and six for tea. About 400 came, and do you know what
time we closed the doors on the last lingering guests? Four o'clock
in the morning! Yes, ma'am! They ate everything in sight and
drank everything but the swimming pool. Not only that, but

Joan Bennett welcomes her mother to Hollywood. Mrs.
Eric Pinker, formerly Mrs. Richard Bennett, is known to
the stage as Adrienne Morrison.

.4 beach, no work, California sun. What is
there to complain about? Nothing, say
George O'Brien and Rex Bell. Leopold,
the dog, agrees.

I didn't know half the people who turned up."

We're afraid the little lady was a victim of
out chatty custom of dropping in for a good time
wherever we see lights and cars. That's all
—just wanted to make her feel at home and
welcome!

Mary Pickford has never stopped loving "Tess
of the Storm Country." John Robertson, who
directed Mary in that popular old play, was visit-
ing the United Artists Studio and Mary spied
him coming down the drive. Planting herself
directly in his path she demanded with arms
akimbo: "Now what air you a-doin' on this lot?"

And do you know who got a start in that
same picture besides the handsome Lloyd Hughes?
Well, do you remember Ben Letts, the terrible
villain? And do you remember who played him?
Jean Hersholt.

sfc

One is apt to meet the stars out here in Rolls

for November 19 2 9

Royces or Fords. It doesn't make much difference which. Holly'
wood has gone plumb crazy over Henry's product. Almost every-
one has a 'new Ford.' We were hustling down Western Avenue
trying to get ahead of the stop signal and another Ford was try-
ing to do the same thing to cross Western. Neither of us could
quite make it. Who do you suppose was driving the other Ford,
all by her little self? Mary Pickford. And that same evening
we were driving with Danny Danker and Margaret Ettinger when
a Rolls that was trying to park its unwieldy length in a space too
small for it in front of the Roosevelt almost crashed into Danny's
new La Salle in an outward lunge. And who should be getting

into the Rolls? Mary and Douglas Fairbanks.

% ^

In a recent picture Rex Lease had to have an argument with a
lion. The animal was afterward named after him. One day
Rex went in to the cage and the lion, whose foot slipped on a
board, lunged heavily toward him. "Even the people outside the
cage were scared,"' said Rex.

"Were you scared?" someone asked.

"Was I scared? With a four hundred and fifty pound lion
coming my way and me locked in his cage? Say, I was scared

Georgia Mae and Howard Leroy Cooper
came all the way from Montana to see their
handsome uncle Gary work in the movies.
What they won't have to talk about!

velvet gown with a dozen or more diamond
ornaments emblazoning her bodice. We noticed
that the redundant lines of her figure brought
back memories of women as they used to be.
"It's, the corsets," that lovely lady smiled.

By the time you read this, Janet Gaynor will
have become the bride of Lydell Peck, the
young lawyer who has been her devoted swain
for a long time. Here's happiness!

The original Virginian never saw a car like
this. Yet here's Gary Cooper on good
terms with one. Mary Brian, James Hall
and Richard Arlen grin with Gary.

for two days — and I don't mean maybe. I

didn't know7 he slipped. He had just been

fed and when he leaned my way I just figured

that I looked like more!"

❖ * #

First National got together a marvelous set
for "Lilies of the Field," starring Corinne Grif-
fith. It was a cabaret supposed to represent
the mechanical age. There were revolving
wheels and disks bewildering one with their
dizzy light. All the girls and boys were fixed
up with the most astounding costumes, also to
represent machinery.

Cissy Fitzgerald, a generation ago the toast of
two continents, plays the older actress who
gives the young ones good advice. "Don't
drink, my dears," she tells them, "unless you are
with a man. In that case it may do you some
good. But don't drink alone. It won't get
you anywhere."

Miss Fitzgerald was resplendent in a black

A reunion! Alice Terry visits her best friend, Dorothy
Sebastian, on a brief visit to Hollywood. Remember Alice
and Dot in "Sackcloth and Scarlet?"

SCREEN LAND

ASK
ME!

An Answer Depart-
ment of Informa-
tion about Screen
Plays and Players

By Miss Vee Dee

Miss Vee Dee will be glad to answer any
questions you may care to ask about pic-
tures and picture people. If you wish an
answer in the Magazine, please be patient
and await your turn; but if you prefer a
personal reply by mail, please enclose a
stamped addressed envelope. Address:
Miss Vee Dee, Screenland Magazine,
49 West 4Sth Street, New York City.

F, LUFFY of Toronto. I thought you'd
be back again, you little ball of
eiderdown. Information is the
thing. I have it and you want
it. Well, here! Roland Drew's real
name is Walter Goss. He was born
in 1903 in Elmhurst, L. I. He is no rela-
tion to Don Alvarado, whose real name
is Jose Paige. Don was born November
4, 1904, in Albuquerque, N. M. Joan
Crawford was a dancer in Ernie Young's
revue, "Innocent Eyes," in 1922 in Chicago;
and later in Shubert's "Passing Show" in
New York City before going into pictures.
Some of the stars send their photographs
free, but I'm not telling such and such for
I do not know.

Ida L. M., Budapest, Hungary. Friendly
greetings and many thanks for the beautiful
letter. All the things you say about
my department are true. Oh, no, I'm not
boastful — some of the other contributors
to this magazine are good, too! Your favor-
ite, Clive Brook, was born June 1, 1891.
in London, England. He is 5 feet 11 inches
tall, weighs 150 pounds and has brown
hair and grey eyes. His mother was an
opera singer and his wife, Mildred Evelyn,
also English, used to be an actress. He was
in films in London for two years before
appearing under contract to Thomas Ince
in 1924. "Interference" is the first talking
picture your favorite has appeared in.
Write him at Paramount Studios, 5451
Marathon St., Hollywood, Cal.

Lonely Brunette from Briar Hill, Surrey.
Eng. Cheer up! You can always turn to
my department for consolation — and the
latest dates and weights. William Powell
was born in Kansas City, Mo., on July 29,
1892. He has dark brown hair, grey eyes,
is 6 feet tall and weighs 168 pounds. He
has had a long stage career, fitting him
admirablv for the talkies. Besides the films

'Whoopee Lupe,' where are you? But perhaps when a young
screen star poses with those haughty Russian wolf-hounds she
just has to look dignified. Anyway, Lupe, Miss Vee Dee's
readers are for you.

you mention, he has appeared in "Feel My
Pulse," "Partners in Crime," "The Drag
Net," "The Vanishing Pioneer," "Forgot-
ten Faces," and a few talking films,
"Interference" and "The Canary Murder
Case." You can reach Olive Borden at
RKO Studios, 780 Gower St.. Hollywood,
Cal.

Alice from Atlanta, Ga. I see many new
faces this month with whom I'd like to
shake hands — no mean feat, I assure you.
Katherine MacDonald appeared in "Old
Loves and New." Barbara Kent and Greta

Ben Lyon, always a favorite, who will
play opposite his fiancee, Bebe Daniels,
in her next picture.

Nissen are not married. Mary Astor is
the wife of Kenneth Hawkes. Laura La
Plante is Mrs. William Seiter in private
life and Buster Keaton and Natalie Tal-
madge are happily married and the parents
of two husky boys.

'hlorma K. of Bellevue, Pa. Ready to
pop a lot of questions, are you? What is
this anyway, a scream test? Lionel Barry-
more and Charles Delaney played the two
principal male characters in "The Thirteenth
Hour," a Metro-Goldwyn-Mayer film. Clara
Bow, Charles Rogers and Richard Arlen
get their pay checks and fan mail at Para-
mount Studios, 5451 Marathon St., Holly-
wood, Cal.

Just Me from Toronto, Canada. So you
think I'd make a marvelous actress? I'd
rather be an actor, if you won't mind; and
if you do, I'd rather be one anyway, like
Wheezer or Big Boy. George Lewis played
in "College Spirit" with Dorothy Gulliver.
You can reach him at Universal Studios,
Universal City, Cal. George was born in
Mexico City, Mex., on Dec. 10, about 24
years ago. He is 6 feet tall, weighs 175
pounds and has dark brown hair and eyes.
His wife is Mary Lou Lohman, a non-pro-
fessional. You can write Gary Cooper and
James Hall at Paramount Studios, 5451
Marathon St., Hollywood, Cal. Edmund
Lowe at Fox Studios, 1401 No. Western
Ave., Hollywood, Cal. Conrad Nagel and
Patsy Ruth Miller at Warner Bros. Stu-
dios, 5842 Sunset Blvd., Hollywood, Cal.

M. M. S. of Mass. Ramon Novarro ap-
pears in "The Pagan." His tenor voice is
heard in native songs which are a part of
the film. Dorothy Janis is the girl who got
paid for listening in. Lucky kid. Greta
Garbo has golden hair and blue eyes. Her
next film will be a talking version of "Anna
Christie." Dolores Costello has blonde hair
and blue eyes. Her latest release is "Sec-
ond Choice," produced by Warner Bros.,
5842 Sunset Blvd., Hollywood, Cal.

Fran of Chicago. Favorable comment is

for November 19 29

Nte Magic

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What Hollywood's Screen
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by Max Factor, Filmland's
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By Florence Vondelle

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Make-Up, based on the same revolutionary
principle of cosmetic color harmony, you
will find, as have the screen stars, a magic
beauty power in every-day make-up.

Let this new way to instant beauty
be unfolded to you by the creator of make-up for
famous screen stars. Accept this priceless beauty
gift . . your own complexion
analysis, your own make-up
color harmony chart and a copy
of Max Factor's book, "The
New Art of Society Make-Up"
Please fill in coupon and mail.

rion Davi<

Marianne"

Metro- Goldu-vn- Mayer Picture
Make-Up by MAX FACTOR

Marion Davies, whose beauty
and vivacious personality have held
you entranced, will be even more
fascinating than ever in her new,
all talking picture, "Marianne"

Marion Davies, who would
never even think of using any but
Max Factor's Make- Up says in a
note to Max Factor:

"In the make-up ensemble, as in the
costume ensemble, each essential must
be in color harmony to create a be-
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Marion Davies approves the lovely natu-
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MAX FACTOR'S Society MAKE- UP

"Cosmetics of the Stars". ..HOLLYWOOD

Name .

MAIL FOR YOUR COMPLEXION ANALYSIS

( Mr. Max Factor — Max Factor Studios, Hollywood, Calif 4-11-20
I Dear Sir: Send me a complimentary copy of your 48-page book, "The New Art j
f of Society Make-Up", personal complexion analvsis and malcc-uo color harmony I
j chart. I enclose 10 cents to cover cost
j of postage and handling.

I
I

I Address -

COMPLEXION

COLOR EYES

LIPS

L,ghi

Moist

Fair

•ZOLOR LASHES

Dry

Med, urn

SKIN

Ruddy

COLOR HAIR

OHy

, Dark

Dry

Sallow

Amwrr in

Age

| Olive

spaces wifh check mark

SCREENLAN D

sweet to our ears and eyes and you'd be
surprised how much we can digest. Gary
Cooper worked as an extra for one year
in pictures before he got a part in an
independent company in a two rcelcr. His
first notable role was in "The Winning of
Barbara Worth" with Vilma Banky and
Ronald Colman. Mary Brian was the girl
in "Brown of Harvard" with William
Haines. Bill, one of the wisest wise-crackers
of Hollywood, has been in the movies since
1921 after a successful screen test for the
old Goldwyn company. His first part was
a small one in "Three Wise Fools." Ralph
Forbes' American screen debut was as one
of the brothers in "Beau Geste" with Ron-
ald Colman and Neil Hamilton in 1926.
Ralph was born Sept. 30, 1902, in London.
England. His wife is Ruth Chatterton.
former stage star, who appears in "The
Doctor's Secret" with John Loder, and in
"Madame X."

Connie from Canada. You think I must
be quite a joker — I may be but I don't
always get what's coming to me for my
jokes; at that, I may be lucky. You can
write to Arthur Lake at Universal Studios,
Universal City, Cal. Sue Carol at Fox
Studios, 1401 No. Western Ave., Holly-
wood, Cal. Neil Hamilton at Paramount
Studios, 5451 Marathon St., Hollywood,
Cal. Leatrice Joy has signed a contract
with First National Studios, Burbank, Cal.
Write to her there.

Sally of Riverside. My worthy page is
one of give and take — I give you all the
information and you take it with pleasure.
Colleen Moore was christened Kathleen
Morrison 26 years ago. She was born in
Port Huron, Ohio. Sue Carol's real name
is Evelyn Lederer and her home town is
Chicago, 111. She is 20 years old and not

Sherlock Holmes, new style. Clive
Brook's fan mail is heavier but his
shadow stays the same.

related to Nancy Carroll. Nancy was born
Nov. 19, 1906, in New York City. She is
the wife of Jack Kirkland, scenario writer.
Phyllis Haver was born Jan. 6, 1899. Her
real name in private life is Mrs. William
Seeman. She was married recently in New
York City and when you read this Phyllis
will be honeymooning in Europe. Her last
Pathe film was "The Office Scandal." Her
first for Metro-Goldwyn-Mayer, was "Thun-
der," with Lon Chaney.

W. L. R. from Calgary, Canada. Is it
any trouble to ask questions? You can't
prove it by me — I answer 'em. Barry Nor-
ton, known in private life as Alfred de
Biraben, was born June 16, 1905, in Buenos
Aires, Argentina. He has brown eyes and
dark brown hair. You can reach Barry
at Fox Studios, 1401 No. Western Ave.,
Hollywood, Cal. He played with Emil
Jannings and Ruth Chatterton in "Sins of
the Fathers." His new picture will be
"The Exalted Flapper" with Sue Carol and
Irene Rich.

Sunshine from Marion, bid. With a
name like that, you're as welcome as the
bloom of youth or a letter from Greta
Garbo. Marion Davies was born Jan. 3,
1900, in New York City. She weighs 120
pounds and is 5 feet 5 inches tall. Clara
Bow weighs 110 pounds and is 5 feet 3V3
inches tall Molly O'Day is 5 feet V-fz
inches tall and her latest official weight was
118 pounds. Molly comes back in "The
Show of Shows." Sally O'Neil is 5 feet
2 inches tall and weighs 102 pounds.

Catherine of Cincinnati. Must you send
a quarter to all the movie stars before you
can get a picture of one? I can't answer
for the effect it would have on you but
a stunt like that from me — well, I'd be
broke for life. Lupe Velez played with
Gary Cooper in "The Wolf Song." You
The little French girl, Renee Adoree, is can write hat for a photograph at United
one of the best bets in this department Artists Studios. 1041 No. Formosa Ave.,
this month. Hollywood, Cal. Warner Baxter was born

in Columbus, Ohio. He has brown hair
and eyes, is 5 feet 11 inches tall and
weighs 168 pounds. His wife is Winifred
Bryson who is seen on the screen now and
then. Since "In Old Arizona" was released.
Warner's fan mail has caused a big sales
commotion in Uncle Sam's stamp depart-
ment. You can write him at Fox Studios,
1401 No. Western Ave., Hollywood, Cal.

Miss Claire of Toronto. I may be a
great help in the hour of trouble but I
can't regulate and assist in the romances
of Hollywood. Charles Rogers is not mar-
ried to Mary Brian but Ben Lyon is en-
gaged to Bebe Daniels. Ben was born Feb.
6, 1901, at Atlanta, Ga. Gary Cooper
isn't married — yet.

Ida from Yon\ers, 7v(. Y. You're right,
this is the page for the fans, by the fans,
and believe it or not, the stars like to read
it, too — I mean they really do. Al Jolson
is under contract to Warner Bros, for big-
ger and better mammy films. His latest is
"Say it with Songs." Wheezer is the
youngest member of "Our Gang." His
real name is Bobby Hutchins and he was
born March 29, 1925, at Tacoma, Wash.
He has light brown hair and blue eyes. His
first screen appearance was at the age of
21 months in Buster Brown comedies for
Stern Bros. Clara Bow is reported engaged
to Harry Richman, popular Broadwayite.

R. L. K. of Birmingham, Ala. Some of
the stars do not broadcast their ages and
your favorite, Bert Lytell, is one of them.
But with that grand voice of his what does
mere age matter? Bert is 5 feet 10','^ inches
tall, weighs 160 pounds and has brown
hair and dark blue eyes. He is said to be
engaged to Grace Mencken, sister of Helen
Mencken. (Continued on page 91)

The lovely lady from Mexico, Dolores
Del Rio, in her garden. Dolores ranks
high with our readers.

for T^bvember 19 2 9

imilH

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in IOO% NATURAL COLOR

IN TECHNICOLOR

Hear thesei spark-
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"Go to Bed."

Picture a profuse procession of revue spectacle
scenes in amazing settings ... superbly staged
chorus dancing numbers ... the flashing wit of
Winnie Lightner . . . the charm of Nancy Welford
... the astounding dancing of Ann Pennington
. . . the crooning of Nick Lucas . . . love scenes as
only Conway Tearle can play them ... a story
that had New York gasping and giggling for one
solid year . . . and you have only begun to imagine
the treat that is in store for you.

One hundred per cent Color, an additional feature
of Vitaphone all-talking pictures,
doubles the "life-likeness" of this

z^'iis. most vivid and enjoyable of all

r;#^». . 11 • • *
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2^ i

You see and hear Vitaphone only in Warner Bros.W First National pictures

SCREENLAND

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but I'd have little space for my trusty type-
writer. However, I thank you for your
kindly interest in my page and will be
glad to send you addresses of your favorite
American picture stars.

Gang at the age of 5 years. Farina (real
name, Alan Clay Hoskins and the pride of
his mother's heart) was born Aug. 9, 1920.
His greatest ambition is to be a famous
violinist.

Buddy Rogers Fan, Iroquois Falls. It's
very sporting of you to say you couldn't
get along without my expert 'art-to heart
information. Joseph Striker was the young
man you refer to in "Annie Laurie" with
Lillian Gish, Patricia Avery and Norman
Kerry. Joseph is about 28 years old. He
has brown hair and eyes, is 5 feet 9y2
inches tall and is not married. You can
write to John Harron at Tiffany-Stahl Stu-
dios, 4516 Sunset Blvd., Hollywood, Cal.
June Collyer was born in New York City,
on Aug. 19, 1907. Malcolm MacGregor
was born Oct. 13, 1896, at Newark, N. J.
He has a 7 year old daughter, Joan.

Beulah from Dixon, 111. You have your
star dust somewhat mixed — let's sift it and
get down to the bottom of a few facts.
Corinne Griffith starred in "Black Oxen"
and Clara Bow played a supporting role.
That was before Clara was a star in her
own right, of course.

Pitty Pauline from Indiana. Whose
baby-talk sugar are you? I'll forgive
you for never having time to drop me a
line if you promise never to do it again.
You can reach Betty Bronson at Warner
Bros., 5842 Sunset Blvd., Hollywood, Cal.
Sally O'Neil takes her orders from the
same studio — Warner's — where she sings
and dances in "The Show of Shows." The
nearest I can come to hitting you on your
birthday with a few stars — Charles Farrell
was born on Aug. 9; Farina's birthday
comes on the same date; Norma Shearer's
on Aug. 10; Hobart Bosworth's on Aug.
11; Buddy Rogers' on Aug. 13; Eddie Phil-
lips on Aug. 14; Colleen Moore and Eleanor
Boardman's on Aug. 19. And I have one
every four years.

T. C. from To\io, Japan. As nice a
letter as yours deserves honorable mention.
Cherry blossoms, all misty pink, would make
my desk look like a gift from the gods;

Inquisitive Marion, Mansfield. Is Janet
Gaynor a star? I hope to spread the good
news she is; but where in Ohio have you
been not to know all about the famous
Fox twinkler? She was born Oct. 6, 1906,
in Philadelphia, Pa. Owen Moore played
with Sally O'Neil in "Becky" and not
Bert Lytell. Bert was born in New York
City. Priscilla Dean was born and edu-
cated in New York City. She had a stage
career in stock, repertoire and vaudeville
before going into pictures. She has brown
hair and eyes, is 5 feet 4 inches tall and
weighs 130 pounds. She is the wife of
Leslie P. Arnold, a round-the-world aviator.

Buddy's Admirer from Patton, Pa. An-
other heated argument to settle — who
played Buddy Rogers' mother and who
played Richard Aden's mother in "Wings?"
Hedda Hopper was Mrs. Powell, mother of
Buddy; and Julia Swayne Gordon was Mrs.
Armstrong, the mother of Richard.

Samuel of Monitor, Sas\. You are wel-
come to join this happy little band of co-
workers— just what we're working and
whom, will be decided later. Tom Mix
can be reached at RKO Studios, 780 Gower
St., Hollywood, Cal. Tom's latest release
is "The Drifter" with Dorothy Dwan.
Mary Ann Jackson of "Our Gang" was
born Jan. 14, 1923, in Los Angeles, Cal.
She has straight reddish brown hair and
grey-blue eyes. Jean Darling was born
Aug. 2 3, 1922, at Santa Monica, Cal.
She has pale yellow hair and deep blue eyes.
Joe Frank Cobb (Fatty of the Gang) was
born Nov. 7, 1917. Fie has light brown
hair, grey eyes, is 49a/2 inches tall and
weighs 119% pounds. He started with the

M. G. and L. W. from Delano, Cal. You
couldn't find me when I'm not answering
letters, but drop around any afternoon arid
spend the day and bring your sense of
humor. James Murray was born in New
York City, Feb. 9, 1901. He is 5 feet 11%
inches tall, weighs 178 pounds and has light
brown curly hair and green eyes. His
first picture was "The Pilgrims" in 1923;
and later he appeared in "Hospitality." He
has played in "The Crowd" with Eleanor
Boardman and in "The Big City" with Lon
Chaney. His wife is Lucille McMames —
yes, she's in pictures, too.

Madge of Collmsuine, III. Why doesn't
Lon Chaney get the girl he loves in his
pictures? Ah, me! That question has
turned many a big happy moment into
tears and my pink cheeks to pallor. (My
make-up box, Ernestine — and you tell the
lady.) Patsy Ruth Miller is married to
Tay Garnett, the director. Renee Adoree
was born in Lille, France, in 1901. She
is 5 feet 2 inches tall, weighs 105 pounds
and has dark brown hair and dark blue
eyes. Ronald Colman was born Feb. 9,
1891. His latest film is '"Condemned."

Monica and Roy B. of Kingston, Jamaica.
You want a full-length picture of your
favorites — I'm sorry, but we do not send
out pictures of the stars in any length.
But if you'll write and ask them prettily,
you may be rewarded. Address Marion
Davies and Ramon Novarro at Metro-Gold-
wyn-Mayer Studios, Culver City, Cal.
Billie Dove and Richard Barthelmess at
First National Studios, Burbank, Cal. The
other stars you ask about will be found
elsewhere in this department.

In New York — Continued from page 71

seasoned air of an old, experienced trouper.
"The Sophomore" was playing at the Para-
mount Theater on Broadway and also at
the Paramount in Brooklyn; and Eddie was
kept busy regaling the audiences with
Quillan quips and steps.

Two of our loveliest ladies have left us
for London — but only temporarily, thank
goodness. Gloria Swanson and Gertrude
Lawrence are both sojourning in merrie
England — Gloria on a combined business-
and-pleasure jaunt, and Miss Lawrence to
play a limited engagement in a new play
called "By Candlelight," which she will
bring back to Broadway with her when
the short London run is completed. Leslie
Howard will play opposite her, and I can't
help wondering when Mr. Howard is going
to make a screen debut. It's about time,
for he is one of the most ingratiating per-
sonalities in the modern theater.

Gloria looked grand and gorgeous all in
green when I saw her. She remains posi-
tively the best-dressed picture girl. She was
gay at the prospect of appearing at the
London premiere of her latest picture and
first talkie, "The Trespasser." And even
more thrilled to be seeing Hank again — the
Marquis, you know, who has been abroad
for several months as foreign observer for
Joseph Kennedy, Gloria's manager.

The Paramount studio will miss Gertrude
Lawrence like everything. She is probably
the most popular star who has worked there
for a long, long time. Charming, kindly,
always good-natured, she might be an am-
bitious beginner instead of a celebrated
international star. The studio is still talk-
ing about the party she gave for her co-
workers on "The Gay Lady." Her first
talking feature should be a huge hit.

If here isn't Phillips Holmes! How
times change. It .seems only yesterday that
I was talking to Taylor Holmes about his
children. And now one of the children
appears — a tall, very handsome, cultured,
and poised young man, with a background
of Cambridge and Princeton, a present of
a Paramount contract, and a very bright
future, if we can believe all we hear of
Phillips' prospects.

I think I can safely herald a new idol
in young Mr. Holmes. If he gets the right
parts, he's .sure to develop into a real star.
He meets all the requirements, and he has
something essentially his own, besides: a
poetic personality. Now don't misunder-
stand me. I'm not saying he is willowy
and Shakespearean or anything like that.
He is a very robust, modern young man.
But there is a romantic quality about him
that I've never noticed in any of our very

American young leading men. And he has
a whimsical sense of humor. In fact, he
looks the way A. A. Milne should look,
if you know what I mean.

He came east to play in "The Return
of Sherlock Holmes," starring Clive Brook.
"I considered it a pretty compliment, let-
ting me play in a 'Holmes' picture," smiled
Phillips.

Walter Huston is a refreshing person.
I'd say he doesn't look at all like an actor
— except that no real actor ever does! He
is big and good-looking in a quite untheat-
rical way. He'll tell you all about his
grown-up son and how proud he is of his
literary talents. And when he returned
from Hollywood after playing Trampas in
the all-star talking production of "The
Virginian," he spoke of Richard Arlen and
his wife — what a splendid young couple
they are, and what good times he had with
them, and how Dick was coming east to
visit him as soon as his picture schedule
permitted. But never a word about Walter
Huston, unless you pin him down. He
started rehearsals of "The Commodore
Marries" for Arthur Hopkins as soon as he
returned east. When this Broadway en-
gagement is over he will probably make
some more pictures. Didn't you like him
in "Gentlemen of the Press" and "The
Lady Lies?"

SCREENLAND

Make-Up a la Mode—c°ntinued from Paie 73

standard of purity and efficacy. And beauty
specialists today know all about skins and
how to treat them individually and scien-
tifically.

So that's that. No longer the question
is, "Shall we, or shall we not, use rogue,
lipstick and powder?" But, "Which, out
of the alluring array of preparations, shall
we adopt for our own?"

And that is partly settled for us, too.
Because never before have women had such
scientific and sensible guidance in ways of
beauty. Never before have so many people
been engaged in the service of beauty.
The problem of artistic make-up is not hard
to solve, for there are powders, rouge and
lipstick for every coloring — luscious, glori-
fying colors, some of them; others ex-
quisitely dainty, made especially for fine-
tcxtured skins.

In the first place, make-up should not
call attention to itself. It should counter-
feit nature, but not outdo her. "Please
tell me," writes a girl every now and then,
"how I can make up to look like the movie
actresses?" Could she see an actress made
up and ready to face the camera she would
realize that she does not want to look as
the actress looks while she is wearing the
exaggerated movie make-up. But, if she
could see this same actress on the street some
day, she would find the actress wearing
discreet make-up — just enough to accen-
tuate her natural coloring — because she has
learned that the best effect is gained by
using just the amount of make-up needed,
no more.

Don't choose your powder and rouge
because your best girl friend uses it with
such good results, or because you like its
fragrance and color. Choose it because it
seems to have been made just for you.
Don't get the idea that white or pink pow-
der is the only suitable powder for blondes,
that dark skins need to be lightened by
powder, that deep red rouge is worn only
by older women and that eye make-up can
be used only at night.

Some experts contend that the blonde
with the fair skin is the only woman who
can wear flesh powder suc-
cessfully, yet rachel or nat-
urelle suits many blondes.
There are rare transparent
skins — usually they go with
pale gold or red hair — which
need a careful blend of
white and pink and creamy
powder to bring out their
delicate beauty. To achieve
this artistically, dust the face
with white powder, the
cheeks with pink, and over
all a dusting of natural
creamy powder of light tex-
ture. This gives a really
natural effect.

The very delicate blonde
must be carefully made up.
Her make-up must not assert
itself. Her powder must
match or blend with her
skin, and she may have just
a soft coral-flush for her
checks, the tiniest accent for
her lips, discreet encourage-
ment for her eyebrows and
lashes, particularly if they are
very light.

A blonde too, might be
very lovely with pale orchid
powder and geranium colored
lipstick and rouge. Orchid

powder, by the way, suits only those whose
skins are naturally fair, and should never
be used in daylight.

The brunette, unlike the blonde, may
accent her coloring. In powders, an olive
or brown or pinkish tan will become her,
or peach, ochcr or mauve. Her powder
should never be lighter than her skin. If
anything, it should be a shade darker. She
may emphasize her lips with coloring, par-
ticularly if her mouth is lovely. And while
she may wear a bit more rouge than her
blonde sister, it must not be exaggerated.
Natural loveliness is the rule in the smart
world today. Geranium rouge and lip-stick
is becoming to nearly all faces, and is an
especially flattering evening shade for every
woman. Red raspberry is flattering too, to
every type of skin. Many brunettes look
well in a deep rose for daytime wear, and
an orange shade at night.

Recently I saw a French powder — very
pink, which, when applied in conjunction
with an ivory-toned powder gives the effect
of a very light rouge. It is not even a sus-
picion of an artificial make-up and it is
quite lovely, especially for a very young
or an older woman who would like to im-
prove the natural color tone of her skin.
This pink powder should not be used with
natural or flesh powder. The best effect
is obtained through using rachel or ocher.

The in-between girl is fortunate in a way,
because she belongs to no distinct type, and
may choose from the powders and rouges
created for blonde and brunette skins the
combination that best suits her, As she
is not a distinct type, there are no set rules
for her to follow. She has only to use her
common sense and intelligence to achieve
a beauty all her own. For instance, if she
happens to be an 'in-between' with regular
features, dark hair and a too-pale skin, she
may turn this liability into an asset by leav-

clcan, and the foundation preparation,
whether it be a stiff or thin cream or in
lotion form, must be suited to your own
skin texture. And don't fail to use an
astringent freshening lotion or cold water,
lest the pores become enlarged. As to the
texture of your powder, heavy, light or me-
dium, that too is for you to decide. There
is no rule that applies to all types of skins.

In applying make-up, remember that a
full face may be given the appearance of
slenderness by using rouge a little deeply
about the edge of the cheeks and very little
over the surface between.

An oval face should have the rouge ap-
plied very lightly to the cheek bones. A
deft touch to the lobes of the ears — just
enough to make them glow — enhances the
charm of the face.

If your face is long and narrow, width
and charm are added by bringing the rouge
to a point on the cheekbone, making it
broader just below the center of the cheek.
Never allow the rouge to touch the temples.

When using rouge, shade it delicately
into your normal color. Work in a very
little at first with an upward movement,
then a little more if you think you haven't
enough. At the edges, deftly tone down
the color in order to break any conspicuous
outline. A skillful touch of rouge low on
the chin will tend to soften the effect and
make it inconspicuous.

If your skin is dry, a cream or paste
rouge is best and stays on well. In fact.
I heard quite recently of a paste rouge
that stays on indefinitely. You can walk
in the rain, or go in bathing, or cold-cream
the face, but the rouge stays on! All this
permanency without injuring the skin in
any way, it is claimed.

When you apply rouge, be careful net
to leave it with a hard line around the

ing her face colorless, using no make-up at edge, but shade the edges carefully off

all except on her lips. This make-up is
distinctive, but the mouth must be well
shaped if it is to be thus 'featured

The powder helps to do this, but the first
application of rouge should be pretty well
shaded off before the powder is applied.

Before applying make-up, prepare yojr It doesn't much matter whether you apply

skin for it. 1 he skin must be perfectly

Dorothy Sebastian welcomes those sweet singers, Van
and Schenck, to Hollywood, where they will warble
for the microphones.

rouge or powder first — but a soft, natural
effect is necessary if you
would achieve the radiance
of a perfect make-up.

If you have a good color
in your lips but find that
they are inclined to be dry,
rub a white lip-stick over
them gently. If you wish
to touch up your lips with
a little color, do not smear
it on, but apply the color
to the bow of the lips and
with a motion to the cor-
ners, blend color until it is
not conspicuous.

Some girls like to use
liquid rouge on the lips
first. Put it on with an
orange-wood stick wrapped
in cotton, shaping the mouth
with it carefully. Finish
with your paste or lip stick.
Use color on your lips spar-
ingly. You can make or
mar the appearance of your
mouth by this application.

If you want to know more
about make-up, about shades
and colors specially suited
to different types of skin,
write to me. I will be
glad to tell you all about
them.

for November 19 2 9

•*I like these
talking comedies.
There are always
a lot of laughs in
them! 59

* f I do, too. They re
often the best
thing in the show.99

What is "the best thing in the show"? It's the
picture that amuses you, entertains you, most,
regardless of its length. And now, since the
film talks, it is oftener than ever the short
comedy.

Jack White has made millions laugh with hun-
dreds of silent comedy hits. But now his comedy
creations are immeasurably funnier with talk-
ing, appropriate music and natural sound
effects.

In his pictures, and in all of Educational^
Talking Comedies, six laughs now grow where
one grew before — and they are still more surely
"the spice of the program."

Millions are finding these talking comedies "the best
thing in the show." Watch for them in the leading
theatres.

JACK WHITE

TALKINR

COMEDIES

"LOOK OUT BELOW"
"HUNTING THE HUNTER"

EDUCATIONAL FILM EXCHANGES, Inc.

E. W. HAMMONS, President
Executive Offices: 1501 Broadway, New York, N. 1'.

MERMAID
TALKING COMEDIES

Jack White Productions

"TICKLISH BUSINESS"
"THE TALKIES"

LLOYD HAMILTON
TALKING COMEDIES

"HIS BABY DAZE"
"PEACEFUL ALLEY"

LLPINO LANE
TALKING COMEDIES

"BUYING A GUN"
"FIRE PROOF"

MACK SENNETT
TALKING COMEDIES

"THE CONSTABULE"
"THE LUNKHEAD"
"THE GOLFERS"

CORONET
TALKING COMEDIES

with

Mittiranl Everett Hortttn
"TRUSTING WIVES"
"PRINCE GABBY"

TUXEDO
TALKING COMEDIES

Jack White Productions

"SOCIAL SINNERS"

SCREENLAND

On Location with Bebe Daniels — Continued from page 67

told me.

After lunch everyone lazed around a bit.
John Boles went to his tent for forty winks
and a chance to look over the dialog for
his next scene.

It is a curious thing how the 'mike* ter'
rorizes actors. I suppose because it is such
u formidable, final instrument. It records
every little mistake, and mistakes cost the
firm money. In their eagerness not to make
mistakes the actors make more than they
ever did in silent pictures. Just getting
accustomed to a new technique, that's all.
After a few months of talking pictures they
forget all about the 'mike'. But at first!
I know several tried-and-true actors with
years of stage and screen experience who
go perfectly blank before the mike, spoil-
ing scene after scene. And even such fine
troupers as the Duncan sisters were scared
stiff when they made their first talkie tests.

Don Alverado took me over the loca-
tion and showed me all the points of
interest. It was like a little village with
tents and sets scattered all about. There
was even a hospital with five or six beds,
a first aid kit and several electric fans. I
wondered why a hospital tent should be
necessary.

"Last week it was very hot here — 115
in the shade! We were doing all the
chorus work and seven of the girls passed
out in one day. They had to be revived
and sent back to town," Don told me.

All the hills surrounding the location
had been decorated with prop cactus and
miniature dwellings. The nearest of these
was large enough for a man to stand up-
right in, the smaller ones in the distance
just grand for a playhouse.

"What a swell time a bunch cf kids
would have playing about in those," some-
one remarked.

Just about that time Ben Lyon came
bursting upon the scene in his new Dupont
which he was so proud of he couldn't wait
until Bebe got home that night to show it
to her.

Ben seemed to be taking his new car
very seriously. He wore a beret — "just to
keep in the foreign atmosphere," he said.
We all trouped over to Bebe's tent then,
her coiffure being completed just a few
minutes before.

Mme. Morando. the wife of Bebe's vocal
teacher. Otto Morando. was with her.
Madame had come out to lend moral sup-
port to Bebe who had to sing the "Rio
Rita" duet that afternoon.

While Bebe is said to have had a lovely
voice as a child, she had not taken it
seriously; but when she was given the part
of Rio Rita it behooved her to learn how to
sing. She had worked every day for three
months on her voice before the picture
started and her teachers were delighted
with her progress. Mme. Morando, being
a Latin, is a very enthusiastic person and
told me eloquently that Bebe, besides hav-
ing a very beautiful natural voice, had been
;ble in so short a time to handle the role
like an experienced singer. "You shall
see!" the vivacious little lady cried, "you
shall see this afternoon when you hear her
that I am right!" I must confess that I
took some of it with a grain of salt, al-
though I know what a good teacher can do
with an apt pupil in a short time. And I
discovered later that the Morandos must
be fine teachers or Bebe could not sing as
she does sing with so little instruction, no
matter how clever she is.

And I have always heard that Bebe was
a clever girl. She can outmatch almost
any other girl in Hollywood for wit; she
has used rare judgment, I am told, in the
decoration of her beach houses which she
builds, rents and sells; she has been known
to outlast bankers, lawyers, writers and
what.-have-you at memory contests; and she
is, I am also told, a shrewd business woman.
So Bebe, besides having a good mind, must
use it.

"I studied an hour every day," she said,
"and practiced a few minutes before and
after my lesson. I just adore it, and shall
always keep it up."

She is so happy over her change of parts
that it is marvelous. And everyone who
knows her and I am sure the fans who
saw her in "Monsieur Beaucaire" with the
ever-loved Rudy Valentino, are delighted
for her. She has such power for dramatic
expression, such appeal for romantic drama
that it seems a shame she should have been
denied it these many years. Yet she is
probably the richer for her experience in
comedy parts.

"All ready. Miss Daniels! We are play-
ing the obligato this afternoon," an-
nounced an assistant.

"Fine," said Bebe, and turning to me
added: "Three months ago I thought an
obligato was a salad dressing!"

But for the sake of those who do not
know her I hasten to add that although
Bebe didn't sing until three months before
she stepped into "Rio Rita," she did know
plenty about music and her home was quite
a gathering place on occasion for musicians.

Sitting under the beach umbrella in back
of the cameras I had the greatest thrill I
ever had on any location when the first
strains of the beautiful "Rio Rita" duet
floated through the air. There we were
miles away from anywhere, surrounded by
hills and sky and clouds, the cooling breeze
Californians can almost always count on
in the afternoon allaying the fierceness of
the sun, and in that balmy air to hear this
lovely music played by a thirty-five piece
orchestra conducted by Victor Baravalle
who directed the original Rio Rita com-
pany at the Ziegfeld Theater in New York!

And there was Bebe, a luscious, dusky-
skinned maid, the richness of her complex-
ion and costume blending perfectly with
the flower motif and olivc-hued hacienda
in the background.

Her voice was sweet and clear with a
purity of tone that is a rare gift. She
sang with perfect unselfconsciousness. Of
course, everyone since "The Desert Song"
knows that John Boles can sing, so his fine
work as the hero in "Rio Rita" will not
be the surprise that Bebe's will.

The men not in costume had peeled oil
and were amusing to see in their under-
shirts and the big Mexican hats we all
wore to keep ourselves from sun stroke.

"Brother Boles," said director Luther
Reed, who calls John that, "are you all
set?"

"All set," said John from the background
where he remains partially hidden watch-
ing Bebe for the first part of the scene.

"Okay, then. Turn them over!" shouted
Mr. Reed.

"Hey," yelled a grip who was straddling
the roof peak and balancing a reflector
which lighted the scenes below. "There
goes your tin!" and a splintering crash told
of an overblown reflector at the back of
the garden. Three men sprang to the res-
cue, crying "We're on it!" as they ran.

The second time the scene was shot I
heard it from the mixer's booth and it was
great. Then I went back to the set, for
not being of a mechanical turn of mind I
enjoyed seeing and hearing it at the same
time a little better, although I know it is
a terrific honor to be allowed in the booth
and I did appreciate it.

But after the second 'take' things began
to go wrong. You know in a theater the
orchestra leader is a little below stage
level and directly in the centre, within the
range of the eyes of everyone on the stage.
In a studio or on a location that can't be,
because of the cameras. The orchestra in
this case was on the side. If the conduc-
tor, Victor Baravalle, stood facing his or-
chestra, which he naturally had to, would
have his back to the singers. He therefore
had to perform a few- gymnastics, turning
sidewise from time to time so that Bebe

Director Mervyn Le Roy, with Edna Murphy and Eddie Buzzell
— leading lady and star respectively of "Little Johnny Jones."
Edna is also Mrs. J.e Roy.

for November 19 2 9

and John could see him. Even then it was
hard. Bebe had to sit with her profile to
the orchestra and John, who was standing
up, was supposed to be looking down at
Bebe, so what could either of them see of
the leader? Precious little!

Well, twice John stopped the scene be-
cause he thought he was out of step with
the orchestra, and once Baravalle stopped
because he thought John was out of step.

"Say, what is this, anyway?" said Luther
Reed. "Are we going to play hide-and-
seek here all afternoon. Gosh, I'll have to
stop the next, or I'll feel slighted!" John
was pacing up and down on the set, Bara-
valle was pacing up and down on the right
and Luther Reed was pacing up and down
in back of the cameras. Then they all
stopped pacing at the same time, and with
everyone holding their breath the scene be-
gan and proceeded to a smooth finish.

"And I'll bet that when they go to
check up, the first take will be the one
they will use. That was a pippin," re-
marked one of the musicians.

"Baravalle has a great personality, hasn't
he?" asked Ben, who had noticed that I
watched him almost as much as the players.
And what Ben thinks of Bebe's voice —
well, I want to get to the beach this after-
noon for a swim, so I'm just not going to
write it all down!

For Bebe's convenience as well as to
save time, a full-length mirror and port-
able makeup-table had been brought out to
the set and between scenes she rearranged
her hair and assured herself that her cos-
tume was all right.

One meets extremes in luxury and in-
convenience in a studio. While a director
hardly has a cigar out of his pocket before
there are three lights ready for him, and
a star has a chair placed under him no
matter where he may be, others can stand
for hours with nothing offered them or even
permitted them, for it isn't technical to sit
on the props, but the floor. This does not
apply to writers, however!

Roaming about we found Solidad Jiminez
who played the mother of Dorothy Burgess
in "In Old Arizona." I asked her what
she was playing in "Rio Rita," remember-
ing her excellent work in other pictures.

"I am playing extra work," she an-
nounced. "And I play extra work till they
pay me the salary I want for parts," and
she mentioned a sum that I did not think
at all unreasonable considering what other
character women get for such important
roles. "Why should I worry about parts?"
she went on. "Extra work — I have no
trouble. No lines to learn, no worry, no
responsibility. Parts — I have to get up
four o'clock in the morning to be made up
at nine in the studio. I have no car. I
get good salary but I am a type and some-
times I no get a part for months in be-
tween times. That is why I want more
when I do play parts. Extra work — I work
every day!

"Don Alvarado, he is my good friend
and he say I should play parts, but I no
do. You remember that speak I had with
Eddie Lowe in 'In Old Arizona?' Well,
you should have heard all the speak they
cut out! Mucha, mucha speak. 'Cause
why? I no know except it was too long.
I speak better accent than Americans. But
why not? I am Spanish! Funny if I
could not speak Spanish accent. You wait
and see in 'The Cock-Eyed World.' I
have much speak with Eddie Lowe. In
extra work I don't have to worry whether
they cut my speak out or not," she said
with amused eyes, "So I do extra work
till they pay what I want!"

ALICE JOYCE SAYS:

"'The Etiquette of Beauty' is one of the most helpful
and delightful books on this subject that I have ever
read. In it Dorothy Cocks tells how to get the utmost
from the body in both health and beauty . . . and demon-
strates clearly how dependent the second quality is on
the first.

Alice Joyce."

SECRETS of make-up fill one chapter. Secrets of the Fifth Avenue Salons
and of Paris beauty specialists, for which women pay thousands of dollars.
Secrets of diet, to keep your skin fine and clear, and to make your figure
what you want it to be. A whole chapter on Personality, full of practical
things to do to make you more charming, poised, gracious, alluring. Ideas on
dress, from famous stylists and couturieres, to teach you how to select clothes
to make you look taller, shorter, thinner, whatever you need to improve your
figure. Written by Dorothy Cocks, famous authority on health and beauty,
who was chosen by the Encyclopaedia Brittancia to write the chapters on
beauty culture for their forthcoming edition.

"The Etiquette of Beauty" is on the dressing tables of hundreds of famous
women. They follow its rules every day, refer to it constantly to keep them-
selves exquisitely groomed, smartly dressed, seductively perfumed. Buy a copy
of this book today. It will add tremendously to your knowledge of personal
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The regular price is Five Dollars per copy.

Scheenland offers this book for the first time at a popular price — $2.85.
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black and gold. An exquisite gift book or bridge prize. Every woman should
have a copy who values her power to charm.

Fill out the coupon today. Book sent C. O. D., or enclose check or money
order with coupon. Money back if not satisfied. Send today.

SCREENLAND MAGAZINE

49 West 45th St., New York

Send me a copy of "The Etiquette of Beauty." by Dorothy Cocks.

(Send C. O. D. I will pay postman $2.85 plus few cents postaKe.
Check one (Enclose money order (or check) for $2.85. I understand you

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Name

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S C R E E N L A N J)

Fannie Hurst- Continued from page 3-

you. I've been praying for weeks that I'd
get the part, and I will.

" 'I've been putting on weight," she went
on, 'so I'd look like Lummox. I've studied
and studied the book. Docs this sound
familiar?" And suddenly, to my astonish-
ment, she began reciting lines. "Aren't those
Lummox's very words?" she said.

" 'I don't know. Are they?" I hadn't the
faintest idea whether they were or not.
You see, after a book is finished and pub-
lished, an author gets quite detached from
it.

" 'Get the book,' said Miss Wcstover,
'and you'll see.'

"So I got a copy, and sure enough, not
only did she know all that Lummox said
but she had memorized every word of the
book. Every single word!

" 'You see," she said, triumphantly, 'I
v.m Lummox. I've been Lummox all my
life. And I'm going to play the part."

"She went to Mr. Brenon with the same
story, and he asked me what I thought of
her. 'She undoubtedly has a quality that
is Lummox I told him. 'But in appearance
— I'm not so sure." You see, when you
create a character, you have a clear mental
picture of her. I see Lummox as a big,
inarticulate clod. Miss Westover is obvi-
ously not that. But she had more of the
intangible qualities we needed for Lummox _
than anyone else who tried for the part.
So we finally decided she should play it."

Miss Hurst's brown eyes are constanly
animated as she talks. Expressive, full of
life, very vivid.

"When I was in Hollywood," she said,
"I asked Miss Westover if she was coming
to New York for the opening of the pic-
ture.

" 'I think so," she said. 'I haven't seen
New York in years.'

" 'But,' I said, puzzled, 'what about six
weeks ago when you came to see me?'

" 'Yes. but I didn't go anywhere. I
didn't see New York at all. I stayed in
hotel room the whole
time waiting for
your telephone call."

" 'My telephone
call?"

"She nodded. 'You
see, I had prayed
that you would send
for me to play Lum- ^
mox, and every day
I expected you to
do it." "

An amazing story,
as Miss Hrust told
it, even for Holly-
wood, that incredible
city where anything,,
can happen, and
sometimes does.

In fact, there are
several amazing as-
pects about the film-
ing of "Lummox."
One of them is that
the author's presence
was wanted on the
lot.

"When Mr. Brenon
invited me to Holly-
wood to stand by in
the making of the
picture," Miss Hurst
continued, "I was
astounded. A direc-
tor actually wanting
the author around!

A I Jolson — that's all! His next picture
is tentatively called "Mammy."

Authors are usually the fifth wheel to their
picture productions.

" 'You don't want me," I told him. 'I
don't know anything about the mechanics
of movie making. I'd just be in the way."
Oh, yes, Mr. Brenon insisted, he did want
me. He needed me to make sure that the
intent and spirit of 'Lummox' were trans-
ferred to the screen.

"And when I got to Hollywood, I found
that my co-operation really was wanted.
Mr. Brenon practically threw the scenario
out the window, and carried the book itself
around to work from.

" 'Where'd that dialog come from?' he'd
say, during some of the spoken lines.
'That's not the way it is in the book.' He

Alice Day shows the magic sign of the 'mixer' which indicates that the 'take'
is okay. The 'mixer' sits in a sound-proof box and regulates the tones of
the speakers while a scene is being made. Then he either shakes his head,
meaning that the scene must be retaken, or signals 'Okay!'

was determined to follow the book as
closely as possible. Oh, there had to be a
few changes, of course, because movie tech-
nique is quite different from novel tech-
nique. But Mr. Brenon was charming
about it; he'd explain why certain changes
were necessary, and always the reason was
a very sound one."

Of course all through Miss Hurst's con-
versation, you get the feeling that, being
a great person, she is not given to the
petty quibbling of petty authors.

She explained with pride: "All during
the time Mr. Brenon and I worked together,
we had only one tiny disagreement. Over
one line. I thought it was bathos, bit
Mr. Brenon liked it. Well, he knows his
box office, so I didn't quibble. What's one
line! I was much too pleased with the
way 'Lummox' was being treated.

"I don't mind admitting," she said,
"that when 'Lummox' was first bought for
the screen, I wanted it as a silent pic-
ture. Silence seemed so much more appro-
priate. It struck me as comic that the
most inarticulate character I ever created
should become my first talking heroine.
Paradoxical, isn't it?

"But I realized that the day of the silent
picture is past. Whether we hail it or not,
the talking picture is here.

"We protest, many of us; largely, I think,
because it's new. We like to run along in
our comfortable grooves, doing things just
as we did them last week or last month.
The radio, the automobile, the airplane,
were once tiresome innovations, but no one
could laugh them off! Here they are, all
over the place.

"Talking pictures can't be laughed off,
either. They'll soon seem quite natural.
The silent film belongs to yesterday; we
don't live in yesterday. We live in today
and tomorrow.

"So, intellectually, I realized that my
Lummox, like other movies heroines, would
have to speak her piece; but the reaction-
ary side of me sighed
a little for an old-
fashioned silent ver-
sion of my inarticu-
late heroine. But I
can't complain of the
result."

And that is an-
other factor in mak-
ing "Lummox" a film
of surprises. The
author is pleased.
Yes, the picture is
full of ironical
touches. Miss Hurst's
most inarticulate
character is her first
to be presented tn
the talkies. Miss
Westover comes out
of retirement and
prays her way into
the role. Mr. Brenon.
as director, actually
wants the author's
co-operation. And
Miss Hurst presents
the beaming picture
of an author delight-
ed with the filming.

"Lawsa, massa,"
the movies must be
saying, like the old
lady in the nursery
rhyme, "surely this
can't be I!"

for T^ovember 1929

The Most Darin

ver

Writt

ing Book

Elinor Glyn, famous author of "Three Weeks" has written an
amazing book that should be read by every man and woman
— married or single. "The Philosophy of Love" is not a novel
— it is a penetrating searchlight fearlessly turned on the most
intimate relations of men and women. Read below how you can
get this thrilling book at our risk — without advancing a penny.

ELINOR

"The Oracle

WILL you marry the man
you love, or will you take
the one you can get?

If a husband stops loving his
wife, or becomes infatuated with
another woman, who is to blame
— the husband, the wife, or the
"other woman?"

Will you win the girl you want,
or will Fate select your Mate?

Should a bride tell her hu sband
What happened at seventeen?

Will you be able to hold the
love of the one you cherish — or
v-villyourmarriageendin divorce?
Do you know how to make people like you?

IF you can answer the above questions —
if you know all there is to know about
winning a woman's heart or holding a
man's affections — you don't need "The
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What Do YOU Know
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DO you know how to win the one you
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of love? When is it dangerous to disregard
convention? Do you know how to curb a

GLYN
of Love"

What Every Man and
Woman Should Know

-how to win the man
you love.

-how to win the girl you
want.

-how to hold your hus-
band' 3 love.

-how to make people
admire you.

-why men "step out"
and leave their wives
alone.

—why many marriages

end in despair,
-how to hold a woman's

affection,
-how to keep a husband

home nights,
—why most women don't

know how to make love,
—things that turn men

against you.
—how to make marriage

a perpetual honey-
moon.

—the "danger year" ol
married lite.

— how to ignite love —

how to keep it flaming
— how to rekindle it il

burnt out.
— how to cope with the

"hunting instinct" in

men.

— how to attract people
you like.

— why some men and
women are always lov-
able, regardless of age.

— how to make love keep
you young.

— must all men be either
"dubs" or devils?

— how to increase your
desirability in a man's
eye.

— how to tell if someone

really loves you.
— things that make a

woman "cheap" or

"common."
— how to make people

do the things you want

them to.

headstrong man, or are you the
victim of men's whims? Do you
know how to retain a man's
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you youthful and fresh? Do you
know the things that most irri-
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what you MUST NOT DO un-
less you want to be a "wall
flower" or an "old maid"? Do
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less husbands soon after marriage — and
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In "The Philosophy of Love," — Elinor
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fying glass unflinchingly on the most in-
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she suggests wisely, she explains fully.

We admit that the book is decidedly dar-
ing. It had to be. A book of this type, to be
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while Madame Glyn calls a spade a spade
— while she deals with strong emotions and
passions in her frank, fearless manner — she
nevertheless handles her subject so ten-
derly and sacredly that the book can safely
be read by any grown-up man or woman.
In fact, anyone over eighteen should be
compelled to read "The Philosophy of
Love"; for, while ignorance may some-
times be bliss, it is folly of the rankest sort
to be ignorant of the problems of love and
marriage. As one mother wrote us: "I wish
I had read this book when I was a young
girl — it would have saved me a lot of
misery and suffering."

Certain self-appointed censors may con-
demn "The Philosophy of Love." Anything
of such an unusual character generally is.
But Madame Glyn is content to rest her
world wide reputation on this book — the
greatest masterpiece of love ever attempted!

SEND NO MONEY

YOU need not advance a single penny
for "The Philosophy of Love." Simply
fill out the coupon below — or write a letter
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warninq:

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SCREENLAND

Zr the Star System Doomed? — Continued from page 45

and Betty Compson think the stars will he
less important than in the silent days. The
story will matter more than ever before.
A picture exploiting one personality will
not be so popular. The rest of the cast
will be more carefully chosen and devel-
oped. Development of the story, charac-
terization and business will also be given
more careful attention.

Evelyn Brent thinks talkies detract from
the glamour of a star because of the in-
different photography still necessary on ac-
count of the lighting. It is a mechanical
point not yet solved — and how we miss
the beautiful photography of old!

"Redemption" is just one instance of the
new casting system, though the most note-
worthy one I recall at the moment. With
John Gilbert appear Conrad Nagel, Eleanor
Boardman, Renee Adoree in leading parts,
and other well-known people in smaller
roles. Almost every cast today features
three or four big featured players. From
a source I promised not to quote I was
told that one organization thinks that is the
only way to get talking pictures over at all!

Imagine the embarrassment of these pro-
ducers who have invested millions in sound
picture equipment if talking pictures hadn't,
after all, come to stay.

Apropos of this declaration Fred Niblo
had a rather startling experience to relate
when he and Mrs. Niblo returned from
their vacational tour of the northern States
and Canada. In every town they were
bombarded with objections to talking pic-
tures and hopes that the .silent pictures
would come back!

Mr. Niblo thought one reason for this
was the poor recording due either to the
operator, the acoustics, or the theater
mechanism. The dialog he heard was faulty
and blurred, enough to handicap any pic-
ture. Right here in Hollywood this some-
times happens. You hear a scene in the
studio and it is beautiful. The .same scene
in the theater is something else again.

Estelle Taylor had an original thought
on the star system subject. Her feeling is
that talking picture stars will be a survival
of the character actor. Whereas a star
could be a star if she were beautiful and
had a good story, talking pictures demand
more than that. A player who can char-
acterize cleverly, can twist and turn a well-
worded phrase, will have the best future
chances of popularity.

In other words, the days of the beautiful-
but-dumb have passed.

Ramon Novarro also thinks the fate of
a star hangs on his ability for characteriza-
tion. If he plays different types of parts
an actor must make them human, appealing,
believable. The screen will always have its
sun gods and goddesses, its Pickfords,
Bows, and Garbos; its Chaplins, Colmans,
and Gilberts.

What makes them star material and
what makes other charming and talented
people, who have sometimes done better
work, merely good strong support? Is it
that they haven't had their chance? Their
break? Oh, no. Not often, because they
have had fine parts. And if that were
true why wasn't Mary Miles Minter the
biggest star in the business, as Famous Play-
ers thought she would be when they signed
her to take Mary Pickford's place on their
program?

Paramount, then called Famous Players,
spent a fortune trying to make Mary Miles
Minter the greatest star in motion pictures.
But they couldn't do it. Why? Many

Dixie Lee is looking over her pretty
shoulder at a lucky somebody! Can it be
young David Rollins? Ever since Dixie
and Davey met while both were filming
"The Fox Movietone Follies," Cupid has
been busy, if we can believe what we hear
from Hollyowod. Anyway, Dixie is one
of the sweetest girls and David one of the
nicest boys in all screenland.

people thought she was far prettier than
Mary Pickford. Why didn't the public give
her the adoration they showered upon the
other Mary?

Perhaps no one will ever really know.
But not long ago I heard one of the greatest
if not the greatest star discoverer in the
business, enumerate the qualities he thought
essential to the makeup of a star. This
man's name was Mack Sennett.

"I have never seen a man or woman rise
to stardom who did not have an intense and
also an impersonal interest in themselves,"
said Sennett. "Where others watch the
clock with their minds filled with the party
they were to attend that night, these poten-
tial .stars asked to see the rushes, and they
would criticize themselves unmercifully.
They sat off and looked at themselves just
as a painter sizes up his canvas or a writer
reviews his manuscript."

An actor does his work through himself.
The screen actor has the advantage over
his brother from the stage, for he can 'see
himself as others see him' if he is not too
gummed up with conceit, and the big ones
never are.

All types of people are prone to talk
about themselves. Actors are not alone in
this vice. The difference between the great
ones and the small ones is that the little
man talks about himself and the big one
talks about his work.

I once heard a great lady correct her
little daughter. "Never gossip. It is ill-
bred. Talk about things, not people," she
said. That's the difference.

A great artist attracts by the interest he
has in his work — his ability to lose his own
personality in the character and give it
life. Such people will always draw others
to them. Their appeal is to a secret some-
thing in every heart they touch that is
nameless but compelling. They are not
thinking of that when they are doing their
work: they are reaching up, above them-
selves, trying to touch something that is
untouchable and bring it back to you who
watch them. They can't quite do it, but
their striving and their sincerity has let
you glimpse for a moment something truly
wonderful. They bring a bit of the infinite
to you, and you do homage to them because
of it. And you may think it is the beauty
of the girl or the strength of the man, or
the way he makes love or something — but
it isn't that. It is that little thing called
Spirit. And you can't describe it.

Mary Pickford is passionately interested
in her work. No matter what else hap-
pened to her she used it all to make her-
self a better, a more understanding actress.
Mary Miles Minter was more interested in
life, and that's why Famous Players couldn't
make her a great star. They were licked
before they started because Mary wasn't
really interested.

Perhaps fans and producers alike are
beginning to realize that you can't put a
round peg in a square hole. And you
can't make a star out of a person who is
not star material. They may be ever so
valuable as strong supporting players and
much happier personally in this capactiy.

I talked with two recently-made stars
who were very much upset by what they
called 'the system.' When they were just
featured players they were given a variety
of parts. Now they know they will al-
ways have just one type of part to play,
and they don't think they can survive it.

"After a player has had a chance to
show his or her stuff," Dick Arlen told
me once, "the public lets the producer
know through the box office whether that
player is 'jake' with them. The producer
doesn't have to do any boosting. He just
has to make sure that the public knows
where and in what it can see its new
favorite. And the public doesn't care
whether that player is billed as a star or
not."

While Paramount let three big stars go
to other companies, Richard Dix, Bebc
Daniels, Adolphe Menjou — they created a
flock of new stars to replace the old. Time
will show whether the new twinklers will
create for themselves an entirely new fol-
lowing.

No matter what is said to the contrary,
talking picture casts of every studio seem
to bear out the idea that the star system,
as such, is passing. In the old days the
advance billing read: Theda Bara in
"Salome." William Farnum in "Les Miser-
ables." Mary Pickford in "Tess of the
Storm Country." Now these announce-
ments are qualified. They read, "The
Painted Angel" starring Billie Dove, with
Edmund Lowe, Farrell MacDonald and
Cissy Fitzgerald. "Lilies of the Field" star-
ring Corinne Griffith, with Eve Sothern,
Rita LeRoy, Virginia Bruce, Cissy Fitz-
gerald, Betty Boyd and Jean Bart. "The
Dark Swan" with Lois Wilson, H. B.

for 1^1 c v e mb e r 19 2 9

Warner, Olive Borden, Kathlyn Williams
and others. "The Virginian" with Gary
Cooper, Dick Arlen, Mary Brian and
Walter Houston.

In other words you see a whale of a
cast in almost every picture; and that, far
from detracting from the interest of the
leading player, enhances his or her value.
If a player rises head and shoulders above
these talking picture casts you can be sure
it is something in them. But it is the pub-
lic that finds it out and keeps them on
their pedestals. There may not be so many
luminaries in the future; but those that do
shine will be real stars, worthy the name,
and surrounded by a challenging cast.

The New Lila Lee

Continued from page 47

before, she has a place at the shore where
she goes on every available day off and
where she has sunned herself into a bronzey
brown.

She has done a series of interesting char-
acterizations during the past few months
and has just finished a delicious part in
Somerset Maugham's story, "The Sacred
Flame." Warners' have some nice plans
for her for the next few months, during
which time she is to make three pictures
for them.

Lewis Schuyler Stone

Continued from page 65

ashore with Freddy Fralich, his closest
friend and business adviser.

The road to the big cage is perhaps a
mile from the landing stages, a winding
road limned against an opalescent sky with
flaming eucalyptus, fronded palms and
rocky spires. To Stone it was peaceful,
restfully sylvan and inspiring after a week
aboard his ship. Sea legs needed stretch-
ing and Stone and Fralich struck out with
great strides. They hadn't gone over ten
feet when Stone was stopped by an auto-
graph album. No sooner had he started
again when a hand-shaker appeared with
a whole family similarly addicted. In one
mile, there were exactly sixty-eight halts for
autographs, handshakes, remember-you-
whens and aren't-you-Lew Stones.

Whatever Lew felt beneath that unruffled
reserve of his, only Stone himself knew.
Outwardly, he was all smiles, cordial and
appreciative of the attention his presence
created among the tourists. Too much a
gentleman to suggest the annoyance he must
have suffered, Stone shook all the hands
there were to shake, scribbled in all the
books offered, remembered all the things he
never knew he did, patted all the children
on the head, and went back to his boat
without having seen the birds.

They said of Lew Stone a couple of
years ago that he was through. His sex
appeal, it was whispered, didn't hold them
any more. Then M-G-M came along and
signed him on the dotted line and he
smashed big as a talkie player, perhaps the
greatest success he has ever known.

Today Lewis Stone is bigger than ever.

Can it be that white hair, aristocratic
sophistication and sage experience means
more to the ladies than young blood and
chiseled chins?

Just ask Lew.

We mean, you ask him.

He's not too much of a gentleman to
sock you on the- nose!

It Seemed So Strange
to Hear Her Play

We Knew She Had Never Taken
a Lesson from a Teacher

THAT night of the party when she said,
"Well, folks, I'll entertain you with some
selections from Grieg" — we thought she was
joking. But she actually did get up and seat
herself at the piano.

Everyone laughed. I was sorry for her. But
suddenly the room was hushed.

She played "Anitra's Dance" — -played it with
such soul fire that everyone swayed forward,
tense, listening. When the last glorious chord
vanished like an echo, we were astonished — and
contrite. "How did you do it?" "We can't be-
lieve you never had a teacher!"

"WeO, she laughed, "I just got tired of being left
out of things, and I decided to do something that
would make me popular. J couldn't afford an expensive
teacher and I didn't have
time for a lot of prac-
tice— so I decided to take
the famous U. S. School
of Music course in my
spare time.

"It's as easy as A-B-C.
I began playing almost
from the start, and right
from music. Now I can
play any piece — classical
or jazz."

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THEIR §
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PRINCE and PRINCESS
ASAKA 0/ JAPAN

Chuichi Ohashi, Japanese
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'Sugar' Kane—

Continued from page 56

some of the ways and some of the looks.
Above all, she is not Lffected, either in her
mannerisms or her dress, as one might ex-
pect a widely publicised baby-voice girl
to be.

In conversation she speaks in a voice that
is as light as thistledown and with a range
that climbs to the top of the stairs. Given
a topic, she talks on as earnestly and as
seriously as a judge, as if to offset her baby
type. She goes in for neither flounces nor
ribbons, but for modish sports and streets
ensembles.

"Everyone seems so surprised to find me
sensible, and you know, I am really a very
sensible person!" she explains. "I have an
older brother and an older sister and though
the baby of the family, I was always the
sensible one while they were the giddy ones.

"My baby voice is natural with me.
That is why people accept me and my work,
and why little children love to mimic me
and sing like Helen Kane does. When I
was in the theater, their mothers used to
bring them to me, and once a week I would
take the little tots out on the stage and
hold a contest. I get letters from youngsters
all over the country, and I am very proud
of my young 'fan' following.

"A girl is either born a baby type or
she isn't. She must be small with small
features, and not too thin. If she is a
real baby type, it is all right for her to go
ahead and to put it over. But woe be to
the tall, large girl who assumes baby talk
and baby mannerisms. She only appears
ridiculous. Personally, I don't think there
are many things more impossible than
forced baby ways.

"As for men liking baby voices, they
like them when they're natural, and some-
times they even like a little baby talk. It
is not wise, though, to give men too
much baby talk. It is better to talk sen-
sibly with them. While they like the baby
type, I notice that it is the other type that
they marry."

Though the baby of her family. Miss
Kane never had much chance to be babied,
for she left school at the age of fourteen
to go to work. Never were funds plenti-
ful in the modest Bronx flat, but when the
mother contracted a serious ailment from
which she was never to recover, there were
doctor's bills to be met, drugs to be bought
and additional comforts needed. Miss
Kane stopped attending St. Anselm's Con-
vent to help defray these new bills.

She tried all the variety of jobs which
New York offers its untrained girls. She
was packer in a department store. She
was a clerk here and a file clerk there. But
always some childish prank cost her her job.
Once she worked in a place where rolls for
player pianos were made. As the new song
hits came in and were made into rolls, she
learned them. One day the boys in the
office put her on top of one of the desks
and begged her to sing for them. Never
needing much coaxing, she burst into a
tuneful number just as the boss entered
the room.

When she went home that night and
told her mother that she had lost another
job, the mother replied, "You'll never be
able to keep a job if you keep on with
that singing."

After her working hours, it was Miss
Kane's custom to sing everywhere that she
had the opportunity, at church benefits,
festivals and bazaars. She and two boys
had worked up a little act, and the trio

became well-known in the parish. When
the Fordham Theater on the Keith Circuit
held weekly amateur acts from the neighbor-
hood, the parish sent these three.

By coincidence Miss Kane's first profes-
sional experience was a baby type dressed
in gingham checked rompers and singing
real baby songs such as "Down by the Old
Swimming Hole." The act was retained for
three days, at the end of which time, each
child was paid $50.

"From that time," said Miss Kane, "I
was stage-struck! I wanted to sing. I
figured that if I could make $50 like that,
I could make more.

"So I started out on a tour of the
theatrical agencies. Day after day I trudged
from one to the other. I could not get
in a chorus, because I did not know how to
dance well enough. I had never taken a
dancing or singing lesson. Finally, one
afternoon, as I sat in an agency waiting
room, Chico, one of the four Marx brothers,
came in and saw me.

" 'Do you want a job?' he asked me.
'If you do, come on up to the Fordham
Theater with me and meet the boys.' They
had an act called 'On the Mezzanine' which
they were going to take out on the road,
and were looking for cheaper players. They
needed a girl to sort of poke fun at. By
saying that I had had experience, I was
given the part, and had my first speaking
lines, but no songs.

"The pay was $60 a week and the com-
pany was going all the way to the coast.
I hated to leave New York and be separated
from my mother, but the $60 looked mighty
big to me. It was the first time that I
had ever been away from home, and the
first time that I had ever been on a sleep-
ing car. I was half frightened to death
and very lonesome. Out of each $60 check
that I received, I sent home $40. so I
lived very cheaply on the road.

"I had had no experience with make-up
before. In the company was a beautiful
blonde, who used blue eye shadow. I
thought that was wonderful, so I piled it
and all the rest of the make-up on my face
until I must have looked like a freak.

"When the company returned to New
York, the Marx brothers were offered an
English booking, which they accepted. My
mother told me to go as I might never
again be able to travel to Europe. She
wanted me to have the educational advant-
ages of such a trip.

"It was terrible leaving for that trip.
She cried and I cried. When I reached the
dock and prepared to board the ship, I
was stopped because I did not have a
special slip signed by my father giving an
under-age passenger permission to leave the
country. The boat sailed and I followed it
three days later on another ship.

"When I reached Liverpool, I scanned
the faces of the crowds, but not a familiar
one did I see. I did not have much money
with me, but sufficient to pay my passage
to London. There I took a taxi and asked
to be taken to a hotel. Of course, they
took me to the most expensive one in the
city. My room was truly gorgeous, but
I was too exhausted, tired and blue to
think about the cost. Finally, I was res-
cued and told to move as I would never
be able to pay for more than one night's
lodging.

"Happily for me, the act only played
abroad for one month.

"Again I went on the road. This time

for November 19 2 9

I was one of the six girls in an Orpheum
act called "Stars of the Future." I sang,
'How'd You Like To Be a Kid Again?'

"When this show returned to New York,
I determined to stay in New York so that
I could spend more time with my mother.
She seemed to be getting worse.

"I tried night clubs. They paid well and
let me spend the entire day at home, be-
sides giving me an opportunity to sing.
For a slight reduction in salary, I was re-
lieved from sitting at the tables with
guests and was allowed to leave at the end
of the act.

"The whole time, I was ambitious to get
in musical comedies. That was my star.
To my idea, there was nothing beyond
musical comedy.

"It is funny, but I did not start out by
saying to myself that I was going to suc-
ceed. With me, it was always, 'What can
I do to earn more money?' Other girls
with me would be so ambitious. They
would take vocal and dancing lessons be-
tween shows and be fired with the desire
to do something big. That never entered
my head. I only thought of my mother
and how my wages would lessen her suffer-
ing.

"True, I did work hard, but not study-
ing. Experience is the greatest teacher in
the world. When I finally did get an op-
portunity to sing before a great audience, I
walked out on the stage with assurance. It
was an assurance bred from singing no
matter what might be going on. In some
of the cheaper night clubs, I had to make
my song heard above the din of dishes and
the occasional shout of an hilarious person.

"There came a six months period when
I didn't work at all. My mother was very,
very sick, and since my sister had married
and had her own home to look after, I
was the only one left. Finally, our funds
got so low that I was forced to return to
the night clubs. I worked in the Club
Richman, operated by Harry Richman.
Then I went with Shuberts' 'A Night in
Spr i,' singing a bit.

"Right around the corner from this show
was the Paramount Theater, which was
putting on elaborate stage shows. At the
end of my act, I slipped over to the theater.
It is such a mammoth organization that I
could not just go before one man and try
out. I went back again and again, each
time singing before a different man, until
I had given ten auditions. At last I stood
before Paul Ash, whose orchestra was play-
ing at the theater.

"He was such a big man and I'm so
little, that as I looked up at him, I sang
right to him making my voice as baby-
voice as possible, singing 'That's My Weak-
ness Now,' putting a 'boop, boopa doop'
at the end of each line. I let myself go.

I put everything into that song. He liked
it and decided to give me a chance.

The new show opened at 11 o'clock
Saturday morning, with a packed house and
all the critics in the front row. On the
first 'boop, boopa, doop,' the critics sat up
straight in their seats. On the second
'boop, boopa, doop,' they reached for a
pencil and a piece of paper. By the third
'boop, boopa, doop,' they were racing for
exits and speeding toward their respective
city editors. The late editions of the even-

101

ing papers and the early editions of the
morning papers caught the news that there
was a new find in the gold-mine of talent
on Broadway. She was 'made' in twenty
minutes.

"I was interviewed and photographed,"
said Helen Kane, "and everybody asked me
where I had been all the time I told
them that I had been right in New York."

Four days after the memorable Saturday,
she was signed as an exclusive Victor
artist. Within seven days the name Helen
Kane was in electric lights on the famous
street. As it twinkled in and out and the
crowds were murmuring about the success
of the city's latest darling, the invalid
mother was wheeled into the theater to
witness the first flush of her daughter's sue
cess.

Although Paramount offered her a big
contract to stay in vaudeville, she accepted
an offer to sing a bit in "Good Boy," a
musical comedy. The bit was a sympathetic
one of a chorus girl as 'fresh as paint,' who
was in love with her producer. Miss Kane
sang with just a touch of pathos the humor-
ous songs, "Don't Be That Way" and "I
Want to Be Loved By You." The part
grew and grew until it became the lead.

One night as she was singing in "Good
Boy" and seeing her dream as a musical
comedy lead come true, her mother died.
She lived long enough to see the little girl
that she had told to "go on out and be a
star, then, if you want to," make the grade.
After that Miss Kane threw herself into her
work with a fury born of the desire to
have no time left to think of anything or to
feel anything.

Every evening her baby voice completed
its day at the gayest place in gay New
York, the Club Casanova, which was really
Helen Kane's club in all but name. At
one of the tables one night was Richard
Dix. He was so impressed with Miss Kane's
work that she found herself spinning
another plate in the air by working during
the day in the Astoria studio of Paramount
in "Nothing But the Truth." So was her
day! musical comedy, night club, recording
for Victor, talking pictures.

Upon the completion of the picture, she
signed a Paramount contract. She has just
completed "Sweetie," a musical romance of
campus life, made in Hollywood with Nancy
Carroll, Stanley Smith, Jack Oakie, William
Austin and Stuart Erwin. As a student
in a girls' school very much interested in
a nearby boys' school, she has ample oppor-
tunity to provide comedy and to sing her
baby-voice songs. Her next picture is to
be "Pointed Heels," in which she will be
featured with William Powell and Fay
Wray.

Thus do people hear the famous baby
voice in 3 5-cent picture houses, in $2
vaudeville houses, in $10 musical comedy
shows, and in expensive night clubs. Her
public ranges from the tiny tot who mimics
her records to the blase, sophisticated fre-
quenter of night clubs.

Does a baby voice pay? Boop, boopa,
doop'! Vamps are now slinking in vain
in Hollywood, and the sirens are spending
their evenings playing solitaire, for Helen
Kane is making the world safe for the baby
type by building a career on a provocative
pout and a soft, baby-voice. 'Boop, boopa,
doop!'

You have seen and admired the Garbo insert in this issue. Next month,
Charles Sheldon's handsome portrait of Ronald Colman, and every month
thereafter a similar insert of a great star. Watch for your favorite!

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Yeah? Yeah! — Continued from page 77

me to enunciate my lines like an Oral
English student. One scene called for my
reading a wire story. It was a paragraph
in length, but the only words necessary
for the audience to hear were the girl's
name and 'custody of the police.' I mum-
bled through the paragraph, being careful
to bring out, however, these two points.

"When the scene was played, the oper-
ator in the sound box complained that there
were only about three words in the whole
paragraph that he could understand. And
I told him, 'Sure, they're the only words
you're supposed to hear.' But try and
make a technician understand that!"

Armstrong is not worried over the future
of synchronised films. He is confident the
new medium is gradually taking a definite
and permanent place in the world's enter-
tainment.

"Growing pains — that's what's happen-
ing to pictures right now. You make
allowances for human beings to pass
through the awkward stage and the period
of readjustment. Why not give the same
break to the movies?"

Who will be the talking picture direc-
tors of the future?

Armstrong says they will be the stage
directors who have combined their theater
knowledge with the technique of the mo-
tion picture; and the film directors who
have absorbed the art of the legitimate
stage. The combination of the two me-
diums will be the happy solution, according
to Armstrong.

"The most amusing thing to me is all
this talk about a 'microphone voice.' When
an actor goes to a studio looking for a
part, the big question seems to be 'Have
you a microphone voice?' There would
be a big laugh if an actor applied for a
job with a New York producer and any-
one asked the actor, 'How's your voice?'
What the producer wants to know is,
'Can you act?' That's the way I feel it
should be about talking pictures. The
microphone can pick up any kind of a
voice. But the camera cannot supply a
lack of talent."

Armstrong has worked out a plan
whereby a film producer would be able to
guage the timing of laughs in a comedy.

"On the stage, we 'feel out' the audience
at each performance. Maybe last night
we got a big laugh after such-and-such a
line. Using that as a gauge, we hold that
the next night to give the spectators a
chance to laugh. Maybe they don't think
it so funny as did the audience of the
previous night. Then you have to bring
on your next line quicker to fill up the
gap-

"The big handicap in making film com-
edies is that you are never sure of your
timing. A few people on the set are your
only judges. Pretty soon the whole pic-
ture is shot and in the can and no chance
to adjust the timing of the funny lines.
My idea would be to use an average
group of people for a representative audi-
ence. Seat them in front of a revolving
stage which has been divided up into as
many sets as the picture requires. Have
the players in the cast go through their
lines, with the director on the sidelines
closely watching the reactions of this rep-
resentative audience. The round revolving
stage would facilitate the change from one
scene to the next, since each set could be
'dressed' prior to the beginning of the
trial performance.

"It is my contention that such a pro-

Jauet Gaynor says: "Here's
winking at you.'"

cedure would save the producer a mint of
money on each comedy."

Talking pictures will improve, the young
actor believes, when the present practise
of using two directors on one production
is discontinued.

"Of course, it is necessary to some de-
gree right now. The stage director re-
hearses and directs the scenes in which
dialog is used. The director of the old silent
picture school handles the other parts of
the picture. The result, I think, is diver-
sified. One brain in charge, with others
working under his supervision, is the logi-
cal way to secure a unified effect. And
this applies to bridge building or any other
form of endeavor just as it does to pic-
ture making."

Like James Gleason and every other
stage player who finds the motion picture
industry a vitally worth-while field in which
to work, but who still has the inevitable
soft spot in his heart for the footlight-
world, Armstrong is of the opinion that
pictures can never supply the satisfaction
that comes from performance on the stage.

"In the legitimate theater, the audience
is something that comes in laughing at
8:30 in chiffons and boiled shirts, paying
a good price to be entertained and hoping
they will be given a chance to enjoy them-
selves. Their gala spirit reaches across the
footlights and brings about a corresponding
reaction among the cast. It is like a chal-
lenge which must be fulfilled.

"But of course, we actors know we can't
have everything. And most of us feel
mighty grateful to pictures for opening the
door to so many things that the actor tied
down to Broadway can never enjoy. Look
at this tan! A swim every morning. Look
at this muscle! A chance to play tennis
just about every day in the week. Look at
this mashed finger! Got that while help-
ing Mother move into the new house I
bought her in order to keep her in Holly-
wood. You know, she came out from New
York to visit me and I thought up the
house idea as a good way to make her
want to stay. It's this chance to live like
'regular people' that makes us grateful for
the work we've had in pictures."

for November 1929

103

Louise Fazenda — Continued from page 75

her company pass without making it the
occasion for an impromptu party.

"Oh, gowan," Louise said when reminded
of her almost uncanny ability of keeping
track of and helping to celebrate birthdays
on the average of one a week. "I was
that way as a kid, too. I knew the birth-
days of everyone in the neighborhood and
I always tried to make them the excuse
for a party. I was born that way, I guess.
Just like some people are born with beau-
tiful noses."

It is a well known fact in Hollywood
that Louise Fazenda and a basket of her
cookies can do more toward establishing
friendly bonds between strangers working
together on a picture than' any Get- Ac-
quainted Society ever organized.

"You know how it is when you walk
into a room full of people? You sort of
sense the atmosphere. That's the way it
is with motion picture companies," ex-
plained the actress. "I can usually tell the
first time I walk onto a new set whether
cookies and I can do anything about it
or not.

"There isn't an actress or actor who
doesn't like home cooking. When they
gather in a circle and eat together, nat-
urally they start talking. By talking they
get acquainted. You see my theory is
very simple."

Louise admitted her practise has a sharp,
sword-like quality to it. Suppose there
are several women in the cast who do not
make things as pleasant for you as they
might. The answer to that is in flipping
the pages of the cook book to the most
fattening and delicious cookie recipes and
urging the results on the ladies in question.
They lose their slim outlines and jeopardize
their careers and think what a lot of
satisfaction there is in that for you!

Miss Fazenda says she would like to
suggest the cookie-and-tea treatment to
every director who has come to dread the
zero hour from four to five in the after-
noon— that period when the cast slumps
and the tempo of enthusiasm sags. She
has seen it work like magic in her numer-
ous pictures where she has persuaded the
director that a cookie a day will keep the
doldrums away.

When a film player in Hollywood avoids
scales and reveals a surreptitious interest
in the 18-day diet, it is a fairly certain sign
that he has just finished a role in the same
picture with Louise Fazenda.

And with the comedienne making pic-
tures at an almost startling rate this year,
it will be a surprise to everyone if one slim
figure can be found on Hollywood Boule-
vard by 1930!

Chevalier — Lubitsch — Success!

Continued from page 29

a joke, for when foreigners learn our lan-
guage they learn it better than we do. I
found this out when I helped Lubitsch and
Hans Kraly title "So This Is Paris." They
both caught me up many times on my
casual and idiomatic English.

Furthermore, Lubitsch not only coaches
Chevalier; he is constantly correcting the
English of the Americans in his cast. He
cannot always enunciate properly, but he
knows the way the word should sound.

The other day the 'mixer' came down
out of his glassed conning tower with his
brows puckered. "Mr. Lubitsch," he
said, "that fellow's voice recorded well,
but I couldn't understand a word he said.
Was he talking Siamese or Arabic or
what?"

"Did it sound that way?" smiled Lu-
bitsch.

The mixer regretfully admitted that it
did.

"Good! That's just how I wanted it to
sound. He's an Asiatic Ambassador of
no particular country, acredited to our
mythical kingdom, so I just invented a
language for him."

Such a solemn fellow naturally lays him-
self open for a joke and of course Lu-
bitsch pulled one on him. They were to
register the whine of a dog and at the
last minute Lubitsch substituted a cat. In
the playback room the director pretended

to blow up.

"What's the matter with you sound
fellows?" he exclaimed. "I register a dog
and it comes out like a cat!"

"I told you, Mr. Lubitsch," replied the
crestfallen mixer, "that I thought the dog
you had selected was too old!"

It's too bad the 'raspberry' that followed
was not registered.

The tremendous cost of sound pictures
has caused the producers to speed up on
production to such an extent that "The
Love Parade," a $650,000 picture, was
shot in seven weeks — $16,000 a day! (Now
grab a camera and a mike and go out and
make a talkie!)

"Too fast. Bob, too fast!" exclaimed
Lubitsch. "We worked from sixteen to
eighteen hours a day and we are worn out.
Now I can relax a little while cutting, but
those poor sound fellows — they go right
on. Something must be done about it.

"But we were happy!" he added with
a shrug. "I gave the crew — everybody,
including juicers and grips, a big dinner
over in Glendale after the final shot. We
had a grand time. They are all fine boys.
That's why I think the picture will be a
big success. Everybody in it was enthu-
siastic. Wait till you hear some of the
big choruses. And Chevalier! Ah,
stupendous! A great artist, . Chevalier.
And such sharm!"

CHRISTMAS GIFTS FROM THE STARS!

Watch for the next, the December issue of Screenland, out
November 5th, in which the most popular stars of the screen
offer Christmas gifts to our readers, to express their apprecia'
tion of your interest. Remember — December Screenland!

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we noticed her hair was growing long.

"Yes, my husband. Bob Leonard, likes
me in a long bob," she explained, with a
comical sigh, "so I'm giving him a break
this summer, while I'm at the beach, and
nobody to see me."

Richard Barthclmess' yacht was sighted
just then. We watched him anchor out
in front of Ray Rockett's house, further
down the beach, and swim to shore to visit
Rockett.

John Boles was chatting on a wicker
divan with Shirley Mason and Skeets
Gallagher, while his wife went in swimming
with a crowd, including Viola Dana. Viola
joined us soon, saying that the water was
fine, but Patsy reminded her that she would
say the same if she had just come up from
under the ice in Alaska.

William Seiter was working. He and
Laura own a home near Topango Canyon
beach, not far from Malibu. She is tak-
ing piano lessons, she said — her practicing
mercifully drowned out by the ocean's roar.
We spied Pauline Mason, a charming young
actress to whom Skeets Gallagher is sup-
posed to be engaged. She had just escaped
being drawn into a game of contract bridge,
she said, at which game a crowd in the
card room, including Al K. Hall, the writer,
Charlie Kenyon, the playwright, and Sidney
Howard, author of "The Silver Cord," and
"They Knew What They Wanted," and
other famous writers, were engaged.

"I never could hope to compete with
that bunch!" exclaimed Pauline.

Pauline is a slim, tanned girl, with a
lot of elusive charm, and .she is being taken
to Hollywood's heart.

Bebe Daniels came a bit late, with Ben
Lyon. They are very much devoted to
each other, and I'm sure will wed ere long.

Eddie Sutherland was a guest, and Bebe
was kiddingly calling him her father.

Eddie looked over and catching sight of
Laura told us about Laura kissing a bald-
headed man in the Elks' Parade.

"Dorothy Sebastian was riding in the
parade right ahead of Laura," Eddie told
us. "Dorothy was kissing all the babies
that were brought to her during halts in
the parade. Bill Seiter kidded her by
fetching a bald-headed man, during the next
stop, for Laura to kiss on his shiny pate!"

Sally Eilers came with Eddie. The two
seem to go about a great deal together
these days.

Mrs. Bert Wheeler was there, and Olive
Tell, with her husband, Henry Hobart,
Barbara Pierce, Ann Greenway — who is
going to be a great bet in pictures, say the
wiseacres — Mr. and Mrs. Allan Dwan,
Johnny Farrow and Lila Lee, Sidney Lan-
field, who is Shirley Mason's husband,
Thelma Todd and a doien others.

Wesley is going to build a tiny wharf
in front of his house, and then people like
Viola Dana, who is a regular mermaid, and
had been in swimming twelve times a day.
can have a convenient diving place.

Every once in a while a strange dog
would pop up on the premises, and Wesley
told us that not long ago he had twelve
dogs at one time.

"Anybody that knows of a dog without
a home just sends him to me," explained
Wes.

As evening drew on. everybody assem-
bled in the house, and a buffet supper was
served.

After supper, John Boles and Kathryn

Crawford sang a ballad, their voices blend-
ing charmingly. Kathryn was in the Los
Angeles production of "Hit the Deck,"
you know, and has a lovely voice.

Mrs. Bert Wheeler danced one of her
amusing clogs, but Skeets Gallagher turned
down his invitation to sing, declaring that
on Sunday he wanted to forget all about
work. Mrs. Neil Hamilton, who was for-
merly a concert pianist, played enchantingly
for us. Neil is a pianist also, you know,
so that the bond of music is great be-
tween them.

Both Bebe Daniels and John Boles had to
leave around nine o'clock, because they
were working nights in "Rio Rita."

The party broke up around eleven, and
we all voted it a charming evening, as we
sped homeward, along the Santa Monica
coast, where the ocean was reflecting the
moon and the thousand lights of the houses
along the beach.

"I want you," said Anita Stewart's
sweet voice over the telephone, "to come
to my wedding. We are having only a
few people."

"Well, isn't she a darling to include us?"
exclaimed Patsy, who was having tea with
me at the time.

We knew of course that the quietness of
the wedding was due in large part to the
illness of Anita's beloved brother George,
and to the tragedy that lately overtook her
sister, Lucille Lee Stewart, when Lucille's
husband was killed in an aviation accident.

The wedding was to take place at the
Chateau Elysee, where so many of the pic-
ture stars are living at present, and we
found a number of guests already gathered
in the private drawing room and in the
garden under the trees.

Some of the guests, too, were already
gathered in the patio, where the ceremony
was to be performed.

"Oh, there's the bride!" saucy Priscilla
Dean exclaimed soto voce, as she pointed
out a certain window high up in the
chateau.

Sure enough, there was Anita, looking
out of the window of her apartment.

"If I have to marry my husband again,
will you come to my wedding?" demanded
Priscilla. We said we certainly would.

You know Priscilla was married to Lieut.
Leslie Arnold a couple of years ago, but
his former wife, whom he thought he had
divorced, came into court a few months ago,
demanding a cancellation of the divorce pro-
ceedings. So poor Priscilla doesn't know
whether she is married or not!

Gertrude Olmstead and Robert Leonard
were among the guests, and Walter Lang
came with Mrs. Wallace Reid, while other
guests included Tyler Brooke and his wife,
Eddie Egan, Anita's manager, and some of
the bridegroom's, George Converse's rela-
tives by marriage, especially the Baron and
Baroness Von Romberg and Prince Holm:
and there were Mr. and Mrs. Abraham
Lehr, Grace Gordon Nolan, Mrs. Stewart.
Anita's mother. Ben Bard and Ruth Roland,
and a few others.

Presently there was a hush, and the or-
chestra inside began to play "Here Comes
the Bride." when Anita, leaning on the arm
of the bridegroom, George Converse, and
preceded by Lucille Lee Stewart, matron
of honor, and by the Prince, who was best
man, appeared.

Anita looked lovely in a sheer green

for J\ o v e mb e r 19 2 9

10?

gown, wearing a large picture hat.

The service was very short, and then
everybody hied him to the dining room for
the lavish wedding breakfast, with Anita
forgetting all about being one of the most
famous brides of the season and dashing
about to see that her guests were all taken
care of. Not one did she forget; but, de-
spite the skillful service at hand, she per-
sonally saw that each of her guests was
placed at table with the friends they de-
sired to be with.

Patsy, Grace Gordon Nolan and I sat
with Eddie Egan, and Grace told about
riding with Anita in her car when Anita
was learning to drive, when Anita called
out to everybody to get out of her way
because she didn't know how to stop her
car.

Anita came over to our table, but when
we asked her where she was going on her
honeymoon, she wouldn't tell us. Then
she explained that the bridegroom's brothers,
who were at the wedding, were threatening
to kidnap her for a lark, and she was having
to keep out of their way!

At table we got to talking also about
the many .sweet, kindly things which Anita
has done, and Eddie told how, when Betty
Blythe was in the hospital, Anita had gone
to her home and had the place all fixed
up with fresh curtains and with myriads
of flowers, to welcome and surprise Betty
when she arrived.

Before Anita left, she carried her bou-
quet around, and instead of tossing it. she
gave each of her guests a flower, which we
thought a charmingly novel idea.

Then she went about, asking somebody
to loan her some rouge, please!

Lucille Lee admitted it had been rather
warm, standing in the sunlight during the
service, and that she had wished she could
have worn a bathing suit!

Anita confided to us that she had wanted
an entirely private ceremony, but said that
George had exclaimed: "Well, I'm not
ashamed of marrying you. Are you a-
shamed of marrying me?"

We asked Tyler Brooke what he had
been doing, and he said, "Playing the 'mite'
in 'Dynamite.' " Of late he hadn't been
doing anything, on account of the Equity
situation, but he was thinking of hiring out
as fourth man to the bridegroom's butler!

The bridegroom and bride left on their
bridal trip, and soon after the guests
departed.

Ben Bard has been playing on the Holly-
wood stage, but his engagement was fin-
ished, and he called to Ruth, saying, "Come
on home, Ruth! I'm just a husband now!"

"Showers don't cease even after wed-
dings," remarked Patsy, as she drove up
to my bungalow one morning. "Mildred
Lloyd is giving May McAvoy one, and
we're invited."

Harold Lloyd's Beverly Hills home and
estate are described as one of the most
beautiful in the world, and we decided
long ago that the descriptions were right.

The day we went up there for the shower
was a perfect one, which was fortunate, as
the party was to be held in the grounds,
down by the Pompeiian swimming pool. We
made our way through the gardens with
their bright flowers and shrubbery, past
the big house, built in Italian style, among

the tiny rills, lakes and miniature golf and
canoe courses, to the pool, with its back-
ground of shrubberied hillside.

We approached the pavilion which faces
the swimming pool by means of many stairs,
so wide and shallow that you hardly are
aware of descending.

"It's so lovely here that I feel almost
that I don't want to go to a party, but
would rather wander about the grounds,"
remarked Patsy.

We met May almost as soon as we ar-
rived, and after Mildred had bade us wel-
come in that sweet, unaffected way of hers,
we congratulated May on having become
an Irish beauty once more — dark hair and
blue eyes — she having let her hair go back
to its natural color following a blonde
period.

All May's old girl friends were present
to greet her, including Virginia Valli, Laura
La Plante, Gertrude Olmstead, Edna
Murphy, Barbara Kent, Claire Windsor,
Mrs. Joseph Jackson, Sylvia Thalberg Wein-
garten, Rosabelle Laemmle Bergerman,
Gloria Hope, Helen Ferguson, Mary McAl-
lister, Ruth Clifford, and a lot of others.

A number of the girls elected to go swim-
ming, and soon Laura La Plante, Edna
Murphy and two or three others were splash-
ing about.

Suddenly there was an awful splash, and
we expected to see some awfully big girl
rise to the surface, instead of which tiny
Barbara Kent came up for air. Somebody
gave a little scream, because Barbara was
only just learning to swim and dive, and
we asked her please not to do that again
for a while.

The rest of us chatted a while, sitting
about in the comfortable sofas and chairs
with which the pavilion is furnished. There
was a colored orchestra, too, which played
more softly than its kind usually does.

When the girls had finished their swim,
tea was served in the pavilion, and then
some of the guests went over to the other
side of the pool, in the sun, to be photo-
graphed in movies. The pictures were talk-
ing pictures, but we didn't know that at
first, and when we found out, Edna Murphy
and Helen Ferguson were discussing
whether Claire Windsor wore orchid under-
wear, judging from the peeks they got at
her shoulder straps. They kidded her about
it, but fried in their blushes when they
found out that their chatter was being
recorded.

A huge pile of gifts confronted May,
and she sat down, so surrounded by boxes
you could hardly see her. We sat down
on the floor to watch her undo her presents,
but a lot of us had to walk out on her
act, as Helen Ferguson put it, since we
found it necessary to leave for other en-
gagements.

It was a glass and perfume shower, and
May made a lovely picture as she held her
gifts high above her head for us to see, like
a charming Hebe.

Little Gloria Lloyd was present, enjoy-
ing herself hugely, and behaving charm-
ingly. She is the image of her famous dad,
except for her nose, which is like Mildred's,
a saucy affair.

There were a number of the guests'
mothers present, and we discovered Mrs.
Ferguson, Mrs. McAvoy and Harold's
mother drinking toasts to the bride — and
all had tears in their eyes!

One
Year

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The Battle of the Beauties

Continued from page 22

they're all pretty anxious to get into the
game, I've noticed; and they all have that
woe-begone, forsaken look when they have
to go back to 'the legit!"

The theater and the movies are two
different arts; at least, that's the way it
seems to me. I'm not a profound student
of that sort of thing, and I can't define
the difference with a lot of words that I'd
have to look up in Mr. Noah Webster's
thrilling pages; but I know that the tech'
nique of the stage is one thing and the
technique of the screen is another.

The stage is stiff. There are a thousand
things that you want to do, but can't.
On the screen you can do anything!

And as for being 'glorified' just because
you are in a Broadway musical show — -
well, the girl who makes a hit in the mo-
tion pictures is seen and heard everywhere!
If she sings and dances well, the whole
world soon knows it. If she has beautiful
hair or eyes or legs, the whole world soon
knows that, too.

Many of the Broadway beauties who have
recently arrived are content to keep on car-
rying spears and meeting Johnnies at the
stage door.

'Beautiful but dumb' is a phrase that they
inspired.

Now, out here in Hollywood, the more
beautiful you are the better; but if you're
dumb you just can't get by. Some of our
Broadway celebrities are just beginning to
see the light. Every single one of them
has had to face the fact that they are up
against a new proposition. The old stuff
that they knew doesn't go. No matter
how famous they may be at home, and
how dear they may be to Broadway audi-
ences, they're just greenhorns to the studio
people.

In the studios something new is happen-
ing every day. No long, deadly-dull 'runs'
for us! We make a scene once and for all;
and just because of that, we arc able to
put into it a freshness and a spirit that
makes all the difference. This constant
change of occupation keeps people alert and

on their toes.

Broadway must be a nice street. I've
never been there, but I hope to see the
Great White Way soon, and find out for
myself whether it's really so hot. From
all that I can learn, it must be a great
place to play: but for work as an actress,
give me Hollywood! And Hollywood isn't
so bad as a playground, either.

Lots of people hate to have to acknowl-
edge that the stage represents the past,
while the screen is the art of the future.
So why bother to learn a dying technique?
What possible value can that have if you
really hope to get on the movie band-
wagon ?

This is the twentieth century. If Shakes-
peare were alive today he would be writing
continuity and dialog out here in Holly-
wood; and when his day's work was done
you'd see him at the Montmartre, just as
he used to hang out at the Mermaid
Tavern!

(I must admit that that thought isn't
original. Ian Keith, who is one of the
deepest Shakespearean students in this
country, suggested it to me while he was
looking over my shoulder while I banged
this article out on my typewriter. But I'm
sure it's true.)

After all, these things can best be tested
by results. Some of the stage stars who
have tried their luck in pictures since the
talkies came have been flops. You can look
up the records and verify this for yourself.
Don't be blinded by the few dazzling ex-
ceptions. The great majority of them have
found that their precious stage training
didn't carry them so far.

But all the old screen favorites of the
silent pictures have continued to hold the
hearts of the public, because they knew
what they were doing and what the people
like w'ho have made the movies what they
are.

And that's why I think the way to be a
movie star is to act in the movies and not
bother about the glories of Broadway.

That's my story and I'll stick to it!

The Battle of the Beauties

Continued from page 23

if I can get into the Follies."

You see, my bashfulness was disappear-
ing. I was learning to take myself (shall
I say) at my own face value!

So I crossed the Atlantic, as' bold as
you please; and when I landed in New
York I saluted the Statue of Liberty, took
one good upward look at the skyscrapers,
and then marched into Flo Ziegfeld's recep-
tion room.

"I'm Dorothy Mackaill of London," I
told the girl at the desk, "and I want to
see Ziggy!"

It worked! He is one of the hardest men
in the world to see, but it worked! And I
got the job!

Face value again, I suppose. I knew
now what it was all about. And, by the
way, when I joined the ranks of the glori-
fied girls in the Midnight Frolic they gave
me Jacqueline Logan's clothes to wear.
Jacqueline had just left the show. She,
too, entered the movies through the theat-
rical gate, as so many others have done.

Follies girls, living in the spotlight of
publicity, learn how to handle themselves.
They are the observed of all observers. If
I hadn't succeeded in becoming a glorified
girl, Edwin Carewe would certainly never
have seen me and offered me a movie con-
tract. So I owe my whole American career
on the screen to the fact that I took up
the stage first; and I haven't forgotten it.
Of course, there are stage stars who have
failed on the screen, but I think this was
because they could not adapt themselves
to the strenuous studio routine, not because
they did not know their stuff.

Gratitude, I think, is the chief of all
virtues. It is the one that I am proudest
and happiest to claim for myself. When
I hear some of the Hollywood stars, who
owe their first popularity and first big
chance to the fact that they were playing
behind the footlights, talk about the stage,
it makes me, well, jolly sick!

Where would they be if the theaters
hadn't given them their start? Of course

for l^lov ember 19 2 9

107

they might have gone all the way out to
California and starved to death trying to
get a job; but we know what happens to
all but one in a thousand girls who try
that! Nothing is more heart-breaking than
the sight of all those young people, so
hopeful, so eager- — and practically all of
them doomed to disappointment.

No, I haven't forgotten that the stage
gave me my start, and my opportunity.
And I haven't forgotten that Marion
Davies and Jacqueline Logan and Louise
Brooks and Billie Dove and Mae Murray
and dozens of others who have made their
mark on the silver screen were once Follies
girls just as I was.

The girl who has had stage training
knows how to speak, how to walk. If she
is really gifted, she knows how to act!

And there is another side of the matter
that I mention with some hesitation, be-
cause I don't want to be misunderstood.
The stage-trained girl — I mean the intelli-
gent sort — has learned how to spend her
spare time wisely. Night life has no glamour
for her. The popping of corks and the
music of jazz bands just give her a tired
feeling. Modern Hollywood has its own
night life nowadays, but you'll seldom see
people in the midst of it who have served
their apprenticeship on Broadway. They
have cut their eye-teeth, and they know

that if one is to be an efficient worker and
make the most of ones-self for the benefit
of the public and the advancement of one's
own career, that sort of thing is out!

I really think that the movie studios of
Hollywood and Burbank now have the
very prettiest and peppiest chorus girls to
be found in all these United States (and
I'm a good enough American to believe
that that gives them a lead over the entire
world)! I haven't any statistics at hand,
but it is certainly true that most of these
girls have come out to the Coast from
Broadway. They were trained in Broadway
shows; they know their business from A to
Z — and they know how to take care of
themselves, on the set and off! Getting a
mash note doesn't give them the least little
bit of a thrill.

So I'm all for the stage as a preparation
for the screen, though I love the screen
more and am going to keep on giving it
the best that is in me. And of course I
have no intention of belittling the many
splendid actors and actresses who had made
their debut on the movie lots and have
learned all their lessons there. It just seems
to me that they would have learned them
quicker, and been spared many disappoint-
ments and heartaches, if they had begun
as I began — behind the footlights!

Greta Garbo — Continued from page 21

doesn't get on, he isn't a go-getter. Yet
he is necessary to our human world. He
furnishes us with the poets, philosophers,
dreamers, the scientists and inventors who
with their successive visions and inventions
keep changing the face of the earth for us.

Greta Garbo belongs among the intro-
verts. By nature she is shy, withdrawn,
aloof, exclusive, lonely, with none of the
go-getter in her. This is not a pose, but
inborn; and the fact that she has developed
herself, or been developed by circumstances,
so that she is so many-sided is merely proof
of greatness, an ability to overcome her
original nature.

She is not only an introvert, but one of
the feeling type. That is, just as the lead-
ing type of man is a thinker, so the leading
type of woman is a feeler, or feeling person.
When feeling is extraverted, as in Mary
Pickford, it takes the form of tact, charm,
harmonious sociability. She responds to
others, not by figuring them out, or think-
ing, or even intuition, so much as by like
and dislike. But when feeling is intro-
verted, it is a very deep thing, and we call
it a mood. A woman of deep moods is
usually inarticulate. The mood is like a
monstrous heavy weight in her that drags
her away from the world, drags her down
into herself. Greta Garbo is a woman of
moods. She is, by nature, inarticulate.

Just what has worked the miracle? It is
true that people who have deep moods have
a terrific craving to express themselves, to
break the silence and reach across to their
fellows, come out of their loneliness into
the world; and usually such expression take
the form of art. Beethoven was introverted.
His gigantic moods broke their silence and
became the music that has conquered the
world. The silent man is heard everywhere.
Eleanore Duse was introverted, and a
woman of moods. She had the strength
and courage to express herself as an actress.

Did Greta Garbo overcome herself, burst
her bondage, and so give, through the
screen, her many-sidedness, her magic, her
depth, or was it this plus the genius of
direction, of lighting, even of the special

dresses that were created for her? Prob-
ably the latter. She has found in America
just that help which has allowed her to
bring her real self, shut in, introverted, a
being of inarticulate moods, out into the
glare of the Kleig lights so that the world
might see her as she really is.

Her adverse critics see in her shyness
mere dumbness, in her aloofness merely the
fact that she is nothing and so has nothing
to offer; they think she is stupid because
she is not a happy conversationalist. But
the new psychology, penetrating deeper,
easily places her as a type which is quite
normal, a type of woman meriting the old
saying that 'still waters run deep." This
type you may see all about you, though it
is rarer than some of the other types. It is
the introverted feeling type; usually char-
acterized by silence, inarticulateness, lan-
guidness, a seeming coldness, sometimes a
deadly superiority over others, with now
and then a demonic outbreak of temper or
passion. This last is the silent mood break-
ing through. But when these women are
analyzed they are found to have deep na-
tures, to have deep insight into life, and
when they can express themselves in some
adequate form often are remarkable artists.

But Greta Garbo is not the 'pure' type.
She has developed herself into a many-
sidedness, so that while originally the intro-
verted feeling type, and still retaining some
of the characteristics of the type, as shy-
ness, a love of solitude, a certain aloofness,
she has in many ways developed her extra-
verted qualities, thus forming that type
which Jung has called the soul-image type.

The popularity of Greta Garbo points to
a change in the American people. With
our popular education, our popular arts,
our desire to know, has come a change of
taste. That Greta Garbo has become one
of the most popular figures on the screen
means that the great audience has come to
appreciate subtlety in beauty, depth in char-
acter, artistry in acting. Where Duse was
loved by thousands, Greta Garbo is loved
by millions, a new development in popular
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Her story reads like this:

Fay Wray was one of five children. She
is Canadian by birth. She lived in Salt
Lake City and later attended Hollywood
High School. Her parents are intelligent.
They did everything they could, but
one of five receives only one-fifth the at'
tention. So she came to motion pictures
straight from her school books with little
back of her but burning desire. She didn't
have baby beauty. She isn't totally beau-
tiful now. Frankly, she never dressed in
the fad clothing of the day. She wore
those coats with a little fur around the neck
and cuffs and pockets on each side. She
had plain, sweet dresses any mother can
make. She always looked immaculate. One
wondered, being so plain, how she was dis-
covered by Erich von Strohcim and rescued
from comedies for the lead in "The Wed-
ding March."

The von Stroheim discovery! That
almost ruined her. She was in the same
class with many another 'find.' She re-
ceived great masses of publicity before she
appeared. Before ever seeing her on the
screen, thousands of people wrote her on
the strength of her pictures and stories in
newspapers and magazines. Everyone de-
veloped his idea of her until a totally dif-
ferent actress was expected. Fay Wray
might have fared worse than the others.
The public read and waited for long over
a year for von Stroheim's discovery.
Finally she appeared in "The Street of Sin"
and "The Legion of the Condemned."
Some persons may have been disappointed
in the girl who was not much different
from their own daughters.

Until recently, Fay Wray was the quiet
girl in the background at the studio. She
did take her work rather seriously. So,
sweetly, apologetically and definitely she
kept away from the public and the press.
Her mother was not of the usual motion
picture variety. But she protected Fay
from the world. It was always her decision
that overbalanced her daughter's.

Then, suddenly, when one called at the
Wray home almost any evening: "Fay has
gone to the beach for dinner. She is
going to a theater afterward and won't be
home until late." Then it became known
that the dashing John Monk Saunders was
escorting Fay Wray to very exclusive
parties and dinner dances.

Now, John Monk Saunders is the type
of person none would think ever paid
much attention to quiet, shy girls. He is
now in his late twenties. He holds the
undisputed record for being the best-dressed,
best-looking writer in Hollywood. He was
a Rhodes scholar. He has degrees from the
best colleges. He has traveled over the
world. He always had known women of
the ultra-smart world — lovely, gracious,
charming and posted on every trend of
fashion. Saunders drives high-powered
open roadsters. He is intensely interested
in flying. He writes intelligent novels. He
is the author of the original story for
"Wings." He had been rumored engaged
to several of Hollywood's actresses, famous
as heart-breakers.

During production of "The First Kiss"
in Maryland, Saunders managed to find
business in Washington and suddenly
dropped down to Chesapeake Bay and
married Fay W ray. The news was a shock
to Hollywood. Gossips wondered how long
it would last — this romance of the sweet
girl and the handsome writer. When she

returned, she hadn't changed very much.
She had vacations between pictures. When
Florence Vidor went to Europe, the
Saunders leased her home and the little
Wray girl became mistress of the lovely
Vidor mansion with its spacious grounds,
restful rooms and tennis courts. During
her vacations, she spent many hours with
her husband: absorbing his ways of think-
ing, looking at life from a different angle,
learning about the various parts of the
world. Saunders is an expert tennis player.
So he taught Fay the game every day of
her vacations. They went riding. She
drove his fast cars. She read his books.
Gradually she changed. She managed her
home wisely. There is a housekeeper and
a cook but Fay manages all the menus and
main items of the home. She learned to
decide matters entirely by herself.

On the screen, "The Four Feathers"
noted a small change in Mrs. John Monk
Saunders. Along came George Ban-
croft's "Thunderbolt," which was also
Josef von Sternberg's first talking picture.
And Fay Wray was cast as Ritzy, the
underworld girl of undecided morals. And
she played it! She bobbed her hair, sleeked
it down. She wore tight-fitting gowns;
furs that fell off one shoulder. Critics
liked Fay Wray. The picture was a suc-
cess, record-breakingly so. And Fay Wray
vacationed again at her home with her hus-
band. She loves him. There is no doubt
about that. And unconsciously, she ab-
sorbed more ideas from him. He is very
quiet and very kind. Her change was the
result of association with her husband, who
brought out hidden qualities in her per-
sonality.

A new contract was signed between Para-
mount and Fay Wray. People at the
studio were a little surprised because they
still did not know the newest Fay Wray
very well.

Now and then, she poses for publicity
pictures. She looks like a vivacious and
charming college girl, in this stage of her
change. She comes to the studio in har-
monising sport clothes. She wears blue
which brings out the color of her eyes.
Yellow and orange accentuate her slightly
tanned complexion. Directors, executives
and writers stop to talk to Fay Wray — not
she to talk to them. But even now, she
is not seen in the gayest of places. She
will always do things in moderation.

All her life Fay Wray has been rather
charming, but it was in a sweet, plain sort
of a way. To describe her easily as she is
today is to tell you a few things she
doesn't do.

She doesn't nonchalantly breeze into the
studio restaurant and seat herself at a large
table of men.

She's never late for an appointment, once
she has made it.

She doesn't keep up a steady stream of
conversation about nothing in particular.

She doesn't try to see how many people
can be kept running all over the studio
for her convenience.

She's sparkling, yet not one of the quiet
girls who suddenly decides to become a
cocktail-shaking flapper.

In short, Fay Wray's association with
her husband has been as sunlight to a
flower. She has unfolded into a charming,
sophisticated girl.

But remember. Fay Wray isn't through
yet! In fact, she's just begun. And she'll
never stop.

for J^ovember 19 2 9

109

Don Juan of Broadway

Continued from page 32

enough to keep me! It's much harder work
than the stage; for instance, these close-
ups, medium shots, microphones and so on
— it takes a day to photograph a kiss which
is over in a minute in the theater! But
it's a great thrill, particularly the contact
with the vastly enlarged audience of the
screen. I thought once there was nothing
so gratifying as the hand applause of the
theater. Now, however, I reach greedily
for newspaper reviews from all parts of the
world, and I can hardly wait for the next
instalment of my fan letters. The tre-
mendous penetration of the screen is the
most exciting thing I have encountered in
my long theatrical experience."

We've let Basil talk; now let's talk about
him.

He has a perfect right to all the adula-
tion he has received for his interpretations
of great romantic roles. You see he is that
rare type of male who is equally well liked
by both men and women.

Charming in every way a woman calls
charming, courtly, physically graceful,
gracious, in his speech, Rathbone is at the
same time very much a man's man. Demo-
cratic, very much alive, he draws no class
lines. He talks to anyone who interests
him. This characteristic has won for him
the most difficult accolade of the studios.
The carpenters, laborers and electricians, all
hard-boiled to the nth. degree, have unani-
mously voted Rathbone a 'great guy.'

A man of very wide experiences (we
will tell you all about them later) he is an
exceptionally remarkable conversationalist.
As a result, in three months he has become
one of the two or three most popular hosts
in Hollywood. Folks like to go to the
home of Basil Rathbone and his wife, Ouida
Bergere, because they know that they won't
be bored!

Rathbone's very charming nature is per-
haps best described by telling of his per-
sonal reactions towards the talkies.

"I'm frankly scared stiff," he told me.
"I've had a lot of stage experience, but it
doesn't mean a thing out here. It's going
to be a grand race for the 'survival of the
fittest,' and I can see only one way to
come out on top, and that is, work like the
devil!"

With actors on both sides, .stage and
screen, issuing snorts of defiance at each
other, such an open and frank acceptance
of an obvious situation is decidedly re-
freshing.

Basil Rathbone is a South African, born
in Johannesburg, the son of Edgar Phillips
Rathbone, a British engineer so highly
trusted that Paul Kruger, the Boer, made
him government inspector of mines.

Mining engineers are 'floaters,' always —
so when Basil was four the family moved
to Liverpool and later to London where
the boy attended school, first at Heedon
Court, and later at Repton.

All during his formative years his father
was dashing in and out of England from
experiences in all parts of the world. He
had amazing tales to tell his growing son:
tales of lying on an Andes trail for three
days with a broken leg; tales from his status
as the second man to come into the Alaskan
Klondike after the great gold rush.

In Repton young Basil took part in all
athletics — cricket, football, track. He holds
1 2 cups in track, and for years held the
Repton 440 yard record at 51 seconds.

All through school he wanted to be an
actor. His wise father raised no objections,
but insisted that his son have a try at
business training. So for eighteen months
the present-day master of the art of romance
slaved at an accountant's desk in the Glove
Insurance Co.

"My father was certainly very wise,"
said Rathbone, "as this training made it
possible for me to handle my personal and
contractual affairs on a business-like basis.
This year and a half "was quite the most
valuable experience I ever had."

While he was with the insurance com-
pany he lunched daily at the Lion's Cafe,
Piccadilly. There he would learn reams of
poetry: "The Portrait," "Porphyra's Loves,"
and many others. Returning to the insur-
ance company he would use the rest of his
lunch hour declaiming these recitations in
an empty room.

His apprentice-ship to business ended, he
joined the repertoire company of his dis-
tinguished cousin, Sir Frank Benson. With
the Benson company he toured to every
part of the British Isles, starting with bits
and ending with leads and character leads.
He has played parts in every play Shakes-
peare ever wrote. He played in tents, halls,
even in the open air. Romeo, Iago, Orlan-
do and Shyloc\ indicate his wide range of
roles. He made his debut in Ipswich, but
he does not remember the name of the
play.

It was inevitable that such a striking
young actor should be called to London,
and almost overnight he became a star.
Some of his great London successes include
"Romeo and Juliet," "Peter Ibbetson,"
"The Jest," "He Who Gets Slapped," and
"Sins of David." He also played in
"George Sand" with Mrs. Patrick Campbell.

This carries him through 1921, when he
came to America to play in "The Czarina."

During the war he had a brilliant record.
He joined up in the first year with the
Liverpool Scottish as lieutenant and served
throughout. He is credited with having
invented 'daylight raiding' in the British
army, during his tour of duty as an intelli-
gence officer.

Tragedy struck his family during the war
as it did so many British homes. His
twenty-year-old brother, John, was killed
at the Somme, and his cousin, Guy, passed
away at Gallipoli. His sister felt the call
of South Africa and moved back to Cape
Town where she has a home overlooking
Table Bay.

In the eight years since he came to
America Basil Rathbone has had an un-
broken record of successes. He has the
envy of all actors because of the great parts
which have been his, including "The Czar-
ina," "The Swan," "The Captive," and
"The Command to Love."

Rathbone is amused that his reputation
as a great lover has been built up despite
the fact that in every one of these plays
he fails to get the girl!

"There is far more sympathy for the
man who gets left!" he says.

Hollywood's most famous stars are being psycho-analyzed by James Oppenheim.
They love it, and so will you! This month Mr. Oppenheim reveals the heart
and soul of Garbo. Next month he will psycho-analyze Ronald Colman.

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The Gangs of Hollywood

Continued from page 43

queue and June Collyer headed a kid
coterie. Now June carries on alone with
boys of the Buddy Rogers ilk to squire her
and the girl friends. Sue Carol and Nicky
Stuart lead another juvenile group. Clara
Bow, Alice White and, in a lesser degree,
Lupe Velez, play lone hands — with an
assist, of course, from the boy who is the
vogue of the moment.

The estate of Harold Lloyd is one of
the world's show-places, probably the most
delightfully ostentatious in Hollywood. It
has a specially constructed water-fall, a lake
and a river running through it, a golf
course, and, of course, it occupies acres in
Beverly's most beautiful canyon. Harold,
however, remains essentially small-town. He
has no social aspirations, and neither has
his wife, Mildred. They stick to the old
friends. The boys from the studios — the
girls who knew Mildred when. If there is
ever a golf tournament in Southern Cali-
fornia, all the players are Harold's guests.
Why he wanted his magnificent estate, no-
body knows — perhaps least of all himself.
The cost of upkeep is tremendous, a
whole guard of gardeners are employed
steadily, and I believe the latest estimate
of the servant force necessary to running
the domicile numbers twenty-five. Well,
anyway, it is a charming setting for Harold's
romps with little Gloria Lloyd, and the
kids in the neighborhood get a great kick
out of the swimming pool.

Ever since Jimmy Cruze sent out those
Christmas cards, his house and his parties
have been written to rags — or for them —
yet in speaking of Hollywood's social sets,
James and Betty Compson and that grand
lace up in the hills of Flintridge may not
e omitted. You're really supposed to have
an invitation. But even since their Christ-
mas abdication of the Open-House-Cham'
pionship, one is not strictly necessary.
There's the house, any Sunday, and there's
the pool, and there are the ducks and the
summer-houses and the pond and the
flowers — including the most gorgeous camel-
lias ever grown. There is the spacious
patio, the ice, the gingerale, what-goes-
with-it, the long low living room and diet-
wrecking buffet served at seven promptly.
You may, or you may not, see Jim or Betty.
If either likes you very well, you'll be
admitted to the little group that slips away
to privacy. If not — well, there's the Cruze
hospitality, and it's your own fault if you
don't enjoy it.

Something of the Cruze mantle has fallen
on the shoulders of Bill Howard and his
wife, Nan. Theirs is one of the most taste
fully appointed homes in the colony. It is
between Beverly and the sea, at Brent'
wood. An English house, with a great
living-room lined with books. And — what
wisdom! — a tiny dining room. But the
crowd that descended on Bill and Nan
when word of their great open fire spread
didn't know that. Now, their guests are
invited. Interesting people, all: Estelle
Taylor. Mary Duncan, Paul Bern, the Selz-
nicks; writers and directors. There's a great
card room, if you like. Or Bill will enter-
tain by the hour, with his eyes closed like
Rudy Vallee, relating stories, which true

or untrue, make time pass too quickly.
Soft-footed servitors see that you don't die
of drought, and Nan presides perfectly over
her perfect domicile.

The theatrical invasion required social
leadership. This, now, is capably supplied
by Jimmy Gleason and Lucille. Stage folk*
report to the Gleasons immediately upon
arrival. If they happen to be broke, they
stop with them until they're 'set.' If not,
they come around anyway to get wised up
to Hollywood, and to laugh and laugh and
laugh at Lucille's reminiscences and the
Gleason drolleries. Here, too, is the largest
swimming pool of all. A veritable daddy
of a pool in which one may practice for
a trans-Atlantic swim. But be careful. The
Gleasons keep a bee. And if you're per-
sona non grata (which is something or
other for not-so-hot) they may put it on
you. But if you make the grade, you'll
enjoy the liveliest conversation, and with
the possible exception of Bessie's, the best
cooking on the West Coast. Bessie cooks
for Nancy Smith. And there is endless
rivalry between black Bess and the
Gleasons" Hattie. They outdo one another
in the culinary art — and the 'company'
benefits by the conflict.

You may see Lionel Barrymore at Lilyan
Tashman's and Eddie Lowe's. He's apt to
crash the party and play the piano for an
hour without speaking to anyone. Or he
may not play the piano and talk to every-
one. The other Barrymore, the erstwhile
Miss Dolores Costello, Lon Chaney, Give
Brook, are among the people one seems to
see nowhere. Gilbert and Garbo once
enjoyed the Tashman-Lowe hospitality
regularly. But that was B.C. — before
Claire.

Conrad Nagel. the Spirit of Rotary,
heads the sweetness and light contingent.
It's entertaining to go somewhere and per-
suade George Bancroft to do his number
about some sort of a snake that is quite a
horrid thing. Lois Wilson and May
McAvoy, close pals, lead the serious think-
ers, with Aileen Pringle bearing the torch
for the sophisticates. Lois* sister, Diana
Kane — now Mrs. George Fitzmaurice — is a
power, too. Her soirees are always attended
by the mighty. Dolores Del Rio fulfills
every requirement of the charming hostess.
But she entertains all too infrequently to
win prominence as a social leader.

Perhaps the most famous of all Holly-
wood's gangsters is Mrs. Ona Brown, once
director Clarence's heart-interest. Ona has
a positive genius for organized whoopee.
Without doubt she holds the long distance
entertainment record, either receiving or
helping pour at luncheons, tea, dinner and
after-that, a full seven days weekly. Ona
was tendered nearly two-score farewell par-
ties prior to her recent European trip.
Each of them returned one of her own
festivities, and each will be the excuse for
another upon her return. Flanked by Loris
Fox, Doris Arbuckle, Mrs. Don Alvarado,
and a few more supporters, Ona holds the
bridge like Horatious against any and all
who challenge her supremacy in the social
jousts of Hollywood.

Bessie Love's sports outfit was won by
Miss Esther Brenner
1719 East 11th Street, Kansas City. Missouri

for Jiovemher 1929

111

How Laura La Plante Entertains

Continued from page 69

skiff moored for rescue purposes in case
the ocean gets too playful with a guest.
After a half-hour in our 'private ocean'
came a little 'light' exercise with the medi-
cine and beach balls on the sands, topping
off with an archery duel before refresh-
ments were served and the first call gonged
for dinner.

"Yep, we get most of this in every day,
morning or night, unless we work all
hours," said Bill. "Makes us feel mar-
velous. Why, say, when I came home from
the studio to our apartment in town I was
dog-tired. So was Laura. We had to
drive ourselves to get dressed to attend the
many functions that are part of the price
one pays for Hollywood success. Of
course, we came down here to rest. We
do. Even with this long drive back and
forth, we never feel tired any more. We're
living advertisements for Pep!"

The dimpled blonde vision known to the
world as Laura La Plante, and in private
life as Mrs. William A. Seiter, appeared in
a doorway to interrupt friend husband's
oration which would have been balm to
the ears of a California real estate sales-
man.

"Bring some of that pep into the house,"
she advised. "We have things to do." It
appears that Bill in his enthusiasm often
invites more guests than Laura expects.

"I'll show you the house," said Laura,
"while Bill exhausts his pep. Our apart-
ment in town is in the Louis the Four-
teenth period, as you know; but Bill and
I have always longed for a little hideaway
home where simplicity would be the model.
If we had a retreat in the mountains, we'd
naturally like a rustic cabin, but for the
beach I think we hit apon a great idea
in designing our home in a Norman-French
architecture. Of course, we must have
certain modern improvements, the radio,
piano, tennis court and beach equipment,
but as to the furniture and furnishings, we
have succeeded in keeping it in true Nor-
man simplicity."

And they have. Even to the etchings
on the walls, the candy, cigarette and match
boxes, the lamps and fixtures, the hook and
rag rugs, the gayly-colored pots with flower-
ing plants which stand 'midst the books in
the quaint shelves built in the walls, the
peasant service in the tiny dining room,
the chairs and couches covered with glased
chints, gingham and calico, and made to
be used in solid comfort; all are in keep-
ing with the motif of the house. The
living room is quite large, with many doors
opening out onto the beach porch, and
an enormous window facing out towards
the ocean. Up the winding stairs one
climbs to the bedrooms, meantime halting
step by step to gaz,e at the antique maps
which are shellacked on the walls. In the
bedrooms, one may either gaze out over
the Pacific through a smaller duplicate of
the living room window, or peer out onto
the tennis court and past to Pauline
Frederick's lighthouse and the bay beyond,
through quaint little dormer windows.
Here, too, the motif is strictly Norman,
beds, chairs, chests and appointments.

"I suppose the inside is yours and the
outside Bill's," I ventured.

"No," replied Laura, smiling gravely.
"All ours! We both got big thrills out of
planning our home. I took as much inter-
est in the tennis court and beach plans and
he did in the furnishings. You know, Bill
is artistic even if he is he-man. He couldn't
be the successful director of both Colleen
and Corinne unless he were, you know.
But, since you mention the athletic ex-
terior I'll let you in on a little secret at
Bill's expense. (Apparently Laura had over-
heard the early morning studio call story.)
As you can see outside, Bill tried to buy
out a sporting goods store to see that we
had enough games to play. Well, one day
when Bill was playing hooky from the
studio, his brother discovered him with a
canoe strapped across the open top of his
car, driving for the beach. I'm really proud
of my husband's ability as a golfer and
tennis player, but I don't think he ever
paddled a canoe before. At least he never
had in the Pacific Ocean. And he never
has yet. He has lost a lot of bets trying,
and now if you'll go outside on the beach
you'll see the capsized canoe with a 'For
Sale' sign on it. Howard and I put it
there and Bill has too much sense of humor
to take it down."

The score was even.

It goes without saying that the writer is
inoculated with the same nature germ that
bit the Seiters. Being an old friend of
both Laura and Bill, it is my privilege oc-
casionally to share the delights of their
solitude. True, it's not always solitude, as
Laura and Bill delight in entertaining then-
intimate friends on convenient Sundays.
Among the twenty or thirty guests who
drive down on Sundays to enjoy their
hospitality one may see Colleen Moore and
John McCormick, Corinne Griffith and
Walter Morosco, Dorothy Mackaill, Jack
and Evelyn Mulhall, the Alan Hales, the
John Boles, Gene Markey, the Reginald
Dennys, Louise Dresser and Jack Gardner,
and many other celebrities.

They have charming parties which are
totally lacking in that common variety of
Hollywood pest, the week-end drop-in.
Their guests are always congenial; if there
are any arguments they are friendly ones.
No obvious effort is made to entertain the
guests. They can dance, ride, swim, play
games, or just talk. Best of all, the Seiters
enjoy their guests as much as their guests
enjoy them; they don't just give a party,
they have one!

When the guests troup out into the
balmy night they have enjoyed real hos-
pitality. A day of swimming, beach games,
tennis and archery, a buffet supper with
trimmin's, and a quiet evening of bridge,
charades and the new indoor sport of
throwing darts at a mark over the fireplace.
That's real recreation.

Over the outer entrance to the La Plante-
Seiter beach home there is a sign that reads:
"Chez Vous."

It means "Your House."

And that's the meaning of true hospi-
tality!

Ronald Colmans tennis rackets and balls were awarded to
Miss Priscilla Kenthall
4235 South 18th Street, Flushing, Long Island, N. Y.

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1 12

SCREENLAND

Let's Talk About You!

<C We assume full responsibility for this page.

<C We asked the Editor to reserve it for us; and asked her
to name the deadline. Since the Publisher always has the
last word, we requested the page to be inserted without
editing of any kind. This is the first time we have ever
exercised our control; but since this is an intimate talk
with Screenland's readers, it's in a good cause and we
feel justified!

<-.' Less than a year ago Delight Evans, a slip of a girl in
her early twenties, was writing Screen'
land's reviews. She was called before
the magazine Board of Directors one
day, told that she was to be elevated to
the post of Editor of Screen-land, and
asked what she was going to do about
it. She caught her breath. But she
recovered the next minute and answered :

<£ "I'm a movie fan and always have
been a movie fan. I know what we fans
really want in the way of a magazine
devoted to pictures. I know what I'd
like to see in a screen publication and
I think Fm representative of the mil-
lions of movie-goers. I'll surround
myself with an editorial staff composed
of writers who know and love the movies
as I do. I'll ask them to write sympa-
thetically yet revealingly about Holly-
wood stars and studios. And the first
thing you know, the best writers in
America will want to write for us. The
best artists will want to paint for us.
The most important people in and out
of pictures will be glad to see their names in Screenland.
And we'll have the biggest circulation of any screen
magazine!"

<CThe little girl took a large order! But her promise has
been fulfilled. Screenland's circulation has doubled, and
is still growing by leaps and bounds. Let's look at
this issue:

Rolf Armstrong's vivid conception of the inimitable
Greta Garbo is on the cover. This master artist, whose
vibrant covers created such a sensation on College Humor,
will give his best work to Screenland's audience.

Charles Sheldon, renowned portrait artist, whose
delicate, refined, charming portraits for years graced the
covers of Photoplay, our esteemed contemporary, this
month in Screenland in an insert good to look at for
all time, gives us his version of Garbo. Whereas Arm-
strong sees her as an inscrutable siren, Sheldon visualizes
her as an angelic beauty. We have commissioned Charles

James Oppenheim,
psycho-analyst.

Sheldon to do a series of portraits of the famous men and
women of the screen, to insert in our pages.

James Oppenheim, distinguished psychologist and
author, inaugurates in this issue, with his searching psycho-
analysis of Garbo, a series of analyses of the screen's most
important and potent personalities. Next month, Ronald
Colman.

Dr. John B. Watson — who does not know him? — in
an interview with Rosa Rcilly, settles the screen sex ap-
peal argument that has been raging in
newspapers and magazines.

Fannie Hurst, incomparable novel-
ist, stimulates Screenland readers in
an intimate interview with Alma Talley.

Herbert Knight Cruikshank, scin-
tillating writer on screen topics and
brilliant biographer of screen stars,
whose unique style calls forth from his
readers the praise: "Good to the last
word!" will be heard from this month
and every month hereafter.

Rob Wagner, who writes for the
Saturday Evening Post, gives Screen -
land the benefit of his close contact
with pictures and picture people.

Mr. and Mrs. John Barrymore

pop an interesting question and offer
even more interesting awards for the
best answers from our readers. Next
month, Christmas contest gifts from
Greta Garbo, Al Jolson. Harold Lloyd and other great
stars.

Miss Vee Dee, our wise-cracking information bureau.
Anne Van Alstyne, our beauty expert. Last but not
least, Delight Evans' Reviews, most widely read and
quoted of any screen criticisms.

New Feature. This issue also introduces Screen-
land's Radio Department. We believe that radio and
the screen will prove inseparable — indeed, these two forms
of entertainment are already so closely interlocked, that
what with producers' programs on the air, and television
signals flying around, who knows what will happen next?
Screenland is the first screen magazine to jump aboard
the band wagon!

We've talked about what we're giving you.
Now, you talk about Screenland!

The Publishers

A Metro - Gold wyn - Mayer

ALL-TALKING
ALL-SINGING
PRODUCTION

DIRECTED by KING VIDOR

Who Made "The BIG PARADE"

CLAP yo' hands! Slap yo'
thigh! "Hallelujah" is here!
"Hallelujah" the great! "Halle-
lujah" the first truly epic picture
portraying the soul of the col-
ored race. Destined to take its
place in filmdom's Hall of Fame
along with "The Big Parade,"
"The Broadway Melody" and
"The Hollywood Revue." 5 King
Vidor wrote and directed this
stirring all- negro drama, this
absorbing story of the colored
boy, indirectly responsible for
his young brother's death in a
gaming house brawl, who be-
comes a negro revivalist; of his
devotion to his ideals; and of his
craving for a seductive "yaller
girl." 5 The soul of the colored
race is immortalized in "Hal-
lelujah." Every phase
of their picturesque

^0.0OLDWV,v7^

lives — their fierce loves, their
joyous, carefree pursuit of happi-
ness, their hates and passions —
finds dramatic expression against
vivid backgrounds of cabarets,
cotton fields, gaming houses, and
humble shacks called home.
5 Daniel Haynes, noted Negro
singer, plays the central char-
acter. Nina Mae McKinney, a
beauty discovered in the night
clubs of Harlem, has the leading
feminine role. In addition, the
celebrated Dixie Jubilee Singers
and other noted performers sing
the songs of the negro as they
have never been sung before.
Don't miss this tremendous
event in the history of
the screen!

Now playing simultaneously
at the Embassy and the
Lafayette Theatre, N. Y.

"Like little children that ain't growed up'

"Soon forgotten were the fields of cotton

i W W ^ W If

z 1»^.a \ M

METRO-GOLDWYN-MAYER

'More Stars Than There Are in Heaven'

■5^ puriii

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Horsemen have a saying that
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Kissproof, the modern waterproof lipstick, is chang-
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Name
Address

State

for December 1 929.

WILLIAM FOX

presents

the first Viennese Operetta

A Song Romance with music by
OSCAR STRAUS

composer of

THE CHOCOLATE
SOLDIER

with

J. HAROLD MURRAY

BROADWAY STAR OF RIO RITA

and NORMA TERRIS

BROADWAY STAR OF SHOW BOAT

Walter CATLETT Tom PATRICOLA

Lenox PAWLE Irene PALASTY

John GARRICK

WHAT THE NEW YORK
PAPERS SAY:

"...One of the loveliest of all the melody films, the most
exalted score yet to be sung in the audible pictures...
Audiences are going to find it a thing of joy."

— Quinn Martin, World

". . .An especially fine example of vocal record ing . . . adroitly
interspersed with joviality and extremely clever photo-
graphic embellishments. The principal songs are charm-
ingly rendered." — Mordaunt Hall, Times

". . . it recalls sweet and pleasant theatrical memories ... it is
of such stuff as dreams are made of. . .glorious music."

— Irene Thirer, News

- . ". ..boasts big sets,

mob scenes, elabo-
ratecolor sequences
...has been produced
on a very lavish
scale."

— Rose Pelswick,
Journal

"...the most mellow-
ing stuff that has
made its way into
the movies since
Von Stroheim lifted
the Merry Widow's
face . . . principal
waltz is pure de-
light."

-JohnS. Cohen, Sun

Broadway contributes the stars, Hollywood
the lavish and splendid settings, and Vienna
the enchanting melodies of her greatest living
composer, Oscar Straus — to make "MARRIED
IN HOLLYWOOD" the most glamorous song
romance ever conceived for stage or screen!

Here is $6.60 Broadway entertainment —
plus ! Leading stars of song and comedy, bevies
of Hollywood beauties, settings that stun the
vision with their magnificence, a plot that
would have delighted George Barr McCutcheon
himself and surrounding it all, a haunting,
enchanting musical score by the world
famous composer of the Chocolate Soldier!
"MARRIED IN HOLLYWOOD" will be at
your favorite theatre soon.
Don't miss this musi-

©C1B 17613

NOV -5 1929

Delight Evans, Editor

D e c e in b e r, 19 2 9

FEATURES

Cover — Alice White. By Rolf Armstrong
The Flapper Fan's Forecast.

By Evelyn Ballarine 4

Movies in the Air. By Julia Shawell . . 6

Confessions of the Fans. Letters from Readers 8

Honor Page — ■ Gloria Swanson 12

Janet Greets You. Janet Gaynor .... 14

Editorial. By Delight Evans 15

Screen Favorites Inspire the Artists ... 16
Going Hollywood.

By Margaretta Tuttle. By Gene Markey . 18
Colman Psycho-Analyzed. Ronald Colman.

By James Oppenheim 20

The Price of this Stardom. By Betty Boone . 22

Charlie Chaplin. By Rob Wagner .... 26
Talkies: a Liberal Education in Love.

By Herbert Cruikshank 28

How the Stars Solve their Problems.

By Helen Ludlam 30

They Traveled 114,000 Miles to Get into

Pictures. The Duncans.

By Bradford Nelson ' . , 32

Screenland's Special Gift Section . . . . 33

Greta Garbo Gives a Gift for Beauty . . 34
Al Jolson Says "Merry Christmas" with

Songs 36

Billie Dove's Beautiful Negligee .... 38

Harold Lloyd's Holiday Greeting .... 40

A Fur Coat from Evelyn Brent .... 42

George Bancroft's 'Doggy' Christmas! ... 44

John McCormack's Golden-Voiced Gift . . 46

Rolf Armstrong — A Portrait 48

Larry Comes Back. Larry Gray.

By Jean Cunningham 49

The Theme Song's the Thing. By Rosa Reilly 50
Ten Years from Today — What?

By Ralph Wheele-r . . 52

Portrait of a Gentleman. Cliue Broo\.

By John Godfrey 54

Sister Act! Shirley Mason and Viola Dana.

By Jason Carroll 56

Hollywood Gets Married! By Grace Kingsley 58
On Location with "Sweetie."

By Helen Ludlam 60

Dancing Girls of Hollywood.

By Keith Richards 62

Garbo's New Screen Lover. Lew Ayres.

By Myrene Wentworth 64

Ronald Colman — An Insert in Color.

By Charles Sheldon

The Most Beautiful Still of the Month 65

The Spirit of the Dancing Screen.

Portraits by Anton Bruehl 66

Blanche Sweet — A Portrait 68

Nils Asther — A Portrait 69

Olaudette Colbert — A Portrait 70

Betty Compson — A Portrait 71

Dolores Costello — A Portrait 72

Armida — A Portrait 73

Chez Talmadge.

1^[orma Talmadge and Company .... 74

Mary Brian — A Portrait 76

Kay Francis — A Portrait 77

Lola Lane — A Portrait 78

Charles Farrell — A Portrait 79

Kay Johnson — A Portrait 80

She's Not the Type! Kay Johnson.

By Joseph Howard 81

Delight Evans' Reviews 82

Good Looks for Christmas. Screenland's Beauty

Department. By Anne Van Alstyne ... 88

In New York. By Anne Bye 90

Come Into the Kitchen with Irene Bordoni.

By Sydney Valentine 92

Best Lines of the Month 94

Louise Dresser's Ten Commandments.

By Laska Lewis 9?

Let's Go to the Movies! Screenland's Revuettes 96

Hot from Hollywood. ?{ews and Gossip . . 98

Ask Me. By Miss Vee Dee 104

Ideals — and Other Things. The Publishers . 128

Published monthly by Scrccnland Magazine, Inc. pendencies, Cuba and Mexico; $3.00 in Canada;

•wt Executive and Editorial offices: 49 West 45th Street, foreign, $3.50. Entered as second-class matter 1\1V»

VOL. New York City. William Galland, President; November 30, 1923, at the Post Office at New York, 1MO.

Joseph M. Hopkins, Vice-President; C. B. Mantel, .. „ , . . . , . . .. _

Secretary. Frank J. Carrol], Art Director. Yearly N- Y- undcr thc Act of March 3- 18'9' Addl' O

Member Audit Bureau of Circulations

for December 19 2 9

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0RECA.S

Looking Over the
Future Films

She sees and hears
the coming pic-
ture program and
tells it to you.

By Evelyn Ballarine

Whoopee! Yip-ee! We're wild,
we're western! Paging Tom
Mix and, of course, Tony, too.
This outburst is due to the
fact that we are going to have a few west'
ern soundies. George O'Brien and Sue
Carol have 'gone western' in the interests
of "The Lone Star Ranger." Won't little
Sue look cute as a cowgirl — and as for
Georgie, well, as a two-fisted he-man he's
great; so imagine, if you can, what he'll
be as a two-gun man! And that's not all.
Mrs. Wallace Reid is producing a western,
too, "The Dude Wrangler." George
Duryea, Lina Basquette, Raymond Hatton,
Francis X. Bushman and Sojin are among
those present. And "The Virginian" with
Gary Cooper, Mary Brian, Richard Arlen
and Walter Huston, is with us right now.

Janet Gaynor and Charles Farrell will
still continue to be screen lovers even though
Janet is now Mrs. Lydell Peck. Janet and
her new husband are honeymooning in the
Hawaiian Islands and Charlie is making
personal appearances with "Sunnyside Up."
When they get back to Hollywood they
are to begin work on "Budapest" with
Frank Borzage directing.

Ex-Governor Al Smith's life story is to
be made by Fox Films. It is reported that
he may play the lead in this film. And
that gets our vote. The producers won't
have to worry about a theme song for this
talkie — East Side, West Side will do very
nicely, thank you.

Greta Garbo's next and last silent film
is called "The Kiss." Lew Ayres, a new-
comer, has the male lead opposite La Garbo.
Watch him! You won't mind — he's ex-
tremely easy on the eyes.

They've put William Boyd into another
uniform. This time he's a United States
cavalryman in "His First Command." Boyd
has glorified every sort of uniform; in fact,
he's been everything from a prince to a
policeman. Dorothy Sebastian has the

femme lead opposite him in this colorful
story of cavalry life.

James Murray pulled one of the prize
roles of the season. He is to play the
lead in the screen version of "All Quiet
on the Western Front." Louis Wolheim
and Edward Robinson are slated for im-
portant character roles. This is to be a
womanless picture. Lewis Milestone is to
direct it.

Here's something to cheer about. Harry
Langdon has made friends with the 'mike.'
He's at the Hal Roach Studio making two-
reelers. "Hotter Than Hot" is his next,
with Thelma Todd as his film girl-friend.

D. W. Griffith is preparing an all-talking
epic screen romance around the character
of Abraham Lincoln. Also, he will present
in parallel action an interesting story built
around the career of the eccentric John
Wilkes Booth, the actor who assassinated the
President. No cast has been selected as yet.

Things the stars are doing all for art:
Mary Brian bobbed her lovely hair for her
role in "The Children."

Richard Barthelmess has taken up
Chinese, the most difficult of all languages,
in connection with his role in "The Son
of the Gods."

Blanche Sweet is learning to tap-dance.
She is coming back in a picture for Metro-
Goldwyn, with Tom Moore playing opposite
her. An original story of New York night
life is the theme of the picture.

Colleen Moore learned to play the har-
monica. Her next picture is "Footlights
and Fools," with back-stage atmosphere.

Silent pictures that are being re-made
into talkies: "Lilies of the Field" with
Corinne Griffith. Miss Griffith also played
in the silent version of this picture a few
years ago. Marion Davies is giving us
"Dulcy" as her next. Constance Talmadge
played in the silent "Dulcy." Metro- Gold-
wyn are to re-make "Tin Hats." This time
it's to be a singie-dancie.

for December 19 2 9

Develop the Powers of Attraction

that are Dormant within YOU!

ct^^ tells you

HOW!

use-

DARE, as you know, is undoubtedly
the world's most celebrated author-
ity on the art of attaining perfect fem-
inine charm and loveliness. Her bril-
liant articles, appearing in leading
newspapers all over the world, her
radio talks, reaching the ears of thou-
sands, and her contributions to maga-
zines have endeared and enshrined
her in the heart of American Woman-
hood.

Herself a fascinating woman of com-
pelling charm and loveliness, Dare has
spent almost an entire lifetime in com-
piling the facts, she has included in
these two marvelous books — secrets and
formulas that have been gleaned from
every corner of the world. Here are
all of the secrets known to the greatest
beauties of all time I

"LOVELY LADIES

The Art of Being A Woman"

OW you, too , may know the supreme joy of
utter personal loveliness — for lovely ladies are
MADE, not born! Now you can know — and
all those invaluable and subtle beauty secrets of
the world's most beautiful women. Think what
it would mean if you were able to decide,
in a few moments, with the aid of an
amazingly clever chart, just which type of
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given the most complete and accurate sugges'
tions on how to achieve the greatest originality
and individuality in expressing your type!
In dress! In manner! In physique! In men'
tality! In soul! The incomparable Dare tells
you all these things — and more— in her two
new books, Lovely Ladies, The Art of Be-
ing a 'Woman!

You too HAVE Charm
Poise - Personality - Beauty!

DEVELOP THEM!

SOME

CHAPTER HEADINGS
in these
AMAZING BOOKS!

Ageing Gracefully
Sex Appeal
Diet Wisely
Modern Modesty
Your Lines
Feminine Daintiness
Traveling

The Business Woman
"Carrot Heads"
Clever Makeup
Exercise
And Blondes

Special Hair and Eyes Notes

Brunettes

Popularity

To Schoolgirls

White-haired Types

The Lovely Voice

Hands of Beauty

Modem Honeymoons

Personality

Knowing Clothes

Wardrobe Economy

Charm and Poise

Marriage

Motherhood

Our Men

The Other Woman
Divorce Problems
Trial Marriages
Occupation — Housewife
(and other equally
interesting chapters!)

You want these two books — every woman
wants them! Glance at the represen-
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at the left. How wonderful it would
be to possess all this feminine knowl-
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is just exactly what Lovely Ladies does
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same charm, poise, personality and
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Bound in beautiful orchid cloth and
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illustrated these two exquisite volumes
in her own inimitable manner.
The coupon will bring you these two
books to read at your leisure for one
entire week — free! If they do not come
up to your expectations you may return
them. You are not obligated in any way.
Mail the coupon today!

Every woman — no matter how plain and uninteresting
she may think herself to be — actually does possess all
those qualities of fascinating charm and magnetism that
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They are latent within you — hidden away — sleeping —
and you need only know how to arouse them and de-
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Doubleday, Doran & Company, Inc.
Dept. L-1812, Garden City, N. Y.

You may send me the two-volume set of Lovely
Ladies by Dare. I will either return the books
or remit $3.50 in full payment within a week.

Name

Address

City State.

(MOVIES in the

SCREENLAND

Motion Pictures and Radio — Two
Great Industries Allied. Latest
Developments of Interest Reported

By Julia Shawell

MOVIE fans who have been waiting
for Greta Garbo to walk into their
living rooms by way of wireless,
flappers who have anticipated the sudden
and realistic apparition of a smiling John
Gilbert on their boudoir walls some rainy
night, must hold their hopes longer. Tele-
vision, in spite of optimistic reports to the
contrary, is still in its elementary stage and
is due for a long period of experimenta-
tion before it is commercially marketable.
That much was indicated at the Radio
World's Fair held in Madison Square
Garden, New York, recently.

THE intense interest of the public in
Television and the extreme optimism,
partially warranted by glowing accounts
of new discoveries, was emphasized at the
radio show. Many new devices and im-
provements in the industry were slighted
by visitors in favor of the radio television
demonstrations. Announcement that Bebe
Daniels, Irene Bordoni, Estelle Taylor and
others were actually to record visibly as
well as vocally on the new invention drew
thousands to the exhibit. These stars did
appear and their appearance was interest-
ing but the recording was not what might
have been expected.

Leo Reisman, whose syncopating rhythms
are the rage now, broadcasts for the RKO
hour on the National Broadcasting Chain.

WHAT the public supposed it would
view was suggested by the inquiries
and comments. People interested
had been led to believe that Miss Daniels
and her associates would be seen in life-
size moving figures projected by radio on
a screen that might be installed in theaters
or in any home.

THAT is the ultimate aim of television
but the present condition in this new
link between moving pictures and radio
is far from its intended purpose. The idea
of having Richard Dix obtrude his athletic
form into a Kansas parlor some harvest
night is a swell idea for the Kansas farms.
And a lumber camp in Oregon might be
considerably cheered by the sudden ap-
pearance of Clara Bow in one of her hula-
hula moments.

But right now, the unsatisfactory sub-
stitute is a foot-square likeness which
can be broadcast from especially equipped
wireless stations and received on rare
and highly expensive contraptions. These
pictures are being sent out frequently from
Schenectady and Pittsburgh but they are
quite like the television broadcasts which
were tried out during 1927 and 1928.

IF the demonstration at the Radio
World's Fair represents the latest phase
of the television, then few or no strides
have been made in the past year. There
has been the intimation that recent prog-
ress in both size of the picture which may
be sent and the clarity and range of the
broadcast were not shown at the Fair but
may be expected at a later special demon-
stration.

STILL on the subject of television, it
is just as well that ardent radio and
movie fans may not see some of the
singers who croon their favorite theme
songs over some of the most popular wave-
lengths. The idea of getting the combina-
tion of a microphone voice and a camera
face is going to present some problems
when visual radio finally arrives. In one
of the big Manhattan studios the other
night a divine voice was lilting lyrics of
The Pagan Love Song and it was fortu-
nate the enthralled listeners didn't see
the fat Don Juan who was broadcasting.
The Pagan Love Song, by the way, which
Ramon Novarro so romantically sang in
his picture, "The Pagan," topped all other
sellers among the music publishers a
month ago. A good song injected in an
entertaining picture became such a favor-
ite radio number that every set owner
knew the tune by heart before Novarro's
vehicle had reached his town.

Bebe Daniels' voice, broadcast from Cali-
fornia, was a major attraction at the Radio
World's Fair in New York. Bebe sang
three songs from "Rio Rita."

FOR the first time a motion picture pro-
ducing company with air affiliations
has had an official radio orchestra
to interpret its own music on a national
hook-up. Leo Reisman, whose syncopating
rhythms are the rage in New York, moves
over from the exclusive Central Park
Casino every Tuesday night for the RKO
hour on the National Broadcasting Com-
pany chain. Reisman, who introduced a
new note in dance music, provides a musi-
cal background for the broadcast presen-
tations, and gives his own renditions of
the songs sung by Radio Pictures stars
in their screen productions.

THIS is the year when the union of
radio and the cinema is proving al-
most a monoply in the entertainment
world.

for December 19 2 9

Mm
I mm

rWam

IIP1

##^THEATRE
BROADWAY

Broadway — Mecca of millions . . . now the round-the-
corner resort of all America, thanks to Vitaphone!

Vitaphone obliterates the miles that used to separate you
from the Street of Streets, and brings Broadway to you.

From the world's great stages, Vitaphone is transplanting
the most celebrated singing, dancing, and dramatic stars
and "acts" to the screens of thousands of theatres.

Check up on the attractions at your local Vitaphone
theatres every week. Events are on the way which you
will not want to miss. The Vitaphone sign on a theatre
is a trusty guide to the best of good times. It guarantees
not only perfect voice reproduction, but also the foremost
stage and screen stars in productions of the highest
calibre. Look for it before you step up to the box-office.

Vitaphone is the registered trade mark of the Vitaphone Corporation

You see and hear Vitaphone only in Warner Bros, w First National Pictures
cVj — — — — — — — — — ■ c-^a

SCREENLAND

CONFESSIONS
of the FANS

FIRST PRIZE LETTER
$20.00

For three years I lived the life of a her-
mit, content to stay at home, care for my
boy, my mother, and then my father who
became suddenly ill and passed on. I shall
not go into details as to what happened
before that period except to say that to be
shut in from the outside world with many
arduous duties to perform was heaven in
comparison.

However, I emerged from this state by
slow degrees and one day I went to see
Janet Gaynor in "Sunrise." It woke me
up, and the following week I went to see
"Laugh, Clown, Laugh." I cried more
than I laughed at that picture. My next
attempt was to see "Street Angel," and I
was completely won over. In other words,
the characters in these three plays have
stirred in me the desire not only to live
again, but to sympathize with those who
suffer, those who laugh when their hearts
ache, and those who still have faith when
they have become utterly disillusioned.
Needless to say, I am now a movie fan.

Ida Freyman,
2315 N. 33rd St.,
Philadelphia, Pa.

SECOND PRIZE LETTER
$15.00

Only in fairy tales does the ugly duck'
ling turn out to be a beautiful swan or
the words:

"Mirror, mirror upon the wall
Who is the fairest, fairest of all?"
Bring the answer:

'You are fairer, by far. my queen
Than any woman the world has seen."
When as a child I first noticed my lack
of beauty, I was transported into a glorious
dream-life as I lived the life of the little
children of those first crude but inspiring
movies.

Then, as I grew older, the pictures be-
came more and more a part of my existence.
Possessing an imaginative mind and a love
for beauty, I soon found that each beauti-
ful woman in that silent dream-world was
myself!

And now, with my own dull, flat voice
I speak vibrantly and sing. I am something
more than a lovely shadow drawn across
my hungry vision. I have color, tone and
life.

Alone? Not I! I am courted and be-
loved of the world's most famous lovers.
My children live and roam through beauti-
ful homes. My heart beats triumphant
through a thousand vanquished hardships.

This is the fairy tale I live in my imagina-
tion. In reality, I am a rather forlorn old
maid.

Hortense Lloyd.
Holbrook Hall,
Long Island City.

This is YOUR department, to
which you are invited to con-
tribute your opinions of pictures
and players. For the cleverest
and most constructive letters, not
exceeding 200 words in length, we
offer four prizes. First prize,
$20.00; second prize, $15.00; third
prize, $10.00; fourth prize, $5.00.
Next best letters will also be
printed. Contest closes December
10, 1929. Address Fans' Depart-
ment, SCREENLAND MAGAZINE, 49

West 45th Street, New York City.

The Editor

THIRD PRIZE LETTER
$10.00

What a wonderful stride the motion pic-
ture industry has taken. Talking pictures
are the most interesting and unique form
of entertainment in the world today.

For instance, take that record-breaking
picture, "In Old Arizona." Without sound
it would have been just another western.
With sound, it took the audience from
their everyday surroundings and made them
feel that they were actually unseen par-
ticipants in the dramatic tale of Tonia and
her two lovers.

Many of us have dreamed of the day
when we might see the actual spots where
so many famous events occurred. Now,
we sit in a vast theater and see the presi-
dential inauguration; a Japanese orchestra
playing in a far-east garden; the changing

According to our fans' confessions,
Anita Page is one of their pets.
We approve!

of the old guard at Buckingham Palace;
the slow mournful rhythm of the drums;
Italian peasants dancing their native dances
to the tune of an accordion; the King of
Spain sending his greetings to America; a
Yale football game. Many other wonder-
ful things.

Automobiles have been driven more than
a hundred miles an hour. The Graf Zep-
phn has gone round the world in twelve and
a half days. We have radios and talking
pictures. What next?

H. Hope Leonard,
6257 Lankershim Blvd.
North Hollywood, Cal.

FOURTH PRIZE LETTER
$5.00

Why should there be any objection to
doubles for stunts, acrobatic feats, long
shots, or to trick photography in pictures?
Our screen players possess charming person-
alities, pleasing voices and histrionic ability.
Must they also be opera singers, ballet
dancers, and flag-pole sitters? Must the
leading man know how to build bridges and
churches just because he played the role of
an architect in his latest picture?

Even the most realistic motion picture
comes to the audience through a glamorous
haze of unreality and illusory grandeur —
bringing a fascinating release from a hum-
drum, every-day existence. If the powers
that furnish this entertainment and relax-
ation can make their picture program more
effective by means of voice or personal
doubles, or by any illusion so perfect the
spectator himself cannot detect the substi-
tution, where lies the fault, the criticism?

More power to the powers that are able
to produce such legitimate, enjoyable de-
lusions.

Mrs. Berniece Jackson,

520 West Elm St..

Ludlow, Ky.

Even Grandmothers !

Sex appeal seems to be stirring up much
controversy at present, and in my estima-
tion it is so one-sided it's pathetic. And
before I say any more about it, I want to
state that I think some one should hand
Mr. Gilbert Seldes a great big lemon, or
should it be a present of IT?

I think Mr. Seldes has a very wrong
impression of what sex appeal or IT stands
for. Don't we all go to see our favorites —
the persons who particularly appeal to us?
What screen star is popular who has no
sex appeal, or IT? What would the picture
business come to if the players were drab
and sexless? We would all stop seeing pic-
tures.

For me, the more IT they have, the
better I like them. Give me Madge
Bellamy, Clara Bow, Betty Compson, Joan
Crawford and that gorgeous French lady,
Lily Damita. Why, even my grandmother
who is very reserved and sedate just craves

for December 1929

For the Screen Stars, a Genius Developed this
New Kind of

Make-Up

Under Blazing Studio Lights, Filmland' 's Make-
Up King Discovered a Magic Way to
Enhance Personality, to Double Beauty

Now This Make -Up Secret, the Sensation of
of Hollywood, is Offered to You . . .to
Every W oman ...by Max Factor

f£Qteu£ny et/irciicJ t& /iy/ v/i/iKaiifcm ,

"i tvn/rt/u/tny /e //r MtcaJJ /^//e

ACADEMY Of MOTION PICTURE AftTS AND SCIENCCS

IN the magic land of pictures, there's a
magic way to beauty . . . and its known
to every star in Hollywood. A new kind
of Make-Up . . . conceived by imagination
and produced by genius ... by Max Factor,
wizard of make-up in Filmland.

And now you may share this wonder beauty
discovery . . . you may share Hollywood's
Make-Up Secret.

"New beauty for every woman lies in the
discovery of cosmetic color harmony. It is the
secret of perfect make-up," says Max Factor.

"If powder, rouge, lipstick and other es-
sentials are in perfect color harmony with the
individual complexion, beauty is magnified.
If not, the effect is off-color and grotesque,
and beauty is marred. This we proved in
tests under the glare of studio lights.

"And, to vividly emphasize personality,
make-up must be individualized . . . the color
harmony must be perfect for every type, for
every variation in blonde, brunette, or red-
head. Then, of course, there are tricks of
make-up, too, which not every one knows."

On the screen, before your very eyes ... in
feature pictures starring Janet Gaynor, Marion
Davies, Joan Crawford, Laura La Plante, and
the host of stars in Hollywood . has flashed
the faultless beauty of make-up by Max Factor.
Beauty that thrills . . . fascinates . . . holds,
and remember.that in every feature picture
released from Hollywood, Max Factor's
Make-Up is used exclusively.

And now you, as in a wonderful dream, will play the part of a screen
star, and receive from Hollywood's Make-Up King . . . your own indi-
vidual color harmony in Society Make-Up, in the powder, rouge, lip-
stick and other essentials created by Max Factor for the stars, for you,
for every woman, for every day.

You'll at last discover the one way to vividly emphasize
the allure and magnetism of your personality; to give to
your own natural beauty a charm and fascination which until
now has remained hidden. Simply mail the coupon to Max-
Factor, who will analyze your complexion, chart your own
make-up color harmony and send you his book, "The New
Art of Society Make-Up".

MAX FACTOR'S Society MAKE-UP

"Cosmetics of the Stars" . ..HOLLYWOOD

Photographic reproduction of
certificate of award presented
to Max Factor by the Acad-
emy of Motion Picture Arts
and Sciences for notable re-
search and discovery in the
Art of Make-Up.

Cartel Gaynor

Fox Film Star
Who received the merit award offered
by the Academy of Motion Picture
Arts and Sciences for her outstanding
performance in "jth Heaven", says in
a note to Max Factor: .

"There is a delicate
beauty about my
color harmony in
your Society Make-
Up that blends per-
fectly with my com-
plexion."

Olive Borden,
R-K-0 Star and
Max Factor, Hol/y-
ivood's Make- Up
Genius, approving
an alluring color
harmony shade in
rouge.

Courtesy Coupon for Screenland Readers

Mr. Max Factor — Max Factor Studios, Hollywood, Calif. a-12-21
j Dear Sir: Send me a complimentary copy of your 48-page book, "The New Ait

chart. I enclose 10 cents to cover cost
^- of postage and handling.

Name _

COMPLEXION

COLOR EYES

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COLOR HAIR

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1<)

SCREENLAND

'Buddy' Rogers! Isn't that another victory
for sex appeal?

Adrian Mortimer Marshall,
1209 West Second St.,

Dayton, Ohio

A Hand for Alice White

I cannot understand why the fans are
so meager with their support for that cute
little damsel, Alice White. To me, Alice
is a regular girl who has the will to win
and although perhaps moving slowly, she
is nevertheless getting there — box" office
receipts have proven that.

I have tried to find the reason why more
fans do not express their appreciation for
Alice, and all I get in response are a few
remarks about her personality. To me,
Alice is just as beautiful as they make
them, and even though she doesn't come
up to this ideal in the eyes of some fans,
it is poor sportsmanship for them to ignore
that fact that Alice is a clever actress. She
started at the bottom and has worked her
way to the top sheerly on her own merit.
So let's not forget, fans, it is up to us to
keep her there. Let's give the little girl
a hand.

William Donnachie,

1530 North St.,
Philadelphia, Pa.

A Slam for Talkies

I've strained my ears long enough. One
never knows when some of this talkie
machinery will go wrong.

It's not only been in one theater; it's
been in several. In "Syncopation" a huge
crowd had the pleasure of hearing Barbara
Bennett and Bobby Watson gradually lose
their words until they were speaking each
other's lines! I lived through that, but
revived in time to get to "Broadway
Melody" wherein Charles King laughed and
went out, slamming the door behind him.
We heard the chuckle when he had had
time to cross the street, and as some one
else opened the door, we heard it bang
shut. This thing of having to fit the right

Adolphe Menjou, now in Paris, in-
spires letters to this department for
his first talkie, "Fashions in Love."

Alice White's fan mail is increasing.
That spells success.

noises to the right actions is wearing on
our so-called aesthetic souls and is a strain
on our intellects. And I'm tired of hearing
noises like the flick of a cigarette lighter
sound like the wrecking of the Town Hall.

All this was bad enough, but the blow
came in "The Last of Mrs. Cheyney" when
a sound like a fast express train three inches
away cut out all conversation for half the
play.

So I cry to high heaven for silent pic
tures again. Talkies are too uncertain!
Rebecca Whittington,
711 South Washington,

Crawfordsville,

Indiana

The Debonair Menjou

What a relief the talkies are proving,
culling out those voices and personalities
which do not register, bringing to light
many of our old favorites and oodles of
new, clever players. I notice that practi-
cally every fan letter is for talkies. If any
thing is printed against them, one usually
can tell from the letter that it was written
by a proverbial grouch!

For instance, Adolphe Menjou — regard'
less of the number of good silents he has
made, which one of them compares with his
first talkie, "Fashions in Love?" Adolphe,
the delightfully debonair Menjou, is a
hundred-fold more Adolphe-y in this all-
dialog picture than anything in which he
ever has appeared. His accent is perfect.

We are all anxiously waiting to hear Ina
Claire, Lew Cody, (where is Lew?) Claire
Windsor, William Farnum, Charlie Chaplin,
Harold Lloyd and William S. Hart. Please
page these favorites.

Mrs. C. R. Deweye,
33 West Third St.,
Jacksonville, Fla.

"Drummonditis"

Never has the individuality of Ronald
Colman been so vividly personified as in
"Bulldog Drummond." The magnetism of
his voice is compelling, and that devil-may-
care twinkle in his eyes reveals his sense

of humor heretofore concealed behind a
serious countenance. Who can deny that
the talkies are not an advantage to the play-
ers as well as the audience?

Mr. Colman's mother, just before her
death, heard his voice for the first time in
several years when she saw "Bulldog
Drummond." We know that his voice
thrilled us, but we can have no possible
conception of what it meant to her.

Let us extend our heartfelt sympathy to
Mr. Colman for the loss of his mother, and
may her memory inspire him to even greater
success.

Mrs. Mildred M. Benson.

1927 West Tusc,

Canton, Ohio.

Just Home Girls!

Mcthinks Alice White and Anita Page,
glorified screen children, owe David Strong
quite a few kisses for his write-up in
October Screenland about their home tie>
and parent love. He turned the trick with-
out bringing to the fore their enticing
physical attributes!

It registered one hundred per cent with
me because up to then I had a sneaking
suspicion that ladies with IT temperament-
were always too sophisticated to be capable
of any deep-rooted love except for bank
notes of robust dimensions, peacock feathers
and Pomeranians. How wonderfully re-
freshing to know that in this age of eman-
cipated Eves and things synthetic and jazzy,
our Alice and Anita remain loyal to their
kinsfolk. My Borsalino off to them. Only,
I'm not so sure about Alice's cute observa-
tion to the effect that men are vain and
resent women with intelligence. My little
missus has her quota of gray matter and
we are great pals, even if she has had but
twenty-three birthdays while I, the cradle-
robber, have marathoned past forty-eight
milestones.

Albert S. Howard
551 West 148th St.

New York City

Ronald Colman's stock has risen
since "Bulldog Drummond." We
predict a complete sell-out for
"Condemned."

for December 1929

T)o you wcrrat Ithe Truth about

Ni(MaiJBHO$TfSSfS?

__j Are they as bad as they're
painted — or are they Painted
Angels? Are they on the
square when they play around? Does
turning night into day turn their hearts
into cash registers? — Come to Billie
Dove's own night club and find out !
"The Painted Angel" will show you a
new and more exciting Billie Dove, in
show-off costumes, doing song and dance
numbers that are just as clever as she is
beautiful. You'll see and hear an honest-
to-Broadway night club show — with the
cover charge "on the house." And you'll
6ee what goes on when the lights go off,
and sham turns to sorrow, and a world-
famous beauty finds that love has made
her the biggest "sucker" of all !

"Vitaplione" is tlic registered trade- mark of the I'itaphone Corporation

SCREENLAND

Welcome Back, Gloria! "The
Trespasser" is a Shining
Testimony to Your Splen-
did Talents

SHE has always been a commanding figure,
for all her dainty stature. Gloria Swan-
son began as a bathing girl and worked
her way up to DeMille drama, in which
she became world-famous for her exotic person-
ality and her ability to wear weird clothes in
striking fashion. Some stars would have let it
go at that, content to remain a lovely manne-
quin. Not Gloria! She kept on climbing. She
developed her versatile talents as dramatic actress
and comedienne, until she ranked as one of the
leading stars of the screen.

Stars may come and stars may go — and
don't they! — but Gloria remains an out-
standing and impressive personage. She is
in a class by herself. Her unusual features
and enigmatic eyes gives her rare and last-
ing charm. One is never bored by Swanson!

"The Trespasser" presents Gloria with a
real role — that of a very modern girl who
dares to find happiness in her own eman-
cipated way. Gloria, herself a young
mother, is particularly appealing in scenes
with her screen baby.

for December 1929

HONOR

PAGE

Did you know that when Gloria first started
out in pictures her nose was regarded as
detrimental to her success? Now that pert
and characteristic feature is admired by
poets and envied by other women, because
it belongs to Gloria!

You will not be disappointed in the Swan-
son voice. It sounds as interesting as she
looks! Somehow it matches Gloria's unique
appeal. She sings a pretty little song called
"Love" with real distinction ; while her
speaking voice is admirable.

Thank Talking Pictures for
Revealing a New and More
Glorious Gloria, with a
Vibrant Voice

The Swanson prestige was sufficient to
warrant her embarking on her own, with
her own company. It was then that her
career wound into uncertain paths. Few
stars have been able to go it alone. "Queen
Kelly1' has never been released. Came the talkies
— to give fresh inspiration to the gifted girl.
She had a voice, and used it. She studied singing
and the happy results are apparent in "The Tres-
passer," establishing Gloria Swanson once more
as a czarina of the screen. Long may she
reign! Our best wishes!

SCREENLAND

Janet Qreets you

The Holly and Mistletoe are but Symbols. They Stand
for sincere Good Wishes and a Yule-tide Greeting from
Janet Gaynor, one of the nicest girls we know.

for December 19 2 9

THE EDITOR'S PAGE

Will Rogers says:
"A horse doctor is
the smartest kind of
doctor in the world,
because he has to know where
his patients hurt. The horse can't
tell him!"

Will, as usual, said a mouthful
— Beechnut, please. The same is
true of talkie producers. They
must be the horse doctors of their
audiences. They must gauge to
the split second when the spec-
tators will react to speaking scenes,
give them time to digest the dialog,
and then to settle down for the
next bit. Audience reaction is
one of the puzzles of talking mo-
tion pictures.

And from the audience point of view — I hear
on all sides comments and complaints about the
difficulties of concentration in a talkie theater, what
with neighbors who never do recover from the
comedian's last wise-crack or else miss it altogether
and spend the rest of the evening asking: "What
was that he said?" Add to this problem that of
faulty acoustics and imperfect sound projection and
you have the one real menace to the complete and
permanent success of the talking screen. More and
better manners in the audience, please! I'll keep
quiet if you will!

WHAT THEY THINK!
Winston Churchill:

"The motion picture is a new institution of edu-
cation spreading all over the world, providing a
new process of education and civilization for all
peoples. The motion picture is an essential part
of the forward march of civilization, and as such
is standing in opposition to the brutal passions and
hatred which even in our time have wrought con-
flict between nations."

Pola Negri:

'The talkies are the thing the public wants, but
the public will soon get tired of them."

George Bernard Shaw:

"The talkies have come to stay."

Lillian Gish:

"Whatever the public may feel about movies as

they used to be before the sound
innovations, I insist we achieved
certain beautiful things. I mean
that there were moments of beauty
in pantomime and beauty in pho-
tography. Much of what we did
was poor, but if the silent movies
had had more time to develop, we
might have made a really great
and individual art in them. For
myself, I still cling to the thought
of creating those moments of
beauty in pantomime."
Roy J. Pomeroy:
"Talking pictures will eliminate
the stage within 5 years. The
stage at its best is a box with
lights and painted scenery. Talk-
ing pictures present a moving pho-
tograph of real things on a stage that is life itself."

LATEST DEVELOPMENTS!
OVER HERE:

Lon Ghaney, who said he would never make a
talking picture, is now making a talking picture.

Fox's Grandeur Film, which permits the pho-
tographing of scenes at a distance while also giving
a full view of the expression on the face of every
player in a scene of great scope, is a sensation. It
allows a latitude and depth never before possible
on the screen. We predict that when combined
with color the new wide film will 'completely
revolutionize the industry.1

OVER THERE:

Talkies are the new craze in Paris. In one
theater an all-dialog film from Hollywood has been
shown to a non-English speaking audience and
they loved it!

Mitzi, musical comedy actress, returns from her
native Hungary reporting that the first talkie shown
there resulted in a great public clamor for legisla-
tion to prevent future showings for fear they might
replace the 'legitimate' theater and destroy native
Hungarian art. How about Vilma Banky from
Budapest? Native art personified!

Elinor Glyn is producing her own talking pic-
ture in England, to be called "Knowing Men."

Western Electric has made its 3,000th instal-
lation of sound equipment in a theater in Barce-
lona, Spain. D. E.

SCREENLAND

SCREEN
INSPIRE the

The S creen Offers an
Opportunity for Charac-
ter Studies of Feminine
Beauty

Pauline Starke was selected by
Harrison Fisher as having one of
the most perfect faces in pictures.

i?8

Lily Damita, piquant French actress. We.
have seen Lily and she didn't look anything
like this. However, Kees-Van Dongen, the
Franco-Dutch modernist who created this
impression, has a right to his own opinion.

Norma Shearer looking as she would look if she
stepped from the frame of a portrait a la Sargent.

for December 19 2 9

FAVORITES
ARTISTS

World's Noted Artists
Have Preserved for
Posterity These Cinema
Celebrities

Vilma Banky, ideal beauty of the
screen, is an ideal subject for the
art of Baron Michele Pizutto.

Bennett the third — Miss Joan, daughter
of Adrienne Morrison, actress, Richard
Bennett, actor, and grand-daughter of
Lewis Morrison, celebrated player of
classic roles. A portrait of the young
actress by Abram Poole.

Dude nisi a 'j Galle ries

Lillian Gish, as exquisite on canvas as she is
in reality. From a painting by Best-Maugard.

GOT

Margaretta T tittle, one of America's most popular
literary ladies, author of best-selling books and
big-time short stories, goes to Hollywood to write
for the screen occasionally — but she doesn't 'go
Hollywood.' There's a difference!

HOLLYWOOD is the headiest drink in the world.
Those who preserve their balance in it must
have steady hands; or large indifference; or hard
work to do; or something most important call-
ing them elsewhere.

For jaggedly shooting through its atmosphere of art and
color, warp and woof of its sunny climate, runs the
lightning stroke of dramatic success. Here before you,
right at your elbow, dances success that if you get it will
be told to the whole world. It will be told not only to
the hundred million a day who go to the pictures in
America, but to other millions in France and Germany
and Sweden and England. I looked in vain for a French
picture in Paris and in Nice some time ago. They were
all American put into French. It was a marvelous way
to learn French. In London the pictures were nine-tenths
American.

Here in Hollywood fame skips about as if she were a
housemaid. She may seise you any moment and actually
ask you if she may come to work for you. Thousands
of beautiful girls watch on the corners for her. Hundreds
of executive men with the highest quality of brains grab
at her; catch her and lose her; and spend the rest of their
lives making another try.

SCREENLAND

Why do people go
the climate? And is
famous writers here
One says "No!" The

Margaretta Tuttle

Who can take Holly-
wood or leave it

The result is amazing. In every drawing-room, over
every dinner table, the most fascinating stories are told
of success that comes and goes, of fame that makes for-
tunes over night, and sears character by day. You listen

and say:

"Tomorrow it will be I of whom this story will be
told." You watch one of the Picture Kings sitting in his
counting house counting out his money, and you feel it
flung into your own hands for no other expenditure of
effort than the use of your wit — and a little luck.

A little luck — this is the drink of Hollywood. Holly-
wood is built on the Romance of Luck. It is such a
Great Gamble. Tomorrow you may win. Meantime get
yourself out to Studio and Market Place. You won't win
at home where nobody sees you. If you have work to
do, put it off until the studios close. Then when the
studios close there are the dinners where Those- Who-Buy
must eat. Take yourself to these dinners. Here Luck sits
with you. Many a story is sold with the after-dinner
coffee, and many an actor's future is made over the salad.

Now if you combine a gambling atmosphere with a
thousand stories of those who win, and if those who lose
never assign their losses to their own lack of worth, but
to luck, you have something that goes to anybody's head.
If those who lose are always putting on their best clothes
and gaily and bravely trying again, you have something
that goes to anybody's heart. I would not dare stay in
Hollywood more than six weeks if I expected to go on
writing stories. I never do stay there longer. I could
not work if I did. I would be swept into gambling. I
would be dragging out what I had written in my sophomore
year and seeking a chance to offer it to those who buy.
Indeed I know one of the sanest women writers in America
who did just that — and sold. A good many pictures are
founded on stories written in immature moments.

Those who buy get exhausted; (Continued on page 119)

for December 1929 19

Hollywood

Hollywood? Is it
it inevitable? Two
debate the question,
other says "Maybe!"

Gene Mar key

Who is as enthusiastic
as a native son

"^T like Hollywood. I would rather live here than
| any place in America. (And, strange as it may
J§ sound, I have practically nothing to do with the
Chamber of Commerce!) A year ago it seemed
incredible to me that anybody should want to exist outside
the island of Manhattan. New York had everything —
and what it didn't have could be reached in a few days
on the big steamboats. Now I feel a little sad when I
think of the poor benighted cave-dwellers trying to get
along in the shadow of Manhattan's topless towers.

I like Hollywood. And it isn't just the climate. There
are pleasanter climates — but at the moment I can't think
of one.

Cynics from the east insist that Hollywood resembles
Coney Island. I prefer to think that it resembles one of
the hill towns of Italy. (Of course, Italy can get along
without electric signs and hot-dog salons.) Architecturally
— in spite of early Renaissance filling-stations and restau-
rants built in the shape of ice-cream freezers and derby
hats — the houses out here are more suited to the surround-
ing country than the houses one finds anywhere in America,
save in New England and the old South.

There is, one must admit, a certain story-book unreality
about Hollywood. That blithe comedienne, Miss Beatrice
Lillie, was once heard to remark that it looked like a
stage setting, and that she always expected to hear a
stage-manager shout "Strike!" — and see the whole place
collapse.

Hollywood is fantastic. It is a Cinderella city. Alice
in Wonderland — with a dash of Dostoievsky. For beneath
its gingerbread surface grim tragedy lurks. Scoffers have
called Hollywood 'The Port of Missing Men-tality.'
'Heartbreak House' is a truer title; though Mr. Shaw
would never let them use it. However, the tragedies do
not stalk the streets. Hollywood crowds are as cheerful
as the ensembles of a musical-comedy.

Gene Markey, one of Manhattan's prise pensters,
is now writing originals for talking pictures. He
likes Hollywood better than New York, and would
rather live there than any place in America.
Yes, he's 'gone Hollywood' — and proud of it!

For a writer Hollywood is a perfect place in which to
work — if he can find the time. Of course, coming here
from New York I found it at first somewhat too peaceful.
The quiet was disturbing. But I soon remedied that —
with the aid of a few sound-effects from the studio. Out-
side my window I placed a machine that accurately re-
produced the roar of elevated trains, the clatter of taxi-
cabs, and a motif of shrill traffic whistles. By having my
rooms over a garage I was able to duplicate the fragrance
of New York air, and I installed a patent dirt-throwing
device, which automatically showers me with soot. A
handsome lithograph of Grant's Tomb on the wall, com-
pleted the illusion. Just like being in New York!

I do not miss New York. The vibrant life, the tingling
something that one feels in New York, is perhaps not
to be found in Hollywood. Hollywood, however, is easier
on the nerves. Theaters, restaurants, places, people, a
certain grace in living — these make the atmosphere of a
city.

In New York last season I saw only one good play.
And all the good plays, in time, reach this frontier. There
are some admirable restaurants in Hollywood. There are
some charming people. I have even found, in Beverly
Hills, an English tailor, quite as (Continued on page 114)

SCREENLAND

GOLM AN

While Ronald Coltnau is an introvert, like Greta Garbo,
he has made a good development of the extroverted
side. He has had the discipline of an English upbring-
ing that requires of a man that he be reserved, superior
to circumstances, a good fighter, and a gentleman.

A s Garbo among the women, so Ronald Colman
/ \ among the men. I said last month that the
lovely Garbo is of the souhimage type of women,
that is, the all-women-in-one type, the type that
is many-sided, that runs the gamut from the devilish to
the divine, a Helen of Troy, a Cleopatra, a Mona Lisa.
This is the type of woman who is the ideal in the hearts
of men; and, one might add, having such 'infinite variety,'
she is neither the daughter type nor the mother type. She
is neither the clinging vine nor do men go to her to seek
solace and comfort.

Ronald Colman appears to make the same appeal to
women that Greta Garbo does to men. Naturally, how
ever, he is unlike her in many ways. The soul-image type
of man must have a dash of Don Juan and the devil in

The Real Colman
Revealed in this
Psycho-Analytic
Portrait

him, be somewhat mysterious, be a lone wolf,
and be a master of words. He must be
somewhat heroic and many-sided. He is
the Anthony who is outlawed by Rome,
the soldier, the eloquent lover, the light-
hearted buccaneer, the sophisticated man.

In a recent contest in Screenland the
query was put as to whether Ronald Coh
man should play the role of the romantic
lover or that of the sophisticate. My own.
answer is both, and then some. There are
more Colmans than these two. There was,
for instance, the Colman in "Beau Geste,11
the typical English gentleman and soldier,
masking his emotions, meeting death with a
beautiful gesture, thoughtful, reserved, but
showing glimpses of deep hidden feeling, a
man with superiority written over him.

But that isn't all of Colman. He is not
the typical Englishman because he is some-
what introverted. The typical Englishman
adapts with ease to the world, is an easy
mixer, and is far from shy. He is well extra-
verted. Though one might not believe it,
watching him in pictures, Ronald Colman is
rather a self-conscious man, rather a shy
man, he is somewhat self-centered and intro-
spective. He isn't the good mixer at all.
He cannot adapt himself to life with ease.
It would be hard for him, for instance, to
make a quick change in his manner of living.
It would be hard for him to 'sell' himself. He
is more introverted than extraverted.

Besides that, the typical Englishman is
guided by reason and by thinking. Ronald
Colman is intuitive. He has sympathy and understanding.
He has, besides, depth of feeling. Technically, I believe
he is an intuitive-with-feeling type; a man in whom intui-
tion plays the lead, and feeling plays opposite.

Such men, as a rule, can play many parts in life be-
cause of their quick understanding. They get the other
fellow or his enterprise; they have hunches about the pos-
sibilities of new undertakings; they identify themselves
with the business afoot and are rapid in taking on the
part assigned to them. They are good as salesmen, as
brokers, as pioneers, or any job requiring tact, under-
standing, and daring. But often, if they are somewhat
introverted, and like Ronald Colman, shy, self-centered,
finding adaptation to the world hard, they play the things
that other men live — that is, they become writers of stories

for December 19 2 9

Psycho-Analyze

By James Oppenheim

in which they are the adventurous hero; they write plays; they
go on the stage or into the movies as actors. In the acting the
shy man is lost and the real Colman appears.

In the case of Ronald Colman this ascendency of intuition
makes him, like Greta Garbo, more spiritual than sensuous.
The lover is there, but women are drawn to him by this fineness,
this subtlety, this promise of understanding; and by the rich
feelings hidden beneath. But while he is an introvert, just like
Greta Garbo, he has made a good development of the extra-
verted side. He has, of course, had the discipline of an English
up-bringing that requires of a man that he be masculine, re-
served, superior to circumstances, a good fighter, a gentleman
before the world. Above all, it requires that life be played as
a game and with good sportsmanship. Ronald Oolman has
these qualities.

It is this that makes him so many-sided. Women feel that
there is a mystery about him, and this mystery, I take it, is that
they know there is more to him than shows on the surface.
When he is light-hearted and gay, as in "Bulldog Drummond,"
one feels a seriousness underneath. When he plays an ardent
role or dangerous one, as in "Two Lovers" and "Beau Geste,"
one feels that there is another Colman taking it all lightly.
He is emotional, yet cool; he is shy and yet brave; he is self-
conscious and yet laughs himself off; he is a poor mixer, a man
who tends to solitude, and yet, gives himself through his art to
the multitude and that eye of the people, the camera.

Because of his strong
qualities he appeals to
men and wins their warm
admiration; because of his
many-sidedness, the hid-
den something, now shy,
now light, now deep with
feeling, he appeals to
women and wins, often
enough, their love.

Compare him with Jack
Gilbert and you see at
once the difference be-
tween the regular man
and the soul-image type of
man. Jack Gilbert is as
lovable in his way as
Mary Pickford in her
way. But Gilbert isn't a
Colman, any more than
Mary Pickford is a Garbo.
Jack is straight shooting.
You picture him as fight-
ing, loving, having a
practical side, mixing in,
hiding mighty little, sim-
ple and all there. No
mystery. He is like the
(Continued on page 111)

Above: Colman in his latest characteri-
zation in "Condemned." Left, a new
portrait. According to Oppenheim, the
psychologist, Colman has sympathy, un-
derstanding, and depth of feeling. Be-
cause of his many-sidedness he appeals
to women; because of his strength he
wins the admiration of other men.

SCREENLAND

So You Would
Like to be a
Movie Star!

rhe Price

By Betty Boone

Renee Adoree arrives at the studio at eight-
forty- five A. M. and the gateman reminds
her she is fifteen minutes late for work.

This being a motion picture star is a real
business.
It's a job, and not always a white
collar one, either.
The rosy path of stardom is not so glittery
and spangled as it looks from the far distance.

If you should tell Miss Brown, who teaches a
howling mob of fifth'graders their reading,
writing and arithmetic, that the lovely ladies of
the screen spend longer, harder and more nerve-
wracking hours at the job of stardom than does
she in her school-room, she wouldn't believe it.

Neither did I, until I talked to a few of the
favorites of film fortune, and watched them at
work.

I was still suffering from the delusion that the
ladies of the screen had nothing to do most of
the time but sit on a cushion and eat strawberries
and cream without even the bother of sewing a
fine seam, when I happened to be invited into Norma
Shearer's dressing-room one morning.

Miss Shearer was reading the day's schedule.

"But, Miss Barrett," she protested, turning to her sec-
retary, "there aren't enough hours in the day to fill all
these appointments!"

"I know it, Miss Shearer," the efficient Miss Barrett
smiled, "but each one is important, and I thought that by
doubling, we could take care of them all."

By turning detective, I discoverd that that same scene

was being enacted every morning in a half-hun-
dred orchid and silver and green dressing-rooms.

That seems to be one of the main problems
of the star business — doubling forty-eight hours
into the narrow confines of twenty-four.

The dignified banker at his mahogany desk,
the astute lawyer in his tome-lined office, the
erudite college professor in his book-filled study
— not one of them has anything on the dainty,
dimpled darling of the screen when it comes
to actual work and concentration.

These young women have an honest-to-good-
ness job on their slim hands, a job which re-
quires every minute of their time, every ounce
of their energy and concentrated effort.

If they let down in their hectic routine, if
they neglect their jobs, it means a speedy and

In her dressing-room Renee submits to hair-
dresser and manicurist and tries to open the morn-
ing mail at the same time.

complete professional death.

If she hasn't time for this or that, if she refuses to make
or keep appointments, if her face does not greet all comers
with a sweet and charming smile, then the word is passed
around that 'So-and-So is getting high-hat and up-stage.'
The magazine and newspaper writers direct their pens at
other and more affable stars, the photographers use their
flattering skill on other players. So-and-So finds a greased
path waiting for her slide into oblivion.

Just speak to the stars about the bed of roses which is

December 19 2 9

this

Stardom

Read This and
You May Change
Your Mind!

And then — lunch! But luncheon is all part of
the day's work, too, for Renee's vis-a-vis is
none other than an interviewer !

Below: 'still' photographer and fitter pursue the
star and snatch a few moments of her time, while
the study of the script goes on forever.

Ready for the day's work. Dividing her atten-
tion between director, shoes, and hats isn't
easy, but Renee does it!

popularly supposed to be their resting places in
the rarified atmosphere of the stellar regions!

"Bed of roses!" echoed Norma Shearer over her
too-full engagement pad, as she talked to a studio
executive on the phone, okayed some costume
designs and put the finishing touches to her make-
up, all at one and the same time. "I have to go
into secret retreat without telephone or address,
in order to find time to read the new stories which
have been selected for my approval."

Greta Garbo, cornered in the fitting room where
she was being molded into gray chiffon, threw up
her hands in Swedish horror.

"Rest!" she exclaimed, "there is no such t'ing
as rest in the moving pictures. From morning to
night, and night to morning, there is somet'ing, always
something, to do!"

I found Joan Crawford pacing the stage between scenes,
repeating over and over in a whisper the lines for her
next talking sequence.

"I have to steal the moments I spend with Dodo,"
smiled Mrs. Douglas Fairbanks, Junior, "and now this con'
stant studying of talkie lines fills every hour of the day.
If you don't know your speeches, it's just too bad."

Still I wasn't convinced. These vivid, glowing girls
are always too daisy-fresh, too sweet and charming, to
be such slaves to business.

It's just some more hard-working bunk, handed out to
a greedy public, quoth I wisely to myself.

Then I glimpsed Renee Adoree, rushing madly by, pur-
sued by a maid, laden with boxes and bundles.

"Where you going in such a hurry?" I hailed the vivid
French heroine of many dramas.

"I'm on my way to a fitting now. Then I am scheduled
for some publicity pictures, and I have to be back on

SCREENLAND

Heigh-ho for the Life of a Star!

After luncheon Miss Adoree obligingly poses for
publicity pictures which will appear in news-
papers and magazines.

the set in half an hour," she called over her shoulder, not
stopping in her flight. "Sorry I can't stop. Come down
again.1'

Here was my golden opportunity really to investigate
this work business.

Valiantly I raced after the Adoree's flying footsteps.

"Do you mind if I come down tomorrow and just trail
you around?" I panted.

"No, of course not," she smiled, "if you can stand
the gaff."

"What time do you reach here in the morn-
ing? Eleven o'clock?" I asked, keeping step.

Then she really stopped in her mad onrush.

"Who do you think I am, a banker?" she
smiled. "If I roll in later than eight-thirty,
even the gateman says something about my
tardiness."

So, the next morning at eight o'clock, I was
waiting by the huge Metro-Goldwyn-Mayer
gates.

Renee arrived in the midst of a horde of in-
coming extras.

Gone was one of my most cherished illusions.
I had always imagined the 'big shots' as arriving
at the studios in leisurely luxury.

There was nothing leisurely about the brisk
and business-like Miss Adoree, who nodded
good-morning to one and all, and darted dress-
ing-room-ward on high French heels.

In a twinkling her street frock was exchanged
for a dressing-gown, her riotous curls were
pinned back under a protecting band, and her
busy hands were smearing grease paint over her
face.

The telephone bell rang incessantly.
"Yes, I'll find time to see her."
"I'll be £;lad to talk to her at luncheon."

"I think orchid chiffon would be prettier than
green georgette."

"I'll be glad to see him, but he'll have to
come down to the set."

"I'll steal a minute at noon for that sitting."
Talking, talking into the mouth-piece, while
making up, reading a pile of morning mail,
having her hair dressed and speaking through
the half-open door to a procession of message
bearers.

It made me dizzy!

At nine o'clock we were on the set, accom-
panied by Ellen, the maid, the make-up box,
and the script.

Director Nick Grinde pulled Miss Adoree
into a chair and sat down beside her.

"Now, here's the first scene, Renee" he ex-
plained, "you come in "

Then into rehearsal — rehearsal for lights, re-
hearsal for cameras, for microphones, for action,
for lines for everything. Over and over again.

On the sidelines, awaiting a moment of Miss
Adoree's time, stood a designer, her hands filled
with colorful fragments of cloth: a member of
the publicity staff with three newspaper writers
in tow; a still cameraman waiting to grab some
pictures, and Ellen with a newly-arrived pile
of hats and slippers for Renee's approval and selection.

When the scene was finally 'shot,' Miss Adoree turned
to the waiting horde. One by one she consulted with
them, smiling, cheerful, interested. Without a murmur she
rushed through the stage door into the sunshine to pose
for pictures with two clamoring visitors.

Then back to the stage and the round of rehearsals for
another scene. Another importuning gang arrived, to
stand by and wait for Renee's first moments of freedom

And now the serious business of making movies!
Renee goes through a tense emotional scene on
the set for director Bob Leonard. All the com-
plicated equipment for taking talkies is shown here.

f o r D e c e mb e r 1 9 2 9 2?

Ifs Great — // You Can Stand It!

from the cameras.

"How do you stand it?" I gasped, as she
paused beside my chair for a minute, while Ellen
powdered her nose and brushed the mop of
her hair.

"It's all a part of the day's fun," she laughed
as she rushed back into the glare of the lights.
Luncheon!

"Back on the set in an hour," ordered the alb
powerful assistant director.

"Now you can relax for a minute," I en-
couraged her, as we dashed through the stage
door.

"Relax!" she mocked, with that delicious
trace of French accent, "don't be silly. First
I have to sit for a group of fashion portraits,
and then I am scheduled for a luncheon inter-
view. Just try and relax."

She was gone in the direction of the portrait
studio.

A half hour later I saw her in a corner of
the dining room, gaily pouring tea and chatting
with a strange woman in a green hat.

At one o'clock she was back on the set, ready
to repeat the hectic routine of the morning.

At the end of a scene Miss Adoree walked
over to where Mr. Grinde was directing the
re-setting of some lights.

"May I leave the set for a few moments to have the
final fitting for my dress for the country club scenes?" she
asked.

"We can't spare you now, Renee. We'll be ready for
you in a few minutes. Fit the dress over here."

The prop boy brought a screen. The fitter and her pins
were summoned, and a cloth-of-gold gown was crushed
into final and perfect lines on the Adoree figure.

Dinner dates mean nothing in a star's life if the
studio orders are: 'Work tonight!' Renee snatches
a bite on the set while she okays some new
photographs. It's eight-forty-five P. M.

And so to bed! But tomorrow' s dialog must be
studied, so the script goes with her. Yes, it's a
gay life, that of a screen star!

"Miss Adoree, I want you to meet some friends," one
of the studio executives requested as Renee stepped from
behind the screen.

"Ready, Renee," called Simon Legree Grinde. "Heavens,
your make-up is all streaked. You'll have to fix it before
we shoot."

Mad rush to the dressing-room. Hasty rubbing off of
old face. Hurried putting on of new.

On our return trip to the stage, I doggedly trying
to keep pace with her footsteps, she was
stopped three times, once to pose for pictures,
once to make an appointment for another inter-
view, and the third time to promise a personal
appearance at a charity bazaar.
Then back to the stage.
At six o'clock the assistant director called
'Dinner!'

Nick Grinde walked over to where Renee,
Ellen and I were gathering up the day's para-
phernalia.

"We'll have to take the added sequences to-
night, Renee. I'm sorry." His words fell like
the crack of doom.

"But I have a dinner engagement," Miss
Adoree protested.

"Sorry. You'll have to break it. Back on the
set at seven."

Miss Adoree sighed, then shrugged her
shoulders. "Well, that's that!" she laughed.

When we reached the dressing-room, there
were more telephone calls, more visitors, new
make-up to be applied.

"Aren't you going to eat any dinner?" I
asked as the hands of my faithful wrist-watch
approached the hour of seven, and my system
called for food.

We'll order some (Continued on page 127)

SCREEN LAND

HARLIE

All About Charlie's New Picture and
What he Really Thinks of the Talkies

Charlie doing his famous gags with the rolls which
you enjoyed in "The Gold Rush." An exclusive new
picture especially posed for Screenland.

SINCE starting my own little magazine — "Rob
Wagner's Beverly Hills Script" (adv!) — I haven't
had much time to barge around Movieland, and
in consequence have seen little of my old play'
mates. But as I had promised Screenland a story about
Charlie Chaplin and his new picture, I just grabbed an
hour off from my cosmic editorial duties and beat it down
to his studio. I expected to get my stuff in about fifteen
minutes and then be back on the job. I was with him
for eight hours!

It was my good — or bad! — luck to find him not work-
ing and when Charlie is not working he doesn't want
anybody else to work, and when two non-workers like
us get together there are no end of colossal problems that
have to be solved — religion, politics, love, and of course,
Art with a capital R.

Despite the Gcthscmanc he has passed through
in the last two years, Charlie is looking wonder-
lully well. His black hair has erased ten years
from his age. He had to dye it for his picture.
A daily smearing of mascara was too messy and
irksome. He was wearing white tennis trousers
and a white sweat-shirt.

All afternoon we sat in his little 'conference
cottage' and talked our heads off. One of
Charlie's insistent quirks is that he is utterly
and completely selfish and is interested in no-
body's work but his own. That's what he says.
But if there is any angle to my business or
domestic affairs that he doesn't know about, it
could be written on a postage stamp. When-
ever I discuss a story or article I am writing,
he will grow as excited as a school-boy and
the chances are he will call me up the next
day with a corking suggestion. He has been
thinking about it all night.

As to his selfishness and inconsideration of
others — well, his own organization is an utter
contradiction of his egoistic pose. His whole

The great comedian as his best friends
know him — loyal, kindly, charming.

for December 19 2 9

CHAPLIN

The Best Interview ever Written about
the Comic Genius of the Screen

By Rob Wagner

The Chaplin the
world knows and
loves — the grotesque
little figure of the
most popular panto-
mimes of modern
times.

crew has been with him for years and if any of
them drift away during his interminable troubles
they always drift back. Charlie's loyalty to his
old friends is one of the most charming things in
his character.

Well, after pumping me dry about my new jour-
nalistic adventure, advising me on its finances, sug-
gesting schemes to get subscriptions and even offer-
ing to write for it, we finally got around to his
work. Naturally, the big question was: how is
Charlie to meet the new idiom — talking pictures?

"I must admit, Rob, that they fascinate me, anger
me and frighten me. Of course, they are here to
stay, but not, I think, in their present expression.
It's so new that few people know what it's all about,
and so far most of the results are artistic bastardies.
In drama they are trying to marry the conventions
of the theater with the realism of the screen, and
the result is an illegitimate child."

I have not the space to tell of his generalisations
regarding the problem as a whole, so I'll get down
to his own immediate problem.

"By far the finest marriage is that of pantomime
and music. It always has been, but heretofore all
we could do was to have some one score a picture
to well-known themes and then hope that the organ-
ist would play them. You know what happened
in the small towns — the high-school girl played any-
thing she wished and usually out of all harmony
with the action.

"Now, however, we can absolutely determine the
music and as it is part of the mechanical projection,
nobody can change it and the smallest theater will
hear it just as completely as the Roxy.

"This is a wonderful thing for me, and even
though I'm using no dialog in my picture I think
you'll find that the musical accompaniment will
satisfy all expectations for 'sound.'

"Furthermore, I am using no popular airs; my
music will be just as original as the picture, for
I am writing every bit of it myself! I am having it
scored and orchestrated as I go along and every
movement and gesture is accompanied by its own
musical theme.

"Yes, I have a 'theme song,'' but it is not regis-
tered in the usual way. No principal sings. I, in
my character of Charlie, first hear it as a phono-
graph record. You get the title from the disc itself
— 'Wondrous Eyes, by Charles Chaplin. The song
is strongly impressed upon me so that later, when
I fall in love with the little (Continued on page 110)

SCREENLAND

7ALKIES: a Liberal

Every Man, Every Maid May be Tutored

of Fitting the Right Word

By Herbert

Gilbert and Garbo, B.S. (before sound.)
They used a different technique in love
making in those days.

In "The Cock-eyed World," Victor McLaglen
makes tempestuous and audible love to Lily
Damita, his temperamental sweetheart.

Charles Farrell's "I love you" to Janet
Gaynor is whispered directly to every
woman in his audience.

It's love that makes the world go round. So they say.
And who be we to question an accepted truth. But every
axiom must have its corollary. So it is fair to assume that
old earth's amorous dizziness is influenced in some degree
by the quantity and quality of that romantic passion which
occasions its revolutions. By simple logic it must be deduced
that the near future will witness a violent increase in the plan-
et's vertigo. Caused by a new influence upon an old emotion —
the effect of talking pictures upon love. And lovers.

We lay no claim to distinction for the prophesy. It is sug-
gested by the words of wisdom which recently tumbled pearl-
like from the lips of Filmdom's Pharaoh, Louis B. Mayer.
During a visit to the White House, said Mr. Mayer to Mr.
Hoover :

"Sound pictures will cause English to be the universal
language . . . when people talk the same language . . . under-
standing will reign. Think what it will mean when such
studies as history and geography are taught through the sound
pictures!"

But he didn't go far enough. He neglected to state that un-
derstanding is the foundation -upon which lasting love is built.
And he omitted to stress the fact that without love there would
be neither history nor geography.

While the teaching of these subjects through audible photog-

for December 1929

Education in dHpVE

by the Talkies in the Technique
into the Right Place

Alexander Gray gives vocal rendition of
an old story to Marilyn Miller. She's
only pretending to stop him.

Walter Huston's ardent lips croon sweet
nothings to the willing ears of his lady
love, C laudette Colbert.

raphy presents wide scope for thought, imagine the result when
the talkies give the world lessons in love! Not the Graeco-
Roman type of the silent screen, with its catch-as-can clinchings
and its primeval wrestling, but the finely civilised and highly
specialized art through which a man may win a maid — or maid
a man — by virtue of the soft cadences of 'sweet nothings' mur-
mured by ardent lips to waiting ears.

American men have been called boorish lovers. But the
talkies will remold each nearer to the heart's, desire. To-
morrow's dawn will shine upon a race of romanticists talking
of love with the tongues of troubadors. And English will be
the language of Don Juan and Casanova.

The moon-eyed Stephen need no longer stand with burning
words stifled in his inarticulate throat while some juggler of
phrases elopes with his Chloe. The momentous syllables of pro-
posal need not be stripped of romantic verbiage to a mere
'Barkis is willing.' Every man will be tutored by the talkies
in the technique of the ever-living lovers of all ages — Abelard
and Antony, Launcelot and Leander, Dante and D'Artagnan.

The talkies synchronise the action of the most accomplished
heart pilferers to the lyric words penned by the world's masters
of" romantic rhetoric. And for a dime, ten cents, the tenth part
of a dollar — or whatever the admission price may be — experts
give lessons in love throughout the by, (Cnntinued on page 106)

"/ love you, you love me," says Larry
Gray to Davies. A tender love scene
from their new picture, "Marianne."

S GREENLAND

HOW
THE

STARS

SOLVE
THEIR

The Players have Problems to
Face, even as You and I

A t this season of the year most of us begin checking
/ \ up on ourselves, rather as the missus looks over
/ \ the monthly budget, to see where we have fallen
short and whether something can't be done about
it. Everyone seems to get big-hearted or philosophical
around this time, even though they sometimes forget all
about it as soon as the New Year's party is over!

This isn't going to be about the new resolutions the
stars make every year, because most resolutions are made
to be broken. No one can, just by sheer force of will,
live up to all the newly-turned leaves with a snap of one's
fingers. An uplift in one's actions, if to be of permanent
adoption, comes from a sincere and thoughtful desire to
rise. If the desire is really sincere everything in nature
turns to help the struggler. Even opposition must be used
as a ladder to vault to the top. It is only the half-hearted
fighter who declares the world and everything in it is
against him. He is licked before he crosses the threshold
of his journey. Some people may say it is a lack of faith;
others that the breaks weren't right; still others that luck
was against them. I believe that it is none of those things
so much as a lac\ of sincerity and singleness of purpose.

The world looks upon many things as impossible. Yet
certain inventors worked quietly away on ideas that came
to them and as a result we have our steamboats, our trains,

By Helen

Rudy Vallee says: "Don't fear things. If you
do, you're sunk. Think only of the task at
hand." Rudy's latest job is starring in pictures.

"No one ever baked a cake by going to a
matinee!" reminds Corinne Griffith. "So
keep your mind on your job."

automobiles, radios, motion pictures and airplanes. In
limitless mind many ideas abound. Those who tune in
on a few of them, open up their own minds to the thought
that nothing is impossible. We all can do this. The only
reason we don't is that we thin\ we can't. And this
stubborn idea alone is the reason we stay grubbing along
in our own little individual ruts.

What has all this to do with Hollywood? Plenty!
Just as you and I have our enemies, so have the stars.
Because they have risen to stardom it means that they have
overcome many obstacles in themselves and their environ-
ment. But the way they have met these difficulties can
be applied to any trouble — whether you are acting for a
living, selling ribbons over a basement counter, raising a
family, or trying for social distinction.

When I asked Gary Cooper how he got the best of

for December 1929

PR OBLEM S

Here are Secrets of the Stars
for Overcoming Difficulties

anything to do the only way to accomplish it is to keep
the idea firmly and forever in your mind and bend every
effort seeing it through. Let everything else go. For-
get all things that have nothing to do with the task you
have set yourself to accomplish. Don't let yourself be
undermined and weakened and swerved from your course
by giving your thought and strength to anything else.
And if you do this you will win just as sure as the sun
rises.

"If a thing needs decisive action there is always a right
time to do it. "A fight is often lost by impatience."
"That sounds pretty swell, (Continued on page 126)

"Almost any difficulty can be overcome by
ignoring its existence," believes Gary Cooper.
Gary has tried it — and it works!

his troubles, he smiled and said, "I haven't any."

"No, really," I said. "I'm serious."

"Come on and thrash it out at lunch, shall we?" he
invited.

We did.

"When you have a wall to jump, how do you take it?"
I asked.

"By not thinking that it is a wall. Almost any difficulty
can be overcome by ignoring its existence."

"But sometimes things come into the life of a person
that they can't ignore. The difficulty seems too tre-
mendous."

"When anyone lets himself think that he's out of luck!"
Gary was perfectly serious, as I was. "It takes much
longer then to overcome it. No one can overcome any
thing while in a negative state of mind. If you have

"first I make sure which problem is my par-
ticular job," says Mary Pickford, now co-star-
ring with Doug in "The Taming of the Shrew."
"Then I work at it until it's settled."

SCREENLAND

Vivian, the pretty one, and Rosetta, the funny one, do their stuff in a
rehearsal for "Cotton and Silk" with director Sam Wood as audience.

They Traveled 114,000 Miles
To Get Into Pictures

The Duncan Sisters Arrive

By Bradford Nelson

Hollywood is the greatest
Mecca for beautiful and
talented men and women
the world has ever
known. Charm in both masculine
and feminine form floods to the
palm-bordered Los Angeles suburb
from all over the world. Beauties
come from India, Siberia, Italy,
France, scores of countries.

To none of them, however, does
the banner go for having traveled
the greatest distance to get a film
contract. This championship be-
longs to two girls who were born
and raised not three miles from one
of the biggest film studios.

"Sure, we had the movie bug
like all the other girls," says Rosetta
Duncan of the Duncan Sisters, "we
knew of Bessie Love, Phyllis Haver,
Ramon Novarro and a lot of others
coins: direct from high school to

Engaged! Vivian Duncan has promised to
become Mrs. Nils Asther. They met while
filming "Topsy and Eva."

success in the studios.

"But Ellen Beach Yaw had be'
come a friend of the family. She
inspired us with a desire to become
opera stars — and that was the end
of our early screen ambitions!"

Today the Duncan Sisters are
finally film luminaries. They did
one previous picture, en passant, as
it were, but their present contract
is their first film venture of a per-
manent nature. Unless vaudeville
and revue contracts become too
alluring, the great fun-makers are
in the pictures for good.

They traveled over 114,000
miles to get to a studio in their own
home town !

They have been in every city in
America.

They were a riot in „ngland,
particularly when the Prince of
Wales 'cuf (Continued on page 112)

rrg (Elfriatmaa

pmtxi (MX mttxsxn

Wheezer of Our Gang
brings in the Yuletide
wreath.

111

GRETA

GIVES
FOR

Greta Garbo likes this country and its peo-
ple; and because she is sincere in her desire
to please she wants your candid opinion.
Do you want her to do talking pictures, or
do you want her to remain silent? Write
a letter answering her question, and giving
reasons for your answer. The best — that
is, the clearest, cleverest, and most concise
letter will win the prize.

In Sweden, Greta Garbo's native
country, they make much of Christ-
mas, in the good, old-fashioned
way. And Greta remembers many
of the kindly customs of her northland.
She has also come to know and love our
new-fashioned Christmas and all that it
stands for: a sincere desire for peace
on earth, good fellowship, new friends.
And so she offers this intimate, beauti-
ful gift to the unknown friend who
writes her the best letter answering her
question. If a girl wins the gift through
her writing talents, Greta will be pleased.
But the gift offer is also open to the
sterner sex; and if a man wins, well,
he is lucky to have such a distinguished
Christmas shopper as Greta Garbo!

ADDRESS:— GRETA GARBO

Screeni.and Contest Department

49 West 45th Street
New York City

Contest closes December 10, 192°

GARBO

GIFT
BEAUTY

Above: the famous Garbo smile. Iw
other days this smile would have
started wars and wrecked cities!
Now it spells 'box-office!'

Left: Greta Garbo at her dressing-
table, holding the mirror of the toilet
set she is presenting to the writer of
the best letter in her Screenland
gift contest.

This DuPont Lucite 10-piece boudoir set
in its durable case is in the Ming pattern
of translucent sea-jade, almost a perfect
reproduction of the costly porcelain made
centuries ago in far-off Cathay.

L JOLSON

"Merry Christmas" with Songs

Music is A I Jolson's language. Through this medium he
loves to give people pleasure, to inspire, cheer, and enter-
tain. That's why he's offering this Brunswick phonograph
with 8 records of his own inimitable songs — a Christmas gift
that you will appreciate every day in the year because of the
enjoyment it will bring.

A I includes in his gift 8 of his own
Brunswick records, double-faced, of
the 16 following songs: Sonny Boy;
Th ere's a Rainbow 'Round My Shoul-
der. Little Pal; Seventh Heaven.
Dirty Hands, Dirty Face; My Mammy.
Why Can't You; Used to You. Blue
River; Mother of Mine. Liza; One
Sweet Kiss. Old Man River; Back
in Your Old Back - Yard. Golden
Gate; Four Walls.

A L Jolson's Christmas gift is a portable
/ \ Brunswick phonograph built into a
/ % compact cabinet of durable metal
with padded covering of tan leather-
ette. It is I6I/2 inches wide, 15 inches deep
and 8 inches high. The instrument has all
the tone-reproducing features for which
Brunswick is notable, including an all-metal
reproducer assuring great range and pure
tones, a wide-area tone chamber enclosing the
tone and increasing the volume. Other assets
are an automatic stop, a noiseless motor, a
large record-carrying capacity, and it plays
all records. Now: here's the question you
must answer. Which of Al Jolson's songs that
you have heard do you like best, and why?
It doesn't matter where you heard them—
from the screen, the radio, the phonograph.
Write Al a letter, answering this question;
and the best, that is, the most sincere and
concise letter wins the prize.

A charming Christmas
gift — from lovely Billie
Dove to you! Write the
best letter answering
Billie's question and you
will win this exquisite
negligee of satin and lace,
especially designed and
made for Miss Dove to
give to a Scrf.f.nlani)
reader.

ILLIE T>OVE'S

Billie Dove wishes you a
Merry Christmas! Not only
that; she offers tangible evi-
dence of her Yuletide spirit
in this charming negligee — so smart
and dignified that it may also be used
as an informal hostess gown. The
writer of the best letter will win the
gift. Here's the question you must
answer: Would you like to see Billie
Dove play a character speaking with
a foreign accent? Answer yes or no,
and give reasons for- your answer.
The cleverest and clearest letter will
win the negligee.

What' girt wouldn't he delighted
t-o receive this dainty present on
Christmas morning?

Doesn't Billie look pro-
vocative in her own
Christmas present? The
negligee is so cleverly
designed that it will be
becoming to any type of
figure. And whoever wins
it will prize it doubly
because Billie Dove se-
lected it and wore it just
this once.

Alt photoyraphH
of Billie Dorr
hu Elmer Fryer.

^Beautiful Negligee

Billie Dove is the essence of smart
femininity. Anything she wears or
sponsors is sure to make smart woman-
kind sit up and take notice, not to
mention mankind! Doesn't this fascinating
creation look just like Billie? She didn't buy
for herself, but for you — her Christmas gift
to some fortunate film-fan friend. She is posing
in it for your special benefit so that you may see
what a lovely thing it is. The body of this
luxurious robe is of peach satin, rich and heavy
in texture. Fine chiffon with a wide border
of cream-colored lace in exquisite pattern forms
the gracefully-flowing sleeves, while the fan-
shaped lace insert in the back adds grace.
Yours, for the best — meaning the cleverest and
most concise letter answering Billie's question.

Address : — BILLIE DOVE
Screenland Contest Department
49 West 45th Street
New York City
Contest closes December 10, 192°

Hiltie's beauty makes this negligee
more lovely, and the negligee sets off

Billie' s. beauty!

HAROLD

Holiday

Genial Harold Lloyd! Have you seen
him in his newest comedy. "Welcome
Danger?"

S GREENLAND presents Harold Lloyd in
his new role of Santa Claus. With
sound and effects! Harold felt the
Christmas spirit stealing over him
and got in touch with us immediately.
"How about a little gift?" he asked. "Go
right ahead, Mr. Kris-Kringle," we replied.
"But where's your white whiskers?"

Harold declined to dress up because ho
said he hoped he was a good enough actor
to get across his feelings without going into
a disguise. We agreed with him. Especially
when we saw the gift he had selected, to
be presented to a Screenland reader who
writes the best letter answering his ques-
tion: Do you think Harold Lloyd should
play in more than one pi.ture a year, or
would you rather wait for his yearly offer
ing? Give reasons for your answer.

As you know, Harold makes one pic
ture a year. He wants to know if you
consider this a good plan and why; or do
you think he should come through with a
few more of his comedies, and why. Tell
him in a letter, and the sincerest, cleverest
and clearest letter will win the wrist-watch.

Address:— HAROLD LLOYD

SCREENLANO CONTF.ST DEPARTMENT

49 West 45th Street
New York City

Contest closes December 10, 1929

Harold selected this watch himself
and liked it so well he made himself
a present of another just like it.' "To
a film friend from me," says Harold.
'And from me to myself!"

LLOYD'S

Greeting

This picture of Harold is just to prove
that comedians have their serious mo-
ments, too.

This is a close-up of the Hamilton wrist
watch which is Harold Lloyd's gift to the
writer of the best letter. It is a very
modern model, has 19 jewels and is 14-
karat gold.

On his days off Harold plays
with one of his many Great
Danes.

A FUR COAT from

A Gift with the Christmas Spirit!

Evelyn Brent, that alluring
lady who has just achieved
stardom, celebrates by offer-
ing a smart fur coat to a
Screenland reader. What
could he nicer?

All photograph* of Evelyn Brent
hy Russell Ball.

Evelyn is wearing the gift
coat. It is of slate lapin, one
of the very smart 'new' furs,
and is lined with gray flan-
nel. It's reversible, and may
be worn inside out if desired.
The designer evidently had
in mind the changeableness
of woman, giving her a
chance to change the color
or the texture of her coat
whenever she feels like it.

EVELYN BRENT

Write the Best Letter and Its Yours

Evelyn Brent is one of the best-dressed
women in motion pictures. Evelyn says
that when a woman feels well-dressed it
bolsters up her self-confidence. (Accord-
ing to that, Evelyn must always be self-confident!)
Knowing every woman's weakness, and at the same
time being of a practical nature, Miss Brent decided
that a fur coat would be just the thing to offer in
her Christmas gift contest. So she went to Greer's,
a smart Hollywood shop, and purchased the lovely
fur coat you see in these pictures. If you want
Evelyn's brand of self-confidence and want to spend
a very comfortable winter, write the best letter and
win the beautiful gift!

Evelyn Brent went to Greer's, one of Hollywood's smartest
shops, to select the fur coat which she offers to a Screenland
reader. H-er* is Evelyn looking at Jier choice with Howard
Greer. It's one of the smartest fur coats of the season!

Miss Brent is offering this beautiful gift for the
best answer to the following question: Can you
suggest a book or play which you think would
make a suitable screen starring vehicle for Evelyn
Brent? Give reasons for your selection. By 'best
letter' is meant the clearest, cleverest, and most con-
cise. Evelyn hopes to find suggestions of value from
this gift contest, for she is a conscientious artist.

Address : — EVELYN BRENT
Screenland Contest Department
49 West 45th Street
New York City

Contest closes December 10, 1929

QEORGE ^BANCROFT'S

Ever since George Bancroft made "Thunder-
holt" he has had a new hobby — dogs! Oh,
yes, the little dog who worked with him in
that picture is his inseparable pal now.
"'He may or may not have a pedigree," says George,
"but I love him just the same!" When George
decided he wanted to give a dog as his gift to a
Screen land reader, he made up his mind to find
the swellest dog he could, so he selected Sidlaw
Mighty, the cutest little Sealyham terrier that ever
yipped, with a pedigree longer than he is. Write
the best letter to Mr. Bancroft and win this inde-
structible Christmas gift. By 'best letter' is meant
the most sincere and concise answering George's
question.

George Bancroft with the
Sealyham terrier which he
offers to you. The pup's
name is Sidlaw Mighty, hut
he's just 'Sid' to his pal
George. Sid comes from the
famous H. M. Robertson
Kennels in Hollywood, where
so many of the screen stars
buy their dogs. Little Sid
has a pedigree that will go
with him to his new home.

He's yours if you write the best letter to
George Bancroft. And with such an in-
spiration as Sid there's no reason why
you shouldn't write the letter of your
life!

!<rDOGGY' (^HRISTMAS

IF you don"t like pups don't enter this contest!
Sidlaw Mighty is a fine dog, with proof not
only in his pedigree but in his character. He
is lovable, frolicsome, and at the same time
loyal, staunch, and true. The question you must
answer: Do you like to see George Bancroft play-
ing gangster or businessman roles? Give reasons for
your answer. We all know that Bancroft is splendid
in any type of part. However, you must have a
preference. Make your selection, write your letter,
send it in — and then iet George do it.1

Address : — GEORGE BANCROFT

SCREENLAND CONTEST DEPARTMENT

49 West 45th Street
New York City

Contest closes December 10, 1929

Bancroft has gone completely 'bow-wow' and
doesn't care who knows it. He wants some don-
lover to win Sidlaw Mighty through this contest.

How would you like to find little Sidlaw in
your stocking on Christmas morning? If you love
dogs you'll love him; and he will he a credit to
you and yours. A Sealyham terrier is an aristocrat
of dogdom — faithful, loyal and oh, so smart!

John McCormack, truly great figure in the world of
song, will make new friends through Fox Movietone,
for which he is now making his initial production.

John McCormack's

Golden-Voiced Gift

The Great Irish Tenor Greets his New
Friends, the Motion Picture Audience

The Victor record album which John
McCormack presents together with 12 auto-
graphed double-faced Victor records of his
songs, to the winner of his Screenland
contest, is very handsome. To the left and
fight, you can see the appearance of the
album; it is of genuine brown cowhide, with
elaborate gold tooling, with 12 pockets for
10-inch records. Every music-lover would
appreciate such a gift, with the added value
of the McCormack autographs — rare indeed.
Below, the album when open.

JBHIBBBHHKl

John McCormack! There is glamour
in the very name. He has sung his
way into the hearts of the world; his
magnificent voice is enhanced by the
charm of a whole-souled, generous person-
ality. Thousands have heard him from the
concert stage. Many more have collected
his Victor records. And now he will reach
his old friends and make many new ones
through Fox Movietone, for which he is
making his first motion picture. He wishes
to extend holiday greetings to Screenland
readers through this gift contest. He will
present an elaborate gift album containing
1 2 autographed double-faced McCormack
Victor records for the best, that is, the clear-
est and cleverest letter giving the writer's
impressions of John McCormack based on :
I. Hearing him sing in concert. 2. Hear-
ing him sing on Victrola records. 3. What
you expect of him on the Movietone. The
titles of the songs on the 12 double-taced
records are as follows:

Annie Laurie; Auld Scotch Songs. Dear Old Pal of
Mine: Little Mother of Mine. I Hear You Calling Me:
Mother Machree. Just for Today; The Holy Child. Mar
chela: Somewhere a Voice is Calling. Silver Threads Among
the Gold; When You and I Were Young. Bird Songs at
Eventide; Little Silver Ring. Mother, My Dear; Brown
Bird Singing. Fairy Story by the Fire; Now Sleeps the
Crimson Petal. Because I Love You: Far- Away Bells,
lust a Cottage Small: Through All the Oays to Be. Sweet-
est Call: Moonlight and Roses.

Address: -JOHN McCORMACK
Scrffni.and Contest Department
49 West 45th Street
New York City

(.ontesf closes December 10, I °2°

John McCormack with his wife at Moore
Abbey, his estate in Ireland. All the ex-
teriors for his first talking-singing picture
are being made in the V.merald Isle.

George Edward Drury

PICTURESQUE study of Rolf Arm-
strong, America's most brilliant portraitist
of beautiful women.

for December 19 29

Larry Comes Back

A Favorite Boy-Friend By

Finds His Voice Jean Cunningham

Don't bring a frown to old Broadway,
You've got to clown on Broadway.

Iarry Gray's eyes searched out the 'mike' hanging
ominously over his head as he sang. Perspiration
. poured down his face. His throat muscles quivered
as he swelled tonal volume.
It was the first time the number, destined to be a hit
of hits, had been sung for recording.

Tour troubles there are out of style,
For Broadway always wears a smile.

Larry was making a test for the leading part in a big
backstage musical-movie built around the song. He needed
the job. The breaks had been all against him since the
talkies began. He had even done dog pictures! Now,
here was his big chance.

A million lights, they flic\er there,
A million hearts beat quic\er there.

Lucky he had a voice. He could sing, and self-coii'
fidence was a great help. But who wouldn't be nervous
and excited under such trying conditions. Everything had
gone wrong with the sound gadgets. Since early morning
he had been singing the song. And until now they hadn't
succeeded in squaring off for a real take.

7\[o s\ies are gray on the Great White Way,
That's the Broadway Melody!

"Okay, cut!" shouted Harry Beaumont, beaming brightly.
"That sounded swell, Larry!"

Larry mopped the beads of perspiration from his face
and sank wearily into a chair on the big sound stage.

"Gosh, I hope so!"

Larry felt pretty chesty during the next few days. The

lead in "Broadway Melody!" He sang the song with his
morning shower, whistled it all day long and sang it as
he thumped his bungalow piano in the evenings.
The test was ready.

When it was run, the executives filed out of the pre
jection room with solemn faces. (Continued on page 111)

When Larry Gray ignored all
rules of the 'mike' and sang
naturally, he clicked, and was
signed for a singing role in
"Marianne" with Marion Davies.
Left: Larry and Marion mak-
ing a scene for the musical-
talkie with Robert Leonard
directing.

SCREENLAND

% Theme

By Rosa Reilly

((^"^^he theme song," says Al Jolson, "is one of the greatest
wholesale hits that ever struck Broadway — and points
south, east, north and west."

These songs are, as you know, speck' numbers
composed for special films, so that the audience may carry away
with them, in unforgettable melody, the heart of the picture.

No sooner had Charmame, written as the theme song for
"What Price Glory," back in 1926, started to break publishing
records, than men and girls throughout the country began writ-
ing theme songs in their spare moments, hoping to break into
the big money. Film producers were deluged with compositions.
Editors of magazines received many letters asking how such
songs could be marketed.

Maybe you yourself have a song you would like to have pub-
lished. Eve had one in the back of my head for a long time
that Ed like to bring out into the light. So to discover just
what chance we would have of getting our efforts accepted,

I went up to see Mr. Edward Morris,

„„ ,. „ , , the youne, blond and handsome man,

Evangeline, composed by Al i -i 1 ■ it ■ wt

Jolson for Dolores Del Rio, who with his pal, Lewis Warner,

made a big hit. And wait till takes care of Warner Brothers' song

you hear John Barrymore burst business, and asked him to give us

forth in song^in "General the low-down.

A high spot in the song industry is
reached when A I Jolson sings "Sonny
Boy" to Davey Lee.

for December 19 2 9

SONG'S the

On the Screen Today, the Play is Not the Thing
The Theme Song is the Heart of the Picture

Lewis is the son of the President of Warner
Brothers, and Edward the son of the Vice-presi-
dent. These men, in their early twenties, handle
the vast ramifications of the Witmark Publishing
Company, bought by Warners some months ago.
But they did not achieve these high executive posi'
tions because they were sons of the big bosses.
From the time the two boys were seven years old,
during holidays and in summer time and after
they graduated from college, they had worked in
the Warner organization in nearly every capacity.
Therefore when the big revolution came in the
musical publishing business and men were needed
who understood film conditions from the ground
up, the two youngsters were picked for the job.
And nowhere could we find better authorities for
telling us just what chances we beginners have of
making the theme song grade.

At his office, in a tall corner building at the spot
where Fifty-fifth Street intersects Broadway; where
executives, composers, librettists, secretaries, sten-
ographers and office boys surge back and forth in
tidal waves of musical excitement, Mr. Morris
said:

"I never like to discourage young talent. But
if I tell the truth, Fm bound to say that Bull
Montana has more chance of snatching away
John Barrymore's dramatic crown than a begin-
ner has of selling a theme song to the average
moving picture producer or music publisher.
There have been cases — but they've been mostly

5 3r . i

^ ¥ f

.....

•

Nirk Lucas is singing "Painting the Clouds
with Sunshine" for Attn Pennington in "Gold
Diggers of Broadway."

"Singing in the Rain": Marion Davies, Joan Crawford,
Buster Keaton, George K. Arthur, and ensemble from
the "Hollywood Revue."

accidents. However, there is a way, about which
we will speak later. But first let's consider just
what the producer is up against.

"Do you realise that today there are seventeen
big movie plants producing eighty-five talking
pictures, necessitating one hundred and forty-
three songs of totally different character? When
the picture executives set out to hire men to write
these songs, from past experience they found
that the best talent in the song writing industry
is their only hope. So they acquired this talent
wholesale.

"As the theme song developed from a modest
success into an absolute craze, the picture pro-
ducer reached out and bought major interests in
most of the large musical publishing houses. "

So now it is easy for us to understand how
unprofitable it would be for these big movie
companies to send out and buy your little love
song or my little love song when right here to
hand, Mr. Producer can procure Irving Berlin;
Walter CKeefe — the man who wrote Henry's
Made A Lady Out of Lizzie; Erno Rappe, the
famous Kapellmeister, who directs the Roxy
Orchestra with right hand and with his left
knocks out such knock-outs as Charmaine, Diane,
and Angela Mia; to (Continued on page 1 16)

SCREENLAND

Ten Years from

Noted Film Directors Foreshadow Develop-
ments in Talking Pictures, Startling Innova-
tions Along Lines Unique and Scientific

Clarence Drown, who was a
mechanical engineer before he
was a director, says that even-
tually a screen will be un-
necessary.

King Vidor states that new
methods in drama rather than
its reproduction are the most
important changes to be brought
about.

Iet's
ma

TET's go to the movies," you will re'
mark of an evening in 1939 or there
abouts. And you go up to your
private hangar on the apartment
house roof and nose your electric plane in
the direction of down-town.

Guided by a shimmering light from the
sky you will make a landing on the land'
ing field of the movie palace, check your
plane, buy your tickets and enter.
And what a movie palace!
When you emerge from the tunnel-like
entrance you find yourself in the center
of a great semi-circular dome. Overhead
is sky and all around are moving pictures, the characters
walking, talking; and you turn this way and that as the
characters appear on this or that part of the great circular
screen. The voices are localized and are heard all over
the circular screen from whatever point the characters
appear. The audience seems to be the center of action that
embraces the whole world — sometimes in the middle of
a block of houses; sometimes in the center of ranges of
mountains.

And the flickerless pic-
tures, in natural colors
and with perfect repro-
duction of sound, make
the entertainment literally
a copy of actual life.

This is just a guess —
one of many — as to what
the screen will be like in
the future.

Famous directors say
it's a little hard to con-
jecture just what form
the talking picture or the
stage either, for that mat-
ter, will take in the
future, for there are so
many possible forms.

Television is much
spoken of as a possible
form of future screen
entertainment. Cecil B.
DeMille, master director,
sees in it at least a new
form of news-reel.

"As to television," he
says, "I think it is entirely
too early even to venture
a guess. One thing is cer-
tain, I don't think such
an invention will ever
keep people from the
theater. The desire to
leave home on one or two
evenings a week to seek
entertainment is too
strong. Of course, tele-
vision may be developed
on a large scale for thea-
ter use, but its main value
will be for the theater. I
can, for example, visual-
ize an inauguration of a
president which we would
see and hear in our neighborhood theaters at the moment
the new executive is taking his oath of office."

DeMille sees in the new talking picture a peril for the
legitimate stage, though he is still personally loyal to it.

"Ten years* from now," he says, "we may have no
legitimate stage. No one can exactly prophesy the future,
but it is evident that the stage, the old stage, is seriously
threatened unless it shows more constructive and creative
tendencies than has been the case in recent years.

{or December 19 2 9

Today

By Ralph Wheeler

"The stage need not die. It can combat the talking pictures
and ride parallel to them, by striking off into absolutely new
fields. It may bring a distinctly new type of legitimate theater,
just as we are approaching an ultimate type of talking picture
theater which will differ widely from the extremely wide houses
needed now for ocular pantomime production."

Fred Niblo, who directed "Ben Hur," sees in radio practice and
broadcasting chains a possible new form of theater for tomorrow.

"There will probably be key theaters," he ventures, "in the
great cities, where talking pictures will
be presented under ideal conditions,
with absolute perfection of projection
and sound reproduction, and with the
running of the film timed for laughs
and audience reactions by watching the
audience itself.

"Then, by remote control, the pro-
jectors and reproducers in all the thea-
ters on a "chain1 connected with this
master projector will be run in syn-

Harry Beaumont believes that a de-
vice for bringing the orchestra over
the heads of the audience to replace
the orchestra pit is needed.

Tod Browning has been experimenting
with television. He believes future pro-
duction will be by radio and television.

Television will be used in the homes
with short subjects; the longer plays will
be reproduced in the theater, believes
Fred Niblo, left.

chronuation. In other words, the theaters, like the radio chains,
will all be controlled from the central broadcasting station.

"The result will be that the audience in every theater will have
the same audience reactions. When a joke is cracked they'll hear
the audience in the master theater laugh, and laugh with it.
Nothing is so infectious as laughter. And a joke isn't ever funny
unless it is laughed at. And so with the other audience reactions."

Tod Browning, director of Lon Chaney's weird fantasies, some-
times called 'The Edgar Allan Poe of the Screen,' agrees with Niblo
in part, but goes a step further. Browning has been experimenting
with television, and believes that the production in a chain of
theaters will be by means of radio and television.

Niblo believes this will be used more in the homes than in the
theater. "I think it will be used in homes, with short subjects and
diversified programs, much as the (Continued on page 120)

SCREENLAND

He doesn't like Agua Caliente, airplanes, or
first nights! A new study of Clive Brook.

Portrait

Gentleman

An Impression of a Modest
Actor, Clive Brook

By John Go

Out west in Holly-
wood, where boys
are motion picture
producers and girls
reveal their love lives, one
man is trying to be himself.

He doesn't like Agua Cali'
ente, airplanes, or first nights.
He doesn't like trick clothes,
or pink town cars. And he
doesn't keep it a secret.
He's Clive Brook.
There are three different
Clive Brooks. One is the
cultured, cold and sophisti-
cated actor the public knows.
He plays Russian spies,
lovers and doctors with the
same even degree of fine
acting. The second Brook is
the man some of Hollywood's
wise ones think they know.
The third Clive Brook is the
real person acquainted with

Brook assumes many dis-
guises in his characteriza-
tion of Sherlock Holmes.
Above, as a German vio-
linist; right, as a waiter.
The man's a trouper!

about two dozen people in America.

Consider the first Clive Brook which the public
sees. He has never burned up the celluloid with his
passionate love parts. He doesn't think he is suited

to win the bouncing flapper
of high school days in the
diffused fade-out. He's right.
His love on the screen is
distributed in moderation, as
is everything in his life.

Whenever the public goes
to a Clive Brook picture, it
knows it will not be disap-
pointed by an inadequate
performance. His name in-
sures an intelligent picture
in which he never attempts
to steam up business for the
'Oh-how-I-love-you1 sort of
flapper fan letter.

And the Hollywood Clive
Brook?

It must be said at the
beginning that the English

for December 1929

people are the most exclusive in the screen colony.
Clive Brook is one. Ernest Torrence, Ronald Col-
man, John Loder, their wives and friends are others.
They are all very much alike. They are all very quiet.
They all have beach homes. They are all tennis
enthusiasts. Brook has the only grass tennis court in
California. Masses of honeysuckle cover the high wire
fence which surrounds it. Illuminated by electricity,
the spot is the scene of the colony's favorite sport,
midnight tennis.

None of the Hollywood Britons goes out of his way
to make an acquaintance. It's just his nature. The
few men Clive Brook knows well are the Englishmen
of his circle. To the great majority of Hollywood, he
is unknown. And many persons have never seen
him. Retiring modesty must be an old English trait!
At least it is new to Hollywood, where rumors are
dished to the world in headlines.

A petted star of Broadway traveled east on the
same train with Brook when he left recently for
England. "High hat!" she said of him when she
returned to Hollywood. "Who does he think he is
that he can't let anybody see him? Why, he had all
his meals served in his drawing room and never came
out until the last day!"

Because he has never borrowed a suit or a tie from
another actor on the lot; because he doesn't discuss
the love affairs of the colony when he makes one of
his infrequent visits to the studio; because he never
yells at mechanics or slaps carpenters on the back,
and because he doesn't spend hours thinking up wise'
cracks to pull on his friends, it has been said that
Clive Brook is just a little high-hat. It's not that:
it's English modesty.

But many people, unknown to him, admire him for
his supreme modesty and indifference. He seems to
have that fatal fascination of a charming, yet inac-
cessible man in his thirties. Despite his interesting
intelligence, his trump charm is his extravagant man-
ner. He knows the art of being old-fashioned, of
offering assistance and compliments. One feminine
writer of the colony visits the studio as often as she

In "The Return of Sherlock Holmes" he is seen
as Sir Conan Doyle's famous detective hero, and
contributes some of his finest acting.

Mrs. Clive Brook serves tea! Clive at the right — ■
and you'll identify Mr. and Mrs. Percy Marmont,
Philip Strange, and Ronald Colman.

possibly can when Clive Brook is work'
ing in a production. Secretaries would
have to be discharged if he came to
the studio very often. It is the real
Clive Brook these girls know.

His extreme consideration for others
is remarkable. Instead of making
interviewers set their time to his, Clive
Brook puts himself at the convenience
of the writers. He is always punctual.
Naturally, he makes a very favorable
impression. He treats representatives
from national magazines and high-
school papers with the same respect.
One writer from a Los Angeles news-
paper interviewed Clive Brook after
work at one o'clock in the morning
and said he never received such great
material from such an accommodating
man in all his experience.

Brook is an actor because he always
loved the theater, but still he is quite
in doubt as to just how he manages to
get on in a (Continued on page 121)

SCREENLAND

Lister

Shirley Mason and Viola
Dana Dance Their Way
Back to the Screen

Shirley Mason, a child of the stage, is right
at home in the new song-and-dance pictures.

ntroducing Shirley Mason and Viola Dana, two of
our most popular picture girls in their first screen
appearance together, entitled "Almost Twins." Let's
go!

"Almost Twins" is apropos of the sisters Flugrath after
studying those measurements. It is safe to say that Shirley
and Vi are the most petite of sister screen stars. Ever since
their babyhood days they have been like two peas in a pod
in their physiques — but ah! here the matter ends.

Despite their unquenchable adoration for each other they
have been individualists of the first water. There has been
nothing 'twin-ny1 about their careers. Always they have
stood on their own dainty feet, making their own ways
as individual stars. They made up their minds as stage
children, and how
they have stuck
to it!

Result: today
we have Shirley
Mason and Viola
Dana making
their first appear-
ance on screen or
stage together as
sisters, in "The
Show of Shows,"
the revue which

The "Sister Act"
number from "The
Show of Shows":
Shirley Mason,
Adamae Vaughn,
Marion Byron, Ar-
mida, Sally Blane,
A lice Day, Sally
O'Neil, Dolores
Costello.

Shirley Mason:

Height 5

Bust 3H

Waist 23

Hip 34

Thigh 20

Leg 12|

Ankle 7i

Foot 3jB

Arm 9i

Waist 5f

Hand _ 5|

Weight 97

has just been pro-
duced in Techni-
color by the Warner
Brothers. In this
revue of revues the
"Sister Act" is one
of the novelties of
the show. Besides
Shirley Mason and
Viola Dana, there
are Dolores and
Helene Costello,
Alice and Marce-
line Day, Sally
O'Neil and Molly O'Day, Sally
Alberta and Adamae Vaughn,

When
Shirley
in

Viola was eight and
was five, and both were
"Rip Van Wi-.ikle."

Blane and Loretta Young,
and Marion and Harriet

for December 19 2 9

eiCT!

Jason Carroll

Viola Dana:

Height 5

Bust • -32}

Waist 24

Hip 351

Thigh 20

Leg 12}

Ankle 7i

Foot 3}C

Arm H

Wrist 6

Hand : 5f

Weight 101

Lake. That's a real
sister act!

But, as this yarn
concerns Shirley and
Vi in their first sis'
ter act, we'll confine
ourselves to the ex-
citing debuts of the
erstwhile movie stars
in genuine song-and-
dance. If you don't
think they can tap,
buck, sing and
stomp, take in "The
Show of Shows" and you'll see Shirley and Vi do their
stuff with all the ease and grace of musical comedy stars.

Shirley Mason and Viola Dana
in their sister act from "The
Show of Shows."

Viola Dana, after a vaudeville tour, returns to
the screen with her sister. Welcome back, Vi!

This interviewer caught up to the vivacious sisters one
day in the studio rehearsal room when they were doing
their stuff under the tutelage of the dancing maestro, Larry
Ceballos. The latter hailed me, enthusiastically. "If you
want to see a great sister song-and-dance team, watch Vi
and Shirley do this number. They're a knockout."

Then, he whispered confidentially, "Say, these girls
didn't need any instruction from me. They go through
their act like real hoofers. They got it easily in five
minutes. And say, do you know what's unusual about
their sister act? They each have such distinctive personali-
ties that you have the feeling of watching two clever stars
working together as a team."

Ceballos said it. Now I could understand why Shirley

and Vi have always
stood on their own,
reserving their 'sister
act' for their private
lives. They have per-
sonality plus.

Interviewing the
two of these half-
pints together is like
trying to play inter-
locutor to a couple of
end-men wisecrackers
(Cont. on page 118)

The other half of
the "Sister Act"
number: Viola Dana,
Alberta V aughn,
Harriet Lake, Na-
nette Byron, Dolores,
Loretta Young, Mar-
celine Day, Molly
O'Day and Helene
Costello.

SCREENLAN D

J^t)LLYWOOD

Patsy Ruth Miller and her brand-new husband,
Tay Garnett, the young director.

O YOU believe in vibrations in rooms?"
Patsy the Party Hound whispered to
me. "Well, if you do," she went on
without waiting for an answer, "you're
bound to tell me that you feel the vibrations of a
wonderful spirit of friendliness and good will per'
vading this church. "And weddings," she con-
tinued, "don't have to be frozen to be beautiful."

"I see," I told her, "you are becoming wedding-
conscious!"

Patsy Ruth Miller was to be married to Tay
Garnett, the writer and director, and when we
arrived the church was nearly filled with people.
Patsy Ruth and Tay have hundreds of friends.

Johnny Farrow, looking very handsome in his
dress suit, had escorted us to our seats.

"I hear that Lila Lee and Johnny will be the
next to wed," Patsy said, when we had settled
ourselves.

Harold Lloyd and his wife Mildred sat across the
aisle from us, along with Mildred's mother and
little Gloria Lloyd. Gloria insisted that her famous
dad lift her up high so that she could see every-
thing that was going on. She is a rather silent,

The Screen Colony's
Social Life Centers
Around Its Happy
Marriages

wide-eyed child, with a smile only, really, for her
father.

"She always laughs at the gags in his pictures, too,
I hear," remarked Patsy.

Afterward Harold told us that Gloria was tremen-
dously observing — that she had seen, he said, a great
deal more than he had.

Gertrude Olmstead and Robert Leonard sat in front
of us, and across the aisle was Ruth Roland; and
there was Joe Jackson and his wife, who used to be
Ethel Shannon before she married Joe, had a baby
and settled down; and we caught a glimpse of Donald
Ogden Stewart and his wife. Donald himself was
once reported engaged to Patsy Ruth Miller, you
know.

"I wonder if all Pat's old admirers are here," re-
marked Patsy. "I guess not, though, because the
church simply wouldn't hold them."

Lucille Webster Gleason and her son Russell were
in the crowd, and there were Eddie Horton, Lillian
Rich — who has just come back from starring in English
pictures — May McAvoy and her husband, Maurice
Cleary, Eddie Lowe and Lilyan Tashman, and scores
of others.

Suddenly the big organ there in St. James' left
off playing inconsequential airs and went into the
wedding march, and the wedding procession was on
its way down the aisle.

Helen Ferguson was matron of honor, and looked
very lovely, although we knew that deep in her heart
she must be remembering how short a time before,

Lois Wilson, Helen Ferguson, Mrs. Tay Garnett
(nee Patsy Ruth Miller), Lila Lee, Mrs. D. Zanuck.

for December 19 2 9

Gets

Married!

Grace Kingsley

comparatively, she had been a bride herself, and of
how very lately she had been bereaved through the
death of her husband, William Russell. Virginia
Fox and the other bride's attendants came next, in'
eluding Lois Wilson, who declares that she is becoming
a professional bridesmaid!

"I shouldn't wonder if some man some day would
get the inspiration, when he sees how lovely Lois
looks as a bridesmaid, of kidnapping her and carrying
her off as his bride," whispered Patsy the Party
Hound.

"Well, I don't believe she'd stay if she were stolen,"
I answered, "Lois is awfully choosey, you know.
That's why she isn't married now. Just heaps of
hearts are strewn on her way."

Lila Lee came along just then, looking not in the
least solemn, as bridesmaids usually do, but casting
smiles this way and that, as though, after all, one
shouldn't take weddings so hard!

Then we thrilled when we saw Pat!

All the gorgeous footage of the white veiling
couldn't conceal nor could the solemnity of the occa-
sion entirely submerge that sparkle which is one of
Patsy Ruth's principal charms.

She was leaning on her father's arm, he looking
very distinguished in his frock coat and the rest of
the formal trappings. And of course the bridegroom
looked handsome. The best man was George Green,
and the ushers were Kenneth Thomson, Tom Buck'
ingham, James Gleason, Paul Franklin and Patsy
Ruth's brother, Winston. (Continued on page 122)

Mary Eaton and Millard Webb. Just married!
Their romance started in the studio.

Standing: Pearl Eaton, Katherine Robbins,
bridesmaids ; Marilyn Miller, maid of honor.
Lower row: Edward Mills, train bearer;
Doris Levant, flower girl; Mary Eaton
Webb; Evelyn Mills Lerring, ring bearer;
and Barbara Webb, flower girl.

May McAvoy's wedding party. See Harold Lloyd,
Mildred Davis, Lois Wilson, and — oh, yes — the groom!

SCREENLAN D

OCATION

"SWEETIE"

Gather round, boys and girls! Tour
picture has been made at last — the
first musical college romance that has
ever been written and produced for
the talking screen. And who do you suppose
took a sock at it? George Marion, Jr., the
writing fool who has made you laugh at his
titles for years. This is his first attempt at
dashing off lyrics but you never heard better
ones. The honor of writing the piece is shared
with Lloyd Corrigan, who is no slouch, either,
when it comes to tickling your risibles and
doping out a swell plot.

The company went on location at the Up'
lifters' Club Polo Field, if you can imagine
that for a hard day to take! It's between
Hollywood and the beach, almost to the water,
in fact, and during the lunch hour half the
cast played hookey for a swim, which cooled
them off for the afternoon.

Right: Nancy Car-
roll and Stanley
Smith, as campus
sweethearts.

Shooting a scene on location for "Sweetie." Note the camera
booths to the left, football players to the right, and above
the group, the microphones and sound mixers.

Above: 600 Los Angeles high-school students
worked as extras, receiving a full day's pay
check, lunch, and transportation to play
spectators for the film football game and
watch Nancy Carroll, Helen Kane and Jack
Oakie act! Not bad.

There wore Nancy Carroll, Stanley Smith,
Jack Oakie, Helen Kane, William Austin, Wal-
lace Ma^Donald, Stuart Erwin and a lot of
others. Six hundred high-school students on
the bleachers to do the cheering, turning actors
for the few days it required to take the foot'
ball scenes, and maybe you think they didn't
get a kick out of it! Their own team played
the game, with Stanley Smith, who never played
football in his life, having to pull a fast one
to keep up with them. Because, of course, he
was supposed to be the one who wins for the
dear old Alma Mater and with it the love of
his girl, Nancy Carroll — you know. Nothing
new about the hero winning the girl. But
what a yell you would raise if he didn't, after
all his hard work! And after all, it isn't the

for December 19 2 9

Boys and Girls, Here's a Col-
legiate Musical Movie for
You. Fun, Football — and
Everything!

By Helen Ludlam

Football, football!
Helen Kane and
Stuart Erwin stand-
ing under the score-
board. Of course
Helen's side won.

and football scenes in the summer, and
bathing pictures in the cold weather. They
just don't seem to have any sense of time
at all!

The high-school gang seemed to be far
more interested in Helen Kane than in
Nancy Carroll, which surprised me a little,
because Helen is new in pictures. As she
walked by the bleachers they called beseechingly to her to
turn around and look at them. She laughed in her baby
voice and waved to them in the baby way that has made
her name famous from coast to coast. Helen is unique,
absolutely.

"Come on, boys, snap into it," called Frank Tuttle, who
is directing the opus. "All you girls and boys on the bleach-
ers look at the players — take your cue from the action of
the team for your cheers and disappointed exclamations."

In this picture Nancy Carroll finds herself in a dilemma.
A very young girl herself, she is bequeathed a boys1 school
and becomes principal of it. What a break for the boys!

Looking very chic in a leaf-brown suede coat and vaga'
bond hat, Nancy sat on the first row of the grand-stand
and followed the action of the team. When she saw that
something was wrong she ran over to the little group to
talk to Stanley Smith.

Of course Stan irons out the trouble and wins the game.
One bunch of boys takes Nancy on their shoulders and
another takes Stanley and march around the field; but the
young lovers get together at last and clinch for the final
close-up. (Continued on page 114)

Tackling teacher! William Austin as Pro-
fessor Percy (Puss) Willow lets Stanley
Smith, Jackie Oakie and Stuart Erwin prac-
tice tackling him.

fact that he wins the girl that's interesting, be
cause you know he is going to do it, even before
you get to the theater; but it's how he does his
stuff that keeps us biting our finger-nails.

And don't you worry that Stan doesn't keep
you all worked up. Said one young miss to her
girl friend: "He wouldn't have half that
trouble getting me that he's having with Nancy
Carroll. But life is like that!"

Of course the football tons weren't irivinsi
Stan and Jack Oakie and the rest any thrill
on a hot day. They had on two sweaters and
all the stuff you have to have for padding and
two pairs of woolen socks and the heavy shoes.
You know what it's like. The producers are
that contrary, always doing ice-and-snow stuff

A "Sweetie" location lunch. From left to right: Helen
Ludlam, director Frank Tuttle, Stanley Smith, William
Austin, Russell Mathews, and Stuart Erwin.

SCREENLAND

Larry Ceballos is showing 'em
how to dance 'Dutch.' An in-
triguing number in the all-dialog
version of "No, No, Nanette."

DANCING Girls

xtra, extra!1' the boys are shouting.

"Beautiful Extra Girls Find New Way to
Break Into Pictures."

No longer need the pretty little youngsters
who flock to Hollywood with dreams of becoming screen
stars, face the bitter disappointments of the extra lists who
are turned back at the stern studio gates.

They have found a Papa Bountiful. Or, rather, he has
found them. His name is Larry Ceballos, and he's the
youthful daddy of dance production in the new singing-
dancing'talking pictures.

When the spectacular musical revues and comedies
flashed into popularity overnight, Hollywood faced a
serious problem. Where would the chorus girls come
from? Where the stage uses only thirty to
sixty chorines, the elaborate pictorial extrava-
ganzas require anywhere from one to three
hundred to put it on right. And there weren't
that many chorus gals in all Hollywood!

In the studio restaurants and around the sets,
the dance producer constantly beheld lovelier
girls than he ever had seen when he was
selecting chorines for his Greenwich Village
Follies in New York, or for his Music Box
revue in Hollywood..

"Whence came these lookers?" he inquired
persistently of the ones in the know. "Extras,
extras, nothing but extras," would be the in-
different response.

Then and there Larry had a big idea. He
spoke to all the girls. When he introduced
himself by asking them if they could dance,
most of them just stammered and stuttered
"Gracious, no." They meant that they couldn't
dance to suit the requirements of a Larry
Ceballos. They had seen his snappy revues in
theaters, and they were scared! Their dancing
had been limited to whoopee places where one
steps a collegiate caper with more enthusiasm
than professional grace.

But Larry Ceballos has always been noted
in the show world for his resourcefulness, as

Extra Girls Chosen to Deco-
rate Elaborate Extravaganzas
Step Out Like Accomplished
Chorines

well as his originality in dance production. Besides, this
handsome little Spanish-American has a way of inspiring
confidence. He reassured them. He \new that such pretty
girls simply must be able to dance. First thing they knew
they had steady jobs. Papa Bountiful persuaded the
Warner Brothers and First National to sign his selections
contracts. Extras no more, Ceballos' chorines

are

Larry Ceballos, dance director of screen revues,
says he can teach any girl to dance. Line
forms at the left!

for December 1929

Jack Mulkall entirely surrounded
by the beauty chorus of a musical
number which he helped direct.
But Jack doesn't mind.

Hollywood

Keith Richards

decorating marvelous shows and are face to face with
future opportunities to become screen stars after all.

"Did you ever see so_ many beautiful girls?" the proud
dance producer asked me. I never had, even in my wildest
dreams. At that moment I was looking at approximately
three hundred and fifty lovely girls, mostly of the flapper

age.

The beginners' class. In another week you'll
never suspect these girls have not been dancing
all their lives.

"Say, if a New York stage producer ever saw so many
pretty chorus girls all at once he'd die of the shock,"
continued Ceballos. "I ought to know, having spent many
hard years picking and training em. Of course, Til admit
that most of them had higher ambitions, but now they're
all happy. They have discovered that they can dance after
all, and what modern girl doesn't like to dance?

"My training methods have always been simple, and I
confidently believe I can teach any girl, who is graceful,
to dance. Do you know that this ballet has been rehears-
ing only a week, and that sixty of the girls have been
dancing only that long?"

It really is amazing. Ceballos hypnotised most of them
into believing they could dance, and then he made them
step like experienced chorines. These erstwhile
extra girls are getting such a kick out of
dancing for Ceballos that many of them are
determined to follow dancing careers.

Originally, Ceballos had twenty-four chorus
girls who had been with him for three years.
He had trained them perfectly. They are the
nucleus of his choruses. They help him train
the novices. They are now accomplished
danseuses, capable of all sorts of ballet danc-
ing, although Ceballos specializes in synco-
pation.

Most of the girls you will see in "Sally,"
starring Marilyn Miller; in "No, No, Na-
nette," the sparkling musical comedy; and in
"The Show of Shows" are these extra grad-
uates who have been selected by the unerring
eye of Ceballos.

No higher praise could be bestowed upon
the far-sighted dance producer than to say
that the girls in these beautiful ballets and
ensembles look as if they had been dancing
all their lives.

"We are only just beginning," confides
Ceballos. "The future of musical extrava-
ganzas and comedies on the screen is now
firmly established but to date we have been
experimenting. Once (Continued on page m)

SCREENLAN D

GARBO'S

NEW SCREEN

LOVER

Introducing
Lew Ayres

By Myrene Wentworth

The new boy in talkie town — Lew Ayres, selected
by SCREENLANU as a coining stay. Watch him!

MexicaU Rose, stop crying —

I'll come bac\ to you, some sunny day.

Painted ladies salted their beer with tears in the
old Climax Cafe across the border in Mexicali as
the baby'faced tenor crooned the plaintive melody.
He was just a kid. Seventeen years old. Drifted
down to the border resort to pick up some change after
giving up his medical course at the University of Arizona.
Lewis Ayer was his name. He changed it to Lew Ayres
because they all pronounced it Loose Air.

"I made all the border places,1'' he admitted somewhat
shyly. "I played all
over Tia Juana, you
know, sobby things
that made them cry.
They liked to cry and
paid swell dough for
it."

Lew, now twenty,
today is one of those
rare sensations that
makes Hollywood sit
up and take notice.
Coming out of the
nowhere, this wistful
boy banjo-singer land-
ed in the cast of
Greta Garbo's new
picture, "The Kiss,"
playing the part of
her youthful lover.

"Gee, she is won-
derful," he said. "I
was scared to death
when I walked on the
set but she made me
feci ri^ht at home

Greta's kindness helped
first part, in Garbo's

and helped me tremendously. One cold look from her
and I would have fallen through the floor."

We recalled that day when Lew went into his first
scene with Garbo. It was a scene where he had to rush
in and embrace her madly.

"And I hadn't even been introduced to her," he said
with an imagine-my-embarrassment gesture.

Lew dashed into the set, red through his make-up, sweat
dampening his brow — a classic one, by the way.

Miss Garbo saw his discomforture and took his arm,
turning to Jacques Feyder, the director.

"Would you mind
making me acquainted
with this young
man?" she inquired
laughingly.

From that time on,
Lew apparently was
perfectly at ease, al-
though his previous
screen experience was
confined to a tiny bit
in a college picture.
Not even a day's ex-
tra work preceded.

"When I was a kid
I always went to
movies and Douglas
Fairbanks was my
idol,"' Lew related. "I
was movie-struck
when I was six years
old. I still am. When
I was twelve, how-
ever, my ambitions
changed. I decided
(Cent, on page 109)

Lew make the grade in his
support in "The Kiss."

Clifton L. Klma

The ijvlost ^Beautiful Still of the JMbnth
charles ROGERS and jean Arthur in "Here Comes the Band Wagon"

e 5pirit of

Hollywood is the new Paris!
Artists flock there because they
know they will find beauty, and
beauty of a rare kind. There
is youth — and color— and form.
There is life.' And now that
the screen is singing, and danc-
ing, and shouting, and splashing
in a gorgeous sea of natural
color, the artists are in ecstasies
over their opportunity to cap-
ture something of this gay spirit
of Talkie Town.

The stairs to screen stardom are
being climbed today by the dancing
girls. Every studio has its group
of hard-working youngsters who
drill and dance for your amuse-
ment. Surely, out of this ballet of
beauty, there will spring a real
star, typifying the new musical
motion pictures.

These liirls are practicing their
dance steps while waiting to be
called before the camera for a
scene in "Paris," which stars Irene
Bordoni. Grace — youth — delicacy!
liruehl has admirably captured their
eloquence. Is it any wonder the
audible screen entertainments are
becoming more and more popular?

^Dancing

creen

Anton Bruehl, the famous
artist- photographer, journeyed
to Hollywood to track down the
spirit of sound in her lair. He
succeeded. He caught the elu-
sive sprite in her most radiant
mood and presents these por-
traits as the result. They show
the gallant little girls of the stu-
dios working to record their
beauty in singing and dancing
celluloid. The First National
Studio is the scene.

Degas himself would have loved
Hollywood! Bruehl presents this
particular picture by way of re-
minder that the dancing dolls are
not merely decorative. They know
their stuff! The lithely acrobatic
young lady is a member of the
chorus of Corinne Griffith's film,
"Lilies of the Field," just warming
up to her work.

A young star whose charm has
often been caught by the cameras,
but never more vividly: Olive
Borden. According to Anton
Bruehl, she is one of the most ex-
quisite attractions in all screenland,
for she has a piquant grace that is
not often found. That makes it
practically unanimous, doesn't it?

Duncan

BOTH girls and boys go in for berets now!
Here's Blanche Sweet wearing hers, and if
you'll look across the page you'll see —

Ruth Harriet Louise

NILS ASTHER sporting his. Nils is a
happy man these days, because Vivian
Duncan has promised to become Mrs. Asther.

Jf 4

1 1 /

j £

CLAUDETTE COLBERT is scoring a hit
Broadway this season— as usual!— and
peating her triumphs in talkies.

Ernest A. Bachrach

BETTY COMPSON'S presence in a picture
is a sure-fire indication of its success. The
girl's a little gold mine!

IS Dolores Cosrello 'to be or not to be' in a
talking film with friend-husband John
Barrymore? That is the question!

A SIREN from old Mexico, Armida, will
join Lupe and Del Rio in the race for
Latin honors. She sings, she dances!

Gilbert Roland and the parrot both look
sea-going. But Gilbert droit's the line at
the bird's salty vocabulary.

CHEZ

Norma Invites You to Her
New Beach House

Pretty Polly! And pretty picture star! Norma
is just going in for talkies, while the parrot
is an old timer.

Left: these charming Talmadges!
Mrs. Talmadge, affectionately
known as 'Peg,' with her daughters,
Norma and Constance, her son-in-
law, Towsend Netcher, Connie's
husband, and Gilbert Roland, on
the terrace of Norma's new house.

A beautiful boudoir for a lovely lady.
If this is Norma's beach shack, we'd
just like to see her town house! Can
those be books on the table? Yes, and
all the pages are cut, too. Norma
really finds time to read.

TALMADGE

Step Up and Meet Miss
Talmadge and Company

Just after a swim, and just before a real
sun tan. Norma spends much of her time
between pictures at the beach.

Norma wearing the latest in lounging
pajamas, of white satin with wide
pleated trousers.

Right: just a little gray home in
the west! The new Talmadge
beach house at Santa Monica boasts
a swimming pool in its front yard.
Whenever Norma and her guests
tire of it, they can step right out
the front door into the ocean!

AH photographs
by John Miehle

A view of the sun room with its com-
fortable furniture and inviting air of
true hospitality. Perfectly appointed,
Norma's new house yet has the at-
mosphere of the home that is really
lived in.

Otto Dyar

WE hear that Mary Brian, the girl from
Texas, has been going to the movies
lately with Rudy Vallee. Well, who wouldn't?

Otto Dyar

AY FRANCIS, the first talking vamp of
pictures, has a technique all her own.
Very, very dangerous — and delightful!

LOLA LANE, from the stage, already has
won a small army of admirers by her
clever, charming work in the Movietones.

; /^i- J,, j\iLi 111 i n ^i'i<MWii»fr*lrnM>ii<tfMB> Vniiri -i-- iiiiHir'r>ifi^»vi^ — r

Max Mun

MRS. FARRELL'S little boy, Charlie, from
up Massachusetts way, is making quite a
name for himself on the screen — yes, sir!

William Grimes

AND still they come, from the stage. But
as long as 'they' are as gifted as Kay
Johnson, they're welcome.

for December 19 2 9

G)he's not the ^ype!

She is Different, and That's Why Kay
Johnson is a Sensation in Hollywood

By Joseph Howard

Kay Johnson is Hollywood's newest riddle.
She is a so-different person, with a so-different
personality.
The wiseacres of the screen capital can't make
up their minds where to place her in their long-established
player classifications. Kay and her personality don't fit
into any accepted groove.

This perplexing young woman, who made such a start -
lingly sudden jump from the footlights to the screen, isn't
a 'type.1

Hollywood likes types. It likes
to paste a nice label on its people,
put them in a niche and keep them
there. Kay won't be labeled or put
in a niche.

Hollywood is worried. And you
may believe it or not, it takes a lot
to worry that all-seeing, all-hearing,
all-knowing suburb of Los Angeles!

Kay Johnson is neither a flapper,
a sweet young thing, a vamp or a
comedienne, these being the four
familiar types, with variations, of
course.

In the first place, Kay is tall —
taller than most of the women play-
ers. At one glance, Hollywood tore
up the flapper label. Screen flappers
are short of stature as well as of
skirt. A svelte, young woman five
feet and seven inches tall, is most
assuredly not short. And the
smartly-clad Miss Johnson demands
that her skirts be designed to cover
her knees.

Her voice, with its cello-like
depth and its violin-like clarity,
closed forever the 'sweet young
thing' niche. To occupy that place,
Hollywood demands dulcet tones
and honey-sweet words. With the
first vibrant word uttered by Kay,
the second label fluttered back intc

As for the third category, well, K
her eyes, nor reclines in perfumed
longues. No vamp is a vamp in
does all these things, and does them

Kay looks at the world through
eyes. She walks with the spring anc
athlete. Her vital energy keeps hei
of chairs, rather than sunk into cu.

So that classification was out.

There remained only the last — comedienne. Even Holly-
wood didn't consider that, Hollywood which will consider
almost anything.

Kay is just Kay, in a class by herself.
She isn't beautiful. According to accepted screen
standards, she isn't even pretty. She is tall and sveltely
angular. She has a frankly large mouth and a nose which
defies the familiar 'tiptilted' and 'piquant.' It is un-
ashamedly Romanesque. But she is personality personified.

Greater than beauty or prettiness is
her charm.

She first burst upon Hollywood as
the girl in the stage play, "The
Silver Cord." Her story might be
just another myth from a press
agent's pen, if it were not so abso-
lutely true.

Cecil B. De Mille happened to
drop into the theater where "The
Silver Cord" was playing. For two
acts, his eyes never left Kay
Johnson.

"I've found her," he sighed in
contentment, as the curtain swished
down at the end of that second act.
'Found who?" asked his com-

his

ungrammatical

sur-

panion,
prise.

"The lead for 'Dynamite.' "
Wherefore, being C. B., he did
not hesitate. He called an usher,
scrawled a few words on a card,
md dispatched message and messen-
ger to a young woman, who at that
noment was calmly changing into
r third-act gown, blissfully un-
aware that fate and the talkies were
tepping into her life.

"You see," Miss Johnson ex-
plained later, "I had come to Cali-
fornia on my honeymoon."

When Kay speaks of honeymoons
^ays smiles, displaying dimples such
since the days of Dorothy Dalton.
it be well to add, is the bride of
ind director, who deserted the stage

ohn, I had expected to give up the
)nal appearances when a particularly
ong. I had planned to settle down
d and efficient wife, believing that
(Continued on page 112)

SCREENLAND

Farrell and Gaynor with words and tnusic!

siu

All-Dialog, Singing and Dancing

The first night of this picture on Broadway was an
exciting occasion. Crowds pushed and shoved
good-naturedly in front of the Gaiety Theater.
They were obviously waiting for something or
somebody. So I waited, too. Pretty soon an elegant car
drove up, and a man stepped out. It was Alfred E. Smith
— one of New York's favorite sons. The crowd gave him
a cheer — he smiled — and then he passed into the theater.
And the crowd still waited. There must be someone else
coming! Such a stir and buzz; I
hadn't heard since the last time
Mary and Doug attended an
opening. Sure enough! Another
car stopped — a handsome young
man poked his silk-hatted head
out — the crowd rushed toward
him. When he saw the mob
he looked a little scared and
drew back. Then he seemed to
feel the friendly spirit surging
up to greet him, and stepped
right into the swirling mass.
Eager hands seized him. He
was half -carried, half- pushed
across the sidewalk and into the
lobby. Girls thrust, autograph
albums at him; one woman
patted him gently as he was
rushed past her. Men and
women, they grabbed him and
held him until the officers on
duty came to his rescue and
propelled him into the theater.
And inside — more fans, who
had paid admissions for the
first night of "Sunnyside Up,"
appeared with more albums, and
even when he had gained his

seat they followed him. Charlie Farrell, the Massachusetts
kid from Hollywood, was on his first trip to Manhattan,
and he was the town's idol that night.

So what did that first-night crowd think of "Sunnyside
Up?" They loved it, of course. Charlie in person gave it
all an extra glamour. And as the film unfolded its hilarious
humor and tuneful songs and snappy dances it carried the
crowd with it. The Cinderella story of MoIIie Carr, east-
side Irish lass who wins Jac\ De Puyster for her permanent

boy-friend, has been told before
under various aliases; but you
would have thought it was a
fresh idea, it was so enthusias-
tically received.

Janet Gaynor sings in a sweet
baby voice such sure-fire song
hits as Aren't We All; while
Charlie joins her in If I Had
a Tal\ing Picture of You.
Sharon Lynn leads the Eskimo
number in which the chorus is
so hot it literally melts the ice
— on the Grandeur film and in
the audience. De Sylva, Brown,
and Henderson, three melody
boys from Broadway, wrote
book, lyrics, and music; and in-
cluded just about everything
they could crowd into one
screen musical show. But I wish
Mr. Fox would let Broadway
boys be boys and save Janet
and Charlie for his "Seventh
Heavens." The delicate pathos
of these two talented youngsters
is too rare and fine to be
drowned out in the boisterous
boop-a-doop of Tin-Pan Alley.

for December 1929

Erich Von Stroheim in the title role of "The
Great Gabbo," directed by James Cruze.

Climb U p on My Knee, Dummy Boy!

The Great Gabbo

All-Dialog

NOW don't confuse this with The Great Garbo, what-
ever you do. Garbo is Greta than Erich Von Stro-
heim as Gabbo! Yes, Erich — 'the man you love to
hate.' Here is Erich coming closer to pulling an
Al Jolson than one would believe possible. He doesn't ex-
actly sing Climb Up on My Knee, Sonny Boy; but just the
same, Dummy Boy is on his knee; you can see it with your
own eyes if you don't believe me.

Herr Doktor Von forgets directing and essays the role of
a ventriloquist, and what is a ventriloquist without his dummy?
The great, great Gabbo is minus a soul except when his
better self speaks through the mechanical mouth of Dummy
Boy. Gabbo himself is so heartless he even fires Betty Comp-
son out of his act — Betty, who has done so much for the
talkies! You can believe Gabbo is sorry before he's through.
But then it's too late. This is the first time a ventriloquist
and his dummy perform for the speakies. A magnificent idea
gone somewhat stale. What's the matter with James Cruze?
Von Stroheim finds his voice and loses, for me, his sinister
charm. Betty Compson is splendid and amazingly versatile,
going so far as to do an adagio dance. There are big numbers
in color of a musical revue with usual embellishments, but one
tires of seeing ladies of the ballet walking up and down
stairs in intricate drills. They don't seem to be getting any-
where, the poor dears!

Sophisticated and fascinating

Anew angle on the eternal
triangle, believe it or not!
"The Lady Lies" is a sophis-
ticated and fascinating pic-
ture, with Walter Huston as a merry
widower, Claudette Colbert as a
lovely lady, and two clever children
occupying the corner of the triangle
usually held down by an aggrieved
wife. Good direction takes the story
over the rough roads and makes the
downward path lead upward so that
everyone is happy after several ex-
citing hours and no end of emotional
stress. Before the picture finishes
Mile. Colbert must win over Mr.
Huston's children, and I'm going to
give you one guess — not three this
time — as to whether she does it effect-
ively. She won you, didn't she?

The comedy relief, and not in name
only, mind you, is well taken care of
by Charles Ruggles, in the happy role
of an inebriate in the clutches of a
blonde cutie. It's ungrateful to bring
it up now, of course, but I can't help
hoping that Mr. Ruggles will before
long be given an opportunity to
prove that he can be just as funny
when sober. I recommend "The
Lady Lies" as additional evidence that
the talkies are fitting our celluloid
infant into his long trousers.

THE LADY LIES

All-Dialog

Claudette Colbert, Tom Brown, and Patricia Deering
in a tense scene from "The Lady Lies."

SCREENLAND

Amusing, wholesome, and expertly acted

Three Live Ghosts

All-Dialog

Robert Montgomery and Joan Bennett
in "Three Live Ghosts."

You'll like this picture! How do I know?
Because I looked around me when the
lights went up after the showing at the
Rivoli in New York and saw the satisfied
faces of the customers — the clergyman was smiling
faintly; the white-haired lady was still chuckling;
two school-girls were chattering enthusiastically
about young Robert Montgomery; while I — I was
wishing that pictures like 'Three Live Ghosts"
would come along every day. They make the
reviewer's lot a gay one.

Amusing, wholesome, and expertly acted, this
screen version of the popular stage play will please
all kinds of audiences — you, and you, and you,
as Janet Gaynor sings in "Sunnyside Up." It
concerns three buddies reported killed in action
who turn up in person and very much alive on
Armistice Day. They bring complications with
them, to which the stepmother of one of them
contributes more than her share. Beryl Mercer
plays the stepmother and she is a joy. Such an
actress! She is the leading character lady of the
talkies. Charles McNaughton of the original cast,
Claude Allister, whom you'll remember from
"Bulldog Drummond," and Robert Montgomery
are simply ripping, what? Joan Bennett is the
girl in the case. If further recommendation is
needed get in touch with me and I'll tell you more
nice things about 'Three Live Ghosts."

Honest, sincere, and courageous drama

Richard Barthelmess has given us a daring
picture in "Young Nowheres" — a picture
without a theme song, a single orgy, a ballet
of beauties in their tantalizing scanties, and
without a single sensational incident. And this just
about suits me for a change. "Young Nowheres,"
I must warn you, will warm the cockles of your heart
and make you believe this old world isn't such a bad
place after all. It is an honest, sincere and courageous
drama utterly lacking in the cheaper appeals that glit-
ter temptingly under the label of 'box-office appeal.'

Here is the prize under-dog of the month, Dick as
a helpless, beaten little elevator boy in a New York
apartment house, a fellow neither colorful nor heroic.

"Young Nowheres" is a story which is difficult
to put on paper — just the sentimental romance of the
boy and girl, suffering from poverty, who have no place
to go to be by themselves, no place to whisper their
shy confidences. The boy's one spurt of daring comes
when he has the thought to take the girl to a cosy
apartment in his building — the owner being out of
town — where they can have a fire in the fire-place and
cook their own dinner in the kitchen. An evening —
and Christmas Eve, incidentally — by themselves. Then
there is the sudden arrival of the astonished tenant,
who insinuates disgraceful goings-on and has the
youngsters hailed into night court, where the boy tells
the story which is unfolded on the screen.

Dick gives a beautiful and sensitive performance,
one of the finest I have yet seen in talking pictures;
and Marian Nixon is wistfully lovely as the girl. Bert
Roach, as an inebriated gentleman, is very, very funny.
Thank Director Frank Lloyd for this gem of a picture.

Young Nowheres

All-Dialog

Marian Nixon and Richard Barthelmess in
a scene from "Young Nowheres."

for December 19 2 9

Lola Lane really can sing — and does

The Girl From Havana

JUST a happy family of crooks and detec'
tives in this; but if you can tell one from
the other you are a better sleuth than I
am. And it's educational, too — we're
treated to a trip through the Panama Canal —
(pardon me while I wisecrack: it's funny one
of the crooks didn't pick the locks on the canal.)

There! I'm all right now; back to business: a
band of crooks have pulled a very neat hold-up
in a jewelry store, and Paul Page — that nice
boy, of all people! — seems to be the master-mind
whether we like it or not. Crooks start for
Panama — see map — with plunder. Now in
Havana — see Perfecto — who but Lola Lane
turns out to be a very pretty detective who is
on the scent of these crooks. It's about time
now for the theme song, and Detective Lane,
passing herself off for the moment as a cabaret
girl, warbles obligingly, which is all right with
everybody because she really can sing. The
action piles up when one of the crooks falls
for Lola; and Lola falls for Paul. It's just like
one of the good old serials, only all dressed up
in new smart clothes. I had a good time with
Lola and Paul in Havana; they must come and
see us sometime.

AU-Dialoi

Paul Page knocks out the villain while Lola Lane
looks on in "The Girl from Havana."

Glorifying the American Newspaper Man

Big News

All-Dialos

Robert Armstrong as a reporter and Carol
Lombard as his wife in "Big News."

GLORIFYING the American Newspaper Man; or, The
Boy Reporter at Bay. When I see Robert Arm-
strong ornamenting a movie newspaper office I
want to write my own theme song, entitled: "Sob
sisters, why are you blue?"

Mr. Armstrong is one of my favorite actors and I have
not been at all backward about declaring myself. He may
not be handsome; his Irish profile falls far short of the
godlike; but he is so human, so disdainful of manners and
cheap tricks, that I raise my chapeau to him in all kinds of
weather, cold in the head or no cold in the head. "Big
News" is his latest, and it is good entertainment — not
brain-taxing, not spectacular, but melodramatic, amusing,
and never dull. Armstrong is a young 'old newspaper
man' whose pretty wife, Carol Lombard, leaves him because
of his general unreliability — though that really isn't fair of
the girl, because she could always find him at his pet speak-
easy. Soon after this jolt comes another; the boss fires him,
and he walks out — into the sweetest little story ever told,
a nice murder. Our Robert solves the mystery, reveals the
murderer, writes his best story — and wins back his wife.
And you get the impression that such goings-on are mere
child's play compared to what the real newspaper man
goes through as he pursues his daily duties.

My only quarrel with "Big News" is that they have
fallen for the fallacy that most newspaper women wear
funny clothes and flat-heeled shoes and go about slapping
everybody on the back. I worked on a newspaper once
and I was always catching my high French heel in the
headlines. It isn't fair.

Carol Lombard, being a Mack Sennett School graduate,
needs no advice as to how to look beautiful; but I do think
she has something to learn about dramatic art. Gesture
Six is a good gesture; why stick to Gesture One?

SCREENLAN D

Ian Keith giving an excellent performance

THE GREAT DIVIDE

All-Dialog

Those wide open spaces where men are men
have gone microphone. The men are men,
all right — but they're all singing theme
songs. Ask your auntie if she remembers
"The Great Divide11 when it was a stage smash;
and then tell her that Stephen Ghent, the hero, is
now singing At the End of the Long, Long Trail
to Dorothy Mackaill. (Excuse poetry; just an
accident.) It's all right with me and I'm sure it
will be all right with auntie, for Ian Keith as
Stephen gives an excellent performance. Dorothy
Mackaill does not fare so well. Senorita Mackaill
is one of our favorites; she can be charming and
seductive — but in "The Great Divide" she is obliged
to be merely a good example of bad manners. There
are colorful scenes of the Mexican fiesta which are
a treat to the eye and ear, and Myrna Loy con'
tributes a song just to prove that Mexican vamps
can be musical as well as ornamental! But "The
Great Divide" is not a dramatic smash on the screen,
perhaps because the drahma of the Gay 190's and
the modern theme song were not made for each
other.

lan Keith, Dorothy Mackaill, Myrna Loy and
Creighton Hale in "The Great Divide."

A triumph for Gloria Swanson

THE TRESPASSER

All-Dialog

Gloria Swanson, Robert Ames and the
baby in "The Trespasser."

Sic transit Gloria Mundi — and Tuesday, Wednesday,
Thursday, and every other day that "The Trespasser"
plays. That it will have a long run is a foregone
conclusion. For one thing it brings Gloria Swanson
back to the screen after a long absence. For another, it is
an absorbing, dramatic entertainment which manages always
to be interesting. Gloria's career in the sound pictures will
be even more colorful and complete than her past career in
the silent drama. She is a potent personality, one of the
highly individual stars on the screen; and now that she has
found vocal expression she becomes twice as exciting. She
has definitely grown up, and the talkies make it possible
for her new personality to achieve distinction — for maturity
is no longer a curse on the celluloids. Depth, experience,
character have suddenly become important, and Gloria
Swanson has found a fine medium for her striking talents.
Her voice is thrilling; what's more, it is really good. She
speaks her lines with assurance and power; she sings her
little songs with feeling and charm.

Edmund Goulding has done wonders with a story that
might easily have become a trashy confession tale: that of
a brave young girl who dares to have an 'illegitimate1 child,
to 'live her own life.1 When the baby is a husky youngster
she encounters his father again, and the rest is a dramatic
solution of their problem. The direction is superb. The
acting — by Gloria, Kay Hammond, Purnell Pratt, Robert
Ames, and Henry Walthall, in the order named, is splendid.
"The Trespasser" must not be missed.

for December i 9 2 9

Speed — in the person of Billy Haines

SPEED WAY

All-Dialog

Anita Page, William Haines, Ernest Torrence
and Karl Dane in "Speedway."

IF you want speed, here it is — in person. Billy
Haines is the spirit of wild young America or
what have you. Devoted as I am to the Haines
ebullience, I can't help wishing they would let
our favorite boy friend romp in other pastures just
for the change. And when I say change, that's what
I mean. His company would pick up much more if
the boy wonder were permitted occasionally to vary
his methods in pictures; to remind his public that he
is vastly more than a mere play-boy, capable of excel'
lent performance in more subtle forms of entertain-
ment. Crash. — boom — zam — wow! And other
cartoon ejaculations meaning that I have just been
set upon by Mr. Haines' ardent followers and am
being cuffed for my impertinence in daring to suggest
that King Bill can do wrong. I'm not blaming him;
I'm just suggesting. I admit his abilities as the premier
smart-aleck of the ages; but I insist that he is much
more than that. Oh, well — let it go! "Speedway"
is a brisk and buoyant auto-racing comedy that keeps
you whirling around the Indianapolis track until dizzy.
Ernest Torrence is good, as always; and Anita Page
is still positively the prettiest ingenue in the world.

Lovely lilting Viennese music — and J. Harold Murray

MARRIED IN HOLLYWOOD

Bring on the dancing girls — again! All right, there
they are. You can have your dancing girls and I'll
take J. Harold Murray. He is the handsome tenor
who sang "Rio Rita" for Ziegfeld on the New
York stage; and his heroine in this movie musical show is
Norma Terriss, who sang for Flo in the original Manhattan
cast of "Show Boat." Yes, yes — I know that John Boles
sings Rio Rita on the screen; and Laura La Plante plays
Magnolia in pictures; but why did you have to bring that
up, anyway? You'll have us all confused in a minute, and
we want to enjoy "Married in Hollywood." There is some-
thing in this show for everybody. You may prefer the lovely
lilting Viennese music by Oscar Strauss. You may enjoy
most the elaborate ballets of the stage scenes. You may im-
mediately adopt Norma Terriss into your family of film
favorites, and I won't blame you because Norma not only
sings beautifully, but she is sweet and natural, and you
can't say as much for every . Broadway prima donna. As
for me, I'll stick to my story and look at and listen to Mr.
Murray — -big, blond, and vocally impressive. The story?
If you insist, it's a Hollywood co-starring combination of
"Graustark" and "Cinderella." J. Harold, a royal prince,
meets Norma, a singer, in Vienna, falls in love with her,
and follows her to Hollywood. I can't very well keep you
in suspense about the ending when the title gives it away,
can I? And I do love to kid you! "Married in Hollywood"
has all the staginess of the old-fashioned stage operetta
which, transferred literally to the screen, may try your
patience a trifle. But there's always the music- — and Norma
— and — J. Harold Murray.

All-Dialog

J. Harold Murray and Norma Terriss in the
Strauss operetta, "Married in Hollywood."

SCREENLAND

Sood JPooks for

Gifts Which Thrill Feminine Hearts with
Their Promise of Daintiness and Charm

A s time passes, Christmases seem to come closer and
/ \ closer together. When we were very young, we
/ % hung up our stockings on Christmas eve and
rubbed our eyes to try to keep them open to
see Santa Claus come down the chimney, only to wake in
the chill grey dawn to find that once more he had put it
over on us by stealing in just at the minute we were taking
a teeny weeny nap.

So there was nothing to do but wait and try again next
Christmas which seemed ages and ages away. The years
passed, and we never did see Santa Claus, yet we kept right
on believing in him and still do — at least I hope we do.
But now, instead of next Christmas seeming ages away, it
comes, goes, we turn around a few times, do just a few

of the things we had planned, and here it is again!

Soon the stores will be full of fascinating things and we
will be urged to do our shopping early. That's why I'm
asking you now, what do you want, and what are you
planning to give for Christmas?

Well, what about good looks — for yourself, and for your
friends? Most of us could use them, couldn't we? I re-
member a few years ago some earnest person wrote about
the destructiveness of the holiday season on woman's
charm. The strain on her good looks and disposition in
trying to keep up under our false sense of Christmas, the
aftermath of resentment and disappointment which is the
result of a season of mere giving and taking — urging us
to omit Christmas from our private calendars!

But I know you don't want to do that. I, for
one, would as soon think of trying to cut out spring
from the calendar as to try to cut out Christmas.
Christmas, like life, is what we make it. Under its
tinsel and color are happy memories, gifts which are
'symbols of love given gladly. Despite the cynicism,
we do believe in Santa Claus, and we're not afraid
of losing the true spirit of Christmas. But, lest
we are tempted to become so frazzled in our efforts
to make the holiday season the merriest ever, let's
make a month-before Christmas resolution. A re-
solve that we will give our best selves for Christmas.
A self that is fresh, rested, well-groomed, with a

Perfumes suited to the type, the mood, the
costume. Billie Dove has them all.

Anita Page finds an atomizer a handy way
to combine perfume with personality.

for December 1929

CHRISTMAS!

Miss Van Alstyne Will Answer by Mail
any Question You May Care to Ask

By Anne Van Alstyne

disposition that has kept its sweetness, generosity, sense
of humor, and faith in the ultimate good. Let us make this
a part of our giving.

Now, about good looks for Chirstmas. Wouldn't it be
wonderful if some good fairy could send them to us, dain'
tily wrapped in a Christmas box, or if Santa Claus could
go about distributing what we want most on Christmas
morning? A pair of mischievous grey eyes with long curl-
ing lashes for the quiet girl who writes me that she looks
and acts and feels dull, yet she just longs to be popular.
A Cupid's bow mouth in a holly box wrapped in red
and gold ribbons for the girl who frets and frets over the
shape of her mouth. A beautifully molded chin with a
guarantee that it never, never will double itself. A lovely
soft forehead without a pucker in it. Shiny, naturally
waving hair.

Oh, well, this is only supposing.
But, considering the universal desire
for beauty, we can do the next best
thing. If we can't hang good looks
on the Christmas tree, we can pass
them on, at least the makings of
them. Real helps that will emphasise

the charm one already has and cover up the lack of those
one hasn't. There is not a feminine heart that will not
thrill to a gift which promises to impart to its recipient
a bit of personal daintiness or charm. And the comfort'
ing thing is, these gifts can be purchased at any time as
the shops always offer alluring possibilities for beauty
gifts. We can "do our Christmas shopping early," or we
can do it at the last minute if we have procrastinated and
are at our wit's ends to know what to give Nancy Lou
or Patricia Anne or grand-aunt Susan.

First, let's consider powder. Delicately scented, softly
clinging, just the right shade and consistency for the skin
that is to wear it. Include a vanity powder bowl of color-
ful glass to match the color scheme of your friend's dressing
table and the gift will' have the personal touch one likes
to give at holiday time. (Continued on page 108)

Cartnel Myers' modern
dressing - table suggests
perfumes for many
moods.

Clara Bow performs the final rite: a touch
of perfume just behind the ear.

SCREENLAND

Above: Irene Bordoni, fresh from
"Paris" in Hollywood, comes back
to town for the opening of her
picture.

Left: Mary and Douglas Fair-
hanks arrive on their way to
Europe with Mary's young niece,
G Wynne.

Lower left: Lillian Gish, who
comes back to the screen after
a long absence in a talking film.

They Come East for a Rest—
and All the Rest!

OOH-LA-LA, oui, oui, and other Gallic expressions!
Manhattan has gone absolutely Parisian, believe
it or not. And just because a tiny, trim little
French woman stepped off the train at Grand

Central!

Irene Bordoni is her name. You're right — she should
be no novelty to New York; she's been a Broadway star
for ever so long. But somehow a flyer in films brings a
celebrity nearer and dearer, if you know what I mean.
We all feel now that we really know Mile. Bordoni, where'
as we were a little in awe of her before. She's really an
important star, you see; and somehow one doesn't get so
chummy with stars in this town as one does out in Holly
wood. ^ Anyway, her sojourn in the film colony making
"Paris" has made La Bordoni a movie star, and she is

extremely obliging about posing for publicity pictures, and
seeing interviewers, and all. I know, because I was one
of the interviewers! Not at all the super-sophisticated
lady Pd imagined her, but friendly and vivacious and
straightforward, she has a real sense of humor, American
brand! She became an American citizen sometime ago,
she told me.

"I like Hollywood so much!" she said, her brown eyes
dancing. "It is like the South of France, where I was
born. I feel at home there, more so than in Paris or New
York." What an admission for a French charmer!

Bordoni is very proud of the fact that not only did she
learn to swim in the pool on her Beverly Hills estate, but
she even taught her two French maids the gentle aqua-
torial art! She took up tennis, too. She's nicely tanned,

for December 19 2 9

Above: Dolores Del Rio and a
tribute from one of the many
admirers who applauded her per-
sonal appearance.

Right: George K. Arthur, the
diminutive comedian, upon ar-
rival snaps Manhattan as it snaps
him.

Lower right: Lya De Putti, who
leaves us for London where she
will star in a stage play.

By Anne Bye

and it's becoming, with her very black banged hair and
big velvety eyes. She once had a yearning to play tragedy,
she confided. But it was not to be!

"My funny nose and laughing eyes," she explained,
"would make the public laugh even if I attempted a
tragic role. So — I am satisfied if they are!"

H: * *

I hope you all saw Dolores Del Rio some place or other
on her personal appearance tour with "Evangeline." Be-
cause if you missed her, you denied yourself a real treat.
What a pity the camera can't capture all of Dolores' potent
charm! She's so much prettier and daintier than she is
on the screen. And she has a sort of suave fire that is
absolutely unique among the movie girls. She's a sort
of devilish lady! (Don't misunderstand me, Senorita!)

She stopped in Manhattan on her round of appearances
and I never saw her look so well. Her chum, Claire
Windsor, came east and stayed with her, and you never
beheld a lovelier picture than these two made together —
the dark and glowing Del Rio, the pink and gold Claire.
Wise girls — they should always do a sister act; the beauty
of each so perfectly sets off the other.

You probably heard rumors of Dolores' engagement to
Ted Joyce, master of ceremonies in a Pittsburgh theater.

Well, I'm afraid its just another one of those reports.
Dolores met him while she and "Evangeline" were playing
at his theater, and they liked each other. Then when she
was in Brooklyn with her picture he was master of cere-
monies there, too. But she says that they are 'just good
friends,' so that, decidedly, is that. (Continued on page 110)

SCREENLAND

Gome into the Kitchen

The Famous Star Tells Some Secrets
tried and true, to add Zest and

THE foreign stars are bringing a Continental sophis-
tication to the dinner tables of the film
metropolis!

Emil Jannings and Ernst Lubitsch brought Ger'
man culinary \ultur into Beverly Hills. Then came Lya
de Putti, Victor Varconi, Vilma Banky and Alexander
Korda with their Hungarian traditions; Ramon Novarro,
Dolores Del Rio and Lupe Velez, hot from Mexico just
across the border; Greta Garbo and Nils Asther, true
to their Swedish inheritance, and so on through the list

of foreigners who have
invaded California
kitchens.

It remained for Irene
Bordoni, however, to
popularize the French
table at its best. Miss
Bordoni is a true cosmo'
polite. She has lived in
nearly every country in
Europe and knows what
each has to offer, but
remains loyal to the
chefs de France.

During the film-
ing of "Paris,"
Miss Bordoni be-
came one of the
most popular host-
esses in the film
colony. She entertained
liberally and well, and
being of a generous na-
ture, she attributes much
of her popularity to the
adroit catering of a
French cook who has
been with her for the
past ten years. Wher-
ever Miss Bordoni goes,
her cook goes too. The
French actress insists up-

lrene Bordoni working
up an appetite for her
own good cooking.

By Sydney

All the French are noted for their culinary
ability, and Irene Bordoni is no exception.

on being nourished by experts.

In accounting for the success of her dinners, Miss Bordoni
says that they are in reality a result of years of experi-
mentation during which harmonious combinations have
been worked out. Her cook has been trained, much like
a chemist in a laboratory is trained, to know correct Mend-
ings and how they may be achieved.

The French actress compares the average American table
to a vaudeville show — good in spots, but lacking in har-
monious unity; whereas the French menu is carefully
graded from hors d'oeuvres to demi tasse. What we
need in this country, according to Miss Bordoni, is a
proper balance instead of an over-abundance. She cited
our Thanksgiving dinner repast as being typical of the
American culinary ideal, and said she knew of no country
in the world capable of offering a more lavish spread, the
only drawback being the human capacity for food. In
the larger cities, particularly New York and Chicago,
where the influence of European chefs has been the most
potent, she finds a tendency to curtail on quantity and to
concentrate on an intelligently selected variety of delicacies.

Miss Bordoni referred to her first tour of the United
States when she was impressed by the contrast in different
states. In most European countries, she said, there is
something approximating a national diet, but here, owing
to the vastness of the territory and the variations in tem-
perature and soil, as well as racial inheritances, this uni-
formity is lacking.

for December 1929 93

wt th I rene Bordoni

of the Chefs of France—.
Flavor to the Dinner

Valentine

La Bordoni can sew as well as cook,
and designs many of her own dresses.

ecipes,
Table

MADEMOISELLE IRENE BORDONFS
FAVORITE RECIPE

TOMATO-PEACH SALAD A LA PERSHIX.G:

Chill as many firm, middle-sized, sound, ripe tomatoes as you
have service. Peel carefully, and using a sharp knife, cut a slice
off stem end, then make at blossom ends, two cuts at right angles,
running cuts at about two-thirds of tomatoes' thickness. Dredge
with salt. Drain cut side down in a cool place thirty minutes.

Have chilled, firm, ripe freestone peaches peeled, and put on
center of a nest of crisp lettuce leaves, half of a pitted peach
open side down. Put over convex peach, a drained tomato, cut
side down, and, with thumb and first finger of each hand, press
it down on the peach, thus parting the section of tomato like the
petals of a flower. From opened center remove seeds and drop
just a tablespoon of cream mayonnaise. On this arrange in petal
shape, some slices of bananas. At the base arrange a wreath of
overlapping banana or peach slices, and, with a pastry bag and
star tube, garnish with cream mayonnaise.

Add all the ingredients thoroughly chilled and set at base in
center of petals, a fresh strawberry.

The New Englander repre-
sents one school of cooking; the
Southerner another; the Mid-
westerner, another and the resi'
dents on the Pacific Coast still
another. Of these, Miss Bor-
doni found the Southern cook
the most advanced in the art of
pleasing the taste with a rich
variety of well-seasoned food.

According to Miss Bordoni,
a nation's civilisation may, in
no small measure, be gauged by
the output of its kitchen.

When asked for the secret of
the world-wide popularity of
French cooking, Miss Bordoni
said that the fame of the French
kitchen should be attributed to
'a certain something,' character'
istic of the French temperament.
The French chef has an intu-
itive feeling for the nuances of
flavor, hence the dominance' of
French sauces.

"A good sauce requires inv
agination in its planning," says
(Continued on page 124)

The colorful breakfast room in Miss Bordoni's Beverly Hills
home where the star's own French cook serves eggs Benedictine.

94 SCREENLAND

c&he £3est JPines

of the Month

From

"Why Leave Home":

Jackie (Jean Barry) : "Don't
introduce me to any more
architects. The last one I
went riding with left his blue
prints on my neck!"

From
"The Lady Lies":

Joyce (Claudette Colbert) :
"Is he always like that?"

Rossiter (Walter Huston) :
"Always! He was born with
a silver flask in his mouth."

From "Big News":

Steve (Robert Armstrong) : "You're not
going to tell me it's raining outside!"

Vera (Cupid Ainsworth) : "No, I sprinkle
myself every morning. It keeps me fresh."

Margaret (Carol Lombard) : "Drinking is
a mental habit — you actually get more stimu-
lation out of tea."

Steve (Robert Armstrong) : "Yeah, and
then you turn into a Chinaman and open a
laundry."

From

"Sunnyside Up":

Bee (Marjorie
White) : "Well, now that
John Gilbert's married,
who is your suppressed
desire ?"

Molly (Janet Gay-
nor): "Rin-Tin-Tin !"

Left: Janet Gaytior; and
right, Marjorie White, in
"Sunnyside Up."

for December 19 2 9

LOUISE
DRESSER'S

Ten

Commandments

1. Have faith in your mirror, though you doubt

your friends.

2. Let your first glimpse of the day be heavenward.

3. Have confidence in your power to make or un-

make men.

4. Cultivate common sense, woman's glorious gift.

5. Smile honestly, and obey God's command 'to

give.'

6. Give happiness, and reap the reward a hundred-

fold.

7. Take nature as your model of beauty.

8. Do not spoil everything by overdoing; rather

leave something undone.

9. Believe in beauty, and all things will become

beautiful.

10. Acknowledge goodness and blessedness, and
enjoy life fully.

By Laska Lewis

Louise Dresser as she was twenty-five years
ago, when she was the belle of Broadway.

Louise Dresser wins picture stardom at forty-seven
— and she's looking forward to a great future!

THESE are Louise Dresser's ten commandments.
Originally, they were Lillian Russell's maxims.
Digest these maxims thoroughly, girls, and you'll
know Louise Dresser. By these ten commandments
of common sense she has ordered a glorious life and career.
Is a feirfinine screen star through at thirty-five?
Louise Dresser stands as the refutation of that traditional
fallacy. She is fortyseven! In the silent movies, youth
and beauty had ruled over acting ability until Louise
Dresser came along and crashed through the barrier of
tradition that kept middle-aged actresses in the background.

Louise Dresser wins stardom at fortyseven. Isn't this
a sublime message of faith and encouragement to middle-
aged womanhood?

"I'm just getting started," confided Louise. "I have a
new life and career ahead of me, and if I didn't know
that my best work is yet to be done I'd be ashamed to
face my patron saint." From a silver frame on the wall,
a lovely vision smiled her benediction. The patron saint
was Lillian Russell.

"God not only blessed Lillian Russell with rare beauty,
talent and a remarkable mind, but he bestowed upon her
the roomiest heart in the world. She enjoyed life to
the utmost because she was so busy helping others, so
busy keeping everybody happy. Her reality was within.

"How many young girls she helped over rocky roads will
never be known. She took me under her sheltering wing
some twenty-five years ago when I was undergoing the
sensation of my first success in a Broadway musical show,
"About Town" with Lew Fields. (Continued on page 125)

r s

SCREENLAND

Read Screenland's Revucttes and be
for the Worth -While in Audible Screen

Flight

Fancy flying — the best I ever saw. A real air saga, with the
United States Marine Aviation Corps providing the thrills and
Jack Holt, Ralph Graves and Lila Lee the romance. The fight
between nine bombing planes and the Nicaraguan general com'
manding his guerillas is tremendous. But the big spot is where
a pilot crashes spectacularly. Not a sad film, but swell.

Big Time

Another of these back-stage hoofer stories, this time featur-
ing Mae Clark and Lee Tracy, as the married couple. Josephine
Dunn does her usual vamping act but Daphne Pollard, a hard-
boiled blonde seal trainer, and Stepin Fetchit, the back-stage
porter, win the humor laurels. A human climax, where the
wife, as a famous Hollywood star, is reunited with her husband.

Blackmail

A breath of something different is this all-
dialog picture, fresh from England, which opens
with a fine staccato quality as Anna Ondra, a
lovely Hungarian girl playing the English hero-
ine, stabs an artist in his studio. Anna's fiancee,
John Longden, happens to be a detective on the
force at Scotland Yard — the detective head-
quarters of Great Britain. Torn between love
and duty, love for his sweetheart on one hand
and his duty to Scotland Yard on the other,
Longden helps Anna conceal her crime. The
highlight of the film is the excellent performance
of one Donald Calthrop, as a blackmailer, who
attempts to extort money from the young couple.
Nearly every movie fan will enjoy this interest-
ing story which brings British life and customs,
and picturesque spots of dear old London.

Side Street

A home-spun story of three brothers in humble circles, one
of whom goes crooked — the others rising to decent professions.
This will prove interesting to many fans since three real brothers
play the roles — Tom, Matt and Owen Moore, with Kathryn
Perry, in off-stage life, Owen's wife, enacting the heroine. Matt
gives an excellent, restrained performance.

Tonight At Twelve

A lot of our old friends are in this one — Madge Bellamy,
George Lewis, Margaret Livingston, Vera Reynolds and Norman
Trevor among them. George is an only child, with Madge so
much in love that she takes a job as maid in a neighboring
house. A lot of hocus-pocus, with papa, Robert Ellis, running
wild. Madge gets her Georgie and the audience gets relief.

for December 19 2 9

the

<lM o v i e

s .

Guided, Aided, and Abetted in Your Search
Entertainment. Come On, Let's Go!

Why Leave Home?

When husbands go out in search of chorus
girls, what is the remedy? Why, wives should
seek distraction with college boys. But, we want
you distinctly to understand that the wives are
nice ladies — and the chorus girls, too. In this
Sue Carol-Nick Stuart all-talkie we have the
stage play, "Cradle Snatchers," made over, with
a few of the hotter features omitted. The hit
of this movie is David Rollins. As a bashful
college boy studying architecture, he is a riot.
Pretty little Jean Barry sets the speed for the
film. Sue Carol is cute and vivacious as one
of the peppy chorus girls and pert Dixie Lee
gives a nice performance, too. A harmless little
spectacle with the younger generation whooping
it up and the older ones wishing they could.

The Careless Age

Loretta Young and young Doug Fairbanks who made such a
tremendous hit in "Fast Life" again warm up the screen. But
this time, despite their excellent team-work, owing to a certain
sophomoric quality in the story, the film falls short of its
predecessor. Pretty theme song, Melody Divine, and excel-
lent direction make it worth seeing.

St. Louis Blues

That old song favorite, St. Louis Blues, dramatized by
;.n entirely colored cast, into a picture full of color, speed,
tragedy and song. Bessie Smith, the dusky contralto, sings in
a way to wring your heart. A treat all around, for when those
negroes tune up and sing in the speak-easy sequence, it's a
dramatic choral which no Russian art choir can surpass.

The Hottentot

Eddie Horton in an all-talkie taken from the popular yarn.
Eddie is good in this horsey story, including the steeplechase
and everything. The top notch of humor is reached when
Hottentot, the horse, gulps a meal of apples and water, and
provides much merriment. Patsy Ruth Miller and Douglas
Gerrard, playing a butler, do good work.

The Argyle Case

Thomas Meighan's debut as a talkie star in a mystery melo-
drama full of secret service agents, counterfeiters, sliding panels
and dictagraphs. Tommy is assisted by Lila Lee, looking re-
markably pretty and speaking well; H. B. Warner, and Bert
Roach and Zazu Pitts, a comedy team. Meighan's voice is
excellent and his work lends conviction to an unconvincing plot.

SCREENLAND

HOT

ONE day recently we saw
a mob of extras patiently
holding their 'spot' in a
garden scene, waiting for
a cue. Finally, Micky Neilan
yelled to the mixer, "Why the de-
lay?" And from some distance
away, yelled through the loud
speaker, came the reply: "Believe
it or not, Mr. Neilan, I'm waiting

for a street car!"

* * *

No, Norma Shearer Thalberg
isn't going to be a mama. "Honor
to whom honor is due," and in
this case, the honor is Mrs. Howard
Hawks', wife of the Fox director
and sister of Norma whom she
strongly resembles. "I don't feel
that I can successfully combine
motherhood and a career," said
Norma when discussing the rumor
of her prospective motherhood.
"When I have children, I want to
settle down and give them my un-
divided attention."

* * *

The other night we saw John
Boles drinking a limeade at the
drug store opposite the Chateau
Elysee. "What are you doing out
alone at this hour of the night?"
we asked. "My wife is a bridge
fiend and I hate it, so I went to see
'The Single Standard,' " said John.
That's the wild life these Holly-
wood actors lead.

* * *

The opening of "Marianne,"
starring Marion Davies, was prob-
ably the most distinguished premier
ever seen on the Pacific Coast. It
was more like the New York open-
ing of a much-talked-of play, not
a movie. The Mayan Theater,
turned into a movie palace for the
run of "Marianne," is a small
house, and the audience was neces-
sarily a select one. All seats were
at a premium and bids ran high,
but the house was sold out a week
before the opening. Marion bought
almost the entire first floor for her
friends. Everyone was there, not
only the stars, but celebrated peo-
ple from professions other than the
theatrical world, including Win-
ston Churchill, the noted British
statesman.

Hal Roach's Gang admitted a
new member recently in the person

Edgar will A

Jrom

of Edgar Kennedy.

Photogra jilts of
Nancy Carroll
by Otto Dyar.

If Nancy's name had a few less
letters, she might be a Christmas
carol instead of Nancy Carroll.
However, instead of caroling she's
giving three cheers from the house-
tops. It's a quaint old Hollywood
custom.

for December 19 2 9

HOLLYWOOD

Studio News and Star Gossip

not replace any of your favorites. He is merely an added
attraction. Mr. Roach and Mr. McGowan, their patient
director, have thought for a long time that there ought
to be a cop on the job to help them out in disciplining
the gang and now they have him.

sj; % *

Mrs. Richard Arlen, wife of the Mayor of Toluca Lake,
California, was brought into
court for calling a gentleman
names in a theater. What
do you think of that? In
other words, the play Joby
Ralston was appearing in
didn't meet with the approval
of the bench, and the whole
cast was arrested! Why,
Jobyna!

I had to copy this all down
so's I wouldn't make a mis'
take and I hope I have it
straight.

Ben Lyon has been pre-
sented with wings of the
478th Pursuit Squadron, of
the 322nd Pursuit Group, of
the Air Corps of the United
States Army Reserve ! There
now, I guess that will hold
you for awhile! He has, in
addition to this, flown all the
hours it is necessary to fly to
be a transport pilot, and is
now studying navigation and
meterology.

In his free time he makes
motion pictures. His next,
is for RKO and Bebe Dan-
iels will be his leading lady.
They've changed the name of
the picture twice so far, so
what's the good of my telling
you what it is? It will be
something else before this

dries on the press. Oh, yes, Ben and Richard Dix too are
studying singing with Bebe Daniels' teacher, who is a wow.
His name is Otto Morando.

P. S. Just as I was about to send this off, Ben called me
up and said he wasn't going to do the RKO picture after
all! I was scandalised.

"What's the matter? Have you and Bebe had a fight?"

Mr. Santa Claus's lit-
tle girl, Nancy, all
dressed up for Christ-
mas Eve, has been up
and down chimneys
distributing toys. Oh,
Nancy — where's ours?

100

SCREENLAND

Carol Lombard's gown is too tight to sit
down in, so this clever 'support' was de-
vised by the studio on which she can relax
between scenes.

I asked.

"Lord, no!" said Ben. "But Howard Hughes takes this
time to begin again on "Hell's Angels," and I gave my word
Ed see the darn thing through to the bitter end, so I have
to cancel the RKO picture."

H= * *

William Fox opened up two new buildings at Fox Hills.
One was the Laboratory of Engineer-
ing Research, containing departments
for the electrical laboratory, research
laboratory, maintenance department,
drafting room, and organ room. The
other was the Cafe de Paris, a swanky
restaurant. Lois Moran, after a
graceful speech, unveiled the tablet on
the building for engineering; and
Mile. Fifi D'Orsay did the honors for
the Cafe. She prefaced the unveiling
by a song entitled Give Tour Baby
Lots of Lovin, and put the song over
with a bang. Maybe you think the
important thing about a song is a
person's voice. Fifi doesn't think
that and proves her point.

?K 3: $

Juliette Compton, who appears in
"Woman to Woman," with Betty
Compson, tells a good one on herself.
When she first went to London the
furnishing of her house was a serious

occupation. At one very exclusive shop she was intent
on a selection of chairs. There were three that attracted
her eye, all in a row against the wall. She had been al-
lowed to roam at will, but in a moment a very attractive
salesman came up with two ladies who also were attracted
to the chairs. All three women tried them out, sitting first
in one and then in the other until it reminded Juliette of
the fairy tale. "We are like the three bears," she laugh-
ingly told the ladies. "You are the big bear, you are the
middle-sised bear and I, being the smallest person here,
am the little bear."

The lady on her right looked somewhat shocked, Juliette
thought, but the lady on her left whom she had tagged as

The first picture of Mrs. Lydell Peck, nee

Janet Gaynor. Her husband is a successful

young lawyer. Yes, Janet will return to
the screen.

Mr. and Mrs. Richard Barthelmess give a yaching party.
Among those present are Florence Vidor, Jascha Heifetz,
(Mr. Vidor) and Beatrice Lillie.

for December 19 2 9

101

the big bear laughed heartily and enjoyed the joke inv
mensely. When they went out the salesman came to
Juliette and said in a frigid voice, "Madame! You have just
called the Queen of England a big bear!"

& -!< &

Paramount recently had such an unfortunate experience
owing to the temperament of one of its actors. Not only
temperament, but depravity. Everything has been done
for this young person. He has his special chair, made
higher than the average because he isn't so tall; he has his
special room with a canopied bed where he may rest during
the time he is not working; he has a Paramount limousine
at his disposal to take him to and from the studio — in fact,

Carlotta King, a new screen warbler, made
her debut in "The Desert Song." Her hus-
band, Sydney King Russell, is a poet and
song writer.

After playing in British productions for the
past eight years, Juliette Compton is back
in Hollywood, playing in "Woman to
Woman."

A 'Cook's Tour' of Fox City, conducted by Will Rogers
and Irene Rich. They are showing their children and
Fred Stone's youngsters the wonders of the studio.

everything possible has been done for his comfort and hap'
piness. And what does he turn around and do? Why he
goes into a tantrum and screams himself right off the set
while the director, Lothar Mendes, was trying so hard to
get the scene finished. And all because his bottle was a
few minutes overdue! Some folks have no sense of pro-
priety or gratitude at all. So that you will be able to
watch this inconsiderate young man closely I will
tell you that the picture he is appearing in is "The
Children." His name is Donald Smith and he is
nine months old.

A very attractive young lady visiting Holly-
wood declared Richard Dix the most adept per-
son at subtle compliment she had ever met. As
the young lady hails from the sunny south it
means something, for there are few men in the
States who can turn a more graceful compliment
a pretty girl's way than the lads from Dixie.

"Richard Dix told me," she said, "that the
girl he marries must have a sense of humor; and
then he almost killed himself laughing at some of
my poor little jokes. He said, too, that the girl
he marries must have a brain, and then during
the discussion ' of one or two serious subjects he
became enthusiastic over my angle on them, de-
claring that my viewpoint was 'profound.' Of
course he didn't mean a word he said, but wasn't
it charming flattery?"

102

SCREENLAND

Di-mitri Tiomkin, noted pianist-composer, and his
wife, the famous Albertina Rasch, are busier in Holly
wood than they ever were in New York, which is
saying something! The composer, familiarly known
as TJimitri,1 will write special vocal numbers for six-
teen ballets for M-G-M this season, while his wife
will create unusual dancing revues which will be

shown in natural colors.

* * *

A group of film directors recently stated that
women, starting out far behind men in favor as
talking picture performers, have now eclipsed their
rivals — and voted the best performances of the talkies
last year to have been given by women. According
to them, honors go to Dorothy Mackaill in "His
Captive Woman," Jeanne Eagles in "The Letter,"
Ruth Chatterton in "Madame X," Loretta Young in
"Fast Life," and Mary Pickford in "Coquette." Three
cheers for the ladies!

* * H=

While the Brown Derby is turning the Montmartre

Kathryn Crawford and her mother, Mrs. Harold F.
Young, are together again. Fifteen years ago, Miss
Crawford's parents separated and Kathryn went
to California with her father. An interview in
'which she told of losing all trace of her mother
resulted in their reunion in Hollywood.

green with jealousy at the luncheon hour, Henri's still
holds its own for the 'after the theater' rendezvous.
While partaking of a snack ourselves after the opening
of "Marianne," my companion, not in pictures, who
was in the midst of an animated description of some'
thing or other, suddenly suspended all action and took
on the expression of a petrified goldfish. Turning to
see what event had caused this extraordinary phenomena,
I saw Charlie Chaplin approaching our table on his
way to his own particular one at the back of the
dining-room.

Between swims, Jimmy Gleason and his
secretary, Sydney Haines, manage a little
dictation. Nice boss!

And the reticent Miss Garbo was there too, though not that
night. I imagine Greta would go a long way 'round to
avoid a restaurant on a night she knew there would be a
crowd, such as an opening night.

Engagements and marriages have been coming thick and
fast this month. Sometimes you hear of the marriage simul-
taneously with the engagement. As in Janet Gaynor's case
when she married Lydell Peck, an Oakland lawyer. And
Ruth Elder jumping from her plane into the arms of Walter
Camp, Jr. Ruth stated that she wanted now to have every
one forget about Ruth Elder, and she meant it. The reason
she married as hastily as she did was so that she might avoid
the 'circus' wedding she knew she would be forced to tolerate
if she announced her plans.

It was unfortunate that Ruth lost her maps in the recent
Women's Air Derby, thereby hampering her speed, but this
may be forgiven her owing to the flutter her heart was in,

Greta Garbo and Lew Ayres making a
tennis scene for "The Kiss." Note camera
truck at the right.

for December 1929

103

Just a little Hawaiian girl going in for
literature. Lenore Ulric is made up for
her role in "South Sea Rose."

because Wally Camp asked her to marry him just as the

motors, preparatory for the flight were being tuned up.

Although she didn't win, she has at least proved that she

really can fly. Although had the doubting Thomases taken

the trouble to look up Ruth's record they would have found

that at the time of that now historic trans- Atlantic hop, she

had her first two licenses: her pilot's license and the one

that permits a pilot to carry passengers, though not for hire.

She was going to keep on until she got her transport license,

and I expect that by this time she has done so, for she

spent many hours in the air this summer.

* * *

In "Lilies of the Field," which stars Corinne Griffith, and
features so much loveliness, there is a dance scene which is
supposed to be the last word in S. A. Directing it, Alexander
Korda said, "Come on, now, girls — step into it. Get hot!
Get hot!"

Betty Boyd, gowned in a very gorgeous and bouffant cos-

Three husky he-men pause on the lot to
have their pictures taken. Wallace Beery,
George Hill and Ernest T orrence.

tume, said: "Get hot! Say, I'm on fire.'" And she
was! The gown was ruined, but owing to the texture
Betty herself was saved from harm.

Blanche Sweet steps before the incandescents again
in M-G-M's "The Night Hostess," directed by
Robert Ober. She will also do one at Warners',
"Always Faithful," directed by Al Cohn.

sfc %

There is a new club being formed in Hollywood,

very exclusive, and it may rival the Mayfair. En-

rolled at the Embassy so far are Marion Davies,

Charles Chaplin, Betty Compson, Constance and

Norma Talmadge. It is on Hollywood Boulevard

next to the Montmartre and is patterned after the

Club of the same name in London.

❖ * *

Ah, there, Vivian Duncan and Nils Asther! They
were engaged two years ago, but it was broken off;
and they didn't see each other during all that time
until the 'Dunes' ' picture, "Cotton and Silk," was
well started on the Metro lot. Nils was finishing

Margaret Mann has played innumerable
movie mothers, and it now falls to her to
portray a queenly role which she does with
grace and dignity. As Queen Victoria in
"Disraeli," she presents a perfect picture
of 'our dear Queen.'

up a picture with Greta Garbo and his stage was next
to Vivian's. Of course they met, and first thing anyone
knew the old romance was on.

* * *

And now — Hollywood is all excited because Rudy
Vallee and Mary Brian are again — or is it yet — on very
good terms. They met some years ago at Yale, and when
Mary was in New York, she and Rudy were 'seen to-
gether' and now that she is in Hollywood they are
again 'seen together' and frequently. Well, that's all
right, we're for it.

104

SCREENLAND

Joan Crawford made Miss Vee Dee
work overtime answering inquiries
about this 'Modern Maiden.' What
price popularity?

Julio S. of Camauguey, Cuba. Who
is the star the girls are all so crazy
about? Now you've asked me some-
thing that sets the old brain to work.
If you mean Davey Lee, that's one answer;
but if you mean Buddy Rogers, that's some-
thing else again. Buddy's latest release is
"Illusion," with Nancy Carroll. Davey Lee's
new pictures are, "Say It With Songs," with
Al Jolson and "Skin Deep," with Monte
Blue and Betty Compson. Mary Brian's
latest picture is "The Virginian," with Gary
Cooper, and she is now working in "The
Children."

C. E. S. of Peoria, III. You think my col-
umn is grand, do you? I don't think it's
so bad myself. I'm very proud of my fan
mail. The waste basket never gets an un-
answered letter and I give everyone my
personal attention. Thomas Meighan's latest
film is "The Argyle Case," an all-talkie
from the Warner Brothers Studios. You
can reach Dorothy Gulliver at Universal
Studios, Universal City, Cal. Eddie
Nugent and Polly Moran at Metro-Gold-
wyn-Mayer Studios, Culver City, Cal. Sam
Hardy is a free-lance player.

Melsonic Ann of Orange, N.. /. Wouldn't
that give you a permanent wave for life?
Mary Kornman is no longer with 'Our
Gang Comedies," and the roly-poly kid, Joe
Cobb, has been replaced by Norman 'Chub-
by' Chaney. The new member is 8 years
old and is not Lon Chaney's son. Can I
tell you about Charlie Melson? Why not?
Charlie's real name is Zachary Charles
Melson and he was born in New York
City on Sept. 12, 1901. He has dark
brown hair, blue eyes, is 5 feet 6% inches
tall and weighs 140 pounds; has been mas-
ter of ceremonies in many eastern theaters,
and is married to a professional. Colleen
Moore's hair is not red but a dark brown.
Dorothy Mackaill is not married now.

Ruth P. of Edmonton, Alberta, Canada.
Horse operas are still being made but sev-
eral of the western stars have taken the
air — don't you worry, they come down
again in order to open their fan mail and
get in trim for another flight. Ken
Maynard is married. He was born July

ASK
ME

An Answer Depart-
ment of Information
about Screen Plays
and Players

Miss Vee Dee will be glad to answer
any questions you may care to ask about
pictures and picture people. If you wish
an answer in the Magazine, please be
patient and await your turn; but if you
prefer a personal reply by mail, please
enclose a stamped addressed envelope.
Address: Miss Vee Dee, Screenland
Magazine, 49 West 45th Street, New
York City.

21, 1895, at Mission, Texas. He has black
hair, grey eyes, is 5 feet 11 inches tall
and weighs 181 pounds. Among Ken's
latest films are "The Royal Rider," with
Olive Hasbrouck and Philippe de Lacy; and
"The Lawless Legion," with Nora Lane.

Ambrocio H. of Ha\alau, Hawaii. Of
course I'll answer through the magazine
any questions about the screen players you
may ask; or if you'll send me an addressed

Jack Mulhall's next picture is "Mur-
der Will Out" — and so will popu-
larity. Ask Miss Vee Dee!

Ramon Novarro keeps our 'Answer
Lady' busy answering Questions con-
cerning him. It's all right, Ramon,
we like it!

envelope I'll reply by letter, but I do not
send out pictures of myself. I'm too mod-
est to have photographs taken. My posing
is all sup-posing, if you get my meaning,
and three cheers for you if you do.

Genevieve from Sarnia, Ontario. From
the town Marie Prevost put on the movie
map — just hook up on your television and
listen in. Marie was born in 1898 and is
5 feet 4 inches tall, weighs 123 pounds
and has brown hair and blue eyes. She
was in the all-star cast of "The Godless
Girl." Neil Hamilton's wife is Elsa
Whitner, a non-professional. Neil was
born Sept. 9, 1899, at Lynn, Mass. One
of his latest releases is "The Mysterious
Dr. Fu Manchu," with Jean Arthur.

Rosemary from Lausanne, Switzerland.
You think my remarks are peppy and smart,
do you? Then all my deep thinking hasn't
been in vain and I can extend my hand
across the Alps and welcome you to this
circle of movie lovers. Arthur Lake is
coming right along in the big features and
his fan mail is getting heavier. Don't say
I told you, but he reads it personally! He
was born in Corbin, Kentucky, about 20
years ago. He has light brown hair and
blue-gray eyes. He appears in "On With
the Show," the all-color, all-talking and
singing picture. You can write to him at
Warner Brothers Studio. Janet Gaynor's
first all-talking film is "Sunny-Side Up."

Lillian T. of Los Angeles. Rumors about
Miss So-and-So and Mr. Such-and-Such
are just another funny number on the tele-
phone to mc, but any information you may
glean from my department is the last word
and authentic. "The Trespasser" is Gloria
Swanson's first all-talking picture. Robert
Ames of stage fame is her leading man.
Gloria was born March 27, 1897, in Chi-
cago, 111. She has dark brown hair, blue
eyes and is 5 feet 1% inches tall. She
began her screen career at the old Essanay
Studios, in Chicago. Mary Pickford and
Douglas Fairbanks Sr. appear together for
the first time in the all-talking screen version
of "The Taming of the Shrew."

for December 1929

105

OH, YEAH !

with

ROBERT ARMSTRONG and
JAMES GLEASON
A comedy of that class of society
which travels under, not in, Pullmans.

Directed by TAY GARNETT

; laWMn

RED HOT RHYTHM

with ALAN HALE
A picture that turns "Tin Pan Alley**
inside out and reveals its human side.
Directed by LEO McCAREY
Supervised by
WILLIAM CONSELMAN

CONSTANCE BENNETT
in RICH PEOPLE

A look at life from the viewpoint of
those who have so much money they
can't get out from under its depressing
influence!

Directed by
EDWARD H. GRIFFITH
RALPH BLOCK
Associate Producer

WILLIAM
BOYD

If/ Ct

mth Dorothy Sebastian

All the world loves a lover and a "rookie" — and William
Boyd is both in this romantic story of the making of a
"first-class fighting man." The scene of the action is laid
at renowned Fort Riley in Kansas, around which so
much thrilling frontier history was written in the days
of the old West.

The participation of the entire Second and Thirteenth
U. S. Cavalry regiments lends an authentic military flavor
to HIS FIRST COMMAND that quite lifts it out of the
realm of "make-believe." If you want action, thrills,
laughs and romance, see it when it comes to your local
theatre !

Directed by GREGORY LA CAVA RALPH BLOCK, Associate Producer
ALL MUSIC-ALL SOUND-ALL DIALOGUE

Pathe ® Picture

106

SCREENLAND

Joseph B. of Dante, Va. You want some
snappy murder stories that were filmed and
produced within the last two years. I can
heartily recommend "The Bellamy Trial,"
"The Canary Murder Case," "The Greene
Murder Case," and — say, I'm getting all
shivery!

Florence from Carrollton, III. Has Clara
Bow a rival, a competitor? What new
kidding gainc is this? You might as well
ask if Greta Garbo has fans. Alice White
is a popular First National star and can be
reached at Burbank, Cal. Address Robert
Agnew at 63 57 La Mirada Ave., Holly
wood, Cal. Robert was born in Dayton,
Ky. He has brown hair, blue eyes, is 5
feet 8% inches tall and weighs 145 pounds.

Billic Dove was married to Irvin Willat dios, 5451 Marathon St., Hollywood, Cal

Oct. 27, 1923. She was born in New York
City on May 14, 1904. She is 5 feet 5
inches tall, weighs 115 pounds, and has
brown hair and dark brown eyes.

E. H. from Hoilo, P. I. I'll confess I'm
a cut-up but as for being in comedy pic
tures, you must be thinking of another
good-looking girl. Who knows, I may be
doing the movie industry a great favor by
not crashing the gates — so let's give myself
a flock of cheers and a hearty heigh-ho
for earning the title of the world's best
Answer Lady. I thank you. Clara Bow's
latest film is "The Saturday Night Kid,"
with James Hall. Title may be changed.
You can write to Clara at Paramount Stu-

Mrs. B. of Roc\ford. III. You are right,
the talkers are with us to stay; but if you
ask me, the most persistent talkers are the
fans in the audience. Don't take my word
for it, just listen in. Monte Blue was born
in Indianapolis, Ind., in 1890. He is 6
feet 3 inches tall, weighs 195 pounds, and
has brown hair and eyes. His wife is
Tova Blue, the daughter of Bodil Rosing,
the well-known European stage actress who
for the past four years has been appearing
in pictures. The Monte Blue's have a
three-year-old daughter, Barbara Ann. Mar-
celine Day is in "The One Woman
Idea," with Rod La Rocque; and in "The
Show of Shows," for Warners.

Talkies: A Liberal Education in Love— Continued from page 29

high and dry ways of the nation.

In the ancient B. S. (before sound)
pictures, love-making was subtle as a patrol-
man's night-stick. Scenes depicting ro-
mantic ardor somewhat resembled a cross
between a snappy Marquis of Queens-
borough bout and a catch-as-can encounter
between Strangler Lewis and the very Ter-
rible Turk. After a bit of sparring the
protagonists of passion would tussle vio-
lently in the center of the ring until the
final fade-out.

All the finer nuances, the pianissimo
obligate the pastel shadings, the dulcet
overtones of the divine emotion were lost
as the glories of Greece. Dan Cupid was
dumb. A muted Demosthenes. Burning
Venus had no choice but to register her
ardor by romping through daisy fields, or
sighing visibly — too visibly — and inaudibly.
All the celluloid searings of the Gilbert-
Garboings-on were oddly reminiscent of the
famous filmed fight between the mongoose
and the cobra. There were present the
stealthy approach, the mutual glaring and
the final leap before the clinch. And cut-
ting through the action like winter rain
came cold type captions between the lovers'
lips. What remained of illusion was slain
by the title writers.

The record of romance proves that women
are always wooed and won by words — and
music. Thus the advent of sound upon
the screen lends that realism which brings
belief in pictured passion. Richard Bar-
thelmess croons his way to the lady's heart
with a Song of the 7s[ile. John Gilbert
thrills Norma Shearer with Romeo's un-
dying words of love. Douglas Fairbanks
tames a temperamental sweetheart with
Shakespearian phrases. And you, too, can
be the life of the petting party by emu-
lating their technique.

In actual life cave-man tactics are fre-
quently both inexpedient and ineffectual.
Many a swain has met with robustious re-
buff upon attempting to press his suit in
Graeco-Roman style as visualized in the
stillies. And discouraged at the failure of
his well-meant experiment has gone love-
lorn through life. But now the misunder-
standings which arose through premature
application of the head-lock or scissors-
hold have been permanently banished. As
Mr. Mayer says, when people speak the
same language understanding reigns. And
the language of love as taught in the talkies
gives romance its greatest impetus since
those dead days when knighthood was in
flower.

The subordination in talking pictures of
mere physical action, or physical contact,
to the more thrillingly realistic expression

of emotion through dialog is a fait accompli.
Even on the crude lustiness of "The Cock-
Eyed World" there are fewer actual em-
braces than in the most tepid sequences of
the silent action picture. Before sound,
this mundane love tale of the marines must
necessarily have been a long series of
clinches interspersed with unconvincing
captions.

That vastly subtle cinema, "The Lady
Lies," could never have had its suave so-
phistication translated to the silent screen.
But with the new medium it becomes an
intriguing romance, which for all of its
amorous complications, is devoid of peasant
pawings. In it the tumult that makes a
maelstrom of two hearts is graphically reg-
istered with a word. A lady's laughter
expresses her acquiescence far more tellingly
than a reel of silent surrender or an orgy
of titles. Almost it may be said that the
romantic climax is attained without the
presence of femininity upon the stage. All
that comes to the audience is her voice.
But that, so tremulously vibrant, tells the
story of her conquest in every erotic
syllable.

Not even the romantic posturings of
"Flesh and the Devil," which required an
asbestos screen, are fractionally as con-
vincing as the simplest 'I love you' of the
talkies, whispered directly to the ear of
every woman in the audience. And to the
accompaniment of murmuring palms, the
sighing of summer zephyrs, the sound of
distant surf upon the sands. A lion among

Norma Terris and her new husband,
Dr. Jerome Wagner.

ladies may be a dreadful thing. But a lion
who merely struts in silence and shakes
his mane ceases to be either dreadful or
fascinating; and becomes both a bore and
a ridiculous denizen of the toy stores.
When lips are scaled the eyes may speak.
But they're a poor substitute for a vocal
rendition of the sweetest story ever told.

The 'strong silent man' suddenly becomes
a laughing stock. His secret is exposed.
The world knows that his strength is weak-
ness. That he is silent because he may be
devoid of thought, and lacks facility to
express the exceptional one which proves
the rule. He is a bell without a tongue,
in other words a real dumb bell! He is
at last relegated to the limbo of silence
while the tripping tongue of the modern
troubador dances its owner into enviable
favoritism.

As the nation's masculinity learns the
intricacies of sounding sentiment, so, too,
may the maidens of the land be tutored
by the talkies to the technique of fitting
the right word into the right place. Every
girl will be a demure siren elaborating on
the wh y - don't-you-speak-for-yourself-John
theme of Puritan Priscilla. A word of en-
couragement to the hesitant suitor, or one
of suggestion to a vacillating Lothario. To
other charms she adds vocal seduction, which
the Bard, himself, so warmly extolled as an
excellent thing in a woman. And her fa-
cility in phrasing, inspired by the Psyches
of the screen, will in turn serve as inspira-
tion to matrimonial committments.

Besides the eloquence and elegance of
whispered words, the gentle insinuations of
soft music, sound brings to the screen the
fascinating rustle of hidden silks, the sig-
nificant tinkle of crystal touched in toasts,
the rich jingle of jewelled ornaments, the
world-wide language of a kiss. The very
ticking of a clock that sends time on its
endless journey may have its important in-
fluence on the pictured story. Even silence,
itself, is fraught with greater meaning in
its rarity.

The talkies have made the whole world
sound-conscious. And to the millions who
pass between the monoliths of movie theaters
to seek the well of romance long since run
dry in their work-a-day lives, the new me-
dium will bring a mighty stimulant to
deadened imaginations. The notes of a
bird will cease to be mere irritating chirp-
ings. They will conjure up visions of moon-
light and nightingales. Music hath its
charms at least to suggest soft lights. And
low lights lead to love. And love, after
all, is what makes the world go round.
Which is what Mr. Mayer might have men-
tioned to President Hoover.

December 1929

107

For better entertainment never miss
a Columbia Picture — Ask your favorite
Motion Picture Playhouse when these all-
talking Columbia features will be shown.

'o>>*

Parade of Hits from
Columbia

Following Submarine, spec-
tacular thriller, comes Flight,
Broadway Scandals, Song of
Love and soon Wall Street,
i a mighty drama of the
k Street, Broadway Hoofer,
^a tale of Tin Pan Alley, t
^Acquittedand others.

Never Miss a
Columbia
Picture

You will latiirh

and you "will cry -with
_ W BELLE BAKER in this
soul-reaching dramatic
story of mother love. All-star
cast. Directed by Erie C. Kenton

\TONG-
, OF LOVE-

COLUMBIA
PICTURES

For Better Entertainment

106

SCREENLAND

Florence from CarroUtort, 111. Has Clara
Bow a rival, a competitor? What new
kidding game is this? You might as well
ask if Greta Garbo has fans. Alice White
is a popular First National star and can be
reached at Burbank, Cal. Address Robert
Agnew at 6357 La Mirada Ave., Holly
wood, Cal. Robert was born in Dayton,
Ky. He has brown hair, blue eyes, is 5
feet 8% inches tall and weighs 145 pounds.

Billic Dove was married to Irvin Willat
Oct. 27, 1923. She was born in New York
City on May 14, 1904. She is 5 feet 5
inches tall, weighs 115 pounds, and has
brown hair and dark brown eyes.

E. H. from Hoilo, P. I. 1*11 confess I'm
a cut-up but as for being in comedy pic-
turcs, you must be thinking of another
good-looking girl. Who knows, I may be
doing the movie industry a great favor by
not crashing the gates — so let's give myself
a flock of cheers and a hearty heigh-ho
for earning the title of the world's best
Answer Lady. I thank you. Clara Bow's
latest film is "The Saturday Night Kid,"
with James Hall. Title may be changed.
You can write to Clara at Paramount Stu-

dios, 5451 Marathon St., Hollywood, Cal.

Mrs. B. of Rockjord. III. You are right,
the talkers are with us to stay; but if you
ask me, the most persistent talkers are the
fans in the audience. Don't take my word
for it, just listen in. Monte Blue was born
in Indianapolis, Ind., in 1890. He is 6
feet 3 inches tall, weighs 195 pounds, and
has brown hair and eyes. His wife is
Tova Blue, the daughter of Bodil Rosing,
the well-known European stage actress who
for the past four years has been appearing
in pictures. The Monte Blue's have a
three-year-old daughter, Barbara Ann. Mar-
ccline Day is in "The One Woman
Idea." with Rod La Rocque; and in "The
Show of Shows," for Warners.

Talkies: A Liberal Education in Love — Continued from page 29

high and dry ways of the nation.

All the finer nuances, the pianissimo
obligato, the pastel shadings, the dulcet
overtones of the divine emotion were lost
as the glories of Greece. Dan Cupid was
dumb. A muted Demosthenes. Burning
Venus had no choice but to register her
ardor by romping through daisy fields, or
sighing visibly — too visibly — and inaudibly.
All the celluloid searings of the Gilbert-
Garboings-on were oddly reminiscent of the
famous filmed fight between the mongoose
and the cobra. There were present the
stealthy approach, the mutual glaring and
the final leap before the clinch. And cut-
ting through the action like winter rain
came cold type captions between the lovers'
lips. What remained of illusion was slain
by the title writers.

The record of romance proves that women
are always wooed and won by words — and
music. Thus the advent of sound upon
the screen lends that realism which brings
belief in pictured passion. Richard Bar-
thelmess croons his way to the lady's heart
with a Song of the Mile. John Gilbert
thrills Norma Shearer with Romeo's un-
dying words of love. Douglas Fairbanks
tames a temperamental sweetheart with
Shakespearian phrases. And you, too, can
be the life of the petting party by emu-
lating their technique.

In actual life cave-man tactics are fre-
quently both inexpedient and ineffectual.
Many a swain has met with robustious re-
buff upon attempting to press his suit in
Graeco-Roman style as visualized in the
stillies. And discouraged at the failure of
his well-meant experiment has gone love
lorn through life. But now the misunder-
standings which arose through premature
application of the head-lock or scissors-
hold have been permanently banished. As
Mr. Mayer says, when people speak the
same language understanding reigns. And
the language of love as taught in the talkies
gives romance its greatest impetus since
those dead days when knighthood was in
flower.

The subordination in talking pictures of
mere physical action, or physical contact,
to the more thrillingly realistic expression

Norma Terris and her new husband,
Dr. Jerome Wagner.

ladies may be a dreadful thing. But a lion
who merely struts in silence and shakes
his mane ceases to be either dreadful or
fascinating; and becomes both a bore and
a ridiculous denizen of the toy stores.
When lips are sealed the eyes may speak.
But they're a poor substitute for a vocal
rendition of the sweetest story ever told.

As the nation's masculinity learns the
intricacies of sounding sentiment, so, too,
may the maidens of th,e land be tutored
by the talkies to the technique of fitting
the right word into the right place. Every
girl will be a demure siren elaborating on
the why - don't-you-speak-for-yourself-John
theme of Puritan Priscilla. A word of en-
couragement to the hesitant suitor, or one
of suggestion to a vacillating Lothario. To
other charms she adds vocal seduction, which
the Bard, himself, so warmly extolled as an
excellent thing in a woman. And her fa-
cility in phrasing, inspired by the Psyches
of the screen, will in turn serve as inspira-
tion to matrimonial committments.

December 19 29

107

For better entertainment never miss
a Columbia Picture — Ask your favorite
Motion Picture Playhouse when these all-
talking Columbia features will be shown.

5 r^*1 *

A Parade of Hits from
Columbia

Following Submarine, spec-
tacular thriller, comes Flight,
Broadway Scandals, Song of
Love and soon Wall Street,
,a mighty drama of the
i Street, Broadway Hoofer, t
tale of Tin Pan Alley, i
^cqwittedand others.

Never Miss a
Columbia
Picture

You will laugh
and you will cry with
BELLE BAKER in this
soul-reaching dramatic
slory of mother love. All -star
cast. Directed by Erie C. Kenton

0 L U M B I A

1 C T U R E S

For Better Entertainment

108

SCREENLAND

The

LV^ I , - A -»-» r<?rh lac

Los Angeles

*7K

MISS
MARY
GARDEN

in one of a large num'
ber of unsolicited com'
ments by world famous
celebrities, writes:

"Why live else-
where when the
A m bassad or,
the most beau-
tiful hotel in the
world, is here."

No Hotel in the World
offers more varied at-
tractions . . . superb
^ 27-acre Park, with
miniature golf
course, open-air
plunge and tennis
courts. Riding,
hunting and all
sports, including Archery
Ranges and 18-hole
Rancho Golf Club. Mo-
tion picture theater
and 35 smart shops
within the hotel.
Famous Cocoanut
Grove for dancing
nightly.

Write for
Chefs Coo\ Boo\ of
California Recipes

BEN L. FRANK,

Manager

Good hooks for Christmas!

Continued from page 89

As for compacts, their infinite variety
seems inexhaustible. Double compacts in
platinum cases that go well with any cos-
tume and smart enough for the handsomest
bag. Compacts, round or oblong in enamel
cases, inexpensive but none the less smart
in lovely shades of blue, green, rose, orchid,
yellow and grey. Here again, the personal
note may enter in. Give one to match
your friend's bag. or the dominant note
in her costume. Or give sets of three or
four, one for each ensemble. Vanities with
double compacts, a mirror and a place for
cigarettes or small change with lipsticks for
handles are intriguing also.

Other small gifts for the bag, just right
to slip in some one's stocking, are tiny
atomizers for skin tonic or toilet water,
small manicuring kits specially nice for the
business girl, lipsticks gay and inviting,
small flacons of exquisite perfume. And
here's a good place to go right on to the
fascinating possibilities of perfumes as
gifts.

"Perfume isn't good looks," did I hear
you say? No, yet it has an appeal that is
quite as important. It is said that memory
is induced more by the sense of smell than
by any other of the senses. A field of
blossoming clover, the elusive scent of valley
lilies, the spicy odor of garden flowers, a
whiff of heliotrope — how it stirs the memory
to half-forgotten things!

I know a young woman who is made
riotously happy by the scent of purple lilacs.
She did not know why, until she remem-
bered that one of the happiest moments
of her life was associated with this flower
— causing her ever afterward to associate
its fragrance with the situation at hand.
Recently, an ingenuous youth said to me,
"What is the name of that perfume you are
wearing? It is just like the perfume a girl
I met the other night uses." Do you get
my point, girls?

Every girl wants to be remembered and
of course she wants to be admired. And
every girl may by her wise use of perfume
and its accessories, capture and hold both
remembrance and admiration.

The modern perfumer is doing his part
to achieve this effect. Never before were
there such delightful perfumes, such fasci-
nating containers nor such an infinite variety
of odors. The perfumer today studies his
customer and decides upon the blend best
suited to complement or enhance her per-
sonality. Not only that, he has created for
her a variety of odors. He doesn't want
her always to wear the same perfume any
more than he wants her to wear the same
gown or hat, or the same flower on her
coat. This appeals to the modern girl who
every so often wants to change her mind
and the way she does her hair and the
color scheme of her room and play ana-
grams instead of bridge and roller skate in-
stead of dance. So it's quite natural that
she should welcome the suggestion of a
perfume for every mood. Not only that,
a perfume for every costume, or at least
for every time of day.

This is not carrying the use of perfume
to extremes. It's just applying common
sense to the fitness of things. It stands to
reason that the kind of perfume one wears
with an evening gown is not right to wear
with sports clothes or to business. Neither
is a perfume suited to the personality of a
dainty ethereal blonde quite suitable for a
dark-haired, dark-eyed vivacious brunette.

Perfume suited to the type, the mood,
the costume, is now a recognized accessory
of appropriate dress and will make the
ensemble doubly smart. And, as the
modern costume to be truly smart must be
simply sophisticated, so modern perfume
should carry out this spirit. It must have
sophistication, subtle and intense, yet ever
fresh and piquant. Many perfumes you
may have for variety, but three you should
have — a discreet odor for everyday, formal
life, a daring scent for sports clothes, a per-
fume rich yet elusive for evening gowns.

Perfume appeals to the senses, and it has
ever the lure of mystery. You can watch
your favorite screen (heroines and get many
helpful hints about hair dressing, hair cuts,
about clothes and how to wear them: but
there's no way of knowing what kind of
perfume she is wearing. But whatever it is,
you may be sure it was chosen to add to
the appeal of her individual type.

Going back to gifts, in choosing a gift
bottle of perfume, suit it to its recipient.
And instead of one large bottle, give a
perfume set in three odors in smaller bottles.
If you want to make the gift a truly ele-
gant one, fill a double or triple atomizer
with different odors. An atomizer is the
best vehicle for perfume as it insures less
waste and less skill in applying.

A handbag accessory that would delight
the heart of any girl is a metal container,
purse size, to hold a quarter ounce of her
favorite perfume. These containers are
graceful in design and come in three colors,
green, blue and red. A larger bottle of
perfume in the same odor for refill adds
value to this gift.

Perfume has many accessories. There are
smart boxes of sachet for the woman who
uses no other perfume. Attractive jars of
scented brilliantine for the girl whose hair
just won't lie smoothly. Toilet waters, skin
tonics, bath salts and powders and soaps.

Soap is of utiliarian value and always
a welcome gift. If ever it was true that
scents were used to disguise inferior quali-
ties of soaps it is not true now. Soaps
now come in clean-smelling odors such as
rose, lavender, geranium, lemon and other
easily recognizable odors of flowers, herbs
and oils, beautifully boxed and daintily
colored. Or, you may suit your friend's
preference in plain white soap, unscented.

Bath salts and powders are now pleasingly
scented and come in beautifully colored
jars. Choose one for your friend that
matches the trimmings of her bathroom, its
contents matching her toilet preparations in
odor.

Toilet waters, skin tonics and fresheners
are luxuries that are fast becoming neces-
sities. Here again, atomizers are useful, and
any woman would like to own one of these
handy devices.

Sachet furnishes an indirect method of
perfuming that is always in good taste. A
set of sachet pads for frocks, the linings
of hats, the cuffs of coats, for drawers where
lingerie, handkerchiefs and gloves are kept
would be a simple yet pleasing gift.

Luxurious gift packages for mother,
grandmother, for sister or your best girl
friend, contain perfume, toilet water, face
powder and talcum in matching odors.

There are gift packages for father too.
Or, make up for him a box including his
favorite shaving cream or soap, an after-
shaving lotion, a box of talcum and he will
give you credit for knowing how to choose

for December 19 2 9

a gift both pleasing and practical.

For big brother, if he's the very elegant
kind that's apt to prowl around and use
woman folk's cosmetics when they're not
looking, give him a swanky box of shaving
cream, soap, talcum and toilet water in dis-
creet odor.

This is the age of perfume. We bathe
and powder and cold cream ourselves in a
perfumed world which becomes more inter-
esting as we know more about this import-
ant accessory to beauty. And no longer is
this limited to the containers of perfume
which grace our dressing tables. There has
long been a demand for matching odors in
all toilet preparations and with some of the
best brands this goal has been successfully
reached. You can now give, if you like,
perfume, toilet water, skin tonic, face pow-
der, talcum, sachet, bath powder, soap, cold
creams and hand lotion all emanating the
same scent — a complete and fascinating gift.

And some day, treat yourself to a set of
these preparations and follow an unhurried
program something like this: (To me, it is

109

the height of luxury, and surely there is
no more delightful way of bringing frag-
rance into a weary day.)

Scented cleansing cream spread generously
over face and neck and wiped off with
tissues or a soft cloth. A generous coating
of nourishing cream in the same odor to
absorb while relaxing in perfect peace in a
tub to which you have added the sweetness
of bath crystals and a cake of fragrant soap.

After the bath, a dusting of talcum, a
dash of toilet water and you are ready for
face and hair fixings. Remove cream, pat a
skin lotion into the face and neck, a bit of
scented brilliantine on the hair to make it
smooth and lustrous. Rouge, powder and
lipstick all breathing the same fragrance.
Then, as a final rite, a touch of perfume
to the lobe of the ear, the nape of the
neck, a drop on the palm of your hand.

If you want to know more about gifts
for beauty and about perfumes for moods
and types, for costumes and occasions, write
me, telling me just a little about yourself.
Please enclose stamped, self-addressed en-
velope for personal reply.

Garbo's New Screen Lover

Continued from page 64

to be a hobo. I loved freight trains. Even
to this day, the whistle of a steam engine
stabs me like a bugle call.

"Yes, I ran away from home. But I
always came back in a few days when it
began to rain or I got hungry or homesick.
I never had any trouble at home and I
had no reason to run away. I just wanted
to hobo, that's all. I had been fooling
around with a banjo and discovered I had
a natural singing voice, and when I was
sent to college to study to be a doctor I
spent more time playing in the college jaz,z,
band than I did studying. I found my
band engagements interfered with my stud-
ies, so I gave up the studies. That's how
I landed in Mexicali playing at the Climax.

"Yes, I learned a little about life down
there. And it didn't hurt me a bit. I
understood things I couldn't figure out
before. I found good in people I would
have shunned as hopelessly bad otherwise.
Because I was a kid they protected me. I
couldn't have gone bad if I had wanted to.
They wouldn't have let me.

"Later when I moved over to San Diego,
I went back to the border whenever I was
out of work and had to make a car pay-
ment. That was where I saw my first
motion picture stars in flesh and blood.
I played for them, hung on their every
word. I dreamed of them. I played in
all the hotels in San Diego and at Coro-
nado, met fine people and yearned all the
more to be one of them.

"Two years ago I joined the Harry Hal-
stead band in the Plantation Cafe in Culver
City for the sole purpose of breaking into
movies. I played all night and spent every
waking hour hanging outside of studio gates
waiting to be 'discovered.' No one paid
any attention to me except Owens, the
gateman, who now waves a salute when I
come in the gate to report for work. He
kicked me out when I tried to horn in
one day during the Shriners' convention.

"I never got inside a motion picture
studio. I hung around casting offices with-
out ever seeing a casting director. I asked
for work as an extra and never got a
nibble. I was sick at heart. I had spent

all my money on clothes so I would have
a wardrobe. All my hopes were shattered
by my forbidding reception. I was nothing
but a banjo player who could sing the
chorus in a popular number once in a
while. When the band went to play the
Addison Hotel in Detroit I was glad to go
with them to get away from Hollywood.

"We came back and I went with Ray
West and played the Ambassador Hotel,
the Lafayette, the Montmartre — all places
where picture people congregate. The old
movie-bug bit all over again. I finally got
up enough courage to walk into a casting
director. I told him I was an actor and
he promised me a test. I gave up my
job on the strength of that promise.. Six
months later I got the test. It was so bad
I sneaked out while the projection room
was dark. I have never set foot in that
studio since.

"I went back to jazs banding, but still
hung around studios. I heard there was
a movie tea dance at the Roosevelt, and
like a motorman spending his day off on
a street car, I went in to dance and look
at the stars. I saw a very pretty girl sitting
with an older woman. She looked lone-
some and I asked her to dance. I had
no idea who she was.

"As I was leaving, Ivan Kahn, the film
manager, asked me if I was under contract
to anyone. I told him I was not. He
said he had watched me dancing with Lily
Damita and naturally assumed I was an
actor. Lily Damita! And I had held her
in my arms and didn't know it! Kahn got
me a six-months contract at Pathe. All I
got was a bit in 'The Sophmore.' They
didn't take up my option.

"Paul Bern, whom I had known as an
executive there, moved to M-G-M, and
when they were stuck for a youngster to
play with Miss Garbo he suggested my
name. Was I surprised when I got the
part?"

Lew pondered for a fraction of a
moment.

"No," he responded slowly. "I wasn't
what you would call surprised —
"I was just astonished!"

Colleen Moore's fox fur has been awarded to:
Miss Leata Mercer, Route 4, Box 315, Orlando, Florida

RaquelTorres,
Metro - Gold"
i wyn-Mayer
11 Player.

from

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In New York — Continued from page 91

You know George K. Arthur. Well, I
met him for the first time the other day,
and I liked him a lot. I rather shied off
meeting him because I was afraid he'd turn
out to be another one of these comedy stars
with a Hamlet complex. But not George.
He's even more amusing off than he is on
the screen, and no wonder, because in pic'
tures he has to be amusing at someone's
direction, while in real life he can say and
do what he pleases, and it's usually pretty
funny.

He came east to sail for Europe for a
vacation, his five-year contract with Metro
having just expired, and he felt impelled to
explore new pastures. But he had no
sooner landed in town than he had a
flattering offer to go into big-time vaude-
ville as the star of his own act. He thought
it all over and gradually the importance of
the vacation began to diminish in his esti-
mation. He's Scotch, you know — and brags
about it!

He's only thirty and an attractive chap.
No wonder he is one of the Marion Davies
'gang' of amusing and interesting movie
people. He's tired of being a 'type' and
hopes for a chance to do character comedy.
"They do it on the stage, why not in pic-
tures?" he wants to know. Well, I'm for
him, and hope that some big-hearted pro-
ducer will give him just what he wants.
* * *

Mary and Doug came and went almost
before the photographer could 'snap' them.
They were off on one of their frequent
European jaunts, having finished "The
Taming of the Shrew," their first co-star-
ring picture, which according to all reports
is what's generally known in picture circles
as a great big wow.

Mary's little niece was with them. She's
a whole head taller than Mary and it's so
amusing to watch them together — Mary
with her sweet little motherly air and
Gwynne — yes, that's little Mary's English

name — very grown-up and sedate and grave.
Doug is brown as a berry. Gwynne
brought her dog with her but I wonder
what she will do with it when she is

installed in school in Switzerland?

* . * *

Lillian Gish is with us once more, and
I'm glad. She has been away too long to
suit me. With her first talking story all
selected — "The Swan" — and the cast chosen
and everything set. Miss Gish didn't linger
long in our midst but hurried out to Holly-
wood to start work. But while she was
in town she went to all the first nights on
Broadway with George Jean Nathan, who
seems to be her permanent and most de-
voted cavalier. And they make a hand-
some couple, too. Lillian is so modest and
reserved that she is practically never pointed
out in theaters. Only her friends recognize
her. For she is always very careful to
sneak out in the thick of the crowd so that
she won't be singled out. She is the

quietest of all our stars.

* * *

At last little Lya de Putti is getting a
break. And everybody who knows her is
glad. She is a charming, sprightly little
thing, with a great zest for living and work-
ing; and since the advent of talkies she has
been professionally stranded, more or less,
in a sea of foreign accent. Then came a
grand offer from England to star in a play
called "Clinging Ivy." Lya thought it over
a long time before accepting, because she
loves America and still hopes to become
indispensable to our screen. But the role
in the new play was so unusual that she
fell, and sailed away to lend her piquant
personality and undoubted dramatic ability
to the proceedings. London will appreciate
de Putti in no small way. Dorothy Gish
was welcomed with open arms; and Anna
May Wong, who was only a small success in
Hollywood, is a real sensation in the British
capital. Good girl!

Charlie Chaplin — Continued from page 27

blind girl, whenever Wondrous Eyes is
played by street musicians or in saloons it
has a very dramatic significance. In fact,
all through the picture music and song be-
come a background for the action almost
as important as the pantomime itself."

Charlie then went on to tell me of some
particular musical stunts that he doesn't
wish to make public as yet, but which
will be a new and sensational development
of this perfect marriage of the arts.

"I think I've got some of the funniest
business I have ever done," he went on.
"and I feel sure the picture will have all
the novelty in the sound accompaniments
that the public craves. My only fear is
that I have been cursed by too much high-
brow publicity. My purpose is to entertain
and amuse. I am not trying to be subtle.
I am trying to be funny. The high-brows
are looking for and expecting subtleties.
I must avoid that if I am t<? hold my own.

"Don't think I am avoiding dialog be-
cause of personal fear. I was on the legi-
timate stage for years, but I don't wish to
give up the eloquence and beauty of pan-
tomime for a spoken title. The printed
title is still a legitimate tool. It is optical,
the same as the picture, but it has its
proper mental effect. I shall still use it
when necessary.

"But it is the music that now for the

first time I can absolutely control, that will
be the great novelty of 'City Lights'."

Then for an hour of tennis on Charlie's
new court. He has only lately taken up
the game under a professional instructor
and leave it to the little devil to excel in
it right off the bat. I have been playing
for years and beat him the first set 6-4,
and then he turned in and beat me — me,
mind you — 6-3!

His court has been hewn out of the hill-
side and as you play you look over the
lower hills to the Pacific Ocean lying in
the west like an alluring dream of vast
adventure. As the sun set we turned on
the side lights and finished our game.

A shower bath in the great lonesome
house and then down to my house for
dinner. An evening of talk and reminis-
cence. To bed at ten for me (I get to my
editorial labors at 5 a.m.!) leaving son,
Leicester. Charlie and my wife, the 'real
editor' to visit and gossip until the small
hours.

The last I heard as I climbed the stair-
way was this:

" — but. Florence, you must do something
about advertising rates. Now I suggest
that — " ,

And yet Charlie would have you believe
he cares about nobody but himself!

for December 1929

111

Larry Comes Back— Continued from page 49

Larry didn't have to be told that it was
terrible. His voice just didn't seem to
record. He had no kick coming. When
they announced that Charles King was
being brought out from New York for the
role, he wasn't at all disappointed.

Two other studios gave Larry similar tests
for big parts. They turned out just as
badly. It wasn't that Larry couldn't sing.
He just didn't know how to sing for the
'mike.'

"I stopped listening to technicians and
experts who were supposed to know all
about it," he related. "When I let my
voice out they said I 'blooped.' When I
kept it in they said I was 'fuzzy.' The more
I tried to follow advice the worse I got.
Then I decided to sing just as I would if
I were at home by myself."

Months later, Marion Davies happened
to hear Larry sing at a party. No, he
didn't sing Broadway Melody. It was
a little song he composed himself. It was
about this time that Oscar Shaw, who had
just completed the leading role opposite
Miss Davies in the silent version of
"Marianne," was summoned back to Broad-
way to keep his stage contract. M-G-M
was combing Hollywood for a new leading
man who could sing. A number of tests
were made and rejected.

"Why not give Larry Gray a try?"
Marion suggested.

Larry went back and made a test sing-
ing Just You, Just Me, the love ballad in
Miss Davies' musical-talkie special. It went
over big and he was signed for the part.

"It's a funny thing," he said. "My voice
is just as it was when I made that 'Broad-
way Melody' test. Everyone on the lot is
commenting on how my voice has improved.
I haven't done a thing with it. I just
ignored all advice and rules of the 'mike'
and sang naturally."

Larry leaned forward with a serious glint
in his usually gay eyes.

"You know," he said, "it's mighty tough
for a fellow to make a test with other men
who are testing for the same part standing
around watching him. My first flop taught
me a lesson. Never will I step on a set
where anyone is making a test for any kind
of a part. It is not fair. The fellow in
front of the camera and 'mike' can't do
his best, no matter how experienced a man
he is. This business is something different
again."

Larry's lyrical voice is a revelation in the
Davies talkie. Irving G. Thalberg pro-
nounced it one of the finest recording
voices on the screen and backed up this

statement with a long-term contract, a break
of breaks for Larry.

With no theatrical or screen background
whatever, Larry invaded the picture world
back in 1921 as a production supervisor
for Famous Players.

"After I got out of the Navy after the
war I went to work for a bond house in
San Francisco," he related. "There was
some kind of a financial deal on and the
bond house wanted to put their own men
with Famous to see how the money was
going to be spent. You know, the old
racket of the backers wanting to run the
business. That's how I came to be a super-
visor. I didn't know a thing about the
business.

"Oddly enough, I supervised three of
Gloria Swanson's pictures, 'To Have and
To Hold,' 'Her Gilded Cage,' and 'Beyond
the Rocks.' For two years I held my job.
Then one of those things happened. We
were all canned and when Miss Swanson
made 'Coast of Folly' I was an extra in
the picture instead of supervisor.

"Of course, I knew Miss Swanson pretty
well by that time and the second day we
worked she took me to one side and
knocked my hat off by telling me I would
be her next leading man. I played opposite
her in 'The Untamed Lady' and made good.
I stayed right on as leading man in 'Stage
Struck' and seemed to be sitting on top of
the world after that."

Larry's reign as a popular leading man
carried him through a number of features,
including "Oh, Kay" with Colleen Moore.

But somehow the sledding began to get
rough. New favorites shot up from all
sides and Larry slipped instead of holding
on. Then came the talkies and the movie
parade all but passed him by. True, he
worked regularly, but he didn't make any
headway. They didn't risk him before the
microphone. No stage experience. That
was the bugaboo when talkies started, you
know.

"Broadway Melody" was his first talkie
test. Out on the lot they were mighty
sorry to see Larry trudge out of the gate
when he flopped.

And they were mighty glad to see him
come back as Marion Davies' leading man,
land a big contract as a result of his fine
performance, and jump right into work
again as the singing hero in the Duncan
sisters' first out-loud opus.

For Hollywood is one place where a
come-back is appreciated. They know out
there how tough it is when the parade seems
to pass on by!

Colman Psycho- Analyzed— continued from pag

average man, only more so, the sort of
man most women prefer to marry and
actually do marry. Women know where
they have such men. But Ronald Colman
can't be pinned down. You think you
have his number, and then he bobs up as
something else. The audience public were
firmly convinced that Ronald Colman was
the romantic lover, and then suddenly he
pulled a "Bulldog Drummond."

A Swedish woman and an Englishman
are two of the very brightest stars in the
movies! Not only is this a sign that the
American people seek new patterns of man-
ners and outer characteristics; it is also a
sign that the general taste of the American
public is steadily rising. The manners that

e 21

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set before it.

But the rise in artistic taste shows the
deeper change in America. Neither Greta
Garbo nor Ronald Colman are simple in
their appeal. They don't give it all to you
in black and white. They stir the imagina-
tion and force you to guess and ponder.
They bring more of the beauty of great
art than the popular audience has had be-
fore. They are both true artists.

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She'S Not the Type— Continued jrom page 81

every family.

, "I had never even given the talkies a
thought. When the part in 'The Silver
Cord' was offered me, I accepted it because I
loved the role and because it would not
mean my leaving California. The short en-
gagement was sort of a lark. So you can
imagine what a thrill it was to receive that
card, saying 'Come to see me tomorrow,'
and signed, 'Cecil De Mille.' "

Two days later Kay was signed for the
heroine of "Dynamite." After a week's
work, she wrote her name on the dotted
line of a long-term Metro-Goldwyn-Mayer
contract.

De Mille had spent weeks searching for
just the right girl for "Dynamite," one
who could look, act and talk as if to the
manner born. More than fifty women of
the stage and screen had been tested for
the part. Some looked like the boulevard
but talked like the other side of the rail-
road tracks. Others spoke with finishing-
school intonation but looked and walked
in the manner of the back-halls. Along
came Kay. .The part fitted her like a cus-
tom-made glove.

Hollywood waited and wondered. Then
came the opening night. An enthusiastic
mob hailed a person and personality here-
tofore unknown to the screen ranks.

But Kay's personality does not stop with
the screen. It carries on in real life. I
saw her charm a hard-boiled cameraman, a
stony-hearted electrician, and a tired press
agent with a smile and a plate of sandwiches.

She was sitting for a series of home por-
traits, one of the ordeals to which all
screen newcomers must submit. To the
cameraman, the electrician and the p. a. it
was just another sitting, just another actress,
just another detail of the day's work. And
they were hot and tired.

Then Kay, tired, too, but fascinating in
a peacock-green negligee, turned on her
smiles and the warmth of her genuine cor-
diality. "Let's rest a few minutes," she
suggested after the twenty-seventh pose.

Miraculously appeared a Japanese house
boy, bearing a tray of sandwiches, cakes
and such raspberry tarts as I never have
seen before nor ever expect to see again.
While Kay talked and smiled and played
hostess, the cameraman forgot the fading

afternoon light, the electrician forgot his
ancient grudge against all cameramen, and
the p. a. forgot a desk covered with un-
written stories.

In the midst of the fun, Kay's mother
arrived from a shopping trip. She is in
California, visiting her daughter. She talked
to me while Kay continued the afternoon's
work.

"This all seems like a dream to me,"
Kay's mother smiled, waving a hand which
included California and the movies and the
whole works. Now I know where Kay
acquired that smile. There are only two of
its kind in existence.

"When Kay decided to go on the stage
her father and I thought we had reached
the peak of surprises. But when we re-
ceived her wire, saying that she was going
into movies, we couldn't believe it.

"Kay's desire for a theatrical career began
when she was a student at Drew Seminary.
Mr. Johnson and I didn't know much about
the stage. We had always hoped that Kay
would marry one of the boys at home, and
settle down to a peaceful life.

"She wanted to go to the American
Academy of Dramatic Arts, so I went to
Mr. Sargent and asked him if he would
talk to Kay and discourage her. He talked
to her, but, aften ten minutes, instead of
discouraging her, he turned to me and said.
'Mrs. Johnson, it would be a crime to keep
this girl from the emotional outlet of the
theater.' In ten more minutes he had
argued so eloquently that I was as eager
as Kay for her stage career."

Before her course had been completed
at the American Academy, Kay was signed
for the Chicago company of "R. U. R."

Then came four years of steadily greater
roles. With "Beggar on Horseback," "The
Little Accident," and "The Free Soul,"
Kay found herself one of the most popular
young leading women in New York.

She met John Cromwell. A whirlwind
courtship. Marriage. California honey-
moon. "The Silver Cord." Cecil B. De
Mille. "Dynamite." Hollywood!

The film capital is writing a new label.
It bears just two words, which may serve
both as its stamp of approval and its classi-
fication: "Oh, Kay!"

The Duncan Sisters — Continued jrom page 32

a party to listen to their quips.

They became the highest paid sister act
in vaudeville.

They stand at the very top of vaudeville
and musical comedy.

And yet none of their successes in the
entertainment field have given them as
much happiness as their present venture into
pictures.

"Home towns are home towns," Vivian
Duncan told me. "Once we played on a
bill with an Eskimo who lived about two
jumps from the Arctic Circle. He got so
homesick that he asked for a release from
his contract, and went back to where you
have to break the ice away from a plate
of ham and eggs.

"Rosetta and I have enjoyed vaudeville
and musical comedy. We have made many
friends all over and we will miss them.
But we have a large family of brothers and
sisters, and we can't see them very often
when we are on the road. If our home
town was Kankakee, where there are no

picture studios, perhaps films wouldn't be
so enticing. But to be able to work in
Hollywood, within reach of the folks, oh,

boy!"

They're not strangers to pictures society,
these Duncans. They've vacationed in the
West every year except one, and always
their home has been a rendezvous for cine-
matic fun-lovers.

They point with pride to the fact that
out of but three Hollywood parties that
Greta Garbo has attended, theirs was one!

They know their Hollywood: they love
it; and now, for the first time in a succes-
sion of very busy years, it is at last their
permanent address.

"I doubt if we would ever have made
another picture if it hadn't been for
talkies," stated Rosetta, the clown and
mimic of the pair.

"We made a silent one. and we didn't
like it. Our whole reputation has been
built on our ability to put over songs and
gags, and the public missed our noise.

for December 19 2 9

113

Last winter, however, we were playing in
London during the serious illness of tTie
King. For the first time in years business
was bad.

"Two incidents happened thereafter at
a very psychological time. One was a visit
to one of the first American talking pic
tures, 'Alias Jimmy Valentine.' The other,
a call from a MetrcGoldwyn-Mayer ex-
ecutive with a rough outline of this story,
'Cotton and Silk,' which we are now doing.

"It all sounded like a grand opportunity
to leave the road behind and live with the
folks for a change.

"So when current vaudeville contracts
in America were completed, we left the
future entirely open. We're in the movies
now!"

Certain it is that no one or two persons
in any phase of the amusement business
have any more fascinating life story than
these Duncan sisters!

Two girls gave up movie ambitions to
study opera with Madame Yaw, prima
donna supreme. One girl, the vivid
Rosetta, found funds getting low, so while
her sister, Vivian, continued her studies,
she took a singing job at Tait's Cafe, in
San Francisco. It was pure pot-boiling,
for the present clown of clowns was very
serious about her operatic career, and she
considered her cabaret work but a stepping
stone. But an irrepressible store of vitality
kept her doing funny, impromptu things
during her number.

One night a vaudeville booker saw her.
He said he didn't need a 'single,' but that
if she would double with her sister, he
would give them a contract.

Vivian came up from the Yaw orange
ranch at Covina. They tried out at Fresno,
California, and were an immediate success.
They became such a hit in the East that
they .didn't play in their home town of
Los Angeles until three and one-half years
later.

They worked in "Tip Top," in "Hitchy
Koo," in the Winter Garden Show, in
"Pins and Needles" and "Clowns in Clover"
in London. They produced their own show
"Topsy and Eva," still a terrific success
whenever revived.

They broke records in vaudeville. But
their family was in Hollywood. And when
a real good chance came to break away
from the stage, how quickly they took it!

"Even if we don't like talkies, being
out here is a great break," Rosetta told
me. "For 'Cotton and Silk' a whole raft
of new material has been written for us.
We will be away from our regular act for
a long time, and when we return to the
stage, if we do, we'll be flooded with new
ideas.

"There's a lot of inspiration to the
studios these days, an inspiration I never
found in previous visits. Everybody real-
izes that they can't be kept going just on
the novelty of a vocalised screen. You've
got to give the public new stuff, material
different from that they've had from any
other source. That means that clever crea-
tive brains are working harder than ever
before. We might have been afraid of pic-
tures in the old days but certainly not now.
Everybody's on their toes. We're mighty
excited about this new contract, and we
think our stuff will get over far better in
talkies than on the stage. They're doing
so many striking new things that there
seems to be no limit to the novelties you
can introduce.

"It was a long, long trail we took to get
into the movies, but now we're there, boy,
how we love it!"

Where Do You Stand?

Psycho-analyze yourself, through the medium of this questionnaire, for
a true scientific picture of your type, your talents, your vocation and
your shortcomings. Learn the answer to the puzzle of the ages, "What
Am I." After you have discovered "Yourself," try it on your friends.

1.
2.
3.

6.
7.
8.

10.
I 1.
12.
13.

15.
16.

1 7.

18.
19.

20.

I— THE INTROVERTED SIDE

Are you self-conscious? 1.

Are you shy?

Do you feel misunderstood by most 2.
people?

Do you usually hate to be conspic- 3.
uous on the street, at a gather-
ing, even at home)... 4.

Do you day-dream as a steady

matter? 5.

Do you sulk? 6.

Are you a poor mixer?

Are you self-centered, introspec- 7.
tive? 8.

Do you go by moods, sometimes

prolonged for hours, or even for 9.
days?

Do you like to be alone a good 1 0.
part of the time?

Do you dislike being affectionate? 11.

II — THE EXTRAVERTED SIDE

Do you forget yourself when you
talk, work or play?

Is it easy for you to order others
around?

Is life a game to you, to be played
through like a sport?

Are you a good actor in public?

Are you considered "deep" by
others? _

Are you strictly monogamous, and
this by nature? -

Are you jealous?

Are you idealistic?

Are you easily in a tense condi-
tion?

Have you a feeling of inferiority
before others (with certain ex-
ceptions) ?

Does a quick change in your man-
ner of living disturb you?

Is it hard for you to go out and
sell yourself, i. e., ask for a job,
a raise, make a deal, put over
an article?

Are you often "up in the clouds?"

12.

13.
14.

15.

16.
I 7.

18.

19.

20.

Are you practical?

Do you quickly get over a quarrel,
disappointment or loss?

Are you a good mixer?

Are you naturally active and find
a delight in doing things?

Do you like people not a few,

but many?

Do you like always to be with
others and on the go?

Are you naturally loving and affec-
tionate? _

Are you a faddist taking up with

all the fads that come along?

Are you really polygamous or

polyandrous?

Would you be indifferent if the

woman or man you love should

flirt with others? _

Are you realistic and have much

common sense?

Are you easy-going as a rule?

Are you good at putting yourself

over with others?

Can you make quick changes in

your manner of living without

feeling much disturbed?

Are you a go-getter (by nature,

not education) ?

Are your feet solidly on the

earth?

INSTRUCTIONS:

Write down a 3, 2 or 1 against each question; for example:

Q. Do you forget yourself when you talk, work or play?

If you put down 3, it means very much. If you put down 2, it means much.

If you put down 1, it means a little. If you put down 0, it means not at all.

One thing to remmeber is that only extreme honesty will help. If you are a will-o-
the-wisp and answer that you are a deep one, the whole game will go out of gear.

This is the same questionnaire used by Mr. James Oppenheim, eminent psycho-analyst and
psychologist in Ins psycho-analysis of Ronald Catalan, which appears in this issue of Screenland

If you wish to know all about psycho-analysis, how to analyze yourself
and your friends accurately, let me send you ABSOLUTELY FREE a
copy of Mr. Oppenheim's remarkable book,

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The Types," etc., as well as other questionnaires, charts and illustra-
tions— a complete course in psycho-analysis for the layman.

Just send me your subscription for Screenland, America's Smart Screen Magazine, with re-
mittance of $2.50 (regular subscription price and I will send you at once VHVV »„!]
postpaid, your copy of BEHIND YOUR FRONT and enter your subscription for one year

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On Location wkh f( Sweetie"

Continued from page 61

"Oh. I knew they'd have you two neck-
ing before the wind-up of the picture!"
Helen Kane chaffed Nancy.

"Don't you think it's time for tea?" asked
Nancy.

"How do you manage that on a polo
field?" I asked.

"Oh, we have a very wonderful property
boy. Tea is served every day at the studio
and out here — well, they can just attach a
wire to one of these units and the rest is
simple."

I keep forgetting that you can do any
thing in the movies.

"Have a lick," Nancy offered Helen a
bite from a huge chocolate. "Be careful,
because it came from France."

"Glad you told me — I never can eat
those trickly things without getting it all
over me. Wait till I'm through my heavy
scene," Helen laughed.

"That's fine, children; now we'll do it
once again," cried Frank Tuttle, "And
some one watch that baby, please!" He
referred to a three-year-old lass who seemed
to slip from everyone's fingers and come
dangerously near the camera line during
the moments of shooting, thereby adding
another grey hair to the supply Mr. Tuttle
will have if he stays in pictures long
enough.

"Keep together on your yells and act
as if you were really interested in this
game," Mr. Tuttle warned. "When you see
your man muff the ball, all of you let out
shouts of disappointment. Just get in the
spirit of the thing and you'll be all right.
Ready to sink!" he called to the sound
department, which means ready to synchron-
ize. Everyone quieted down and the
motors started to grind.

"We're sunk!" said the Voice of the
Sound.

"Turn them over!" and the scene was
started.

Six hundred girls and boys snapped into
action, putting all the enthusiasm their
young bodies and voices were capable of
giving. Tense with excitement they yelled
in chorus: "Hold that line! Hold that line!
Hold that li — AwawAwl" And trailed off
in disgruntled guffaws as the ball was
muffed. Then something else happened,
things straightened out and the game was
won!

Deafening cheers from the throats of six
hundred youngsters shook the skies. Helen
Kane and I were particularly interested in a
rather stout girl with a luxuriant crop of
beautiful red hair who certainly gave her
all to the scene. She acted as if it were
a life and death matter; danced up and
down, wrung her hands, stamped her feet,
megaphoned her cheers with her hands, and
when it was all over and the game won,
threw both arms high in the air in a
gesture of pure joy that should have won
plenty of approval from her director. She
had personality plus, believe me. She acted
every minute, never let down. I don't
know her name, but she was the life of
the party. You'll see her if you look closely.

She's right on the front line, of the bleachers
opposite Nancy Carroll.

"Gosh," said Jack Oakie, wiping his
perspiring brow as he threw himself on the
grass at Helen Kane's feet. "That cheer-
leading business is too much for a guy out
of his teens. I feel like a great grandfather
alongside those youngsters. And am I
winded! Well, don't be funny. How about
a little lovin'?" he kidded, grinning
wickedly at Helen Kane.

"Too hot," Helen kidded back, shaking a
fist at him.

"Once more!" megaphoned Frank Tuttle.
No matter how good it is, it always has to
be done once more. "And this time we'll
take the ground squad."

A tall slender boy with a shock of red,
curly hair, unrolled himself on the grass
where he had been taking a siesta in the
sun. "Well, here's where I hog the pic-
ture," he said, with a twinkle in his eye.
He was Jack Chapin, brother-in-law of
William Wellman, director of "Wings."
Jack's job was to stand by to take the
place of a disabled man on the team. There
were three or four of them on the bench
with their coach, played by Wallace
MacDonald. Wallace was drifting about
with a perfectly disreputable Mexican som-
brero on his head, which he insisted upon
wearing every minute the camera wasn't
grinding. He's rather glad to be before
the camera again. You know he took a
shot at directing and he may go back to
it, but he thinks he likes acting better.

"All set?" cried Joseph De Pew, a dark,
slender boy who was the cheer leader.
"Practice up on this now," and he turned
himself into a veritable jumping-jack.

After the huddle Jack Chapin picked out
his same spot in the sun and threw himself
upon it. "Did you make the grade?" I
asked.

"Yep," he grinned. I put that scene over
for them!"

William Austin wasn't called upon the
whole day, so he had a fine time letting
the purling zephyrs breeze through his locks,
as George Marion Jr. might say. And I
didn't see Stuart Erwin doing much, either,
although he had to be there, in case they
got to his scene. "Just when the fishing
is so good, too," he remarked, gazing with
longing looks toward the sea.

Stuart was all hot and bothered about
his hair, which is a medium brown. It
had to be very light for "Sweetie." for some
reason or other. "Well, you'll have to
bleach it," he was told.

What! Bleach my hair! Come to, come
to. Start your verse over again and get it
right this time."

"No foolin'. You'll have to bleach it."
Thereupon started a long, scientific explana-
tion of why Stuart's hair had to be very
blond to get the right light. And — Stuart
bleached his hair.

You'll get a kick out of "Sweetie."
Clever dialog, good story, swell music,
pretty girls, and — Stanley Smith. Holly-
wood girls have fallen for him right and
left, and so may you.

Going Hollywood— Continued from page 19

talented as my tailor in London!

In short, as the phrase is, I like the
place and I like the people. I could go
on explaining why, until I talked myself

into a long gray beard.

But it is difficult for me to write my
opinion of Hollywood without making it
sound like a railroad ad.

for December 19 2 9

11?

Dancing Girls of Holly wood

Continued from page 63

the director, dance producer and camera'
man have discovered the proper angles in
screen presentation, we will startle the world
with our shows. There will be no limit to
the musical screen's possibilities, outside of
the reality of flesh and blood, and we'll
offset this by sheer beauty, cleverness and
intimacy. Outside of the big centers of
population in the United States, the theater-
goers have never seen real musical shows
presented by first class companies. How
can they help enjoying these beautiful mu'
sical .shows, with the pick of the world in
girls, and the country's most popular
artists to entertain them?"

Ceballos is right. These musical shows
at popular prices are going to be the cream
in the coffee of every small town theater-goer
in the country, not to mention the big town
boys and girls.

In Larry Ceballos' 'teens he was one of
the finest stage dancers in the world. He
featured many Broadway shows with his
sister Rosalia, notably Al Jolson's first show,
the Shubert's first Passing Show, and the
Weber and Fields all-star Jubilee. He
staged revues in London for five years, in-
cluding five for Chariot. Before coming
to Hollywood three years ago, he staged
five consecutive Greenwich Village Follies
and J. P. McEvoy's "Americana." Despite
his youth, he has long been recognized as
one of the leading dance producers on the
stage because of his originality.

We call him the youthful daddy of dance
production in Hollywood because he pion-
eered these new picture revues and musical
shows two years ago when the Warner
Brothers first started Vitaphone. Ceballos
is one of the very few who had the vision,
and faith to keep on experimenting until
he clicked. Now look at him!

On second thought, although I like him
I'd rather look at his four hundred beauti'
ful girls!

Joan Feers is a newcomer recruited
from the stage. She makes her debut
in "Applause."

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The Theme Song's the Thing

Continued from page 51

say nothing of Charles Wakefield Cadman,
Sigmund Romburg and Arthur Hammer-
stein II, the composer and librettist; and
many other talented boys who were taking
their master's degree in music 'long about
the time Aimee MacPherson was converting
her first sinner.

"Another thing," continues Mr. Morris,
"which the average young composer fails
to take into consideration is this: Every
single song writer in our organization must
be versatile. He must be capable of com-
posing quickly and competently all sorts
of generically different numbers in order to
fit the various types of pictures. There are
comedies, dramas, farces and serious love
stories which have to be keyed up with
music.

"Now how could the average young com-
poser who has only a song or two to his
credit, hope to be versatile enough to turn
out professional copy on love ballads, waltz
songs, comic songs, as well as all kinds of
dance music ranging from melodies suit-
able for tap-dancing and break-downs all the
way up to exquisite ballets?

"However, I don't want to discourage you
folks. As I've said before, there is a way.
There's always a way for everything. Even
if you can't make a dent in song-writing
through the film producer, there is a pos-
sible opening by which it is possible for a
beginner to break into one of the most
difficult of professional games."

But before Mr. Morris tells us about this,
let's go back and find out the how and why
of this theme business.

Few people recall that the theme song
reverts to the first days of the screen when
D. W. Griffith made "The Birth of a
Nation." The first theme song of all was
Perfect Love. Griffith had this song in-
corporated with southern melodies and Civil
War songs into a musical score which ac-
companied his great picture, so that the
audience could carry away with them a
concrete picture of the film — in song.

The next theme song was Mickey, com-
posed for a Mabel Normand picture. Then
the idea wilted and died — -until three years
ago.

Along in 1926, when Fox was making
"What Price Glory," a clever executive on
the Fox lot conceived a brilliant idea. He
figured out that if he had a song composed
for "What Price Glory," incorporated in its
strains the theme of the picture, he could
get different store-keepers to display the
music in their show windows. Thus giving
the picture itself, as well as the song, a big
plug, as they call it, in every sizable town
all over the country.

Erno Rappe, together with Lew Pollock,
composed Charmaine, and it mopped up all
publishing records for 1926. Naturally there
followed an immediate avalanche of song.
Along came Ramona, from the movie of
the same name; Angela Mia. composed for
"Street Angel," which became so popular
that people started calling the picture
"Angela Mia!" Soon we had Laugh Clown
Laugh, from the film of the same name;
and I Loved you Then as I Love You 7s[ow,
from "Our Dancing Daughters."

But the high spot of the entire song
industry was reached when Warners per-
fected the Vitaphone and Al Jolson sang
first Mammy and Mother of Mine in "The
Jazz Singer"; and finally Sonny Boy from
"The Singing Fool" — which touched the

top of the mast in publishing records, being
the biggest seller of 1928.

This was the signal for the western hemi-
sphere to get those theme song blues! You
couldn't stick your foot out of your own
doorstep that you didn't tramp on a song
hit popularized by some big feature picture.
We had Nancy Carroll singing A Precious
Little Thing Called Love, in "The Shop-
worn Angel"; Maurice Chevalier giving us
Louise and On Top of The World Alone,
in "Innocents of Paris"; Hal Skelly hum-
ming True Blue Lou in "Dance of Life";
Buddy Rogers in "Close Harmony" popular-
ized I Want to Go Places and Do Things;
and Mary Eaton and Oscar Shaw in
"Cocoanuts" beautifully put over When My
Dreams Come True.

Nor was that all. Dick Barthelmess in
"Drag" sat down at the piano, struck a few
keys, and The Song of The Jsfile swept
the country. Alice White sang Wishing
and Waiting For Some One in "Broadway
Babies" and now every baby is crooning it.
Jack Mulhall contributed If Tou Were
Mine, in his picture "Twin Beds." Colleen
Moore started a riot with Smiling Irish Eyes
and A Wee Bit of Love in My Heart, from
"Smiling Irish Eyes." In "The Great
Divide," Ian Keith gave us that really lovely
At The End of The Long, Long Trail.

When "Broadway Melody" struck Broad-
way, the town turned somersaults. Every-
body for months whistled, hummed, sang or
warbled Tou Were Meant for Me, Wedding
of The Painted Doll and Broadway Melody,
the hits of this film.

Along came "The Hollywood Revue" and
folks started in on Singing in The Rain and
Tour Mother and Mine.

The "Fox Movietone Follies" gave us
Breakaway and That's Tou, Baby. Next
we had Am I Blue sung by Ethel Waters in
"On With the Show," lastly, "Gold Dig-
gers of Broadway" developed at least two
lovely hits, Tiptoe Through the Tulips and
Painting The Clouds With Sunshine.

The wholesale popularizing of these num-
bers through the metier of the movies started
getting the producer excited. For at the
time Sonny Boy created the song sensation
of the year, it was the producer's pictures
which were popularizing the songs. But
his pockets weren't getting any of the
proceeds.

It was at this juncture that the moving
picture industry stepped out and bought a
few publishing companies. So now every
time a copy of sheet music is sold, through
the medium of the films, the producer
pockets a percentage of the gold.

Among the first to step forward were
Warner Brothers. They bought out Wit-
mark. Inc., one of the best-known musical
publishing companies. They bought it out-
right, with its subsidiaries, at the tidy little
price of five millions.

William Fox has an agreement with De
Sylva, Henderson and Brown, by which
the musical publishers supply the writers
and own all copyrights to ditties used in
pictures made by Fox. Metro-Goldwyn-
Mayer has tied up with the Jack Robbins
Music Company, and other movie firms have
formed similar affiliations.

Immediately a rash broke out among film
stars. Not measels or mumps. But some-
thing far more serious!

Stars who had never warbled before com-
menced to turn into song-birds. Sally

for December 1929

O'Neil, Betty Compson and Myrna Loy
were among the first. Colleen Moore dis-
covered she had a voice and made good
use of it. Buddy Rogers and Nancy Car-
roll both realized they had a larynx, one
each, of course, and started it to vibrating.
Alice White made a couple of passes and
brought out perfect soubrette tones. Carmel
Myers, Billie Dove, Dorothy Mackaill, Ber-
nice Claire, Noah Beery, Leatrice Joy,
Corinne Griffith, and many others followed.
But perhaps the two most sensational voices
developed by the talking pictures are those
of Gloria Swanson, who is turning London
upside down with her singing in "The Tres-
passer"; and Bebe Daniels, whose vocal work
in '"Rio Rita" is predicted to be a hit of
the coming season.

To meet this onslaught of song, naturally
Tin-Pan alley has transferred its habitat
wholesale from Eastern Broadway to the
Western Boulevards. The song-writing boys
who used to sweat for an idea now have
ideas handed to them on a silver platter.
Yes sir, the producer knows what he wants,
and he can not only spell it, he can even
whistle it. And when Mr. Producer gets
an idea in his mind, he pushes his little
buzzer, the fair-haired boys bob in, and
word is given to jazz it up — which they do
with a vengeance. Running the scale all
the way from the low bass of a salary and
royalties of two hundred dollars a week,
along into the treble of five hundred dollars
a week. And then clear up to the high 'C
of eminent composers like Romburg, who
I understand is drawing down hundreds of
thousands in royalties and other commissions
for his original operettas — four of which are
being produced on the Warner lot today.

It makes your mouth water when you
think of these boys who used to be cooped
up in a little room along Tin-Pan Alley,
lucky if their upright pianos had all the
ivory keys on them, now out in California
with stucco bungalows to live in, concert
grands to play on, the blue Pacific to swim
in, and all of Hollywood in which to make
whoopee!

But wait a minute. All is not lost!
There's always a way for the rest of us,
as Mr. Morris has told you. His last words
and best advice to you is this:

"If you are sure you have something;
if you are sure this .something is fast and
hot enough to make a movie producer rise
up and offer you a seat, (and you must re-
member that a song must have IT before
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your town a branch manager of one of the
big music publishing houses. Each publish-
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branches in the key cities. So surely near
your home you can locate one the managers.
When you find him, stick your stuff under
his nose. If it's good — well, you know,
this is America — where every man gets a
chance!"

-4 4-

The January issue of Screen-
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117

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118

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Sister Act!- Continued from page 37

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like Moran and Mack. Having known the
interviewer for years and years and years,
they professed to believe I was there for
the express purpose of taking them off to
the beach (we belong to the same Santa
Monica Swimming Club) far away from
the studio humidity. With considerable
difficulty I suppressed them long enough
to break the news, whereupon they enter'
tained Ceballos and me with biographical
snatches of their lives and careers set to
their own improvised song and dance, end-
ing all with a typical clowning step. How
can one interview one seriously when one
has known one so well?

"All right, I'll write my own," I
threatened. "Only one thing I want to
get straight. Didn't you both play as
children together with Bill Hart in 'The
Squaw Man'?"

"Certainly not," retorted Shirley grandly.
"Vi was only my understudy. There was
only one little girl and I was it. Vi played
it when I didn't feel well."

"Oh, yeah!" came the prompt Dana-esque
retort. "Don't forget 'The Poor Little Rich
Girl'. I started in that big hit and only
sisterly devotion got Shirley the job as my
understudy."

"Time, time!" we yelled, after the best
prize-ring manner. "We've looked over
your measurements and you're evenly
matched, so let's put the battle in the
sister act."

Clowning, of course. As a' matter of
fact, Shirley and Vi understudied each other
for several seasons as stage children for the
reason that they were inseparable. Their
mother thought more of their happiness
together, than she did of making twice as
much money for their services.

Children of the stage, Shirley and Viola
Dana were born for talking-singing-dancing
pictures. Vi was a success as headliner in
her own comedy-drama sketch in vaude-
ville, while Shirley has been clicking in the
talkies. Now Vi is back in Hollywood to
stay permanently, and indications are that
the sisters are due to duplicate their former
movie popularity.

By an odd coincidence both Shirley and
Vi became popular picture favorites at an
age when they were scarcely out of the
short dresses and in their very early 'teens.
Like Lillian and Dorothy Gish their child-
hood stage training enabled them to attain
stardom in the movies almost overnight.

Their talents and beauty were welcome in
pictures, but not their name, Flugrath. As
Vi had been christened with the name
Viola, it was a simple matter for Eleanor
Gates, author of "The Poor Little Rich
Girl," to select the euphonious and distinct-
ive surname of Dana. But in poor Shirley's
case it was serious indeed. Her name was
Leonie. And Leonie Flugrath was much
too much for the electric lights. Shirley
had been selected to play the lead in a
series of seven five-reel features entitled
"The Seven Deadly Sins." This series was
produced at the old Edison studio and
released by that company. It took the
united efforts of the studio staff and the
Flugrath family council to hit upon the
name Shirley Mason.

Perhaps the zenith of the girls' respective
movie careers was reached at the same time,
but under different banners. For several
years Viola Dana was a popular comedienne
in her comedies. The more serious little
Shirley went in for drama, but eventually
she found herself starring in too many ga-
ga stories in which she always played the

sugary heroine. She rebelled, and followed
the successful footsteps of sister Vi into the
free-lance field.

Somehow, one expects Vi and Shirley
to be as free and independent in shaping
their careers as they are by nature. Right-o!
They have been selecting their own
roles ever since, playing with every big
league company in Hollywood and doing
nicely, thank you. Now that the talking-
singing-dancing pictures have opened up a
brand-new field for clever performers,
Shirley and Vi will undoubtedly continue
to write their own tickets. Particularly
after "The Show of Shows" is released.

As strangely as their careers have been
interwoven, so too have the lives of Vi
and Shirley been touched with similar
tragedies. Each lost her first husband by
sudden death. Some fans may remember
John Collins, a handsome young Irish
director at Metro. He was Viola Dana's
first husband, and he succumbed to influ-
enza in 1918. The grim reaper called away
Shirley's first husband, Bernard Durning,
a fine broth of an Irish boy who was just
getting well started on a directorial career
with the William Fox company in 1923.
Both lads were very popular in Hollywood.

They lost their mother, Mrs. Mary
Flugrath, who had devotedly mothered them
over the rocky roads of their early girl-
hoods on the stage and screen, in 1922.
Much of the 'mother knows best' type of
stories have been written anent ambitious
professional mothers, but it remains for
some one to write a story about the Mrs.
Flugraths and Mrs. Gishs who devoted
everything to their girls' advancement, mean-
time keeping modestly and shyly in the
background.

Today, we find the erstwhile gay little
Vi a bit saddened with the ashes of her
romance with Maurice 'Lefty' Flynn, the
stalwart Yale football hero, who enjoyed a
brief starring career in pictures. Vi and
Lefty were happily married for four years,
but they finally came to a parting of ways
in 1928. Lefty is now an athletic director
for a string of resort hotels in Hawaii.

Shirley is happily married to Sidney Land-
field, an exceptionally clever scenario writer
who is under contract to the Fox company.

But, to return to the 'sister act' on "The
Show of Shows" rehearsal stage, I walked
out on them when I discovered I'd have
to make up an interview from auld lang
syne. "Bye, bye, we'll see you later at the
beach," rang in my burning ears. How
embarrassing to be suspected of being a
playboy!

A half hour later found me in Holly-
wood's favorite luncheon spot, the Brown
Derby, presided over by the one and only
Wilson Mizner, sharpest of wits. Hardly
had I taken the first tasty bite of cold Co-
lumbia river salmon, when in walked the
sisters. Ah, here was my chance to get
the interview. I invited, they joined me.

"What a break," they confided in unison,
"to run into you here. Now we can go
to the swimming club together."

"Nothing doing," I retorted. "I have
to work. And besides, you're rehearsing."

"Rehearsing? Be yourself. We're so
good we picked up the dance routine in
fifteen minutes. We're through until they
start shooting. Ask Larry. Here he
comes."

Along came Ceballos. "Snappy work,
girls," he agreed. "Sure wish I could go
to the beach with you," he said, enviously.

for December 1929

119

Vi and Shirley have the finest genuine tans
in all Hollywood. They live at the beach
when not working.

Well, anyway, when luncheon was over,
Shirley and Vi and I decided to take the
afternoon off, go for the popular dip in
the Pacific and get a little more tan. It
was awfully hot in Hollywood, and besides,
I decided, this would be a grand way to
get the interview.

Well, when we arrived at the beach club
we ran into a lot of boys and girls we know,
and somehow we never did get around to
the interview. So this isn't one!

Going Hollywood

Continued from page 18

they have looked at so much and heard
so little; they must have something at once.
They discard and discard and then, tired
and worried, they take the next thing
that is presented glowingly. It might well
be that they would take the story returned
to you and since unsaleable.

And suppose you sell it for a good price?
Sheer luck, not worth. Would you not
ask yourself why you worked so hard to
produce worth? Why do you rewrite and
reconstruct and revise? Why not do this
easier work and trust to luck? Why not
gamble?

This is the heady draught Hollywood
offers all those who come; author, actor,
director, producer. You may work never
so well; you may produce a lovely story or
a beautiful performance or a charming pic-
ture, and it may fail utterly with your
editor or your director or the box-office.
You may do something neither lovely nor
beautiful nor charming, but with one for-
tunate scene in it, or one gay song, or one
idea, and it may click. Here in Hollywood
they gamble on that click. It is worth far
more to them than beauty and charm; it
is worth money and something more im-
portant than money; it is worth success. It
is a fugitive thing of chance. You can
not do it again because you have done it
once. You cannot imitate somebody else
who has clicked and hope to click yourself.

Yet if you stay here long enough, you
work and hope and pray for that fugitive
chance thing; not for worth. You gamble
on getting it even when you try to pluck
it from loveliness or charm. Should you
get it you are acclaimed so that you cannot
help but put enormous value on all this
praise.

A heady drink, this; an intoxicant of the
highest order. You could get to craving
it as men do morphine because it makes life
so gay and large. The bright eyes of the
gambler, who has staked so much he dare
not leave, are everywhere in Hollywood.
The marvelous alertness and the swift in-
telligence of the man who must seize his
chance, almost before it comes, are every-
where. Never was there so fascinating an
assemblage of people; never so exciting an
experience as being in demand in the stu-
dios. But too heady a drink for me. Four
weeks of it for the stimulation of it; five
weeks for the sharpening of wit and the
quickening of brain it gives. Six weeks
is the limit.

A portrait of Clara Bow by
Charles Sheldon will be the
insert in the January issue.

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Ten Years from Today— What?

Continued from page 53

programs on radio are diversified today,"
he says, "while the longer plays will be
reproduced in the theater."

"The theater," opines Browning, "may
be an affair with four walls, each of which
is a screen, with the talking apparatus be-
hind each, so that speech and sound may
be localized, as this localisation problem
seems to be one of the things the tech-
nicians are worrying the most over today."

Economics, says George Hill, who
directed "The Flying Fleet," "Tell It To
The Marines" and other productions, will
probably serve as a brake on radical changes
in theater construction in the next ten
years.

"After all," he says, "the millions tied
up in theater investments could not be
absolutely thrown away in so brief a time.
Ten years ago the theaters were not so
different from now — we have bigger and
more elaborate ones, but that is all. They
are still housed in standard buildings, and
the initial investment in such buildings will
make it very difficult to make them over.
One cannot spend great sums of money
without reasonable return on the invest-
ment, so I think that radical changes in the
theater will come quite slowly.

"There will be new types of theaters,
considered more or less as novelties, in the
big cities, but it will be a long time before
the theater in the smaller town radically
changes its form. New wiring systems
and other improvements can be installed,
but the basic structures will not be changed
until those whose capital is invested in
them can see a way clear to do it."

"Why should we have a screen theater at
all?"' asks Clarence Brown, who before be-
coming a director was a mechanical engi-
neer. "As a matter of fact, a screen is
entirely unnecessary."

Brown believes that eventually the thea-
ter will have pictures projected from many
points, these all impinging in a set of
images focused on one point.

"The air itself will be the screen and
phantoms will be reflected by conflicting
light rays, right in the air," he believes.
"Hence will come three dimensional pho-
tography, or stereoscopic vision, with
sound from loud speakers concealed, per-
haps, just under the stage on which these
light phantom figures are projected. Ghost
illusions of the stage suggest a way, per-
haps. They will have height, breadth and
thickness, these camera ghosts."

The filming will be in a far different
sort of studios. Brown conjectures. The
actors will work in the center of a ring
of cameras and microphones, being filmed
at once from all points of the compass.
Naturally, too, the projection will be from
a ring of projectors, putting together these
views from all angles into a single view
which reproduces the player — all sides of
him as photographed.

Far-fetched? No, says Brown. "They'd
have called us crazy if we'd talked about
television a few years ago!" he adds.

Maybe there will be no films — but me-
chanical actors energized by electricity and
controlled by a television controller. One
director adds whimsically, that 'we have
quite a few mechanical actors on the screen
today as it is!'

But it's not such a joke, at that, when
one considers 'Eric'

'Eric' is the name given the iron and
steel robot invented by Captain William

H. Richards of London. This mechanical
man walks, talks, answers any questions
put to him, can use arms and legs and do
what he's told, within certain limits, and
move his eyes and mouth. Captain Rich-
ards says he could easily make one to
register expressions.

The London Times describes 'Eric Robot'
as "Made of aluminum, copper, steel, wires
and dynamos and moved by electricity.
While he requires only 12 volts to walk,
he requires 3 500 to speak."

The robot tells his age, counts to ten,
answers questions and performs other amaz-
ing feats.

In a drama, a series of these man-ma-
chines, with faces carefully moulded of
plastic materials, could be costumed, moved
from director's switchboard, manipulated by
technicians and speak lines, enact dramas,
and do everything stage actors might do.
Who knows?

The time-honored stage and orchestra pit
of yore, it is generally agreed, will disap-
pear in the theater of tomorrow. Harry
Beaumont, who directed "The Broadway
Melody," and J. J. Robbins, music pub-
lisher who published the music of this play,
both assert that much of the value of music
is lost in an orchestra pit. Some device
for bringing the orchestra right out over
the heads of the spectators in a theater is
needed. Perhaps a cluster of loud speakers,
perfectly adjusted, will be used, the or-
chestra hidden behind the scenes. In
Belasco's stage drama "Mima," a fantastic
story of the infernal regions, this device
is already in use in a form. The orchestra
is hidden in the flies of the theater and
loud speakers in the wings hurl the music
out at the audience.

"But Robbins contends," says Beaumont,
"that either the loud speaker in the center
of the theater will be used, or the orchestra
moved out over the audience on some kind
of a derrick arrangement."

This, of course, applies to the orchestra
in prologues and stage presentations — or
perhaps a 'robot drama.' In the case of
a talking picture naturally the music will
come from the same speaker behind the
screen that furnishes the voices of the
players.

"There will undoubtedly be a new form
of loud speaker for the talking screen,"
says Douglas Shearer, sound engineer at
the studios, and a brother of the famous
Norma. "The present system of using a
huge horn or exponential speaker is the
best we know today, but something else
will be developed of course.

"Perhaps it will be a talking screen. A
German concern is now making a loud
speaker composed of a stretched membrane
of rubber with carbon granules cemented
to it, and cohesion of these sets up a vibra-
tion, under electrical impulses, that makes
the whole screen vibrate and issue sound.
Now, a huge screen treated this way would
talk without the use of a horn, if the
proper energizing medium was designed.
Such a great talking screen without horns
would perhaps solve many of the problems
of sound we now face."

King Vidor inclines to the fact that new
methods in drama rather than its repro-
duction in the theater are the most import-
ant changes to be brought about in the
next ten years. He admits that many im-
portant changes in mechanical handling are
inevitable, but hesitates to predict what

for December 19 2 9

121

these may be.

"I'm interested in making good pictures,
and hate to bother with the mechanical
details which technicians are better equipped
to handle," says Vidor. "But there is no
doubt that there will be radical changes in
the technique of telling the screen story."

Lionel Barrymore, director of "Madame
X" and other outstanding features, says
that fantastic mechanical devices for bizarre
presentations may be novelties, as in the
case of "Mima," the Belasco production in
which a soul in Hell is seen being run
through a sort of mechanical 'analyser.'

"But after all, heart-interest and drama
depend on a direct telling of the story," he

adds. "The most direct way to reach the
consciousness of the audience will always
be the most effective way. I think it will
mean that perfect color photography (which
we are on the track of) plus perfect repro-
duction of sound, localized, and with stereo-
scopic photography, will bring us as close
to nature as we can be on the screen. The
effects will depend on the ingenuity of
those designing them and they will, in the
ideal picture, never be crammed in, but
only used to make the telling of the story
more effective. The stage has become more
direct in the past ten years. So will the
screen. But, I believe it will be not in a
fantastic, but a logical way."

Portrait of a Gentleman - — ■ Continued from page 55

screen way. He says his face is not hand-
some at all. But he has that calm, take-me-
or-leave-me look. He has a definite chin
and a decisive mouth. His nose is straight
and his face is almost square. Clive Brook
has a direct look which is capable of see-
ing into anyone and reading personality
and thoughts. And his calm appearance
never reveals what he knows.

Every line in Clive Brook's face shows
the determination of his positive character.
He could have been a success at any occupa-
tion, but nothing has ever entered his mind
except acting. His ambition always has
been to attain happiness and success, which
he knows to be a rare combination. He
has set happiness before success. He knows
sensational success kills happiness and there-
fore he has climbed slowly and carefully
to his position, protecting his happiness.

Clive Brook's clothes are a large part of
his personality. Perhaps you've never
noticed them. He has them made with
that result in mind. It is his modesty again.
He also understands an audience's attention
should be focused on his face and particu-
larly his eyes. He dresses accordingly. All
his suits are made by his tailor in Los
Angeles. They are never 'fad' clothes.
They are plain and perfectly fitted. His
shirts and ties are made in England
especially for him. He wears just one type
collar, designed for him. His shoes are
made and imported from England. He has
odd experiences with his hats. He probably
buys a dozen a year he never wears. That
is because of fast-talking salesmen. Many
times he goes into stores hoping to try
some new style of hats. He always buys
one and never wears it. His own hats are
made in England and are worn as no other
person in Hollywood wears his. They are
tipped down over the right eye in typical
English style.

In England, Clive Brook might be the
Chester Conklin of the party. English
people say he has a sparkling sense of
humor. But Americans do not always un-
derstand English humor just as wisecracks
are foreign to England. Brook underesti-
mates his values, while Americans exag-
gerate events for humor.

High on the list of those actors who
give hours of thought to a part long after
the lines have been memorized, is Clive
Brook. He acquaints himself with the per-
sonalities of his characters, knows just what
they would do under certain circumstances,
and why. He analyzes the reason for every
action in the story. The result is his real-
istic performances.

When talking pictures came to Holly-
wood, Brook learned that he had been
gradually losing the reproduction qualities

of his voice. For silent films he hardly
opened his mouth to speak titles in order
that audience attention would go to his
eyes. Now, Brook's problem is still to
have the attention at the eyes by little lip
action and still produce a clear voice. He
is successful.

The greatest interest of Brook's life is
centered in his two children, Faith and
Clive, Jr., who are eight and two-and-a-
half years old. They .speak with English
accents, are very tanned, and have light
wavy hair and blue eyes. They also are
very modest. Very seldom do they go to
any of the motion picture children's parties
in Hollywood. They spend most of the
year at the Brook beach home with their
parents and a governess. Their carefully
selected clothes give them the appearance
of dolls. A well-managed routine is set
for them by their mother. If they ever
want to be associated with the stage or
screen, it is perfectly all right with their
father.

The children recently accompanied Brook
and his wife to England on their first trip
home since they came to America. London
literally turned inside out for their world-
famous son. He visited his aged parents in
a suburb of London, was guest of honor at
openings, had banners and bands to meet
him at the station and hundreds of inter-
views. He says it will probably be three
or four years before he is able to return to.
his home again.

During his years in America, Brook has
gained many ideas about the screen. He
thinks Charlie Chaplin is the greatest screen
actor. He likes talking pictures and thinks
that they will lengthen a screen actor's life
to that of the successful stage star. He is
sure that beauty has never meant so little
to Hollywood as since the advent of im-
proved camera and electrical effects, and that
brains and voices are the greatest assets. He
marvels at how Clara Bow can jump from a
laughing comedy scene into a tragic one, in
which real tears will gush from her eyes.
He says Baclanova is a dynamic, amazing
creature and one of the greatest artists in
America. He predicts a great future for
Mary Brian.

But although he has been in Hollywood
five years, Brook never has anything to say
about himself. Nevertheless, he has been
featured in just as many productions as one
possibly could in that length of time. He
gradually and quietly elevated himself until
he is now on the brink of stardom. His
popularity and fan mail have followed him
up. He will probably be on the screen
many years. People don't tire of his type.
He's modest. He has a great accent. He's
always himself. And that's a lot.

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Hollywood Gets Married!

Continued jrom page 59

We all stood as the ceremony proceeded,
and then filed out of the church after it
was over, heading for the Miller home,
where a reception was to be held.

Going out the door, we said hello to
William Setter and Laura La Plante, and
we asked Seiter how it was he wasn't usher-
ing. He said that it was his private opinion
that the wedding was a flop because he
hadn't.

The crowd was already ahead of us when
we arrived at the beautiful big old Miller
home in Beverly Hills. Pat and Tay were
receiving in the living room, and Patsy be-
came rattled and wished the bridegroom
many happy returns, but I told her she had
her parties mixed.

"Oh, I'll see that doesn't happen!" smiled
Patsy Ruth.

Every one was very gay, but we all knew
that those who loved Pat were thinking of
the dear lady who used to preside with
such charm and sympathy over all her
children's doings.

"She would have loved it so!" whispered
Patsy the Party Hound.

We found Jimmy Gleason sitting on a
sofa, chatting with Harold Lloyd, and they
asked Patsy and me to sit down beside
them. Harold told Jimmy he thought that
he gave a swell performance as an usher,
but he would have liked him better if he
had played it straight, without the new
mustache which Jimmy is sporting now.

Jimmy said yes, the role was all right,
but when he came to read it, there were
no lines, only business, and he was used
to lines.

Joe Jackson came along and told Jimmy
what a good usher he was, whereupon
Jimmy got very perky indeed and ex-
claimed, "See, everybody thinks I'm a great
usher!"

Upon which, Russell Gleason, deciding
his dad was getting too conceited, told him
he was all right, only too fancy with the
white gloves and all.

But Jimmy simply wouldn't be squelched,
said that he and Harold had thought of
putting on the 'fright wig,' you know, the
wig comedians wear, usually red, which
stand up straight, with its wearer able to
snap it up and down by its rubber — and
big shoes, so as to do a real act, when they
greeted the guests.

Joe Jackson told us he had just come
down from Noah Beery's Fishing Club,
where the fish in the pools were so tame
that you had to get behind a tree to bait
your hook to keep the fish from coming
right up and eating the bait out of your
hand!

Matty Kemp had brought Alberta
Vaughn, and we saw Carl Laemmle, Jr.,
Harry Green, Mr. and Mrs. Ernest Lubitsch,
and a lot of others.

Clara Bow was there, too, with Harry
Richman, but Clara and Harry dashed
away early, as they had another engage-
ment. All the girls at the wedding were
dying for an introduction to Harry, who
is bronzed by the sun and has brown,
awfully curly hair. Clara is the quietest
and most discreet of mortals at a party,
and was as demure as could be.

Pauline Starke came with Jack White.
Pauline is looking unusually lovely these
days.

The wedding breakfast was served on
little tables on the back lawn, under the
trees, and we sat down at the table with

Joseph Cawthorne and his cute wife, who
used to be the famous Qucenie Vassar. and
who is as full of brightness and sparkle as
ever; and with Will Kerncll, Queenie's son,
and his pretty wife.

Helen Ferguson was rushing about. She
said that she was getting food for the
bride.

"She was so excited this morning she
couldn't eat any breakfast, of course," ex'
plained Helen.

There was a commotion and Lois Wilson
came running into the garden. The bride
and groom were leaving.

"And there isn't a bit of rice in the
house!" wailed Helen.

"Well, I saw some toasted corn-flakes
when I peeked into the kitchen," put in
Joe Cawthorne. "Won't those do?"

Nobody could find any old shoes in that
prosperous Miller house, either. But Lila
Lee sacrificingly threw her slipper. How'
ever, Patsy Ruth tossed it back like a
thrifty soul.

Then as Patsy Ruth and Tay dashed
away, Pat threw her bouquet.

And it was caught by two girls!

Lois Wilson and Dorothy Hughes, Pat's
cousin, were the two.

"Now what does that mean?" demanded
Lois. But nobody could tell her, and each
of the girls kept half the bouquet.

When we said goodbye to Mr. Miller,
he said sadly, "Well, I told Pat I couldn't
do things the way her mother would have
done them. So I just let the guests make
the party go. And they did, didn't they?"

We told him we felt that he would miss
Pat terribly, but he said that Pat and her
husband are going to live with him in the
old home.

"I just want them, with all my heart, to
stay as long as they like," he said.

Then he brightened and with the sparkle
of his Irish humor said:

"Winston and I are going to take Pat's
honeymoon journey! You see Pat and her
husband are both working, and can get
away only for a day or two, up to Arrow-
head Hot Springs, and I'm going to take
Winston back to Princeton University."

But well we knew that Pat's dad wanted
to get away to have time for readjustment
to the new order of things in his house-
hold, and also, with a delicate sense of
fitness, to be away so that Pat and Tay
could enjoy alone their honeymoon in the
house.

"You know," philosophized Patsy, as we
went our way homeward, "I just think
that union will last. Both of them belong
to families that believe that marriages mean
something, for one thing. But more than
that, both have brains and character. And
you know that love isn't just a matter of
feeling — it's character too."

"I'll meet you at the next wedding!"
is getting to be the regular Hollywood
formula for goodbye in Hollywood.

And indeed the very next time Patsy and
I saw each other was at Mary Eaton's wed-
ding. She married Millard Webb, the
director, you know.

It was a perfectly sweltering day, and
Patsy exclaimed, as we waited for the cere-
mony, "Why. I wouldn't marry even Rudy
Vallee today!"

Katherine McGuire and her husband,
George Landy, sat behind us, with Pat
Dowling and his wife. The crowd wasn't

for December 19 2 9

123

as large as we had expected, due largely
to the heat and the fact that many of the
expected guests had gone off to the beaches
or had remained in their swimming pools
for a cooling off.

Marshall Neilan, Ann Pennington and
Pauline Garon sat in front of us, and of
course the incorrigible Micky Neilan had
to keep us laughing.

We waited and waited for the bridal
party, and Micky exclaimed:

"Well, there's one thing about a hanging
— it's always on time!"

But when the bride and groom did
arrive, they were smiling joyously, so that
Micky whispered, "I'll bet if you gave the
bride a hand, she'd go into her dance!"
Then as she made her responses, Micky
went on, "She reads lines well. I think
she'll get the part of the wife."

The wedding ceremony was quickly over,
and then we all went over to the Beverly
Wilshire Hotel for the reception and wed-
ding breakfast.

We wished the bride and groom hap-
piness, and then helped ourselves to the
breakfast, which was set out, buffet style,
at one side of the Gold Room, where the
reception was held.

We met William Seiter, and he declared
that, after all, he was getting a lot of
good out of his dress suit- — that he had
been a wedding usher five times in three
years!

We met Georges Carpentier, Rob
Wagner, Laura La Plante, Pauline Starke
and Jack White, Tom Moore, Francis
O'Brien, Bennie Zeidman, Mr. and Mrs.
Ned Marin, David Butler, Johnny Darrow,
Mai St. Clair, Eddie Burns, and Emilio
Gonzales.

Johnny Darrow is working in "Hell's
Angels," which, you know, has been more
than two years in the making.

"It will be shown along with the rest
of the revivals," remarked Johnny whim-
sically.

Just all the younger Eatons, male and
female, had been bridesmaids and ushers
for Mary Eaton and Mr. Webb, and we
learned that Charlie Eaton is much inter-
ested in Florence Allen.

Down in a little retiring room, we found
Mary Eaton, come to arrange her hair. Her
little step-daughter, Millard Webb's little
girl, was there. The little girl threw her
arms around Mary, apparently entirely de-
voted to her step-mamma.

"Mervyn Leroy has a way of inviting
you to his house as if you were his first
cousin — the sort of cousin you like, you
know — I mean he does it with such friendly
and informal cordiality that you feel
doubly welcome. And he's asking us to
come over tonight!" Patsy told me.

Edna Murphy and Mervyn both received
us in that charming way of theirs, after
we had climbed the innumerable steps to
their house.

"I think Edna must attract romantic
youth," confided Patsy, as we laid aside
our wraps after climbing one more stair-
case to Edna's room. "I caught a glimpse
of all the engaged and near-engaged couples
in Hollywood as I came in."

Sure enough, in the big living room we
found Sue Carol and Nick Stuart, James
Hall and Merna Kennedy, Matty Kemp and
Sally Eilers, not to mention Ruth Roland
and Ben Bard, who lately returned from
their somewhat commercial honeymoon tour
of the Orpheum circuit.

Esther Ralston was there with George
Webb, her husband. She told us that she

was tired from sitting up late the night
before, sewing for her little step-daughter.
We told her she shouldn't destroy step-
mother traditions that way.

"Oh, well, I love my little step-daughter
and I love to sew," declared Esther.

The little girl's name is Blanche, she is
very beautiful, and we wondered whether
she was going into pictures.

"Well, she has remarked nonchalantly
a couple of times that she would like to,"
twinkled Esther, "but only, she said, as a
star, of course!"

We met Jose Crespo, the Spanish star,
who was chatting with Jimmy Hall, telling
Jimmy that he had just that day received
a letter from a beautiful young Spanish
girl of his acquaintance, dwelling in
Madrid, beseeching him to get a picture 'of
Jimmy for her, but please" not to tell her
mother she was asking for it, because a
Spanish girl of good family isn't supposed
to do such things.

Of course that aroused Jimmy s interest
at once, and he promised the picture.

Entertainment as Mervyn Leroy's is never
compulsory nor is it made-to-order. If any-
body has an impulse to clown, he clowns,
that's all.

And we had a lot of fun watching Billy
Bakewell, Arthur Lake and Buster West,
kidding around.

"We want some really professional
comedy," announced Billy solemnly — and
next moment down on the floor went
Arthur and Billy, handles of forks in their
mouths, tossing an apple back and forth in
an effort and a quite successful one to
catch it on the forks.

But right into their act burst Gus
Edwards, seized with the idea of doing a
Floradora Sextette burlesque, so that Billy,
Arthur and Buster all had to join in with
Sue Carol, Sally Eilers and Edna as the
girls.

Lew Silvers arrived in the midst of the
fun, stopped everything, called on Arthur
Lake and introduced him as one of the
Great Lakes! After which Arthur per-
formed a funny Spring Song burlesque-
dance.

Little Armida, the Mexican beauty, sang,
and there were other amusing doings, but
it was all the more fun because it was all
so spontaneous, and there was no important
'shushing' if you happened to turn to
whisper to your neighbor.

Supper was served, buffet fashion, and
just as we had seated ourselves, into the
room came Arthur and Buster, carrying a
big plate containing a whole chicken, which
they placed on the floor in perfectly matter-
of-fact fashion as if they didn't know any-
body was watching, and then, lying down
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apparently entirely unconscious of the
shocked looks turned upon them.

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to play, laying it aside to burlesque a grand
opera lady singing the flute song; to which
he added the funniest burlesque of John
Barrymore I have ever seen.

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were at dinner the other night, a ring that
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Come Into the Kitchen with Irene Bordoni

Continued from page 93

Name..

Address .

Miss Bordoni. "and it is in this quality of
imagination that I find your American
cooks to be lacking. Seventy-five percent
of the gastronomic value of a dish depends
upon the piquancy of the sauce with which
it is dressed. Try the recipes I am giving
you for sauces. They may not turn out
as well as you expect the first time, but
gradually you will gain finesse in their
preparation.

"Salad dressings also are of vital import'
ance," continued Miss Bordoni, "and I
have found no people in the world to com-
pare with the French in the mixing of a
dressing with an individual tang. In
America, mayonnaise is much in favor and
I have found it both piquant and delicious.
The Americans have, too, their ready-made
French dressings which are, I understand,
becoming more and more popular. They
are also learning — thanks to the French
influence, shall I say? — to mix very credit-
able dressings. Often the French seasoning
is a little too hot for the American taste,
but it is possible to diminish the quantity
of pepper without sacrificing the essential
flavor. In considering my own personal
taste, I rate the cooking of the countries
with which I am familiar as follows:
French, Hungarian, American, German,
Italian, Swedish and Spanish."

As a special favor Miss Bordoni gave her
method of preparing her favorite dish,
Capon Parisian, with the vegetables she
serves with it.

Miss Bordoni's first step in preparing this
delicious dish is to buy a capon weighing
about eight pounds. She sees that it is
thoroughly cleaned, and then she rubs it
very lightly with garlic, afterward piercing
the fowl here and there and inserting tiny
pieces of garlic for flavor. The capon is
then put on ice till morning.

Next day, before roasting, Mile. Bordoni
lightly rubs the chicken with the finest
French olive oil, using a piece of tissue
paper. The chicken is then placed in a
pan containing water and three onions
sliced, and so to the oven!

While it is being roasted, she gives it
constant attention to prevent it from burn-
ing, but she is also preparing the various
dishes to go with it. Heads of mushrooms
and asparagus tips are boiled; small potatoes
are thoroughly cleaned and parboiled, the
tops cut off, the inside scooped out and
mixed with a little butter, milk and yolk of
egg, after which the stuffing is put back
into the potato jackets and a dash of red
pepper is added.

Then comes the turn of the tomatoes.
These also receive artistic Gallic additions
to the insides that Nature gave them,
namely, bread crumbs, a small onion
chopped fine and a slight touch of garlic.

The roasting of the chicken generally
takes about forty-five minutes. During the
last five minutes in the oven, Mile. Bordoni
puts all the vegetables in with it so that
they will be warm when served, and will
have something of the chicken flavor.

In serving, the capon is placed in the
center of the platter, with the other deli-
cacies— asparagus tips, mushrooms, potatoes
and tomatoes — ranged in separate dishes
around it. The gravy is served separately.

The recipes for sauces mentioned by Miss
Bordoni earlier in this article follow; also
a recipe for the French delicacy, fried frog
legs.

BEARNAISE SAUCE: — Served with

broiled lamb chops or steaks.

Put three ounces of fine creamed butter
in a saucer, cutting the butter in small
pieces. In a small enameled saucepan, put
three tablespoons of taragon vinegar, a few
crushed white pepper-corns and a finely
chopped shallot; reduce one-half over a
moderate fire and strain. In lieu of taragon
vinegar, white wine vinegar may be used
with a dozen taragon leaves added.

Set the saucepan over hot water, having
the water just hot enough to melt butter.
Turn in an egg-yolk, a small piece of but-
ter and a quarter teaspoon of vinegar, and
stir until thickened. Continue the stirring
while adding alternately and slowly a piece
of the creamed butter and a drop of vinegar,
never adding the butter before the pre-
ceding piece is incorporated in the sauce.
When the butter is all incorporated and the
sauce thickened, add the remaining vine-
gar, constantly stirring, a few grains of
salt, and Cayenne to suit the taste. Serve
at once in a warm bowl.
GENEVOISE SAUCE: — Served with
boiled fillet of fish.

Slice thin, one onion, one carrot, three
shallots; cook these in two tablespoons of
melted butter over a moderate fire, three
minutes, stirring as they cook. Add the
carcasses and trimmings of fish cut in pieces,
and a slice of garlic; cook till the vegetables
are amber-colored. Now add one-third cup
of Burgundy or sherry, and one and one-
third cups of brown sauce, and stir until
boiling. Remove to slow fire and cook,
bubbling at one point, till it masks a spoon,
skimming often. Strain into another sauce-
pan, through a fine sieve; reheat and set
in a pan of hot water, and beat into the
sauce one ounce of anchovy butter cut in
bits. Season to taste, adding a few grains
of Cayenne.

HOLLAND AISE SAUCE (French pro-
cess) : — Used for boiled fish, aspara-
gus, cauliflower, etc.

Put in a small saucepan, eight ounces or
one cup of best butter, two tablespoons
vinegar, add a few crushed pepper-corns,
boil until reduced one-half, then allow to
cool. With a small wire egg-beater, crush
the yolks of four eggs while adding three
ounces of butter cut into small pieces, a
few grains of Cayenne, and a dash of salt.
Set the pan over a very slow fire and beat
constantly until the butter is melted, then
rub through a fine sieve into another sauce-
pan. Set this saucepan in a second pan
of hot water over a slow fire. The
water should be just hot enough to melt the
butter, and never be allowed to boil, must
not be permitted to get too hot. Beating
constantly, add slowly bit by bit, five
ounces of butter, adding one bit of butter
only after preceding bit is nearly incorpo-
rated into the sauce; continue beating until
all is incorporated into the thick mixture.
If the sauce shows signs of curdling, add
at once one-quarter teaspoon of cold water
into which has been dropped three drops
of lemon juice.
FRIED FROG LEGS:—

Skin the hind legs, and let stand two
hours in cold water. Drain, and wipe
between towels. Put into a bowl, dredge
over a little salt, a little pepper, and a few
drops of lemon juice. Add a few thin
slices of onion and a few sprigs of parsley.
Let stand two hours turning occasionally,
then drain, and wipe between towels. Roll
in flour and fry as usual to a crisp, delicate

for December 1929

125

golden color, in hot, deep fat. Garnish
with fried parsley. Serve at once.
FRUIT MOUSSE: —

To one and one-half cups of fine fruit
pulp, add three-quarters of a cup of pulver-
ized sugar. Stir until the sugar is melted.
Avoid heating it too much as the cooking
of fruit destroys its fresh fruit flavor. Re-
move and chill. Strawberries and peaches
may be colored with a little carmine and
flavored with a tablespoon or more of lemon
juice. Green gage plums are flavored and
colored with a teaspoon each of vanilla and

green coloring. When the fruits are very
juicy, soak for twenty minutes a level tea-
spoon of gelatine in about a quarter cup
of the fruit juice, then set in hot water
until dissolved. Strain and mix in warm
fruit juice and pulp. Beat one pint of
chilled cream to a stiff-dry froth, and fold
it over and over in the chilled sweetened
fruit pulp. With this, fill a melon mold
to overflowing, set over top a wet blank
paper, cover, rub some fat around the edge
where the lid fits on, cover tightly, and
pack in salt and ice for three hours.

Louise DreSSer— Continued from page 95

Her wise counsels saved many an ambi-
tious young girl from being wrecked on
the reefs along Broadway. Understanding
youngsters as she did, she never made the
mistake of saying 'you mustn't do that.'
Instead, she would say 'you wouldn't like
that, Louise,' and I would understand.
Clean-minded, tolerant and generous in her
own life, she imbued those who came under
her kindly influence with these virtues. She
detested vulgarity, sham, commonness and
intolerance. Lillian Russell was a great
soul."

Louise Dresser and her husband, Jack
Gardner, live in a large, old-fashioned
house which nestles snugly against one of
the foothills of Glendale, a pretty little
suburb of the movie capital. Somehow,
this is what one would expect of Louise
Dresser. Nothing .showy or pretentious, but
homey. It's old California. Towering trees,
gorgeous flowers in countless profusion,
spacious gardens and a tennis court.

In her Glendale neighborhood, Louise
Dresser is just one of the neighbors. Any day
that she isn't at the studio, she may be seen
industriously digging in her garden, tend-
ing her flowers, watering the lawn or visit-
ing with the neighbors. When school is
out there's sure to be three or four kids
hanging around. 'Aunt Louise' can do
more with the kids than the parents them-
selves although she hasn't any children of
her own. Louise Dresser is a born actress,
but to her neighbors she's a born housewife
and mother.

Much of Louise Dresser's life may be
found on certain walls of her old-fashioned
home. Here one may find much of the
history of Broadway in the old street's
halcyon stage days, nine years of which
Louise Dresser enjoyed.

There's a priceless one of Louise when
she was Tsfellie, the beautiful cloa\ model
twenty years ago, with her sweetheart in the
act, Douglas Fairbanks. Alongside, is one
of the virile Doug of today in his swash-
buckling garb. And when one glimpses the
photograph of a handsome young man in
the dashing costume of "The Chocolate
Soldier" of operetta fame, one doesn't won-
der that Louise Dresser married him. Jack
Gardner was the beau of Broadway then,
and they have been happily married ever
since. Twenty-one years!

Incidentally, certain quaint old photos of
Louise herself prove what so many old
troupers along the Hollywood rialto stoutly
maintain — that she was one of the love-

liest visions that Broadway ever knew. If
Jack Gardner was the beau of Broadway,
Louise Dresser was most certainly the belle.

Most Screenland readers are probably
familiar with Louise Dresser's strange ca-
reer. How the Hoosier schoolgirl fought
her way to stage success beginning in small
traveling musical shows; how she first met
the famous ballad writer, Paul Dresser, who
bestowed his name upon her because her
father, William Kerlin, had befriended him,
and who started her up the ladder to fame.
Theatergoers of yesterday will never forget
Louise Dresser singing My Gal Sal or On
the Ban\s of the Wabash.

"Pictures on the wall have gone out of
style, I know," admitted Louise, "but in
some ways I'm an old-fashioned woman. I
prefer to keep my happy memories in front
of me where I can feast upon them any
time I like. Such memories supply fresh
inspirations."

At the time of this interview I found
Miss Dresser rehearsing the role of an
Alsatian mother in a talking picture directed
by William De Mille. Despite the Cali-
fornia heat Miss Dresser had plunged into
the exhausting rehearsals with all the en-
thusiasm and vitality of her nature.

"The part is so appealing in its womanly,
motherly strength that I've completely for-
gotten about being a bit fed up with mother
roles," admitted Louise. This 'mother love
business' is becoming somewhat overdone in
my case. Here I am maintaining that forty-
seven is right in the prime of a woman's
life, only to have another mother role se-
lected for me. In this case it's worth while,
but I'm looking forward anxiously to an
opportunity to portray the real middle-aged
woman of today. I know so many who are
ideal American women. True, they are
mothers, with all the motherly virtues of
self-sacrifice and love of family, but they
are also individuals, women with vitality,
brains, invincible spirit. Women who still
get a kick out of life. Yes, middle-aged
women who are so real that they still have
what our modern generation loves to call
sex appeal."

Forty-seven, and she glories in it! She
is looking forward to her future with all
the eagerness of a sixteen-year-old girl. If
she was a beautiful girl, she is an even more
lovely woman. If anyone has overlooked
the fact that middle-aged women have IT,
take a good look at the photographs of the
Lillian Russell of yesterday and the Louise
Dresser of today.

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126

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afifl

STATEMENT OF THE OWNERSHIP,
MANAGEMENT, CIRCULATION, ETC., RE-
QUIRED BY THE ACT OF CONGRESS OF
AUGUST 24, 1912. of SCREENLAND, published
MONTHLY at NEW YORK, N. Y., for October
1, 1929. State of New York, County of NEW
YORK, ss. Before me, a NOTARY in and for
the State and county aforesaid, personally ap-
peared ALFRED A. COHEN, who, having
been duly sworn according to law, deposes and
says that he is the BUSINESS MANAGER of
SCREENLAND and that the following is, to the
best of his knowledge and belief, a true state-
ment of the ownership, management (and if a
daily paper, the circulation), etc., of the afore-
said publication for the date shown in the above
taption, required by the Act of August 24, 1912,
embodied in section 411, Postal Laws and Regu-
lations, printed on the reverse of this form, to
wit: 1. That the names and addresses of the
publisher, editor, managing editor, and busi-
ness managers are: Publisher, SCREENLAND
MAGAZINE, INC., 49 WEST 45TH STREET,
NEW YORK, N. Y. ; Editor, DELIGHT
EVANS, 49 WEST 45TH STREET, NEW
YORK, N. Y. ; Managing Editor, DELIGHT
EVANS, 49 WEST 45TH STREET, NEW
YORK, N. Y. ; Business Manager, ALFRED A.
COHEN, 49 WEST 45TH STREET, NEW
YORK, N. Y. 2. That the owner is: (If owned
by a corporation, its name and address must be
stated and also immediately thereunder the
names and addresses of stockholders owning or
holding one per cent or more of total amount
of stock. If not owned by a corporation, the
names and address of the individual owners
must be given. If owned by a firm, company,
or other unincorporated concern, its name and
address, as well as those of each individual
member, must be given.) SCREENLAND
MAGAZINE, INC., 49 WEST 45TH STREET,
NEW YORK, N. Y. ; WILLIAM GALLAND,
1133 BROADWAY, NEW YORK, N. Y. 3.
That the known bondholders, mortgagees, and
other security holders owning or holding
1 per cent or more of total amount of bonds,
mortgages, or other securities are: (If there
are none, so state) NONE. 4. That the two
paragraphs next above, giving the names of
the owners, stockholders, and security holders,
if any, contain not only the list of stockholders
and security holders as they appear upon the
books of the company but also, in cases where
the stockholder or security holder appears upon
the books of the company as trustee or in any
other fiduciary relation, the name of the person
or corporation for whom such trustee is acting,
is given ; also that the said two paragraphs con-
tain statements embracing affiant's full knowl-
edge and belief as to the circumstances and
conditions under which stockholders and security
holders who do not appear upon the books of
the company as trustees, hold stock and securi-
ties in a capacity other than that of a bona fide
owner; and this affiant has no reason to believe
that any other person, association, or corpora-
tion has any interest direct or indirect in the
said stock, bonds, or other securities than as so
stated by him. ALFRED A. COHEN, Business
Manager. Sworn to and subscribed before me
this eighteenth dav of September, 1929. (SEAL).
Notary Public, NATHAN REIGROD, N. Y
Co. Clk's No. 55, Reg. No. 1R3. Commission
expires March 30, 1931.

How the Stars Solve Their Problems

Continued from page 31

Gary." I said. "Have you tried it out?"

He didn't misunderstand and replied
without resentment.

"Otherwise I would not be so sure of
its power. It may seem a small thing; but
it is the small things that, if we overlook
them, are most dangerous to our char'
acters and to our future. A few years
ago I was trying to decide what I would
do in life. I had tried a little art, a little
advertising and a little real-estate, all with
some success. But I decided it was time
for me to get set in something. I was
getting old," he said impressively. I checked
up and found that he must have been, at
that time, all of twenty-one!

"I happened to be in California at the
time," Gary went on, "And things weren't
going so well. A friend asked me why
I didn't try pictures. 'There's a barrel of
money in them," he said.

"At first I wouldn't consider them. I
could just hear the razzing I'd get from
the boys at home when they heard I was
trying to be a moving picture actor. But
that 'barrel of money' sentence stuck in
my mind. People can't get far when they
are financially hampered. The thing to do,
I told myself, was to get materially free.
After a good deal of thought on my part
and encouragement from my friend I de-
cided to give pictures one year's trial. If
at the end of the year I hadn't arrived
somewhere, I would go to New York and
| take up the advertising game. Oh, I was
very determined to 'get somewhere,'' 'make
a name for myself and all the rest of it!
And I'd have gone to New York, too, just
as sure as the world, if within a year I
hadn't found a foothold here. It was just
in the eleventh month that I got the con-
tract in 'The Winning of Barbara Worth.'

"But behind it lay ten very lean months."
Gary took a few bites of the delicious
trout we were eating at Madame Helene's
as though to assure himself that the lean
months were really over.

"Going the rounds of the studios was
the hardest thing about the job. I hated
that. I hate selling anything, and trying
to sell myself is hardest of all. But it was
all in the game and had to be done. I
had given myself a year.

"After I had gone the rounds of the
studios - I looked for other work to keep
me in funds. I had put off wiring home
for money until there was hardly enough
to pay for the w:ire. I didn't want to wire
home, was the reason I procrastinated about
it,

"When people drift along, content with
the day as they find it, they are apt to
forget that they have anything to fight.
But when a man gets down to his last four
dollars he knows, suddenly, that he has
something to snap out of. I didn't wire
home. I knew this was my battle. Help
from any source outside my own efforts
would weaken me.

"Those years there was hardly anything
out here a man could do and get a salary
for it outside of pictures. I began to look
about for cheap eating-places. I found
one that served a dinner for fifty cents.
The next day I found one for thirty-five,
then twenty-five. Everything: soup, meat,
potatoes, a vegetable, dessert and coffee.

"I spent my last fifteen cents for a loaf
of bread. It lasted three days. Then I
got a job clerking in a drug store. But
a full-time job made it impossible to keep

at the studios for work. And that was
the important thing. I had given myself
a year to make good in pictures. I never
let myself forget that. If in a year I didn't
make good I was to go to New York and
play the advertising game. That was my
formula. So I would run out at noon and
cover the nearby studios. And when I was
given some extra work I gave up my job.

"I jogged along like that, filling out
weeks when there was no picture work by
clerking here and there; and when my year
was almost up I won my battle."

"And now what have you to fight?" I
asked.

"Myself mostly," said Gary thoughtfully.
"When anyone gets on, particularly I think
in this business, he is a prey to fortune
hunters of every sort. If you are not
alert every minute you begin to believe
all those yarns about how marvelous you
are.

"Flattery is a very insidious and danger'
ous thing if you take it passively. So is a
life free from material cares after a hard
battle to win this freedom. I still get a
thrill when I go into a store and see some
thing I like and find that the price is fifty
dollars. 'Can't afford it,' I say to myself.
Then I remember that I am working for
Paramount. 'Send it home,' I say to the
clerk.

"Salesmen have tried to make me dead
certain that everything they have to sell
from collar buttons to grand pianos are of
vital importance to my comfort and my
success in life. They got away with plenty
at first until I found myself buried, tied
hand and foot, by all the junk 'vitally
important to my welfare." Then I woke up.

"And then there is the danger from the
fortune hunters of the opposite sex. All
men and all women in public life are ter-
ribly open to this danger. At first you
think the world is filled with only one
type of women. It makes you bitter. One
is wise to fight through this idea because
it isn't true."

Corinne Griffith thinks the greatest thing
to overcome in anything io fear. She, too,
decided that her worst battle was with her-
self during the time she was trying to gain
a foothold in her work.

When she went to the casting offices
there were all kinds and types of people,
washed and unwashed. It offended her to
have to stand sometimes for an hour with
all the seats occupied by men. She began
to wonder what it would be like to live
forever in a world like this, in too close
proximity to the unwashed of many lands
including one's own. They drowned out
all the others when she stood in mob scenes
or in courtrooms. In ball-rooms it was
different. But in the casting offices one
never knew.

"I was often ashamed to be seen in some
of the places and usually wore a veil. Then
I decided that I was looking at the thing
from a wrong angle. I was losing my
perspective and letting minor things blot
out my horizon. All that shrinking and
shame was nothing but false pride, I real-
ized; and I knew that if I didn't rise above
it I would never get anywhere."

But you see how wise Corinne was to
realize that it was just her own fear and
false pride that was the matter, and not
that she was unlucky or that no one would
give her a chance.

"I was determined to find my place," she ,

for December 19 2 9

127

continued. "We all have one, and I knew
that if I looked dilligently enough it would
be there large as life. But one must keep
one's mind on the job. No one ever
baked a cake by going to a matinee.

"Now, when things go wrong in the
studio, I try to realize that it is my false
concept of what is actually taking place.
Rumors are often false. Believing them
can cause no end of damage.

"If I feel that a rise in salary is due me
because of added expenses connected mainly
with my work, I try to know deep within
myself that I am worth it; and that if I
am it is only fair that I should have it.
That is fair to both sides. Sometimes an
employer doesn't realize that he is taking
more than his share of the profits. If you
ask for a rise with the right motive, know
ing that you are not imposing, you will
have no trouble. But you have to be
square with yourself first. You have to be
sincere in your demand.

"Sometimes I am told that people are
double-crossing me in the studio. I never
allow myself to believe this. If I did I'd
be lost in a maze of politics. The easiest
way to get the best of any problem is not
to give it power in your mind. Stick to
your constructive thoughts and they will
win out for you through anything."

"It is like this," Mary Pickford once
said to me. "If an architect has a building
to plan, does he worry about who is going
to dig the foundation, who is going to find
the lumber, where the money for all these
things is to come from, and so on and so
on? Of course he doesn't. If he did he
would never set pencil to paper. He does
his bit, which is drafting the plan of the
building, and then he turns his plan over
to those who take care of the rest of the
business.

"That's what I do when I have a problem
to settle. I try to be sure what part of
it is my job, and then I go right at it and
work until it is settled."

I suppose most of you think that Rudy
Vallee with his eight thousand dollars a
week and his Radio Pictures contract hasn't
a care in the world. And if he has, he
shouldn't have the face to mention it. I
must admit that eight thousand dollars a
week would give the cares of most of us
the air. Or we think it would. The funny
part about it is, that when we overcome
one difficulty another seems to take its
place.

Rudy's chief problem now is to keep his
voice from tiring. That may sound foolish,
but when you realize that fatigue is a
singer's worst enemy, and that if he lost
his voice his job would wobble, you can
begin to understand Rudy's problem. In
his sunny dressing-room at the studio he
told me that he had come to Hollywood
for a rest!

And then he outlined his New York
program, which, to put it mildly, did seem
a bit strenuous. Hollywood actors often

have put in twenty hours at the studio, and
while it tires them out they have not
usually the terrible strain of performance
that Rudy was called upon to give.

"Our regular hours were from noon to
three o'clock in the morning. On the
mornings we recorded it became nineteen
hours of work. It meant getting most of
us out of bed at eight-thirty, depending
upon what part of the city we lived in,
to get to the studio." Rudy was refer-
ring to the phonograph recording, not radio
or motion picture.

"It may not sound much," Rudy went
on, "to say that we gave five shows a day
at the Paramount Theater and covered two
night clubs after that, at which time our
programs were broadcasted. But I want
to tell you that to be keyed up five times
a day to concert pitch, mentally and physi-
cally, with your clothes pressed for each
performance — well, it gives you not one
moment to relax. There is all that time
between shows but you can't do anything — ■
I mean you can't go anywhere. There
is nothing to do but stay on the job. Then
on the mornings we had the records to
make, we never knew whether we could
go through with it or not. Sometimes my
voice just wouldn't function if I had been
very fatigued the day before, and all those
boys would lose their rest for nothing.
Then we had the noon show at Paramount
to get to. It just got to be a headache
to make that noon show, what with traffic
and one thing and another.

"On the mornings my voice went back
on me would be the worry of whether
it would be all right for the Paramount
show. It could be quite a nightmare if
I let it get me. But that is a thing I have
learned not to do. Don't fear things. If
you do you are sunk. Don't recognize
them or give them power. Keep your mind
as unruffled as possible and think only of
the tasks at hand, not of the things that
may try to keep you from doing them.

"My boys would urge me on a particu-
larly strenuous day not to give so many
encores. But I knew those people had
come to hear the songs they asked for and
I wasn't going to disappoint them. I knew
that by keeping calm and not getting ex-
cited or thinking that I was overdoing, I
would conserve the strength I needed.

"Sounds as if I had been convalescing
from something, doesn't it?" he asked with
his sunny smile. "It sounds more import-
ant than it is, really, just to mention it.
Yet of course if I did lose my voice it
would be a calamity for us because we
should have to cancel our engagement.

"I thought coming to Hollywood would
give us just the rest we needed and it has.
The unions prevent us from being too ac-
tive, starting night clubs and so on, as we
have been asked to do, and there is a lot
of red tape connected with our appearance
even at the hotels. But it's a good thing,
because we certainly need a rest."

The Price of Stardom — ■ Continued from page 25

sandwiches sent down to the stage," was
the solacing promise of the lady of leisure.

And there we ate, our trays on the arms
of our chairs, Renee mumbling her lines to
herself, between munches of chicken sand-
wich.

At eleven I said good-night to her at
the gates of the studio.

"For heaven's sake, go home and go to
bed," I grandmothered.

She waved her script at me through the
window of her car.

"I'll take this with me when I go," she
giggled, "tomorrow's words have yet to be
learned."

You can call it play if you so desire.
You can speak enviously of beds of roses
and soft cushions. That one day opened
my eyes.

Heigh-ho for the life of a screen
celebrity!

She can show the little bee, who improves
each shining hour, a few tricks in busyness.

"The Happiest Day
of My Life!"

"Ode wedding DAT ! A year ago it seemed like a dream
that would never come true, tor my salary then was barely
enough for one to lire on. I faced the facts. Unless I
could make more money I had no right to keep Ruth
waiting. I must find out how to make myself worth more.

"It was Ruth herself who showed me the way. She
clipped a coupon out of a magazine and we sent it to tho
International Correspondence Schools for information about
their courses. Within a week I had enrolled. The train-
ing I got from studying at home showed up almost at
once in my office work. They gave me more responsibili-
ties. Inside of six months I was promoted, with a sub-
stantial raise. Now I'm getting double what I was a
year ago — and we're married!"

Employers everywhere are on the watch for men who
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128

SCREENLAND

Ideals-and Other Things

WE often feel we would
like to publish all of
the correspondence that
comes to Screenland from
its readers.

It would be a conclusive
demonstration of the truth
of our editor's oft-repeated
assertion that screen-play
audiences and screen maga-
zine readers constitute the
intelligent and substantial
portion of the American
public. This constant stream
of letters likewise pleases
Screenland because our
readers know that this pub-
lication reflects their own
higher order of intelligence,
and leads us to believe that
Screenland is their favor-
ite magazine devoted to the
screen and all of its doings.

Occasionally some of our

Peter A. Juley and Son

Rosa Reilly, one of the most popular
members of Screenland's staff. From
a portrait by C. D. Batchelor.

premier portrait painter,
whose Screenland covers
have been pronounced by
art lovers as both strikingly
beautiful and beautifully
striking.

With like expression of
appreciation we introduce
in portrait Rosa Reilly, a
member of Screenland's
staff of writers, whose
monthly articles are con-
stantly winning plaudits
from our readers.

After all, however, we
continue to remain sensibly
keen to the reactions of
our ever-increasing audi-
ence. Each word of praise
finds its responsive chord
in our editorial policy.
Every constructive criticism
spurs us on toward our
fixed goal — that of making

readers fall into a strain of comparison. They tell each succeeding issue more entertaining, more at-

us that they enjoy Screenland more than they do tractive, more interesting than the one before; truly

Photoplay. Now and then some write that they to deserve the name we have chosen:
prefer Photoplay to Screenland.

In the spirit of approaching Thanksgiving and
Christmas, let us venture this timely observation:
Let our readers not fret their hearts out as to
which of these two leading magazines is superior
to the other. We too have a profound admira-
tion for our esteemed contemporary, just as we
confidently feel that it holds us in equally high
regard. Each in its own way, Screenland and
Photoplay, serves its separate function in fostering
a lively interest in the world's foremost form of
entertainment. Each should try, we believe, to
measure up to the high ideals of the other, all to
the pleasure and profit of the great and growing
circulation which both are enjoying.

BELIEVING that our readers are always inter-
ested in the personalities of those whose genius
contribute to the making of Screenland, Amer-
ica's Smart Screen Magazine, we present this
month among our pages an interesting portrait of
Rolf Armstrong, now recognized as America's

A merica s
Smart
Screen

Magazine

The Publishers

GOLDWYN-MAYER

PRODUCES THE

SENSATIONAL

SMASH HITS

OF THE SEASON

CECIL B. DeMILLE, director of a hundred hits, has
made in Dynamite what will be considered his
greatest screen achievement. A thrilling drama which
explodes the hypocrisy of the modern Babel called
Society. Dynamite digs through the outer veneer of
sham, pretense and glitter— and gets down to the
bed-rock of human emotions. Charles Bickford, Con-
rad Nagel and Kay Johnson give the best performance
of their careers. All-talking. Also silent version.

"V ■

WHAT a cast! More stars than there are. in heaven!
A glittering, gorgeous, spectacular revue — the
kind you would pay $6.60 for on Broadway. Marion
Davies, John Gilbert, Norma Shearer, William Haines,
Joan Crawford, Buster Keaton, Bessie Love, Charles
King, Conrad Nagel, Marie Dressier, Jack Benny, Gus
Edwards, Karl Dane, George K. Arthur, Stan Laurel,
Oliver Hardy, Cliff Edwards (Ukulele Ike,) Anita Page,
Polly Moran, Gwen Lee, Brox Sisters, Albertina Rasch
Ballad, Natacha Nattova &. Co., The Rounders, and a
chorus of 200. A remarkable all-singing, all-talking,
all-dancing picture. The hit picture with the song hits!

HERE is the picture that Broadway went wild about
— Hallelujah, the greatest drama of its kind ever
produced. Directed by KING VIDOR, who made
The Big Parade — this stirring drama of the Southland
immortalizes the soul of the colored race. Daniel
Haynes, noted Negro singer, and Nina Mae McKinney,
a beauty discovered in the night clubs of Harlem, lead
an all-Negro cast in this remarkable production. One of
the classics of the screen that will never die. Don't miss it!
Hear Irving Berlin's "Waiting at the End of the Road,"

• GOLDWVN.,

MORE STARS THAN THERE ARE IN HEAVEN

I \1

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WINX

Rudy Vallee
Contest

Clara Bow
Psycho-Analyzed

Bebe
Daniels

JVow the Screen has Robbed the Stage
of its •Host Prized Possession !

Every feature that kept
" Sally" on Broadway
for one solid year — stun-
ning show girls, gorgeous
gowns, lavish settings,
and the matchless beau-
ty of its famous star

A FIRST NATIONAL, & VITAPHONE .411 -Color PICTURE

for January 1930

loDAY THESE TALKING COMEDIES
ARE DECIDEDLY ike ihltlfl

Jusi a year ago the film comedy learned to talk.
In December, 1928, Educational released its first
talkingcomedy — MackSennett's"TheLion,sRoarV

The rebirth of screen humor in these twelve
months has been one of the most amazing steps
in all the amazing history of motion pictures. A
year ago "stage presentations" were the favorite
embellishments of screen programs in the great
theatres. Today the talking comedy is decidedly
the thing.

Week after week EducationaVs Talking Comedies
can be seen and heard in the finest houses of New
York's Broadway and of all the other "Broadways"
of America. And, according to the critics, they are
proving the "hit of the show" with surprising
regularity.

EDUCATIONAL FILM EXCHANGES, Inc.

E. W. HAMMONS, President
Executive Offices: 1301 Broadway, yew York. Y.

"THE SPICE OF THE PROGRAM"

Scenes from some of
Envc.4 tiosal's new
talking comedies
that have the whole
country laughing.

"HUNTING THE HUNTER"-
Jack White's famous fast action fun be-
comes still peppier with sound.

"PURELY CIRCUMSTANTIAL"—

No circumstantial evidence about Lvpino
Lane. He's a proven hit.

"THE TALKIES" — Collins and Pent
give you a funny glimpse into a talkie
studio in this Mermaid Comedy.

"A HOLLYWOOD STAR" - Harry
Gribbon and Andy Clyde kid the talkies
in this great Sennett Comedy.

"GOOD MEDICINE"— Smartest of
all talking comedies are the "Coronets,"
with Edward Everett Horton.

"TOOT SWEET" — Lloyd Hamilton,
favorite for years, was never so funny as in
his new talking comedies..

"DON'T GET EXCITED"- If you

have high blood pressure, laugh it off with
one of the new Tuxedo Comedies.

January, 1930

THIS MONTH'S PROGRAM:

Cover — Bebe Daniels. By Rolf Armstrong

The Upkeep of their Careers.

Sound News. By Evelyn Ballarine . .

Movies in the Air. By Julia Shawell

Reviews of the Best Pictures.

Confessions of the Fans. Letters from Readers

Honor Page — Marion Davies

Critical Comments on Current Films . .

A M\rion Christmas!

Revuettes of Other Pictures . . .

Editorial. By Delight Evans

Growing Up. Jean Arthur. By John

Godfrey

Now and Then .

Jean Arthur — A Portrait ....

They're Only Human! By Betty Boone .

William Powell — A Portrait . . .

V/ill Pictures Bring World Peace? Grand

Lillian Gish — A Portrait ....

Du\e Alexander. By Rosa Reilly

George O'Brien — A Portrait . . ..

Rudy Vallee's Gift of Song

Joan Bennett — A Portrait . . .

Can Beauty Be Hand-Made? The Story of

Carol Lombard — A Portrait . . .

Sylvia. By Gray Strider

24,

Ben Lyon — A Portrait

Hollywood Holds Her Own. By Rob Wagner

Lloyd Hughes — A Portrait . . .

Clara Bow Psycho-Analyzed.

The Surprise Voice. Lloyd Hughes.

By James Oppenheim

By Jason Carroll

Could You Pass the Talkie Test?

On Location with Mary Nolan.

By Barton Griffiths

By Helen Ludlam

A Critic and a Plow. Lawrence Tibbett.

The Parties of Pictureville.

By Myrene Wentworth

By Grace Kingsley

Clara Bow — an insert. By Charles Sheldon

Sennett Styles Have Changed

The Most Beautiful Still of the Month

In New York. By Anne Bye . . .

Corinne Griffith's Paris Clothes ....

A New 'Skin Game'! Screenland's Beauty

Greta Garbo — A Portrait

Department. By Anne Van Alstyne

John Boles — A Portrait

A New Girl. Dorothy Jordan.

Josephine Dunn — A Portrait

By Joseph Howard

Grant Withers — A Portrait

A New Boy. Robert Montgomery.

Hedda Hopper — A Portrait

By Keith Richards

Thou Wow! Hedda Hopper. By Ralph Wheeler

Come Into the Kitchen with Mary

Brian.

Playrooms of the Stars. By Helen Ludlam .

By Sydney Valentine

You Can't Type1 Love! Olive Borden. Buddy

Hot from Hollywood. J\[ews and Gossip . .

Rogers. By Ruth Tildesley

The Best Lines of the Month

The Broadway Blonde. Ann Harding.

De Mille's Magic Box. By Charles Carter . .

By Jean Cunningham

Ask Me. By Miss Vee Dee ....

Published monthly by Screcnland Magazine. Inc. pendencies, Cuba and Mexico; S3. 00 in Canada;

_ j Executive and Editorial offices: 49 West 45th Street, foreign, $3.50. Entered as second-class matter TVT

VOL. ^ew York City. William Galland, President; November 30, 1923, at the Post Office at New York. 1MO.

Joseph M. Hopkins, Vice-President; C. B. Mantel, . , . , . „ . , ,.

Secretary. Frank J. Carroll, Art Director. Yearly N- Y- under the Act of ^'^ 3> I8'9- Add" 3

Member Audit Bureau of Circulations

for J anuary 19 3 0

The N ew Show World is

TODAY, a new world of entertainment
is yours — better than Broadway,
greater than the screen was ever before —
THE NEW SHOW WORLD— with the best
of Stage, Screen, Music, and Radio com-
bined. And it's yours to see and hear and
enjoy right in your own neighborhood — but
at its best only when it's a Paramount
Picture! ^ Because The New Show World
is Paramount! The greatest stars of stage
and screen are with Paramount! The fore-
most authors. The leading showmen and
directors. The greatest music composers,
song writers. And behind all is the greatest
name in entertainment — with the resources,
organization and man -power to produce
the world's greatest talking, singing pic-
tures. That's why the name Paramount is
your guarantee of the highest quality in
talking, singing entertainment, just as it
has been for 17 years. <f In The New Show
World, as always before, "If it's a Para-
mount Picture, it's the best show in toivn ! "

TUNE WN S Paramount-Publix Radio Hour, each Saturday Evening, 10-11 P. M. Eastern Time
over the nation-wide Columbia Broadcasting System. Hear your favorite stage and screen stars!

(paramount (pictures

PARAMOUNT FAMOUS LASKY CORP., ADOLPH ZUKOR, PRES., PARAMOUNT BUILDING, NEW YORK CITY.

SCREENLAND

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Listening in on the Talkie Sets

A New Year — new changes — new

/\ faces — new bobs and whatnots
/ \ and why not?

You've got to be good to keep
up with the movies these days, what with
all the new faces from the stage and our
old favorites changing the color of their
hair. Olive Borden not only sacrificed her
crowning glory for a stunning bob but she
had to bleach it for her role in "Dance
Hall." Laura La Plante dyed her hair
brunette for the feminine lead in "La Mar-
seillaise." These girls should have swapped
roles or hair. Aileen Pringle is a blonde
in "The Night Parade." Even the men
don't escape — Grant Withers has dyed his
hair red for "Back Pay," and for techni'
color reasons. Lawrence Tibbett, recruit
from grand opera, had to have a permanent
wave for his role in "The Rogue's Song."
When you see him in this picture he'll
probably be your permanent rave! Even
Charlie Chaplin dyed his graying locks
black, temporarily, until he completes "City
Lights." It's the thing to do! We wouldn't
be at all surprised to see little Farina as
a blond with freckles in one of the Our
Gang operas!

"Journey's End," a Tiffany-Stahl picture
with Ian MacLaren, a newcomer to pictures,
in the leading part, and "All Quiet on the
Western Front," a Universal picture with
James Murray, William Bakewell and Louis
Wolheim, are now in production. Both
are war epics and have no women in the
casts. One of pictureland's pet pastimes
is to tell some movie-struck girl that she's
'just the type' for the feminine lead in
either of these pictures. Even without that
encouragement thousands of girls have ap-
plied for the jobs. Oh, well, it wouldn't
be at all amazing if they did insert some
feminine sex appeal!

Antonio Moreno is playing a bold-bad
man for the first time in his career in
"Romance of the Rio Grande." Oh, Tony,
how could you!

Marie Dressier is to play a dramatic role
for the first time in her career in Greta
Garbo's "Anna Christie." We hope Marie
won't desert the comedy field because she's
too good a comedienne to go completely
dramatic.

And Lilyan Tashman is to play a mother
for the first time. In "The Marriage Play-
ground," Miss Tashman plays the ultra-
sophisticated mother of Mary Brian.

Lilyan usually plays a 'mama' but this time
she's a mater and no doubt she'll prove to
be one of the most interesting and best-
dressed of all screen mothers.

Cecil De Mille is going to direct a musi-
cal farce called "Madame Satan." Roland
Young has been chosen for the male lead
but Madame has not been selected as yet.

It has been said that vaudeville would
suffer because of the talkies but it seems
to be just the reverse. Aren't some of
our former silent favorites going in for
vaudeville for the training? Even Buddy
Rogers, who has already clicked in the
talkies, is taking a turn in vaudeville.
Irene Rich, Leatrice Joy, Charlie Murray,
Claire Windsor, Carmel Myers, Baclanova,
Carlotta King and George K. Arthur may
be seen in the two-a-day. Theda Bara is
to appear in a sketch. Wonder if this
means we'll be seeing Miss Bara in talkies
soon?

Eddie Lowe has been borrowed from
Fox for the male lead opposite Dolores Del
Rio in "The Bad One." They haven't
played together since "What Price Glory?"
In the new picture Dolores plays a French
cabaret entertainer in a waterfront cafe fre-
quented by American sailors and our old
friend Sergeant Qjiirt becomes the sailor
boy friend.

Which reminds us that there's to be
another sequel to "What Price Glory?"
and "The Cock-Eyed World," called "New
Women." Also "Our Dancing Daughters"
and "Our Modern Maidens" are to be
sequeled. "Our Blushing Brides" is the
next.

New faces may come and old faces may
go but Betty Compson keeps leading the
talkie parade. Her next is "The Case of
Sergeant Grischa" with Chester Morris as
the Sergeant and Herbert Brenon directing.
Betty will be the only girl in the cast but
there'll be no complaints about that.

Don't know whether this would go under
the heading of New Year's resolutions or
not but Charles Ruggles, the screen's fun-
niest audible drunk, is going 'on the
wagon' for his next picture, "Let's Go
Native," an operetta. The only whoopee
Charles expects to make is with a ukulele.

Here's a bulk of good news — 'Fatty''
Arbuckle is coming back to the screen!
His pal, Jim Cruze, is going to direct his
come-back picture. And if you like his
first talkie there'll be more to follow.

for January 1930

Gf ARLISS

If you have cheers, prepare to give
them now. For with George Arliss
Disraeli" the art of Talking

Pictures enters a new phase !

Experts have been predicting that
it would take ten years to perfect
the audible film. The experts were
wrong! For here is that perfec-
tion, achieved by Vitaphone years
ahead of time!

Not only has Vitaphone trans-
planted every atom of dramatic
power, superb suspense, and rapier

wit, that made George Arliss'
"Disraeli" oneof the historic stage
successes of the century... It has
done more than that i..lna single
stride it has not only attained but
actually surpassed the stage's artis-
ticstandards, which thousands felt
the screen could never even equal!

The fascination of the footlights

:' Vitaphone" is the registered trade mar\ of the
Vitaphone Corporation

fades before the larger lure of
mammoth settings — Vitaphone's
crisp, telling dialogue — and a
George Arliss of heightened stat-
ure and new intimacy, exceeding
even the amazing brilliance of his
classic stage performance.

Come! See for yourself ! Let Vita-
phone put you "on speaking
terms"with Disraeli, amazing man
of destiny who rose from obscur-
ity to control a modern empire —
all because he knew how to han-
dle women — especially a Queen.

Look for the "Vitaphone" sign when you're looking for talking picture entertainment. You 11 find it only on
WARNER BROS. and FIRST NATIONAL PICTURES

SCREENLAND

Gloria Swatison broad-
casting two songs from
her first talking picture,
"The Trespasser."
Gloria's voice from the
screen has surprised and
delighted her audiences
but her friends were not
surprised, for they knew
she had been studying
singing for two years.

Wide World

(MOVIES

IN THE

cAlR

The Friendly Arts, Motion Picture
and Radio, are on Talking Terms

By Julia Shawell

WHEN it was a certainty that talkies
were a fixture in the entertainment
field and film producers were fran-
tically signing up all likely voices the
natural thing was to look to the radio for
some vocal s. a. Feminine warbling and
masculine refrains that could keep a 1929
family in its own home certainly must
have charm and appeal, so thought these
flicker magnates and the broadcast studios
were scanned for talent.

Unfortunately when vocal assets are dis-
tributed often there is a shortage of other
physical attractions and the camera con-
tinues to make its requirements, regard-
less of the demands of microphones. You

can't synchronize a face that would stop
an eight-day clock with a voice that makes
placid husbands think of long roads bor-
dered with orange blossoms and lighted
with a silvery moon.

The public didn't have to wait until
television to realize that the voice isn't
everything. Talkies proved to them that
golden notes can be emitted from mouths
that were never meant for anything but
singing.

Early short subjects that should be kept
as memoirs of groping days in the audible
films prove to what length directors went
in photographing any animated figures
which could be counted on to record pleas-

ing sounds. There are early Vitaphones
of the two-reel types with heroic tenors
delivering the most engaging love lyrics.
Their notes are perfectly controlled but
not so their girths. And scrawny sopranos
who sound like feminine divinity but look
something else again. Finding the types
who could vocalize properly became a
serious matter of elimination, a process
that happily has kept step with the movie
public's developing sense of discrimination.

But the movie-makers have only been
learning in the past six months what it
took the broadcast officials six years to
master. All the tricks of recording, all
the essentials of effective broadcasting can

for January 1930

be applied to the audible movies. The
films can absorb all the technical informa-
tion which radio can offer but unfor-
tunately there is only a small proportion
of radio talent which is available for vocal-
ized pictures. When the happy combination
of a radio voice and a camera personality
is found, the owner is on the way to fast
and lucrative fame.

Some of the best known radio figures
will never manage anything but novelty
shorts. For instance there is Ernest Hare,
one of the Happiness Boys. For years
Hare was Al Jolson's understudy on the
stage. He never achieved any material
success until the radio waves sent him
across the continent as one of the most
popular of all broadcast artists. He has
an earthy, vibrant voice at its best in stir-
ring sentimental numbers but he doesn't
even slightly resemble Jack Gilbert.

Vaughn De Leath who was one of the
first women ever to manage a broadcast
station has a soft, crooning contralto that
is flexible and thrilling but she isn't at all
the Garbo type.

OF all the announcers in America there
is one who for five years was de-
luged with fan mail. He had that
something in his voice which gets the
listeners-in, particularly the impressionable
women. Letters of admiration, notes of
frank courting, gifts of pleased apprecia-
tion piled on his desk at the big Manhat-
tan studio. He was the 'it' man of radio,
the unseen sheik of the air and he counted
his followers by the thousands.

Then, as many a story goes, he made a
short. It might have been a noisy adver-
tisement for his dentist or a moving sign-
board for the hair restorers or one of those
'before' pictures which the physical culture
exponents might use. He made only one
short and he has had no offers to hero
through a seven-reel feature. He's a radio
personality and his place is behind the
unphotographed microphone as he has sadly
learned.

VOICES often give false impressions
of persons. Many a captivating voice
has been attributed to an Adonis
figure when really it belonged to a middle-
aged man of no romantic dimensions.

HOWEVER, there is one person who
doubled in both fields and manages
to keep up with his rapidly growing
hordes of admirers. Rudy Vallee is the
outstanding example of what radio and
properly applied gifts can do for an ambi-
tious young man. He was an unknown
saxophone player who had quite a nice
voice when he became the leader of his
orchestra in Don Dickerman's Heigh-Ho
Club, N. Y. It is true he had been quite
engaging as a musician in Yale and far
back in Gilda Gray's shimmy days at the
Rendezvous he had been a clever manip-
ulator of the musical tooting iron. But
when he put a megaphone to his lips and
crooned Deep Night, the swooning
females filled the living rooms of the
nation. In Broadway language he 'wowed'
them with music and held them with
romantic memories. For months he was
the reigning Prince of Wales in his own
air domain.

Impressions of this singing Romeo varied.
There were those who thought he must
look like Ronald Colman. Others who
thought of him as an illusive Ramon
Novarro. And this interested listener who
was quite sure he could pass for Richard
Barthelmess. In appearance he is none

of these movie celebrities. He is a new
type of sheik as his RKO picture, "The
Vagabond Lover" will prove to his widely
scattered public.

AUDIENCES seeing B. A. Rolfe and
his well-known orchestra doing their
jazz stuff on celluloid may not know
they are gazing upon one of the real film
veterans who years ago sought a career
in an entirely new field only to have it
lead back to the cameras. Rolfe was
associated with Jesse L. Lasky in the
pioneering days of the flickers but he
sold his interest in the early producing
company and drifted into the musical field.
He played with Vincent Lopez for several
seasons, gaining a reputation as one of
America's best cornetists and gained a
lucrative popularity in Broadway hotels
and restaurants. He became quite a fixture
on the radio and when the talkies came
into vogue was asked to record some num-
bers on Vitaphone. Even though he

An outstanding radio success, Rudy
Vallee has come into pictures, where
his magnetic voice and personality
will first be starred in "The Vagabond
Lover." This picture shows Rudy in
one of his characteristic poses direct-
ing his orchestra.

thought he was through forever with pic-
tures, the galloping tintypes were not
through with him.

WHEN Jack Smith whispered his
captivating baritone love songs over
Manhattan microphones a few sea-
sons back he didn't realize the trail would
lead to Hollywood and a starring contract
with Fox. For months he was a volunteer
artist on the lesser stations of New York
but when he went to England he was a
sensation, following up his broadcast work
with a tour of the concert halls. So wide
was his popularity there that one of the
executives of the Fox organization brought
him back to do a feature length talkie
which has been completed at the west
coast studios.

CHICK" Bullock, one of the regular
feature artists on WJZ in New York,
was an assistant director in Holly-
wood until the studio lights affected his

eyes and so impaired his sight he had
to give up his movie career. Just when
he was rather despondent about his future,
radio officials discovered he had an excel-
lent voice for broadcasting and he has been
on the Manhattan station several times a
week for the past few months.

LEO FEIST CO., one of the most im-
portant song publishers has added
Tiffany pictures to the theme song
list it is printing. Mae Murray's song
numbers in "Peacock Alley" are among the
American releases which this company has
on its present schedule.

THIRTY years ago Congressman Sol
Bloom was an ambitious young song
writer. But then his thoughts turned
to politics and he had for remembrance
only a song Sun Dance, the folly of his
musical youth. Not long ago he visited
a theater in Washington and there on the
program in a Fanchon and Marco unit
was included his own brain child. When
a capitol station heard it was a Congress-
man's composition the selection was broad-
cast.

IN the Broadway era of Harry Cohn's
life he, too, was in the song publishing
business. Not only did he plug hits
but he even wrote them and it looked like
Tin Pan Alley would hold him for its
own when he went movie and now is
vice-president in charge of production at
the Columbia Pictures Hollywood Studio.

SO, even in the early days before radio
and movies had any apparent kinship
there were the ties that bind. And now
with television experimentally achieved
and commercially on its way, with the
talkies dependent upon microphones and
sound equipment for its recording and with
an involved interchange of ownership and
management and an exchange of talent the
two industries are closely allied. And
really there are "Movies in the Air."

IN THE early days before radio and
the films had gotten together there was
a feeling of antagonism on the part of
the older industry. Picture producers
feared that radio would keep people at
home when otherwise they might be
spending their money at box offices.

The Capitol Theater in New York City
was the first to recognize the value of a
tie-up. While other movie houses were
looking with fear and distress at the
broadcasters, Major Edward Bowes and
S. L. Rothafel made a connection with
WEAF. The Capitol was the first theater
in the world to send entertainment into
the air by remote control direct from
the theater.

Roxy, as Mr. Rothafel is better known,
made his international reputation through
his radio activities. Seven years ago the
Capitol inaugurated the initial experiment
and the returns were so satisfying the
radio program became a regular weekly
feature. On every Sunday night since
the premier broadcast, entertainment has
been carried by the ether waves from the
big Capitol building. Artists who are now
well-known in the films and on the stage
got their first fan following from their
broadcast under the guidance of Roxy.

As far away as the South Seas, in re-
mote villages of Scotland, in Africa, in
fact, all over the world, people first
heard about Broadway movies during the
Capitol family hour.

SCREENLAND

ina

ovietone

unny

T was Jane's own fault, right from
the start. If she hadn't quarreled with
\ Jack Cromwell that Fourth of July

morning, he would have stayed at Southampton with
the "four hundred" instead of rushing off in a huff
to New York to mix in with the 'lour million."

If he had stayed where he belonged, he probably
would never have set eyes upon sweet Molly Carr.
He'd never have been watching that block party
up in Yorkville, or fallen under the spell of Molly's
magic voice and twinkling feet during her song and
dance number.

But that number started Jack thinking. Molly had
looks, grace, manners, and remarkable versatility.
What was the matter with inviting her down to
Southampton as a special guest entertainer for his
mother's Charity Bazaar?

Molly liked the idea, too, when Jack
put it up to her. Like many another
shop girl, she had had her day dreams
of life among the idle rich. More than
once she had envisioned herself the
bride of a Park Avenue millionaire,
with a summer home at Newport, and
all the maids, butlers, Rolls-Royces and
pleasure yachts in the world at her
beck and call. It would be fun to play
the part of a society bud, even for a
little while. And then — she liked this
particular young man. Even now, his
picture, clipped from a Sunday paper,
had the place of honor on her dressing

Charles Farrell and Janet Gaynor

table. All in all, it was too good to miss. Molly
would go and she'd even do more. . . .

In order to help Jack bring his light-hearted
sweetheart to her senses, she would pretend there
was an affair between them. She'd make Jane
jealous, for Jack's sake.

THE Charity Bazaar is on. Molly and her friends
have been living in a rented home on the
estate adjoining the Cromwell's and are all ready to
take part in the entertainment. Between Jack and
Molly, everything has been working out as they
planned. Jane is a bit suspicious, and more than
a little jealous of Molly. It seems to her that Jack
pays more attention to this little outsider than her
presence in his mother's Charity entertainment really
necessitates. It is hardly likely that he would forget
his social position and fall in love with
a nobody — and yet, men do strange
things. She'd better watch her man be-
fore he does something foolish! Perhaps
a word to Jack's mother . . .?

IT is Molly's turn to go on. The stage
is set for her number. By now she is
actually in love with Jack, and her
emotions run riot as she hums to her-
self the duet which they are about to
sing. She doesn't know that just a few
moments before, Jane has managed
to patch up her quarrel with Jack and
that they are to be married soon.

(ADVT.)

for January 1930

Talking Romance

Suddenly she is confronted by Jack's mother. What
is there between her and Jack? Is it true that Jack
is paying the rent for the home she and her friends
are occupying? Does she not know that Jack is
engaged to a young lady of his own set and that
an affair with a girl of no social antecedents is
unthinkable? She must leave at once, the moment
her number is finished. That is the best thing for
her own happiness and Jack's!

Of course Molly leaves. She has tasted life as
Society lives it. She has had her day — and she has
helped Jack recover his sweetheart. Molly leaves and
Jack doesn't know why — until

BUT we mustn't tell the whole story here, other-
wise you would miss much of the enjoyment

of the great surprise climax of

"Sunny Side Up" when you see it at
your favorite theater.

It's the first original all talking,
singing, dancing musical comedy writ-
ten especially for the screen. Words
and music are by DeSylva, Brown and
Henderson, authors of such stage
musical comedy successes as "Good
News," "Manhattan Mary," "Three
Cheers," "Hold Everything," and

"Follow Through," so you know what kind of music
to expect when you hear "Sunny Side Up"!

David Butler never directed a better picture.
Leading the cast are Janet Gaynor, who plays the
part of Molly Carr, and Charles Farrell as Jack
Cromwell. Farrell has a splendid baritone voice
which will certainly add thousands of new friends
to his long list of enthusiastic admirers. And you
simply must hear Janet Gaynor sing to appreciate
the remarkable scope of this young artist's talents.

Then too, there are Sharon Lynn, Marjorie White,
Frank Richardson and El Brendel, and about 100 of
the loveliest girls you've ever seen in a musical comedy
anywhere! The scenes are laid in upper New York
City and at Southampton, society's fashionable Long
Island summer resort.

All things considered, "Sunny Side
Up" is far and away the most
entertaining talking, singing, dancing
picture yet produced. Six dollars
and sixty cents would hardly buy a
ticket for it on the New York stage
— but you'll be able to hear and see
this great William Fox Movietone soon,
right in your own favorite local motion
picture theatre, at a fraction of
that price.

(ADVT.)

SCREENLAND

CONFESSIONS
of the FANS

This is YOUR department, to
which you are invited to con-
tribute your opinions of pictures
and players. For the cleverest
and most constructive letters, not
exceeding 200 words in length, we
offer four prizes. First prize,
$20.00; second prize, $15.00; third
prize, $10.00; fourth prize, $5.00.
Next best letters will also be
printed. Contest closes January
10, 1929. Address Fans' Depart-
ment, SCREENLAND MAGAZINE, 49

West 45//t Street, New York City.

The Editor

a grizzled old 'sourdough,' tough as hide
and hard as nails, sniffing like a two-year
old, tears rolling down his cheeks. The
other, a staid university professor, adding
superlatives to absolutes as recklessly as any
freshman.

"Betty," said my brother from the North,
vigorously blowing his nose, "remember
'The Moving Magic Lantern?'

"Elisabeth," said my brother from the
East, wiping his rimless glasses, "Betty
Compson is a thing of beauty and a joy
for — well, if not forever, for as long as
memory lasts!"

Elizabeth McLean Andrews,

227 East 46th Street,

Kansas City, Mo.

FIRST PRIZE LETTER
$20.00

Twenty-one years! What progress! From
the seedling whose roots gathered nourish-
ment from a multitude of nickelodeons has
grown the mighty tree of today whose
branches have spread to cover all lands and
all peoples — bearing a universal fruit of
entertainment, of comfort and of education.

And now the talkies! More progress!
The workers in the land of the flashing
screen are truly keeping step with the
advance of civilization. In appreciation of
the untiring efforts of that army of men
and women who with diligent care nurtured
the seedling of twenty-one years ago, I
dedicate this poem:

In Retrospect
The movies are of age at last;

They're twenty-one, I hear,
Since first upon the screen they cast

The plays of yester-year.

The Mirror and the old Bijou
On Main Street's gay white way,

Were movies that they took me to
In times of yesterday.

Two gun-men and the slap-stick art

Shared each their equal right;
Mixed cries and laughter formed a part
In shows of yester-night.

At age of twenty-one, 'tis true,
The movies learn to speak.

A far cry from the old Bijou
In the days of yester-week.

Harrington Barrus,
340 Ferndale Avenue,
Birmingham, Michigan.

SECOND PRIZE LETTER
$15.00

Having spent most of "the twenty-four
years of my married life in a series of
mining towns away from the city and the
people I had always known, the movies
were nothing less than a God-send to me.
They took me for the time back to places
and people I loved.

It was not exactly the sex appeal (set
forth by Dr. Watson) that was the safety
valve in my case. Sometimes it was the
living room of a modern home, sometimes
a lovely gown, and often just a new hair
cut that saved the day for me.

When the talkies arrived we had moved
to a better location, but my first thought
was for those women who, like myself, had
listened for years to a jargon they couldn't
understand, or to broken English that grated
on raw nerves.

How wonderful not only to see the pic-
tures but to hear refined, cultured voices
speaking one's own language!

Mrs. J. E. Boyer,
Salineville. Ohio.

The fans confess an understandable
affection for Janet Gaynor.

THIRD PRIZE LETTER
$10.00

'The moving finger writes and having

writ, moves on ' So with the moving

picture. To appreciate the appeal of the
moving picture, one needs perspective — a
long view.

With two older brothers I saw my first
picture, "The Moving Magic Lantern," in
1895. The screen was wavery, the actors
were wobbly, but we thought it very won-
derful. We saw it as a novelty as we had
seen the arc lights at a circus in 1878 and
heard the phonograph-nickel-in-the-slot at
the Chicago World's Fair in 1893.

One brother went North to search for
gold, the other went East to teach. The
next time we met, we went to see "The
Miracle Man." There we sat — one brother

FOURTH PRIZE LETTER
$5.00

A few months ago I was ready to shed
tears when I read that the producers were
letting our favorites of the old days go
and replacing them with all stage talent.
But there has been no such revolution after
all. In fact, in many cases the talkies have
enhanced the value of our old friends —
Bessie Love, Lila Lee, Richard Aden,
Ronald Colman, Warner Baxter, many
others.

It's a fifty-fifty proposition! A stage
actor may know how to use his voice bet-
ter, but this is offset by the camera train-
ing of the film actor. Scarcely any actors
have failed because of poor voices in com-
parison with those who have been left be-
hind because they lacked screen magnetism.

There are many items, to my mind, which
count more for the success of an actor than
a wonderful voice. His intelligence, his
personality and the way he uses it, and we
must not forget the tremendous sympathetic
response called forth by effective lines.

Smashing hits have been made by indi-
viduals in both factions, but I believe that
any actor or actress scoring a big success
must have that elusive IT quality, whether
you want to define it as that or not.

Elizabeth G. Winter,
13 Westlake Avenue,

Auburn, N. Y.

A Veteran Speaks

We are wondering what part the mov-
ing picture industry plays in helping dis-
abled veterans. We do not see the actors
and actresses often, but we love and admire
each and every one as they come to visit
us by way of the screen.

We are not in a position to criticize,
we leave that to those who view them
with more critical eyes than ours. But we
do hold a place for them all in our hearts
and hope some day it will be possible for
some of the actors to visit their silent army
of well-wishers and boosters.

R. N. Seel,
U. S. Veteran's Hospital,

Livermore, Cal.

for January 1930

1 1

'The miracle girl,' Betty Compson, has
a loyal following, augmented by her
talkie technique.

Screen Satisfies Need

In everyone's heart there are certain
secret and cherished ideals. No matter how
drab or prosaic a person may appear, within
him there lies suppressed emotions which
would, if it were possible, express them-
selves in a blood-quickening adventure, a
beautiful romance, or an accomplishment
of great deeds.

To most of us these are impossible, per-
haps because of duty, lack of opportunity,
or some necessary factor in our make-up.
So it is to the screen that we turn for ex-
pression, and there we find our emotional
satisfaction, experienced by proxy, it is
true, but satisfying none the less.

John T. Rood, Jr.,
Gellineau Street,
Maiden, Mass.

Occasional Silent Pictures

'The old order changeth, yielding place
to new.' This has been proven true by the
advent of talking pictures. I do not be-
lieve however, that this applies to the stars
themselves. I think rather that it will be
a case of the survival of the fittest.

Speaking pictures provide variety to suit
the tastes of all the fans. There are the
sophisticated comedies, such as "The Last
of Mrs. Cheyney," uproarious comedies such
as "The Cocoanuts," and "Nothing but
the Truth" offers still another brand of
humor.

There's no denying that sitting tensely,
listening for every word, sets one's nerves
on edge. I, for one, seldom leave the
theater after seeing a talking film without
a slight headache and nervous fatigue, and
I have heard this complaint from others.
But as the mechanism of the talkie ma-
chine is perfected step by step no doubt
this trouble will be overcome.

The talkies will never have the soothing
effect of the old silent pictures. As the
former become more familiar the latter will
become quaint and charming. Though I'm
all for the talkies I do hope that the pro-
ducers will give us occasional silent pictures
to soothe tired nerves.

Miss Una B. Cowan,

1155 Burnaby St.,
Vancouver, B. C.

The Talkies Did It!

I've always firmly contended that I'd
rather 'save my movie money, put it to-
gether at the end of the month and see one
good show.' I preferred the stage for such
reasons as Jeanne Eagels, Ruth Chatterton,
Basil Rathbone, Richard Bennett, Irene Bor-
doni, and on down the list of real artists.

Now, however, a miracle has happened.
I can get what I want in the movies and
without having to save and wait.

"Broadway Melody," to which I was lit-
erally dragged, converted me. I saw it
twice. Five other talkies have strengthened
conversion. "Old Arizona," in which War-
ner Baxter's voice had the same effect on
me as a marvelous Hollywood Bowl Sym-
phony; "The Letter," in which Jeanne
Eagels did the very finest bit of acting I've
ever witnessed; "The Last of Mrs. Cheyney,"
in which Basil Rathbone charmed as he
did in his "Command to Love" on the
stage; "Interference," in which William
Powell came to the front with a bang; and
"Salute" in which George O'Brien, Helen
Chandler and the complete cast were so
exceptionally good it would be difficult to
divide honors.

"In Old Arizona" established Warner
Baxter once and for all as a great
screen favorite.

If these talkies are a sample of what is
to come, then I'm for them — now and
forever!

Betty Winnder Fajen,
329% S. Rampart Blvd.

Los Angeles, Cal.

Silent Drama Preferred

Your honor page gives me much con-
cern for players who might have graced
it, had they been gifted with the tricks
of speech which talking films demand. Ex-
cellent artists have been 'benched' because
of this defect, while third-raters have risen
from obscurity over night. That the stage
is gradually taking control of the screen
and that public imagination has been cap-
tured by the sudden trend of events is
obvious.

Although many fans have voted in favor
of the talkies, I am in a position to state
that the talkies never will replace the silent
drama. For instance, in the English speak-
ing world, much of the American wit and
humor is not understood — words used here
are termed slang outside the U. S. A.
Talkies turned into silent pictures for the

benefit of non-English speaking countries
will be a failure because the talking slows
up the production. The theme songs sung
by movie favorites with Vitaphone accom-
paniments are holding public imagination
more out of curiosity than anything else.

I am waiting for this bubble to burst,
so we can get back to the silent drama
with its beautiful sub-titles, accompanied
by the soothing strains of organ or orches-
tral music — which is far more natural.

William Donnachie,

1530 North St.,
Philadelphia, Pa.

Betty Compson, Artist!

Long ago, when just a little girl who
thought she was a big girl, I went to see
Betty Compson in "The Miracle Man."
Tom Meighan was fine, Lon Chaney clever
— but Betty Compson! I longed then for
the day when I could know her as real.
The day came, and it left me with joy
in my heart and a sob in the throat.

In "On With the Show," I knew Betty
Compson as real. Her voice reaches out
to one, holds one. To call her an actress
seems unjust. She doesn't act, she lives
her part, giving the finished portrayal of the
artist.

To my mind, there is no comparison be-
tween the silent and talking movie. The
first is just a moving-picture. The latter
is reality.

Mrs. J. P. Cummings,

Main Street,
Succasunna, N. J.

Honolulu Speaks

Way out here in the Pacifiic where the
calm blue sea washes the shores of an island
filled with enchantment, there are cinema
lovers who love and dream of the players
who make the world happy with their
appearance on the silver screen.

When we see these players we love them,
laugh with them, cry with them. Always
they keep aflame that candle of love in
our hearts. Here in Honolulu we have ac-
cepted the talkies and have had the joy
and wonder of hearing our loved ones
speak and sing before us.

Sammie C. Elissary,

Shop 70,
Pearl Harbor, Oahu.

Corinne Griffith's admirers find much
to applaud and appreciate in "The
Divine Lady."

SCREENLAND

SCREENLAND'S
HONOR
PAGE

She was born with beauty and a
sense of humor. And she has the
good sense to retain the for-
mer and develop the latter!
With the result that after a
long apprenticeship playing
£ routine heroines she has
^ worked her way to gen-

ii"7 uine stardom and real
popularity

It is Screenland's sin-
cere conviction that no
other star could have
played the picturesque
Marianne as pungently
as Marion Davies.

for January 1930

The Palm to Marion
Davies for "Marianne"!
Altogether, Now —
Give this Clever Girl
a Round of Applause

Marion Davies has arrived. "The
Fair Go-Ed" and "The Patsy
established her as a clever
comedienne; but it remained
for "Marianne," her first talk-
ing picture, to present her as
a versatile actress, a player of
power and poignancy.
Not merely 'cute' and
'sweet,' but potent and
important

The role of Marianne
was not sugar-coated.
Marion played it real-
istically, disdaining af-
fectations. It's not
Marion Davies — but
Marianne!

Portraits of Miss Davies
by Ruth Harriet- Louise

SCREENLANI

o&t&rion Qhristmas.

Ruth Harriet Louise

It does look like it, what with Miss Davies' first
talkie creating a polite sensation just about the time
that the Yuletide spirit permeates her audiences.
Marion is a gay and gallant Miss Santa Claus, and
if your own seasonal shopping seems endless, con-
sider the Christmas list of this girl who has more
friends than any one in Hollywood!

for January 1930

m
IE

THE EDITOR'S PAGE

Well, it's all settled.
There is no longer
any argument about
motion pictures.

They're in!

Einstein says it. Yes, the gen-
tleman who understands the
theory of relativity — in fact, he
invented it. One of the world's
foremost scientists has extolled mo-
tion pictures as a great art!

Einstein in Europe cabled his
friend, Professor Roerich, in New
York upon the occasion of the
opening of the latter's 'art' cinema
that "motion pictures have no
equal in training the child — that
the art cinema can serve the cause
of universal peace by presenting
the horrors of war to a greater
advantage than ordinary pictures."
That's the only thing Einstein
ever wrote that I can understand.

((William Fox has finished his first twenty-five
years of moving picture work. One of the great
figures in the industry, he started with a capital of
$1,666, and now he has amassed a fortune which
he himself acknowledges is 'tremendous.' All be-
cause he knows what the public wants to see — and
to hear. His 'Movietone Follies' is now in its 14th
week in Stockholm, Sweden — the original English
(that is to say, Hollywood!) version, which is prob-
ably understood by comparatively few of the cus-
tomers. His Movietone has penetrated to Greece
where, in Athens, the 100% Movietone sound'
policy has proven a great success — with dialog
entirely in English! Fox has inaugurated an all-
newsreel policy at the Embassy Theater on Broad-
way, New York, where, for the first time in film
history, fiction films will be passed up for authentic
camera reporting. An interesting experiment. And
now let's see what Mr. Fox has to say for himself.
At an age — 50 — where many men would be ready
to retire or, at least, to spend the rest of their lives
resting on gilt-edged laurels, William Fox has
formulated three ambitions. They are important to
him. They all center around the one subject —
Education. Education in the schools, education in
religion, and education in the sciences. He contends
that the talking screen can further the worthy pur-
poses of education more effectively than any other
medium. He says: "The eye is the short cut to
the brain, and pictures will supply a short cut to

education. Old fogies will resent
the idea, as old Egypt would have
resented a change from hiero-
glyphics to our kind of writing.
If I have done anything worth
while, it has been enabling millions
of other Americans to see and
learn a great deal in a short time."
Furthermore, this man who con-
trols the largest amusement organi-
zation in the world concludes that
he hopes to accomplish his three
ambitions in 'not more than five
years.' Bravo, Mr. Fox!

K Sound has focussed our atten-
tion on the short subject. Once,
of course, all movies were 'short
subjects.' When a producer first
appeared with a three-reel sub-
ject, the exhibitors of the day were
so startled that they ran it as a
serial, one reel the first night, another the second
night, and the concluding reel the third night. To-
day, the average feature runs from five or six reels
to von Stroheim length. And nobody complains.

But the short subject is still with us. Those short'
and snappy two-reel comedies that add just the right
smart touch to a theater program are very much
present. In all-dialog form, these comedies supply
a genuine demand for crisp, sparkling action to
supplement the heavier feature. More than once it's
the pint-sized part of the program that has turned
out to be the real 'feature.' Often, too, it's the Mack
Sennett 'curtain raiser' that puts the audience in
good humor and hospitable frame of mind to receive
the melodrama or musical comedy that comes after.
Any theater, anywhere, is a New York Palace
when it can give its customers a dash of big-time
vaudeville, an operatic aria, or a rousing comedy1.
I wouldn't mind seeing an entire program of short
features — particularly if they were all as enter-
taining as "A Hollywood Star" which I saw the
other day. The Educational Mack Sennett has given
us the first talkie burlesque, and it has all the good,
strong flavor of the old classic Sennetts in addition
to the kick that only sound can add.

<C Doug Fairbanks may be going elephant-hunting
with a Maharajah in the interior of India; and that
old wag Rin Tin Tin may be making his first talkie;
but what really excites me is the report that Emil
Jannings is coming back to Hollywood soon to make
two more pictures. D. E.

SCREENLAND

NOW and

What a Whale
of a Difference
Just a Few Years
Make!

Marion Davies. Above, to-
day; right, as she looked in
the days before she became
the screen's leading come-
dienne. Discounting the
change in styles, Marion is
younger and prettier than
ever, the princess of
piquancy.

One of Norma Shearer's chief charms is
her sleek, beautifully-shaped aristocratic
little head. Her slick coiffure helps her to
achieve the effect. That's why Norma
looks so different now from her old self,
shown in the lower picture at the right.

Left: Lewis Stone, twice! Mr.
Stone as he looked when he first
made a success on the screen; and,
extreme left, as he looks right
now. It should be noted that the
immaculate Lewis no longer poses
with the Lord Byron collar effect.
Here indeed is a matinee idol
whose appeal has strengthened
with the years.

for January 19 30

THEN

These Stars have
Grown Up — and
For the Better,
Too!

Bebe Daniels was a cute kid
then — above, to the left. But
Bebe Daniels today — golden
voice, gorgeous personality —
is a much more potent prop-
osition. That for the good
old days!

When Joan Crawford made her movie
debut she was known as Lucille Le Seur,
left, below. And she had long fluffy hair
and considerable curves. Metro changed
her name to Joan Crawford, and she
changed her figure to the elegant model
admired and envied today.

Well, well, Richard! Dix hasn't
changed so much at that. When
he first came into pictures he was
the boyish young man pictured at
the right. Now, he is the familiar
hero of the farther picture. But
it's the same old smile that people
pay and pay to see. His latest?
"Seven Keys to Bald pate."

SCREENLAND

Theyre Only

Closeups of
They

a s

By Betty

Gary Cooper, off-duty, for-
gets he is important and
clowns around.

morning exercises at ? A.M. in his onyx swim-
ming pool in which only pure vichy water,
shipped from Baden-Baden was used. Beauti-
ful countesses were wont to duel over him
whenever he visited the Riviera and he was re-
ported engaged to more celebrated women than
he ever heard of personally.

And the lady vamp! Born in the
1> shadow of the sphinx! Her early

life shrouded in mystery. Solitary
in her habits, unapproachable — or
if she condescended to be seen in
one of her less temperamental mo-
ments, surrounded by an atmosphere
of luxury, rare perfumes, dim lights,

The famous young Fair-
bankses — Joan with her frank
freckles and Doug Jr. with
his broad grin — act less like
prominent picture stars than
a couple of high-school kids.

When the movies first be-
gan elevating school-girls,
clerks, salesmen, chorus
girls and cloak models
from social and financial obscurity to the opulence of
stardom, it was a quaint old Hollywood custom to put
on plenty of swank and whatnot.

In those days a star never stepped outside of his or
her palatial domicile without a brass band walking ahead
for the regal procession. Automobiles had to be at least
a block long and came in only two colors: fire engine
red or canary yellow. Press-agents built pedestals sky-
high upon which to perch their clients, and biographical
nightmares were ground out in reams. Ancestries fell
from mythical family trees like over-ripe fruit in a ne-
glected orchard.

The lady star never bathed except in champagne or
milk or a million dollar pool. She ate only robins' breast
for breakfast, served upon platinum platters. Her new
evening wrap was designed especially for her by Poiret
and cost $250,000. Or something like that!

The man star was a modern Hercules and took his

Can this be the great, the glamourous Garbo?
Yes, even Greta has her frivolous moments when
she isn't vamping till heady.

for January 1930

the Stars—

Really Are

Boone

clothed in clinging garments — a setting subtly
planned to add to the lure of her mystery.

But alas! Today motion picture stars are
different. They are themselves. They are
human beings who do the very same things
the very same way that other human

in tne very same
beings do.

Press-agents tell the truth — not
the whole truth, perhaps — but the
truth, anyway. Stars will ride in
flivvers and enjoy it. They will
shop in the market that sells pota-
toes five pounds for a quarter in-
stead of the place where you only
get four pounds. They have likes

Ann Harding and her hus-
band, Harry Bannister, in
their old clothes — and happy!

Richard Arlen may be a star at the studio, but
he is just a handy-man around the house, the
Arlen place at Toluca Lake.

Water sports! Anita Page
and Dorothy Sebastian have
to doll up for the camera
but when they have a day
off they neglect their mar-
cels and have a good time.

and dislikes and are not perfect. Some
are old meanies and have bad tempers.
Some are just low-brows and can't help
it. Others are high-brows and can't

help that, either!

It wasn't so very long ago that Lew Cody was urged
to 'throw' a dinner party for a flock of newspapermen
and writers and was tickled with the idea.

"And what are we having for dinner?" the original
sponsor asked on the night of the big party.

"Corned beef and cabbage!" replied Lew.

"What?" groaned the studio attache weakly. "A cheap
meal like that?"

"Cheap nothing!" said Lew. "I paid 34 cents a pound
for the best corned beef in the market. It's my favorite
meal and if it's good enough for me, it's good enough
for my guests and anyway, I don't want to pose in front
of a lot of regular boys as a high-brow when I'm not
and they know it!"

Today, Lew's corned beef and cabbage dinners are
famous. Stars beg for invitations and the newspaper
gang invite themselves regularly. (Continued on page 100)

SCREENLAND

/^///Pictures bring

Rosa
Re illy

Marceau

//is Imperial Highness the Grand Duke Alexander
Michaelovich, cousin and brother-in-law of the late
Czar of Russia, and distinguished author and lecturer,
tells Screenland his views on the high mission of
the screen.

HE moving picture is the greatest force in the
world," says the Grand Duke Alexander of Rus-
sia, "for helping to bring universal peace to all
nations and to teach each man on earth the true
meaning of Love."

His Imperial Highness the Grand Duke Alexander
Michaelovich, cousin and brother-in-law of the late Nicho-
las Second, Csar of all the Russias, was sitting unattended
in a comfortable arm chair in his suite at the RiU Hotel,
New York, explaining the purpose of his American lecture
tour to Screenland's representative.

Previously, as I had stepped out of the elevator on my
way towards the Grand Duke's rooms, I could not realise
that I was about to speak with a man whose steps had
echoed down the marble stairs of the Winter Palace. A
man whose lips had brushed the hands of nearly every
Queen and Princess in Europe. A man who had married
the Grand Duchess Xenia Alexandrovina, the eldest sister

of the Czar, siring six noble sons and
one gentle daughter. A man who
during the holocaust of the world war
had complete charge of the aviation for'
ces of the ill-fated Russian Empire. A
man who had for many years lived in
the inner circle of the head of a nation
of two hundred million people. A man
who had been honored and hunted, dis'
tinguished and doomed. A man who
now has given up leisure and riches to
visit many lands, and like any circuit
rider in the early days of our own
country, to go from town to town help-
ing the people to a better understanding
of the religion of Love.

As I knocked at the door of the suite,
I expected to be received by a secre-
tary or a valet. Instead an exceedingly
tall, exceedingly slender, exceedingly
gentle-spoken man, opened the door.
The first thing I noticed about him was
the breadth between his eyes and the
height of his forehead. He was simply
dressed in a gray lounge suit, a white
linen shirt with a soft collar, a black
tie fastened down with a gold safety
pin, and gray silk and wool stockings.
His feet were thrust into comfortable
leather, soft-soled slippers. He held a
cigarette holder in his hand. It was the
Grand Duke!

We sat down. He offered cigarettes.
I could not draw my eyes away from
his features. The spiritual cast of his long lean face was
broken by the magnetism of his eyes, the strength of his
large well-formed nose, and the worldly understanding
of his wide, generous mouth. I had heard that the Grand
Duke was sixty-four years old. But he gives the physical
impression of a man of forty-five, despite the fact that he
has undergone tragedies which would have destroyed a
weaker man — or a man of no spiritual understanding.

"Although I am not a moving picture — fan, do you
say"?— the Grand Duke continued, "still I believe films
are the greatest power in the world for spreading the love
of nation for nation, of brother for brother. As I look
back I see the good accomplished by that magnificent pic
ture 'Ben Hur.' By 'Intolerance.' And by 'The Miracle
Man.' Perhaps 'The King of Kings' comes in the same
category. But I could not bear to look at it. It hurt
me to see a physical embodiment of the Saviour, even
though from a dramatic viewpoint it was well done.

for January 1930 21

World Peace?

Grand Duke Alexander of Russia,
whom Valentino first Interested
in Motion Pictures, Believes they
can be Great Force for Good

These pictures gave me the hope that perhaps on my
lecture tour west, when I stop in Hollywood, I may be
able to discuss with Mary Pickford — who is herself a
spiritual woman — the probabilities of a motion picture
which through its beauty and truth would show the world
the Religion of Love."

Carefully the Grand Duke flecked his ashes into a
bronze ash tray and carried on: "I am not in America
in the interest of any political faction. I am not come to
weave any economic web of my own. I want only one
thing — to help all people who at this time, as never before,
are seeking a remedy for the ills of a material world.
My audiences are like electric lamps standing dull and
dark in a dark and dull room. The current is there;
they have only to turn the switch. But they don't know
how. For this switch is faith. And they cry as in the
Bible — 'I believe. Help my unbelief.'

"They are starving in a rich world. They need a living
food. A living faith. At my lectures I speak for an hour
and a half without any intermission. And still they sit.
They won't go home. But I offer no dead creed. No
new and formal religion. I have only love — of brother
for brother.

"Of course, now, there are those who will rise and
say: 'Why did you not start in your own country before
the revolution? Your people needed Love.'

"And those people are right. My countrymen needed
love. And I tried to give it to them. Just as did Czar
Nicholas, my wife's brother, He realized the need of
his people. He was himself a gentle, loving man. But
he was powerless. He had no love for autocracy. He
did not want to rule that vast empire. He wanted to live
the simple life of a simple country gentleman with the
wife and the children he adored. But he was called to
his high place. And he did what he could.

"But think what responsibilities he had. He ruled over
a country more than twice as large in area as the United
States proper. Under his authority were two hundred
million souls — one ninth of all the people in the world.
Eleven different countries he had to protect, eleven different
frontiers to guard.

"Nor was that all. These two hundred millions were
perhaps the strangest mixtures the world has ever seen.
They possessed elements of continental civilization and
partook at the same time of all the wildness of Russian
steppes and Asiatic plains. It has only been two hundred
years since Peter the Great died in 1725 — Peter the Great
who re-organized Russia on a European basis, acquired
the Baltic provinces and founded St. Petersburg.

"When Czar Nicholas the Second came to head the
empire, he did not have a unified nation. His people
consisted of sixty million Muscovites; eighteen million

Cossacks, Ruthenians and Ukrainians; five millions of what
were termed White Russians; and the rest were Finns,
Mongols, Poles, Turks, Tatars, Armenians, Kurds, Per-
sians, Roumanians, Georgians, Gypsies, Esquimaux, Yakuts,
as well as Germans and Jews. To bring a constructive
government out of this chaos was beyond the power of
one man.

"But I am not here to discuss politics or ethnology.
I am here for a lecture tour, at (Continued on page 96)

The Grand Duke, Rudolph Valentino's friend,
believed the late star to be a true spiritual type.
This bust of the beloved Rudy is by Humberto
Pedretti, Italian sculptor.

SCREENLAND

Rudy Vallees

Tune in on Rudy Vallee's
Radio! You Can if You
Write the Best Letter and
Win his Gift Offering

Rudy Vallee himself, sans saxophone or
megaphone ! He won his public first
through radio and victrola records; now
he increases his following through his films.

RUDY and the radio are fast friends;
in fact, the radio gave Rudy his
break, and now Rudy gives you a
break by offering the gift for a letter.
And the best letter answering his question will win it.
Here's the question: What is your favorite Rudy Vallee
Victrola record and why? By this method Vallee can
find out what type of song you prefer, and since he writes
some of his own music it will help him greatly. Now take
out your pen or typewriter and get to work! By best
letter is meant, the clearest and most sincere. Heigh'ho,
everybody!

Address:— RUDY VALLEE

SCREENLAND Contest Department
49 West 45th Street
New York City

Contest closes February 10, 1930

Rudy and Sally Blane, his leading lady, in a scene from "The
Vagabond Lover," his first feature picture for Radio Pictures.

Rudy Vallee's voice is something to write about, so get
busy! YouVe heard him croon his songs and must have
a favorite Vallee number. Which song would you re-
quest Rudy to sing for you and why? Is it Vagabond
Lover, Honey, or S'posin? Tell him briefly and clearly
in your letter.

Here are the titles of the fifteen double-faced autO'
graphed Victor records which you will receive with the
radio :

Weary River; Deep Night. Sweet Suzanne; Honey. Lover Come
Back to Me; Coquette. By and By, Sweetheart; My Time is Tour
Time. Underneath the Russian Moon; The One that I Love. I'm
Just a Vagabond Lover; I'm Still Caring. Every Moon's a Honey-
moon; Hugable Kissablc You. S'posin' ; The One in the World. Heigh!
Everybody, Heigh-Ho ; Miss You. Baby, Oh, Where Can You Be;
You're Just Another Memory. Pretending ; Where are you, Dream
Girl. Me Queres; On the Alamo. That's When I Learned to Love
You; A Kiss to Remember. Perhaps; The Album of My Dreams. You
Want Lovin' But I Wa:nt Love; Lonely Troubadour.

for January 1930

Gift

Son

Screenland speaking! We
are broadcasting Rudy Vallee's
latest offering, so tune in! A
handsome electric Victor Radio —
a combination orthophonic and
radio — model RE-45, and a set
of fifteen double-faced auto-
graphed Rudy Vallee Victor
records is Mr. Vallee's charac-
teristic gesture to his new-found
fan friends.

Rudy Vallee is a new movie
idol. You've all heard him sing
and know that when he sings a
song it's sung.' And how he
sings in "The Vagabond Lover!"

If you win this gift you can
have 'Rudy Vallee Night1 any
night whether he's broadcasting
or not. Vallee fans clamored
for one autographed record —
here's your chance to get fifteen,
and that's no mean record!

Rudy Vallee and his Screen-
land gift. This handsome
electric Victor Radio and
combination orthophonic vic-
trola — Model RE-45 — and
fifteen double-faced auto-
graphed Rudy Vallee rec-
ords are yours for writing
the best letter.

Rudy is very enthusiastic
about talking pictures and
says if you enjoy his picture,
"The Vagabond Lover," as
much as he enjoyed making
it it should be a huge
success.

Rudy tuning in on the gift radio. Believe it or not — that's
Greta Garbo at Rudy's feet — on a Screenland cover, of
course! Rudy is a very busy boy; when he isn't writing music
he's broadcasting, or making talking pictures, besides playing
nightly at theaters and night clubs.

24 SCREENLAND

Can Beauty

The Story of Sylvia, whose Job is
to Help the Stars Keep Beautiful

By Gray Strider

is to help the stars keep healthy and beautiful, and the
directors and executives well and full of pep.

How does she do this? With stringent diets, copious
medicines and monotonous exercises?

Not a chance. Sylvia doesn't admit a drop of medi-
cine, will not permit any freak diets, and does not inflict
any exercises.

How then?

With her hands and her laughter alone.

Mrs. Ulbeck graduated as a nurse before she was
twenty. Then she became a masseuse. But first of all
she was and is a humorist. However, let her tell the
story her own way, although I can never hope to trans-
cribe for you her accent. Having studied in Denmark,
Sweden, Norway, Germany, and England, every time

An unsung heroine of Hollywood, Sylvia
Ulbeck, who is as important to pictures
as the stars themselves.

Every now and then an artist is born. An artist
who paints no pictures, writes no verse, shapes no
clay, and sings no song. But an artist neverthe-
less. An artist who moulds human beings, keeping
them young and warm and beautiful. Such an one is
Sylvia Ulbeck. Sylvia of the magnetic hands and lusty
laughter. Tiny, golden-haired, pretty Sylvia who keeps the
film beauties of Hollywood fit.
You've never heard of her?

Well, that's not so strange. Sylvia does her work in
the wings of a life, not on the open stage. Quietly, ab-
sorbingly, hour after hour, Sylvia works over her clientele —
the most glamourous clientele in the world. For most of
Hollywood's greater stars are numbered among her 'babies,'
as she calls her patients.

Gloria Swanson, Alice White, Norma Shearer, Ruth
Chatterton, Eleanor Boardman, Ina Claire, Ann Harding,
Marion Davies, Laura La Plante — what's the use of going
on? Nearly every one of the stars you love has passed
through the magnetic hands of Sylvia Ulbeck, the little
magician from far over the seas from Copenhagen, Denmark.

Sylvia hasn't a long string of degrees after her name. But
that doesn't keep her from being under contract to the
Pathe company- at a salary of $400 a week, where her job

Sylvia moulds the stars to beauty. Here she is
with Carol Lombard, one of her 'babies,' in her
office which is lined with appreciative auto-
graphed pictures of the stars she has helped.

f or J anuar y 1 9 3 0 25

be HAND-MADE?

she opens her mouth you
catch familiar sounds from
all languages.

"I am," says Sylvia, "a
humoristic person. The
first time I go to see a
client I must make her
laugh. If I can't, then I'm
no good.

"My treatments are
simple. I give five kinds:
nerve, gland, heart stimu-
lation, colon and facial.
But we speak here only of
the simplest.

"I place my patient —
head towards the foot of
the bed. I take off the
clothes. I look her over.
I see first if the heart is
good. If so, I begin.
'Ummm!' I say to myself,

'here is a bit of extra flesh on the hips that you don't need
at all. We take that off!' So! I put that person through
the ropes. If they are not good sports and can't stand
little punishment — yes, punishment, for eating too many
sweets, for not exercising — I will not treat them. They

Ina Claire Gilbert
"That marriage will

must do as I say. So I
knead, like bread. I ham'
mer. I circulate blood so
muscles draw up tight,
and flabby conditions are
corrected. I do not stretch.
I keep muscles firm — what
you say — taut. I go over
every part of the body but
the stomach. After forty
minutes or an hour have
gone by, according to how
much the person needs me,
I commence on the face.

"First I clean it with
pure mineral oil cream
which I make in my bath
tub at home.

"Then gently, very
gently, I tap the nerve
centers. No pulling mas-
sage. No hot towels.
Gott nein! Hot towels for good and all are out! I apply
my massage cream. Not cream really. It's a combina-
tion of almond oil, oil of roses, and clover oil. Next, I
wash face with my face wash. Then I put on my astrin-
gent. This acts as powder base. (Continued on page 94)

is a real comedienne,
last," declares Sylvia.

...... ■ ■ . \

"Gloria Swan son,"
says Sylvia, "is really
a princess, a little
aristocrat — reserved,
dignified, tempera-
mental, lovely." Gloria
is another of Sylvia's
prized 'babies.'

Alice White, right, is
one of Sylvia's pet
stars. Alice was a
Peter Rabbit person
before Sylvia took her
in hand; and now she
is slim, clear-cut,
graceful! 'Hollywood
Girl' herself, in

SCREENLAND

Hollywood Holds

Little Bessie Love was thrown
into competition with stage
celebrities in "Broadway Mel-
ody"— and she stole the show!

Charles Farrell has developed
a singing voice and takes his
chances with the trained juve-
niles from Broadway.

The J^ohle King of France,

He had ten thousand men.
He marched them up a hill one day

And he marched them down again.

THAT ridiculous military maneuver happened
in the long ago, but history is ever re-
peating the performance.

Perhaps you remember the march of the
'imminent authors' and how at the siren call of
Sam Goldwyn that immortal battalion marched out
to California to write stories for the screen, did
a couple of scenario flip-flops, and then marched
back again. Most of the marchers felt — and said
(oh, how they said it!) — that they had been
wretchedly treated in Movieland. But on the other
hand very few of them wrote a screen story that
was worth a penny a foot.

Now we are witnessing another march and

The Screen Favorites have
their Encounter with the

counter-march. This time it is the stage folk, and not those who
have been used to walking the ties from tank to tank, but the real
rococo actors and actresses of Broadway.

The reason for the up-and-down-hill parade is exactly the one
that motivated the authors — the wage is alluring but the goods
delivered don't fit.

"Why?" you ask. "Aren't the talkies just the same as a stage
performance?" Only in spots and not at all in technic.

Some day Hollywood may get it into its excited young head that
the motion picture, silent or audible, is a distinct and separate art
with its own syntax, punctuation and methods of expression. The
authors have learned it. Sam Merwin told me frankly after a six

months' trial at Lasky's that he didn't
believe he could ever master the tech-
nic of motion pictures. Maybe, some
day, the producers will get hep!

In the meantime we have been
noting the thrill of terror that runs
through the hearts of old screen favor-
ites as they contemplate the invasion
of Big Broadway Names that are
here to take their jobs away from
them.

We noted the same 'scare psy-
chology' ten years ago among the
scenario writers when all the big
literary authors arrived. At that time
• Jeanie MacPherson, C. Gardner Sul-
livan and Jack Cunningham were no

Mrs. Rob Wagner, whose distinguished husband wrote
in "They Had to See Paris" establishes her as a

for Jan ua r y 1930

Her Own

Emerged Victorious from
Battalions of Broadway

doubt tossing on their pillows. For who were they? — mere Holly-
wood names. Not one of them had ever written a best-seller or
even a second-best-seller. Yet after the storm passed they were
still on the job and have been sitting very pretty ever since.

So we'll venture to predict the same thing will happen to old
screen favorites, for stage folk, with few exceptions, are already
beginning to flop. Their trouble, of course, is technical; they do
not know, for instance, how to change the tempo of their action
in relation to the distance from the camera. They do not know
lighting and they do not know screen make-up. In fact there are
thousands and thousands of tricks that old screen actors have
learned through years of bitter experience of which they know
nothing.

But ah, their voices! Stage actors
have learned to speak their lines! Yes
— for the stage. But not for the
screen. On the stage they had to
master the difficult technic of putting
their lines over' the footlights so that
they would reach the furthermost
seats in the balconies. No such
problem exists in the talkies, for the
microphone, only a few feet from
their mouths, so sensitive that it 'picks
up' even their breathing, performs
that service for them. That is why
mere extras are constantly stealing
scenes from famous actors with big,
magnificent voices.

Rob Wagner

An old-new favorite — 'old' be-
cause she started as a child
star — Lila Lee is an outstand-
ing success in talking pictures.

Coltnan! If you saw "Bulldog
Drummond" you know that no
stage actor can compete with
Ronald in performance or
popularity.

this article, and Irene Rich, whose notable performance
talkie favorite, with their respective barkies.

Furthermore, the typical stage voice has become con-
ventionalized. And whereas these conventions may be
acceptable in the theater they become pompous and
affected in ordinary conversation, and it is ordinary
conversation that the talkies are trying to reproduce.
Having been trained for years in precise and aggressively
cultured diction, the actor has learned to talk — like
an actor! Furthermore, with the necessity of over-em-
phasising gesture — in order to 'get over' the footlights
— they are too unctuous both in speech and pantomime
for the screen. Last night I heard and saw a great
stage star 'cawn'ting' and 'chawncing' all over the works
and accompanying her theatrical diction and pronun-
ciation with the most overacted gesturing, the falseness
of her performance being emphasized by the under-
acting and natural speech of a film-trained leading man
playing opposite her.

Why, for instance, did Irene (Continued on page 92)

SCREENLAND

CLARA BOW

The Psychologist Thought:
"What is There to Analyze?"
But he Discovered that the
Screen's Storm Center is a
Fascinating Contradiction

WHEN I was first asked to make a psycho
analytic portrait of the irrepressible Clara
Bow, I thought: What is there to analyze?
I could hand her a permanent card marked
'Miss America Plus,' or 'Youth of the World XXth
Century,'' or, and entirely by way of compliment,
'Clara Bozo.' Vitality, optimism, a big dash of sensa-
tionalism, a quick play of changing emotions, an out-
door above-board quality, a good sport and pal, a beauty
that is feminine in its softness but charged with a dis-
turbing energy — she seems the very embodiment of
modern American youth of the feminine variety. She
is a go-getter, she puts herself across with a bang;
everybody likes her; some young men go mad about
her; she is a natural little boss; she is blessed with com-
mon sense; she is easy-going and an excellent mixer.

"We have her number," the great audience thinks.
Who doesn't personally know someone like Clara Bow,
a little American storm-center, making things fly, pep-
ping up parties, leading on adventures, the old gun-
shooting hell-raising pioneer blood coming up to punish
a cocktail or go lickety-split in a car in the dark, terri-
fying her male companion? If women have the upper
hand in this nation — and some people think so — we could
rename the country Bow-land, an apt description of a pass-
ing moment.

And yet such is the variability of human nature, that
in the description above, I have only scratched the sur-
face of Clara Bow's character. She has favored Screen-
land with answers to a questionnaire, and here are some
of the things she says about herself:

I am extremely self-conscious.

I am very shy.

I feel that I am misunderstood by most people.
I hate to be conspicuous in public.
I sometimes sulk.

I sometimes go by moods, prolonged for hours, even
for days.

I like to be alone a good part of the time.

I am considered deep by others.

I am somewhat jealous.

I am easily in a tense condition.

I have a feeling of inferiority before others.
There is a fascinating contradiction here: a bold go-
getter who is shy; a young woman who is a good mixer,
a hale-fellow well-met, yet who is self-conscious and feels
inferior; an easy-going beauty who is tense; a good sport
to whom life is not a game but something serious and even

Clara the extrovert: vitality, optimism, a big
dash of sensationalism, a good sport and pal,
in one small package.

harsh; someone liked by all, yet who feels misunderstood
by most. In short, someone who puts herself down as
33 parts an introvert: that is, someone ill-adapted to the
world, a dreamer rather than a doer, an inferiority feeling
person; to 42 parts an extravert, one who is well-adapted,
naturally active, and naturally successful. The numbers
run close together: 9 parts more extra verted than intro-
verted; that is, a complicated character whose nature pulls
back just a little less than it strides forward; a fear that
causes a crouching back and then a blazing leap toward its
object; an inner conflict between don't do and do, between
failure and conquest, between fear and courage.

Some time ago — too long ago to remember well — I read
the autobiography of Clara Bow. It was sad, even though
it was interesting reading. The trouble with autobiography
is that we see ourselves through a mist of personal emotions,
and the painter who knows how to make a likeness of
himself is a rare one. Clara wept on her own shoulder,
or the reader's and described her life as a tragic one, from
the cradle on. She knew poverty, shabby clothes, and the
sneers of her playfellows in Brooklyn; she knew disap-
pointments in her struggle to rise from a non-entity to a
world-famed star. It read like the life of Eleanore Duse,
Sarah Bernhardt or Joan of Arc. Clara said she laughed
so that she wouldn't cry, she jazzed to keep from sinking

for January 19 3 0

Psycho-

Clara the introvert: a complicated character
whose nature pulls back just a little less than
it strides forward.

down in despair.

The facts didn't agree with this self-portrait. I saw the
Irrepressible One in half a dozen pictures and I'm sure
Clara couldn't fool the camera all of the time, nor the
public either. She simply sizzled with an energy that
swept all before it. Her laughter rang true. That delight-
ful and even dazzling streak of toughness in her was racy,
of the earth and of the times.

But I had the experience, just the other day, of seeing
(and hearing) "Dangerous Curves.'" Then I saw that
there was more in Clara Bow than we had thought before.
She has developed remarkably, even in the space of a year:
she is more truly an actress, she reveals a greater depth
of character. She has all of the old bounce, impulsiveness
and laughing energy; the blood of jazz runs in her veins;
but she has revealed a fund of deep and moving tender-
ness, a passion that is strong and devastating, a new sub-
tlety of action that is convincing. She was content in a
good part of the show, of which she is the star, to remain
a little in the shadows while the Kleig lights glared on
Richard Arlen. The strain of self-sacrifice that ran through
the part was more than a pose.

We may take it for granted then that Miss Bow's
answers to the questionnaire were sincere, whether wholly
accurate or not, and that they connect with the dark

nalyzed

-By

James
Oppenheim

shadow that lay over her childhood. For a girl to be
sneered at by her fellows, to have to wear shabby clothes
often enough causes the inferiority complex, the feeling
of being little, naked and no good, and hence tends to
make the person somewhat introverted — withdrawing a
bit from life, shy, hating unpleasant publicity, somewhat
self-conscious. But this feeling of inferiority sometimes
awakens a counter-feeling of extreme intensity. Just as
fear and the feeling of helplessness often send a man
into a rage, bringing up even an abnormal courage, so
the feeling of inferiority sometimes brings up an Til
show them all yet' feeling, a burning ambition, a dream
of changing shabbiness for splendor, of rising from a
non-entity to a world-fame.

This is why the contradictions in Clara Bow's nature
have brought her to the top, even the feeling of in-
feriority, of being unable to do it, bringing up powerful
resources, reckless courage, an ability to overcome great
odds, a laughter conquering tears. Or to put it tech-
nically, one with somewhat of the introvert in her who
extraverts even more daringly and actively than the
normal extravert. That is why I called her Miss Amer-
ica— Plus. The Plus comes from that vaulting ambition,
that never-say-die recklessness.

Besides that, if I were to place Miss Bow as a type, I
should say that she is, like most women, mainly guided
by feeling, feeling being the leading function, but sensa-
tion running a close second. She is not only charming, de-
lightful, sociable, quick in her judgments, all due to her
developed feeling, but she has played sensation heavily, the
sensuous element, the love of the spectacular, the itch to get
a kick out of everything, the love of change and danger.
Feeling is more quiet, as witness, say, the nature of Mary
Pickford. Sensation uses the loudspeaker and puts on
a wow of an act. It was by depending largely on sensa-
tion that Clara Bow put herself across, and kept over'
coming her fears and feeling of inferiority. But her
recent development has been in the growth and maturing
of her feeling and the evidence of more intuition.

If she can go on taking the "Dangerous Curves" as
well as she did it in the picture, she will cease being
merely Miss America, the Girl with IT, the reckless and
beautiful sensationalist, she will become a rarely good
actress, of unusual artistic power, with depth and under-
standing, winning a deeper affection in the public's heart.
But she will always be Clara Bow, the spirit of youth;
in a sense the American spirit which hardly knows how
to spend all its overflowing (Continued on page 101)

SCREENLAND

Gould YOU Pass

Passing the Combination of Screen and
Talking Picture Makes the Well-Known

By Barton

First, the candidate, in this case Charlotte Henry, is
interviewed by the director of the test department.
If he says "Okay!" she is set for a test.

OR many are called but few are chosen!"

Passing the combination of screen and voice
tests for a role in an all-talking production at
a motion picture studio in Hollywood, makes
the frequently mentioned acid test, by comparison, seem
like child's play, or a Regent's examination a simple
pushover.

Crashing the studio gate, guarded by an ice-cold at-
tendant, is, comparatively speaking, an easy matter, but
passing the 'combination' — that's a test.

The rigid and meticulously care-
ful process of elimination is often
heartbreaking, but, at the same time,
it is most interesting. Let James
Ryan, director of the test depart-
ment at the Fox Studio, with twelve
years of experience behind him, tell
the story in his own way.

"There are several steps to be
taken before the actual test is made,"
said Mr. Ryan. "First, the subject
must be found. New faces must
be located and we are constantly
on the lookout for talent. My staff
is always on the alert for screen
prospects. We scan the faces of
those we meet socially, those on the
street, at the theater, in restaurants,
hotels, even in church! We call
our staff the Christopher Columbus
Crew of Talent.

"We even have scouts searching and questing
for the elusive spark. Directors, assistant di-
rectors, writers, attaches of the casting office,
in fact, almost everybody on the lot are com-
missioned on our staff to keep their eyes and
ears open.

"Character and personality is given more con'
sideration than beauty, and the subject must
have a voice that not only registers satisfac-
torily, but that can be trained or cultivated. Be-
fore the advent of all-talking pictures, the
selection of possibilities was much easier than

Well, here she is.
She got by! Char-
lotte is being made
up for her camera
test by the make-
up expert — above.

Left: the test of
tests! Old Man
Camera and Mis-
ter Microphone are
the judges while
Charlotte Henry is
put through her
paces in the sound-
proof gallery.

for } anaary 19 3 0

the Talkie Test?

Voice Test for a Role in an All-
Acid Test Seem Like Child's Play!

Griffiths '

it is now. Today, the applicant must possess
the 'combination' of face and voice.

"By reason of my experience, we generally
determine by an interview in my office if an
applicant even has possibilities. Some are elimi'
nated before they reach the testing stage.
Quality of the voice, the comformity of the
features and form, expression of the eyes or
mouth and personality are the prime factors.
Sometimes a defective eye will be offset by a
pretty mouth or a marvelous personality will
outweigh a photographic defect. Few people

Above: a test that
is no trial to any
girl. Charlotte is
being costumed
under the super-
vision of Sophie
W achner, fashion
creator.

In the old days the
aspirant for movie
honors was only
required to emote.
Now, she must be
able to emulate
Pavlowa as well.
Right: Charlotte
taking her dancing
test with Edward
Royce, stage di-
rector.

How's your voice? Charlotte must keep hers in trim
for daily instruction by Alice Kelly, voice teacher.
Just one test after another!

are absolutely perfect. The law of compensation in face,
figure and fashion has its play here also.

"For some reason, small girls like Janet Gaynor and Lois
Moran possess more appeal than a girl of more robust
stature. Some girls appear quite ordinary, but on the
screen they are transformed. It seems as if their spirit
shines out under the camera's eye and the mike's ear.
Only a severe test will determine if O. K. or N. G.
"Before all-talking pictures were made, character and
personality as well as beauty were
required. Now we must also con'
sider the timbre and pitch of voice
and the manner of its registration
on others' ears. The silent screen
artist was compelled to express the
heart through facial expression, but
now in all-talking productions the
heart must be expressed through not
only the visage, but the larynx, ton-
sils, adenoids and buccal cavity have
their say!

"When we are satisfied that an
applicant has possibilities, the first
step is to send her, or him, to the
make-up department, supervised by
Charles Dudley, where she is skill-
fully prepared for the test.

"If the candidate passes inspec-
tion, she is taken to the test gallery
where we shoot 50 feet of film in
making a (Continued on page 101)

SCREENLAND

A (%ITIC and a TLOW

Lawrence Tibbett, Metropolitan Opera singer,
now appearing in "The Rogue's Song," a musical
movie romance.

EVERYBODY who achieves success in any art
is, by very virtue of this success, a critic.
But sometimes an artist isn't a great critic
of the art he excels in. For instance, there's
Lawrence Tibbett.

Tibbett is one of the greatest operatic baritones in the
world today. His name is known wherever music is. And
he says he's a good critic of plowing!

He got his experience early, for he was born on a farm
near Bakersfield, California, at the lower end of the great
San Jeaquin Valley. The farms which in his day were
plowed over, and yielded raisin, grapes, or grain, are now
a forest of towering oil derricks, and black gold is hauled
from the once pastoral scene where raisin trees blossomed
and onions grew in truck gardens.

And, just as the old farm metamorphosed into the hiding
place of unsuspected millions, so did the farmer boy. He
studied music, sang on the stage, won his place in opera
and triumphed. Not long ago he paid a flying visit to
his old home town, en route East on a concert tour. They
turned the school children out to strew his path with
flowers — children from the very school, among others,
where he used to be 'kept after school' when he didn't
study his lessons. Such is fame!

Lawrence Tibbett, Opera
Star in Talking Pictures,
knows his Onions and
Raisins

Myrene Wentworth

Tibbett and Catherine Dale Owen in one of their
dramatic love scenes in "The Rogue's Song."

Tibbett, conquering the citadel of grand opera, is now
storming another citadel. He is starring in talking pic-
tures, widening a breach in the walls for other singers to
follow him. He is the vanguard of opera in the new art
of the talking screen.

At the Metro-Goldwyn-Mayer studios he is acting and
singing his way through "Rogue's Song" as a swashbuck'
ling gypsy lover. He sings songs by Lehar and by Herbert
Stothart, riding his horse in colorful costume and through
colorful adventure.

Great pains are being taken with this production, for
it means a great deal to the screen. Lionel Barrymore
is directing it. Catherine Dale Owen, beauty from the
New York stage and recent leading lady for John Gilbert,
is his heroine. Hcdda Hopper, Marion Schilling, and
other celebrities of the screen and stage are playing with
him. And incidentally they didn't engage Tibbett jus'
as a singer, for he is a superb actor as well.

When news came to the studios that the opera star
was on his way, studio attaches and (Continued on page 95)

\ c

_ _ Charles A. Pollock

The kSMosI beautiful Still of the <JMonth

RAMON NOVARRO and DOROTHY JORDAN

in "Devil May Care"

Corinne brought hack thirty French
berets in different colors.

An interesting spangled crystal
head-dress for evening wear.

One of the thirty berets is of
white kid, severe hut sporty.

All pholofirnjiliK

Inj TRhner Fryer.

CORINNE
PARI

Extreme left: Miss Griffith in
Worth's favorite evening model
for 1930, in the new shade of
yellow called marshamiel rose.

Left: Lenief created this suede
leather sports coat for Corinne.

Below: a very smart sports en-
semble by Worth. Navy-blue
hand-knitted blouse and skirt
with yellow sweater.

Corinne' s Agnes turban may be
draped three different ways.

Presto! Flaps may be drawn
over ears; strings tied snugly
in back!

Side flaps may be turned out-
ward; strings tied under chin.

GRIFFITH'S
CLOTHES

Extreme right: Corinne wear-
ing a Poiret tea gown of shell-
pink satin with rhihestone-
beaded chiffon sleeves.

Right: Corinne brought back
this sports costume from Paris.

Patau created this unusual
sports ensemble for Miss Grif-
fith. The white leather coat
has a zipper fastening.

Clarence Sinclair Bull

LL the lure and mystery of the screen' s
most potent personality is reflected in this
new study of Greta Garbo.

Ruth Harriet Louise

OSEPHINE DUNN may be a haughty,
naughty girl in pictures, but here she is just
a school-girl out for a holiday.

T IS reported that Grant Withers, Holly-
wood's handsome sheik, is engaged to
Loretta Young. How about it, Loretta?

Fred B. Archer

HEDDA HOPPER has green eyes and a
gorgeous personality; and she endows her
screen characters with distinction and charm.

for January 1930

HOU ^OW!

Hedda Hopper, Erstwhile Quaker Girl, is
Now the Smart Sophisticate of the Talkies

By Ralph Wheeler

Hedda Hopper's hob-
by is men.
She admits it. She
is proud of it.
"Men with a capital M,"
she added, "not New York
men or Hollywood men, but
men, generally!11

One hand gestured in the
general direction of the entire
masculine world.

"As a general rule men are
much more interesting than
women. Of course, there are
exceptions, but they only serve
to prove the rule. Don't you
think so?"

I didn't know exactly what
I thought. But I agreed.
Everyone agrees with Hedda.
It may be her throaty, stac-
cato voice which does it. Or
it may be the color and force
of her personality.

If Hedda's hobby is men,
it's another example of the old
axiom, 'Turn about is fair
play.' Many members of the
sterner sex seem to be greatly
concerned in making a hobby
of the fascinating Hedda.
Everywhere she goes, she be-
comes immediately the center
of a group of admiring masculinity.

Until I met her, I believed that such women lived only
in the imaginations of writers of fiction and plays. She
has been places and seen things. She is still going and
seeing. Her sheer joy in life and people is contagious
and stimulating.

Hedda has green eyes. She would. I believe that the
histories credit Cleopatra and Lilith with eyes of the
same jade hue. Hedda's eyes are slightly slanting and
usually narrowed. When she looks at you through those
quizzically drooping lids, you remember that you need
a manicure and hope that your hair is not too noticeably
uncurled.

To Hedda, dressing is an art. Her clothes speak the
language of simple sophistication. This day she was wear'
ing a lemon-colored sports outfit. It was perfect from
shoes to soft felt hat of the same golden shade. Its lines
■ — well, after looking at that costume I no longer wondered

Hedda is celebrated for her gaiety, her
svelte way with clothes, and her unfailing
good humor. No wonder she is one of
Hollywood's most popular personalities.

at Hedda's successful pursuit
of her hobby.

But Hedda wasn't always
the woman of the world whom
the screen, Hollywood Boule-
vard and Fifth Avenue know
today.

Ask Altoona, Pennsylvania,
about a girl named Elda Furry.
Altoona will tell you the story
of an entirely different person.

Elda was not born to the
lemon-colored flannels and the
smart drawing-rooms of our
Hedda. She knew only the
grave simplicity of a Quaker
household, a quiet-speaking
and devout world which
shunned the gaieties of life.

Can you imagine the svelte
Hedda in a Quaker bonnet
and fichu? Neither can I. But
she wore them until she was
eighteen years old. Then she
ran away, changed Elda to
Hedda, discarded the cap and
fichu for clinging satins and
tailored flannels.

"I guess it was the desire
for life and success, which
really persuaded me to run
away from home. The first
stirrings of my hobby so to
speak," Hedda smiled, thinking of that young Elda, who
dutifully spoke her thees and thous while dreaming of
the other world beyond the Quaker hills.

"I went to school in Pittsburg, and there I met a girl
who was playing in the chorus of a New York musical
comedy. I used to sit hour after hour, listening to her
exciting stories of Broadway, the bright lights, the gaiety.

"After she went back, she wrote me frequent letters,
urging me to try my luck in New York and promising to
help me find a job. So I ran away from home, finally,
leaving a note on the pincushion in the prescribed manner.
The only way in which the story differs from the regular
ten-twenty-thirty melodrama is that I did not come home
in a snowstorm without a wedding ring.

"The girl made good on her promise. I landed a job
in a chorus. For three years I kicked and danced and
learned what the theatrical game was all about. When I
look back now on that ignorant, (Continued on page 111)

SCREENLAND

Playrooms

Es telle Taylor — Mrs. Jack Dempsey —
in the playroom of the Detnpseys'
Beverly Hills home.

THE demands of talking pictures have some-
what cramped the style of the picture folk
these days, but they have at least made pro-
vision for their play-time so that when they
do get a minute they can take full advantage of it.

Play is as important as work. Life is a game.
Just as we tackle tennis or parchesi so are we apt
to tackle the graver game of life. To play a good
game one must first enter into the fun of the play,
learn the rules, then play straight. There is no
fun when somebody cheats. So it is in life. The
lad who laughs and plays straight wins happily.
The lad who cheats may win the game, but with
it goes, not happiness, but a sour sort of satisfaction.
He may win several games, but the funny thing
about cheating is that it lets you down at the most

In Hollywood, Play
as Work, and is

By Helen

Bob Vignola is one of the most popular hosts
in Hollywood. Here is the room in the base-
ment of his home where he gives his parties.

The curio den in Fred Niblo's handsome home presents
a variety of diversions, from ping-pong to a projection
machine; from parchesi to a collection of rare weapons.

embarrassing moments, when to win may mean
life or death for you. Parents could do their child-
ren an infinite service in life and in business just
by teaching them the right way to play their games!

All of which hasn't a whale of a lot to do with
Hollywood playrooms, but it is sort of down that
street !

Some of the stars take playing very seriously
and dip into everything. Others, like Ronnie Col-
man, are content with a tennis court, a racket
and one or three companions. The serious ones
build houses, rooms, porches or gardens which are
dedicated to Play. I suppose everyone knows about
Ramon Novarro's miniature theater. Ramon al-
most never gives a party. He and his friends get
more fun out of staging concerts and plays of their
own. The theater is a part of his house and seats
less than a hundred people.

Bessie Love, on the other hand, adores parties.
Her home is on the slope of a hill and from one
side, particularly, there is a fine view. She had
a porch built, sixty feet in length, which is her rec-
reation room. One side is glassed to protect guests
from the wind that always blows and is chilly at
night. It is furnished with a decided leaning toward
Indian art. There are enormous wicker rockers

for January 1930

the Stars

is Just as Important
Almost as Serious

Ludlam

Julia Faye's playroom is a garden. When Julia entertains
a floor is laid to cover the lawn, an orchestra occupies the
pergola, and a very good time is had by all!

and runners attached to the walls, so one can conv
fortably sit on the floor propped with cushions.
There are little cactus plants all along the railings
and when there are goings-on in the evening the
place is flooded with the soft light shed by votive
candles.

Bessie said the first thing she did when she and
her mother moved in was to give a party. "There
wasn't a stick of furniture in the house except a
piano and two little iron beds, which eventually
found their way to the maids' rooms. Not a chair —
not a dresser — nothing! I didn't tell the girls I
hadn't any furniture because I knew if I did they
wouldn't dress. And I hate not to have the girls
dressed formally. I don't mind the men coming in
flannels and business suits, but I do like to see the
girls dressed up at a party.

"Eddie Brandstatter catered for me and when
he arrived to look the place over and see what had
to be done, his expression was about the funniest
thing I ever saw in my life. But he did a swell
job. He fixed a very low table which ran the whole
length of the porch and then he got all the pillows
he could lay his hands on in the whole city of Los
Angeles and stacked them all over the floor of the
porch and living rooms. There were hundreds of

Bessie Love's porch, overlooking
the Hollywood hills, is her unique
recreation room.

them. I love them, anyway. Much more comfort-
able than chairs. 'Bigger and better pillows' has
been my motto ever since."

Julia Faye pays all her social debts in the sum-
mer time because her playroom is a garden. In
the winter she can have seven or eight guests for.
dinner, but no big parties, for her dining-room
table only holds ten. The garden is walled in and
lined with conventional flower borders for which
her mother does most of the planting herself. At
one end is a barbecue from which the dinners are
always served. Under a pergola there is a place
for musicians and there are four sections of floor-
ing which are laid down covering the whole lawn
for dancing. Julia has two young cousins whom
she declares got far more (Continued on page 104)

Corinne Griffith in her 'whoopee' room, perhaps the
most elaborate playroom in all Hollywood. It is
furnished in contemporary art.

SCREENLAND

Olive Borden is not married, and is not even sure
that she has been in love, but she has her ideals.

"The clinging vine
is a pretty myth
that men dream of
because it makes
them feel strong
and superior,"
states Olive.

Olive Borden believes love
can't be catalogued and
draws conclusions on the
world's oldest emotion

You Can t

IOVE and matrimony so often prove ephemeral in
Hollywood that any tips on how to make them
. permanent are valuable.

Not so long ago, an intrepid soul rushed into
print with the news that the girl who would hold her
man must keep him busy taking her around and keep him
poor spending money on her.

Which rule is repudiated by two of our youngest,
handsomest and most popular stars.

"I wouldn't have a man I had to hold!11 cries Olive
Borden, her dark eyes flashing. "It seems to me like
playing games with the most sacred thing that can happen
to you. Love shouldn't be a matter of 'If I do this, he'll
think I mean that, and then he'll do so-and-so!' Real
love should be rooted in sincerity. I'd hate to feel that
I had to pretend about it.

"I'm not married, and I'm not sure I've ever really been
in love, but like most girls I have ideals. I'd want to be
trusted absolutely, and I'd feel there was something the
matter with our marriage if I had to worry about holding
the man who cared for me."

"Seems like a perpetual escort would get mighty tired
of his job," observes Buddy Rogers, sagely. "I like family
life. My folks are all coming out to live with me — Dad's
giving up his newspaper to come, and he'll manage my
affairs — and then I'll leave the Athletic Club and have a
home. I'm wild about a home. Why should a man enjoy
being dragged out of it every night?

By Ruth

"I hardly know what to think about women. I've
never gone with one girl more than a month or so at a
time, and I haven't had time to think much about marriage,
but just looking at it from the outside, seems like you're
more likely to stick if you're good comrades."

"A good comrade who liked the same things, or at least
sympathised with my liking for certain things would be
nice," admits Olive.

"I've , noticed that most men like the domestic type of
woman pretty well. I wonder if I'd ever qualify as
domestic? I've never had time to find out. But I love
the very idea of a home. Not a tremendous establish-
ment, but a real home with a fireplace and real logs, where
my friends and my husband's friends would be welcome,
and yet where we could be alone, too. I wouldn't like
my home to be a roadhouse!

"I'd like to have it stand for all the sweet, simple, lovely
things of life — not for ostentation or formality or keep-
ing up with the neighbors.

"Sometimes I think that the thing that spoils romance,
marriage, or any relation is success.

"When people are poor and struggling, they seem to
stick together and be sweet about it, but the minute they
are successful they seem to grow hard and cold and selfish.

for J a nuar y

19 30

Buddy Rogers says that if
marriage is to hold, there
must be understanding and
good comradeship

Buddy believes the
ideal girl should
be the mothering
type who would
consider his com-
fort. Well, lots of
girls would!

TYPE' LOVE!

Tildesley

Why is that, I wonder? The poor boy remembers to bring
home candy on special days, even if all he can afford is
five cents' worth in a paper sack, and the girl ponders
over what she can fix for him to eat. 'He should have
something good — he works so hard!' or 'If I do without a
movie, I can afford a better steak for him, he is so brave
and sweet!1

"But the minute success runs up its flag, each one sud-
denly begins to think 'I-I-I.' 'I must have so-and-so to
make up for all I've been through !' 'I must spend more
on myself, people expect it!1 "

Buddy, believes, however, that many girls feel there is
something lacking in an unsuccessful man. From his ob-
servation, jealousy is the chief reason for wreck of the
marital brig.

"But you couldn't be jealous if you weren't playing
games with love," asserts Olive. "Great stress is being
laid on the value of elusiveness. Keeping them guessing
is advocated. It's just too much for me! I have work to
do, and I can't be bothered wondering what he meant
by this or that. If a man cares for me, let him show it,
so I'll know where I stand. This guessing business looks
like deceiving each other to me, cheapening love, tarnish-
ing a beautiful thing.

"Why don't men feel like that? But perhaps they like
to wonder."

"Yes, a little guessing keeps one interested," admits
Buddy. But he believes that the ideal girl should be the
mothering type, who would consider his comfort and run
after him with his rubbers when it rains. A girl who
knows how to cook and sew and run a house, although
she needn't necessarily do any of these things.

"A number of girls as well as men in Hollywood like
to be babied," returns Olive. "It makes them feel import-
ant to have someone mothering them, perhaps. But as
for me, I don't yearn to bring up a husband. I'll take
him fully grown. I don't care to be babied, either. I
think if a girl is old enough to be married, she is old enough
to be treated as a woman, not as a child.

"One of the chief ideals of all men is the clinging vine,
so-called. The truth of the matter is that she doesn't exist.
She's a pretty myth that men dream of, not because they'd
really like her, but because they've read and heard of her
and think she would make them feel strong and superior.

"But if a man's wife looked helpless and murmured: 'I
don't know how — you do it, darling!' every time she was
asked to telephone or buy tickets or drive a car, there'd
be a different story. The helpless female is all very well
at a distance. Men are so used to the independent girl
who does something about whatever happens instead of
wringing her hands and sobbing, or gently fainting away,
that they would think there was (Continued on page 105)

SCREENLAND

<5&

Broadway Blonde

By Jean Cunningham

IT is rumored that some few Broadway stars packed a
superiority complex in with the latest dress models
when they departed for Hollywood. But Ann Hard-
ing is not one of them. Take it from the studio maid
and hairdresser who attend her, the star who scintillated
so brightly in 'The Trial of Mary Dugan," 'The Woman
Disputed," "Tarnish,, and other New York successes, abso-
lutely neglected to equip herself with an inflated ego when
she came West.

It was on the set at the Pathe Studio where she was
working in her second dialog picture, "Her Private Affair,"
that I learned of Miss Harding's negligence in this respect.

Alice, the studio maid, and Gladys, the hairdresser, were
chatting just outside the door of Miss Harding's portable
dressing-room when the young actress and her husband,
Harry Bannister, who plays with her in "Her Private
Affair," appeared.

"Well, here's our baby," said Alice in
decidedly motherly, albeit not at all 'maidenly'
fashion, if one may be permitted a poor pun.

However, the friendly greeting seemed to
ruffle the beautiful Ann's composure not at
all.

"Oh, you sweet things!" she cried. "Here
you are waiting for me, after working so late
last night."

It seems that Alice and Gladys had worked
the previous evening preparing Kay Hammond,
who plays an important part in "Her Private
Affair," for some sequences in which Miss
Harding did not appear. Hence her appre-
ciation at their early presence on the set — a
fact, gentle reader, which only too many stars
would have taken for granted.

After Gladys had dressed Ann's long
golden tresses in a bewitching and very sophis-
ticated off-the-ear fashion, and Alice had
garbed her in the beaded chartreuse chiffon
gown she wore in the morning's scenes, I found
a chair beside the two obvious admirers of
the star.

"You like Miss Harding, don't you?" I
questioned.

"Like her?" asked Alice. "Who wouldn't?
She's an angel. There are no pretences or

little poses about
that young lady.
And do you know
why?"

I did not, but sig-
nified that I would
be interested in find-

Ann Harding's million-
dollar blonde hair — all
real money, too! — lends
itself to one of the most
interesting and unusual
coiffures in screenland.

ing out.

"Because she was born a lady," explained Alice in effect.
"There are those who scoff at the part good family, good
blood and good breeding play in a person's character, but
I'm not one of them.

"I've seen stars who started out as the daughters of
servants — some as servants themselves. As they climbed
to the top of the ladder they felt necessary to adopt
affectations and temperamental gestures to prove to them-
selves that there was nobody higher up than they were.
I've read books on psychology in which this is described
as 'an inferiority complex,' and I think it's true. In their
innermost minds such people are aware that they have not
had the advantages of education and environment enjoyed
by people who had always had money, so they felt that
they had to go to them one better in other ways.

"Now, Miss Harding is entirely different. She is the
daughter of a general in the United States army. Her

for January 1930

Ann Harding has Won
Hollywood with her
Beauty and Charm

family has been one of the finest in the country since the
Revolution. She had just as many advantages in life
before she began to be a successful actress as she could
possibly have now. And when she cut herself adrift from
her family to go on the stage, she had a couple of yeai-s
of decidedly hard going, so she also knows what it is
to earn a living and work hard and economize. As a
result she is finely balanced. She is equally at home in
several different spheres of life.

"Miss Harding is a wonderful actress, but she works
hard and gives everything she has to make each part per-
fect. For that reason, I think she has a great deal of
respect for anyone who works hard at whatever he is
doing, no matter what the occupation, and who is success-
ful at it. She is friendly to everyone, and it is not a
condescending friendliness either, but a real heart-whole
interest in the work which is the main interest of some-
one else.

"Then, too, she is beautifully happy. God bless her,
she deserves it! I think it perfectly beautiful to see her
and Mr. Bannister together. He is so proud of her youth
and beauty and ability, while she defers to his judgment
in so many matters, and is just as proud of his work as he
is of hers.

"Let me tell you something. A little extra girl who
had been married once, very unhappily, worked on this
set a couple of days last week. She had been thinking
of marrying again — a young business man who seemed to
be very much in love with her. But she had been dis-
illusioned once, and she was afraid that it would be the
same old story of boredom and lies and wandering apart
just as soon as the honeymoon glamour wore off.

Ann's leading man in "Her Private Affair" is
her own devoted husband, Harry Bannister.

The small person with the appealing smile
is Jane Harding Bannister, daughter of
Ann and Harry Bannister.

"Well, after working a few days around Miss Harding
and Mr. Bannister, she told me that she had made up her
mind that nothing in life could be as beautiful as a happy
marriage, and she was going to take a chance. Now,
isn't that lovely? And don't you think it wonderful that
they are playing husband and wife in this picture? Their
love scenes should be convincing."

"And you don't find that she con-
siders herself a little bit — well, superior
— to her director and the screen players
in her pictures?"

"Say," Gladys took up the story, "all
that girl is interested in is making her
pictures as good as she can. She wants
to absorb everything anyone who has
been in a studio for years can tell her.
And I bet she was just the same way
when she started on the stage. That's
probably why she was so successful.

"You know what a clear, musical
voice she has. Well, my dear, after
almost every scene she asks the recording
engineers just how it sounded to them,
so that she can tone it down or speak
louder as they think best. She knew
all about stage make-up but when she
found screen make-up was something
else again, she started out to absorb all
she could on this subject, too. She knows
exactly what she herself likes in the way
of clothes, but if she finds that the line
or color she prefers might not photo-
graph well, she is perfectly willing to
alter her opinions.

"Take her (Continued on page 96)

SCREENLAND

It isn't the Initial
Cost, it's the Up-
keep— and Nobody
Knows it Better
than the Stars!

Dolores Del Rio is
served by her but-
ler amid the costly
silver and the ec-
clesiastical hang-
ings of her sump-
tuous dining room.

Leatrice Joy emerges from her English mansion to find her Rolls
Royce waiting to take her to work. A star must ride in style.

Jean Hersholt, the character actor, lives in this aristocratic home in
Beverly Hills. Here's Jean playing ball with Junior on the front lawn.

The UPKEEP

By Herbert

THE stern jurist gazed upon the prisoner. The
man had just confessed to murder as a profession.
Murder for profit.

"Do you mean to tell me," thundered the Law,
"that you killed the deceased for a paltry two dollars?"

"Well, Judge, your honor," cheerily responded the
felon, "you know it is — a couple of dollars here — a
couple of dollars there — !"

No, you're wrong. This is not a column devoted
to songs, dances and witty sayings. It is the sad, sad story
of stars and star-dust. The gold dust that comes from
the silver screen. Comes — and goes. And in its going
leaves incredulous amazement upon
pretty faces, and dainty footprints on
the sands of bankruptcy courts. This
is a tale of the high cost of stardom.

Scarce a hand has forced its way
into the movie apple barrel but what
it has emerged with a fat golden pip-
pin. And nine times in ten, just as
the initial nibble is being enjoyed, the
sardonic voice of Fate is heard to
chuckle :

"There ain't goin' to be no core!"
Most of us are in the ten-twenty-
thirty class. Our lives are simple,
ordered things consisting of a home, a
job and Sunday. The three buck sal-
ary rise — which should have been five
— is something of an event. But it
doesn't change us much. Nor does it
materially alter our mode of what is
laughingly called living. Naturally
we wonder how a movie star making
five or ten — or even one thousand dol-
lars 'each week, can ever spend the
money. All we would wish for would
be, say ten weeks' work at five thou-
sand per — or better yet, five weeks'
work at ten thousand per. A grand

for January 1930

In it Comes and
Out it Goes— a
Couple of Millions
Here? a Couple of
Millions There!

Thomas Meighan has a summer home in Great Neck, Long Island,
and a winter home at Newport Rickey, Florida, which is pictured here.

of their CAREERS

total of fifty thousand — and we'd retire, you bet. But,
listen — there's a trick in it.

All right — abracadabra and other expressions of
magic — now you're a star! Overnight your salary is
increased from fifteen to fifteen hundred dollars a week.
What happens? It's off with the old and on with the
new — and that goes right down to your step-ins, or the
old cambric athletics. As a princess, or a prince of star-
land, you must dress the part. It's all in the racket.
No more fifteen dollar dresses, or thirty dollar suits.
Fifteen berries is now the price of an ordinary pair of
street shoes. 'Buddy' Rogers, not as loose as ashes with
his dough, pays from $11? to $165
for every suit. No two pairs of pants,
either.

And, of course, it's bye-bye to the
comfy little two-family house, or the
four-room apartment consisting of bed,
bath, kitchenette and dumb-waiter.
The De Luxe Pictures Corporation
couldn't think of having one of its
players calling such a simple dump
'home.1 You must immediately cease
to live, and in future reside somewhere.
Somewhere in Hollywood, of course.

Now there are lots of cosy places
in Hollywood rentable for fifty or
sixty dollars a month. They'd have
been grand when you were back of
the old soda fountain, or pounding
the keys. But now that you're a star —
they're out. After shopping around
a bit you may find a modestly fur-
nished place for about $300 a month.
If you do, you're lucky. But we'll
give you a break because you're new
in the game. And that's more than
Hollywood will do.

You're not a great, big star at
$1500 a week. (Continued on page 98)

In H. B. Warner's library are a pair of lamps which are known to
have graced an Oriental temple of Confucius more than 1,000 years ago.

Reviews

SEAL- OF; :

SCREENLAND

the

John Soles and Bebe Daniels
score in the colorful "Rio Rita"

George Arliss is supported by
Mrs. Arliss in "Disraeli"

RIO RITA

A GORGEOUS, glamourous show! The wise ones may
tell you that the technique of "Rio Rita" is that
of the 'legitimate' musical comedy. But 1 can't worry
about that when I am having such a good time.
It's a $5.50 Broadway show on the screen. Luther Reed

has directed with speed and sparkle. Music sets singinr;

comedy are all big-time. Bebe Daniels is a sweet sensation

optically and vocally as the alluring Rita. Bebe's voice
matches her rich and vivid personality. Her acting is
natural and graceful. John Boles as the Texas ranger will
fire his fans to fresh enthusiasm. The team of Bert Wheeler
and Bobby Woolsey contributes unforced and infectious
talkie comedy. Bert will never go back to Broadway in
person if my applause will help to keep him in Hollywood.
"Rio Rita" is a happy marriage of screen and stage talent.
Bless you, my children!

DISRAELI

EORGE ARLISS talking 1 The eminent actor brings
his "Disraeli" to the screen with highly satisfactory
results. It is a refreshing picture, with no theme
song except God Save the Queen. The great Dizzy
is one of Mr. Arliss' most popular portrayals, and I'm glad
that the Warners have seen fit to preserve him in celluloid,
with not the slightest concession to 'box-office.' They have

their reward "Disraeli" has turned out to be box-office

after all, and in a big way. The Broadway audience I sat
with had come to see Arliss in "Disraeli" and knew what
they were doing, for they fidgetted during the half hour of
'shorts' which preceded the feature; they were in a hurry
to steep themselves in the quainter and quieter times of
England's picturesque statesman. Arliss is superb. Mrs.
Arliss plays Lady Beaconsfield. Joan Bennett and Anthony
Bushell supply the young-love interest.

MARIANNE

Lawrence Gray and Marion Davies,
amusing in "Marianne"

MY favorite of all the big musical movies so far.
"Marianne" is a doughboy's dream of a lovely
war sheer comic fiction. It aims to be rousing
and rowdy entertainment, and it succeeds. Robert
Leonard's direction is hearty and human. But after all, it
is Marion Davies' own special triumph. She plays a French

peasant girl blouse, accent, and all; and it's the hardest

role any screen star has attempted in the talkies. She can't
depend upon beauty or wardrobe. She must swing from
broad comedy to delicate pathos and back again. It's an
acting achievement. And the Davies imitation of Chevalier
is a classic. Lawrence Gray is next for honors with a grand
singing voice and more masculine charm than you ve met
before in one talkie actor. He's the new idol. Just You
Just Me will be the world's favorite theme song if my
whistling can put it over.

for January 1930

Best Pictures

Screenland's Critic Selects the
Six Most Important Films
of the Month

APPLAUSE

" A PPLAUSE" with and for Helen Morgan! She is a

/\ night-club star who has risen to considerable pro-
/ % minence in New York lately. But it remains for
A. her first £lm feature to reveal her as an important
dramatic actress. This girl who can sing sentimental ballads
like Can't Help Lovin' That Man and make you like it with
a few flutters of her hands and catches in her voice is an
amazing artist. As Kitty Darling, blonde burlesque queen
in the picture version of Beth Brown's interesting novel, Miss
Morgan approaches greatness. She is Kitty and that's all

there is to it except, perhaps, a little technique and hard

work. Rouben Mamoulian directed with occasional inspira-
tion and consistent promise. He will do better work when
he is not so fascinated with camera angles. It's his first
picture. Joan Feers, newcomer, is nice. Henry Wads-
worth, also new, is even nicer. But more Morgan!

Sp. They Had to See Paris

WILL ROGERS, almost in person! The Rogers
personality, such a panic on the stage, never
quite registered on the screen until talkies came
along. Now Will is a wow. His first talkie is
excellent entertainment of the home-spun variety. It's 100%
American, all right. Rogers is an American classic and this
film is a worthy monument to his well-known wit. He
plays a 'new' millionaire whose wife and children drag him
to Europe for the 'background.' Once there, Will is neg-
lected for the pleasures of Paris: his wife goes in for society,
his daughter for a French count, his son for the Latin

Quarter. Will is left alone no, not quite alone. There's

Fifi Dorsay; and she's fun. Rogers shares honors with
Irene Rich, who is great. Owen Davis Jr. and Marguerite
Churchill are clever youngsters. Incidentally, you may plan
a family theater party for this one and not feel embarrassed I

g|L Welcome Danger

HAROLD LLOYD'S first talking picture and, not to
keep you in suspense, you'll like it. The addition
of clever dialog makes the antics of the spectacled
comedian just so much funnier. "Welcome Danger"
is a 'typical' Lloyd comedy in that it is built up carefully,
sustained cleverly, and climaxes in a terrific explosion of
mirth. The last few reels contain some of his most con-
vulsive comedy. The funniest scene in the entire picture
depends upon sound to put it across. Noah Young helps,
too. I like the leisurely beginning in which we are intro-
duced to The Boy and The Girl and allowed to become
acquainted before the siege of slapstick starts. But my
favorite scene of all, also dependent upon dialog for its effect,
is Harold's bashful attempt to propose to Barbara Kent. It
is human and natural and nice. And I hear it was mostly
'ad-libbing.' Smart boy, Harold!

SEAL- OF]

Helen Morgan with Joan Feers in
picturesque "Applause"

Fifi Dorsay and Will Rogers in
"They Had to See Paris"

'Welcome Danger" is Harold Lloyd's
first talkie comedy

Critical

Sweetie

HERE'S the first collegiate movie musical comedy with
Nancy Carroll, Helen Kane, Jack Oakie, and a
new boy, Stanley Smith, participating. It's very
juvenile entertainment; but unless you are an old
fogy who hates boys and girls and can't bear football games,
you'll enjoy it. At least it doesn't pretend to be anything
but very young and very fresh. A chorus girl, Nancy

Carroll, inherits a boys' school and brings a little bit of

Broadway to the classic halls of learning. And who'll com-
plain? Jack Oakie enrolls and changes Alma Mater to Alma
Mammy, and has the time of his life. I had mine when
Helen Kane sang her balcony song to a frightened Romeo.
Miss Kane is the audible Clara Bow. 1 am all in favor of
having her starred. Let's get up a petition. Screenland
christened her 'Sugar' Kane and now she's being billed that
way. Leave it to us to pick them!

Why Bring That Up?

I'LL bite, why? Moran and Mack are laugh experts in
their line but is their line an elaborate screen revue?
Why not make a series of short subjects of these two
popular black-face artists and let us listen to their
early-bird discussions and have our fun and then let us go
home? Of course I know that "Why Bring That Up?" will
attract all the admirers of the team, and if they like the
surrounding scenery, then tell me I'm wrong. Not that the
musical comedy atmosphere in this picture is inferior to that
in a dozen other offerings; but the novelty has worn off.
Records and radio have brought the Moran-Mack dialog into
the home and family clowns have repeated it until it really
seems that the team should find a new line. Or the family
clowns will have to go to work.

SCREENLAND

Comment

Her Private Affair

NOT, as the title might imply, a frisky farce, but a
tense drama involving a married lady's indiscretion.
In fact, this married lady is so indiscreet as to
commit murder justifiable, perhaps, but neverthe-
less murder. An innocent man is accused of her crime; her

husband is a learned judge; she has a conscience and so she

suffers. Since Ann Harding is the harassed lady, you will
be interested and even touched by her troubles. Miss Hard-
ing is perhaps the loveliest of the stage stars to crash Holly-
wood; she has youth, ability, and her own particular brand
of potent charm. What I like best about her is her apparent
unconcern with her own beauty. She has the naturalness
usually associated only with plain women. She gives a
notable performance in this picture, and opposite her is
her husband, Harry Bannister, a good actor. And those
love scenes are real.

The Painted Angel

1AST month Screenland told you that Billie Dove was
talking for the first time on the screen. This month I'm
j telling you that you'll hear Billie sing and see her
dance for the first time in "The Painted Angel."
Watch next month's Screenland to see what Billie will be
up to next! It was in Professor Ziegfeld's Follies that Billie

received her initiation into Missus Terpsichore's and Old

Mammy Vocal Chord's realm, but here this beautiful lady

is placed in lavish surroundings that almost out-Ziegfeld

Ziggy. And Billie acquits herself in great shape leave that

to her. As a night-club queen, she leads a beauty chorus,
bosses the girls behind the scenes, and makes Eddie Lowe s
life miserable as well as eventful, besides stirring up strife
among the men-folk. Wait until you see Billie s wild-west
number, which she puts over with a bang and a boopa-doop.

for January 1 9 3 0 53

on Current Films

The Return of Sherlock Holmes

THE king of all criminologists, Sherlock Holmes, finds
his ideal interpreter in the suave Clive Brook. All
Sherlock fans must see and hear the master detective
tracking down his arch enemy, Moriarity, in this,
talkie. Sherlock Holmes, like Peter Pan, has perennial
charms, particularly with Paramount's prize English star
contributing his excellent voice and elegant diction to the
role. Another Englishman, Basil Dean, was entrusted with
the direction, which moves somewhat slowly according to
Hollywood standards, but has some distinction nevertheless.

Holmes is called upon to rescue Phillips Holmes no relation

from Moriarity's clutches so that the young man may

marry Dr. Watson's fair daughter. It will amuse you to see
the immaculate Clive Brook assuming strange disguises.
Harry T. Morey, an old favorite, returns with honors as
Moriarity. "Marvelous, Holmes, marvelous!" "Elementary,
my dear Watson — elementary!"

A Hollywood Star

EXCUSE me while I guffaw. Here's a really funny
picture. It's Mack Sennett back in his old splendid
form and up to new tricks at one and the same
time. This short feature comedy is the first burlesque
of the talkies. Mr. Sennett presents Andy Clyde as a small-
town motion picture theater exhibitor all a-twitter because
Jack Marlowe, western star, is to make a personal appearance
in conjunction with his first talking picture, "Rose of the
Badlands." The local gentry turn out for Jack and the
theater is packed; but alas, after a beautiful speech of
welcome the talkie mechanism goes all wrong, and no sound
issues from the moving lips of our hero. Anyone who has

ever suffered through a talkie that forgot to talk and who

hasn't? will have to be carried out of the theater along

about this time. Harry Gribbon plays the comic hero in
classic style. An original Sennetter with new ideas.

Broadway Scandals

THIS screen musical show will entertain practically
everybody, with the possible exception of Georgie
White. It is crammed with chorus girls and elaborate

numbers employing a run-way over the audience

oh, not your audience, silly, just the audience on the
screen. Even so, this intimate number packs considerable
kick as Carmel Myers leads it, and the costumes are the
sketchiest so far devised for a film chorus. Sally O'Neil
is the sweet heroine, Carmel the naughty vamp, and a new
young juvenile is the man disputed. I thought he was
Buddy Rogers for a minute; but Jack Egan only looks some-
thing like Buddy. Jack has a personality of his own, a nice

voice, and the kind of appeal generally known as boyish

which means it works. More back-stage stuff, the best
scene being that in which the vamp forgets her French
accent and goes back, figuratively, to the Bronx. Young
Mr. Egan's fan mail will be getting heavier.

Jazz Heaven

NOT another back-stage picture. That's the time they
fooled you! "Jazz Heaven" concerns itself with the
output of Tin-Pan Alley; but instead of the usual
theater atmosphere and endless chorus numbers it
offers a pleasant diversion in the way of a boy and a girl
in love against the background of a music publishing house.

The boy Johnny Mack Brown has a voice and a piano

and uses both, and Sally, besides the O'Neil charms, has a
job as a song demonstrator. It isn't much of a story and
it won't surprise anyone in the audience to find the young
stars blossoming into radio broadcasters before the picture
is over. Joseph Cawthorne as the senior partner of the
music publishing company, walks away with the show. This
veteran comedian can stay in Hollywood as long as he likes.
The theme song, Someone, is hummable and croonable.

SCREENLAND

Revuettes

The Unholy Night

A mystery melodrama so involved that you can't
be sure what it's all about even when it's all
cleared up. But mystery addicts may love it, for
there's sufficient spooky stuff going on to supply
a dozen dramas with scares and sound effects.
The picture begins in a fog and some members of
the audience remain in one all the way through.

A grand cast Ernest Torrence, Roland Young,

Dorothy Sebastian, Natalie Moorhead, Polly Moran,
John Loder, and Sojin. Well, it all depends upon

your mood if you crave shocks and Scotland

Yard atmosphere you must go; but remember

not recommended to light sleepers.

Salute

A charming, clean little picture about two Annapolis boys
and their girl friends: George O'Brien, William Janney, Helen
Chandler, and Joyce Compton. Stepin Fetchit supplies the
comedy, a football game the excitement, and navy cadets on
drill the atmosphere. Not an important picture but well
worth your time and ticket. John Ford directed.

The Girl in the Show

Adapted from a stage play, "Eva the Fifth," this is not
a worthy vehicle for the versatile talents of Bessie Love.
Great little trouper that she is, she can't put this weak one
over. It's about an "Uncle Tom's Cabin" troupe in which
Bessie plays Eva and Raymond Hackett Legree. A good
cast wasted on indifferent material.

A Most Immoral Lady

Don't be frightened by the title. You may take grandma
with perfect safety. Besides Leatrice Joy and Walter Pid-
geon, there is Sidney Blackmer (Mr. Lenore Ulric) in his
film debut, and Sidney almost romps off with the picture.
The story tells of a nice girl, Leatrice, whose husband, Sidney,
makes her help him blackmail her gentleman admirers.

Hard to Get

Put this nice little picture on your 'must' list. Starring
lovely Dorothy Mackaill, with Jack Mulhall and Jack Oakie
in the cast, it's a sure-fire prescription for the blues on the
night it rained when someone tore up your rubbers. All
about a shop girl beloved by an automobile mechanic, who
is all agog when a millionaire asks her to marry him.

for January 1930

OTHER PICTURES

His Glorious Night

Of course you won't want to miss John Gilbert's
first talking picture. It has had a varied reception;
some audiences were hot, some cold. Others just
laughed. Gilbert's well-known appeal seems not
so potent when he speaks his lines. It may be the
fault of the story. A romantic costume play was
hardly a wise choice for this good actor's talkie
debut. It's hard enough to be convincing in plain
clothes, and Jack has to appear in a wardrobe of
fancy uniforms. He plays a dashing captain in

love with a haughty princess Catherine Dale

Owen, who also suffers from an unconvincing
assignment. Let's give them both another chance.

Venus Evidence

This is Constance Talmadge's latest and, they say, last
picture. We hope it isn't true because Connie's glamourous
career as a clever comedienne merits a better swan song.
Produced on the continent, it stacks up neither as a good
Talmadge vehicle nor as an entertaining film. Only probable
interest is in the European setting. Sorry 1

Pauline Frederick at last finds an emotional role worthy
of her splendid talents. Here she is seen as a wife and mother
who is a victim of circumstantial evidence. Yes, there's a
court-room scene. Miss Frederick's charm and dignity were
never more pleasing. She is ably supported by William
Courtenay, Lowell Sherman, and Conway Tearle.

Illusion

Not much for Charles Rogers or Nancy Carroll in this
picture. These two youngsters deserve the best material
obtainable but they were not so fortunate here. The Buddy
Rogers following will hardly take to their favorite juvenile
in this role of a magician and Nancy never has an adequate
chance to do her stuff. Better luck next time.

Dark Streets

Presenting the first dual role in talking pictures, with Jack
Mulhall doubling for himself. Besides giving Jack the best
part he ever had it offers a splendid picture of the under-
world, filled with thrills and interspersed with comedy. Lila

Lee is charming. You won't blame these 'openers' 1 mean

this pair of Jacks for falling for her!

SCREENLAND

Eight-y ear-old, high
school girl, model,
movie actress —
they're all Jean.
She has worked her
way up through op-
position and disap-
pointment; she has
come smiling
through to steady
success.

Qrowing TJp

Jean Arthur is on the
High Road to Stardom

By John Godfrey

FOR whatever she is, for whatever she will be, Jean
Arthur can thank Jean Arthur.
She is one of Hollywood's most interesting young
personalities. By nature, she has a lure of mystery
which few American actresses have. By training, she has
the determination of a young business man.

Jean Arthur has done what most girls couldn't. In-
stead of having a manager to act as contact with the out-
side world, she has fought alone. During these five years
she has developed from a rather plain high school girl
into an interesting actress who can be classified as neither
ingenue, leading woman nor menace, playing dumb-bell
flappers and smart debutantes with uniform success.

With "The Mysterious Dr. Fu Manchu," "The Greene
Murder Case" and "The Saturday Night Kid" to her
credit, Jean Arthur is about to realize the result of her
remarkable courage. She worked almost four years before
her first chance came, and those years have made her the
Jean Arthur of today. She is a sensitive, cultured girl
who, one would think, could not stand opposition and
defeat for any length of time. But disappointments have
given her a calm outlook on life. Nothing that anyone
could say about her could disturb her now. It would
hurt her, but in these years she has gained the poise of
a woman twice her age.

Jean Arthur would have been a college girl today if
she hadn't accompanied two of her friends to a commer-
cial photographer's studio during her freshman year at
high school in New York City. She was a plain girl with
long hair and there were freckles on her face. Neverthe-
less, when one girl was late the photographer asked Jean
to pose for a hat advertisement, and she was given a five

dollar bill for the half hour's work. To her great sur-
prise, the developed print showed excellent photographic
qualities. Right there her career began. Since Jean was
fourteen years old she has supported herself, and has
done it well.

With a group of girls under contract to a big film com-
pany, she came to Hollywood. Her mother accompanied
her, although it was against the entire family's judgment
that their daughter become an actress. Jean has a large
inheritance of determination, so sweetly and politely she
told her folks that she had done well enough and for them
to wait and see. Many a time the advice of her family
against her career prompted her to go on.

Miss Arthur's initial disappointment in Hollywood was
in being taken out of her first important part and put into
westerns and comedies for the remainder of the contract.
She worked around Hollywood for years. During the
first years in the film colony, defeat came so often that
Jean finally took hold of herself and realized that those
periods in which she was sunk in (Continued on page 110)

Eugene Robert Richee

JEAN ARTHUR worked hard and never
missed an opportunity. Reward: a nice
long-term contract and bigger parts.

WILLIAM POWELL has stepped out of
character. From suave crook roles he
emerges to stardom as a fascinating hero.

Chidnofi

LILLIAN GISH is making her all-dialog pic-
ture debut in "The Swan," a romantic
comedy adapted from Ferencz Molnar's play.

ENGAGING grin and athletic prowess are
not George O'Brien's only claims to popu-
larity. He is a good talkie actor, too.

OAN BENNETT can't live down the fact
that she's the littlest- Bennett. But she's
fast growing up into a versatile trouper.

William E. Thomas

» LONDES are still preferred on the Pathe
' lot and Carol Lombard — note the particu-
larly stunning coiffure — is one of them.

EN LYON is now qualified as a transport
pilot. When will Ben and Bebe take that
co-starring flyer in films?

Chidnof

Lansing Brown

LLOYD HUGHES found new popularity
when he added a fine singing voice to his
other screen qualifications.

for January 1930

The

SURPRISE
VOICE

Lloyd Hughes Discovers
he can Sing and Steps
into a New Screen Career

By Jason Carroll

i<-~W" "JT" FWB speaking. This is the First National Radio
hour. We have a surprise for you tonight,
l^^k folks. Lloyd Hughes will sing for you. His
selections will be Rose of My Heart and I Kiss
Your Hand, Madame. Introducing Mr. Hughes!"

Henceforth, Lloyd Hughes' voice will need no introduc-
tion. Before twenty-four hours had elapsed the Warner
Brothers radio station in Hollywood was swamped with
telephone calls demanding more of Lloyd Hughes.

Within another twentyfour hours he had triumphantly
scored a hit in a singing test at the RKO studios, and won
the leading role opposite the vivacious Bebe Daniels in
"Love Comes Along." A coincidence indeed, as Bebe's
own surprise voice in "Rio Rita" won her new and greater
screen fame.

Within the next ten days, a thousand-and-one letters
were received from radio and screen fans throughout the
country, demanding the same and more of it. Nearly
every writer expressed astonishment that the formerly silent
screen star possesses such a splendid voice. (It's a dramatic
tenor, with fine tonal quality, clarity and resonance.)

The radio and picture fans have nothing on the
astonished Hollywood studio folks when it comes to the
Hughes voice. For several months now Lloyd has wisely
held his own counsel around the studios during the making
of pictures. Beyond knowing that the player possessed a
fine recording voice in speaking lines, the studio staffs were
none the wiser. Unlike many who have rushed in where
angels fear to tread, the modest Lloyd guarded his secret
well, meantime perfecting his voice under one of the finest
singers in Los Angeles. He knew he could sing well
enough to get by any old time in musical pictures, but he
had bigger and better ideas.

Not once in any of his talking screen tests at the studios
did he reveal his singing voice. He waited until he was
sure he could really surprise his own crowd.

Overnight, as it were, Lloyd has found a new popularity
not only with the public, but with the producers and
directors of pictures. A handsome screen actor who can
speak lines is considered a golden nugget, but when a rich
romantic singing voice is added to these qualities, we have

Hughes has astonished Hollywood by devel-
oping a fine singing voice. He warbles with
Bebe Daniels in "Love Comes Along."

an eighteen-karat diamond. Of course, he is not a Lawrence
Tibbett, a Rudy Valee, an Al Jolson or a Maurice Che-
valier, but he will most certainly please the world of
theater-goers with his voice. In other words, Mr. Hughes
stands on the brink of a new and exceedingly promising
picture career.

One evening after his radio debut the bashful owner
of the surprise voice was corralled by several well-wish-
ing old picture colleagues with whom he had often played.
He was billed to sing a return engagement by special re-
quest.

"What was the big idea in not letting us in on it?"
was the most popular and somewhat indignant question.

"Shucks," stammered Lloyd, "I didn't think so much
of my voice. And I don't now. Say, I'm just a beginner.
If it's good enough now, after a year's study, to get me
by before the mikes, I'll be tickled to death."

It is odd that he has never sung before, nor even in-
dulged in vocal lessons, because of his fine natural voice.
Most boys from small towns manage to sing in a glee club
or play musical instruments in the town band before attain-
ing their majority. Listen to Buddy Rogers. But Lloyd
never did.

"Well, I have done my share of harmonizing with the
boys in impromptu quartets, but never seriously. And
there is one thing I want (Continued on page 97)

SCREENLAND

ON
LOG A TION

with

Mary
Nolan

Helen Ludlam

This is a sort of double-header location.
That is to say, it is killing two birds
with one stone, which further eluci'
dated, means that the spot John Robert-
son chose for his location will be of special interest to the
fans because it is Noah Beery's Paradise Trout Club.

It is only 88 miles from Los Angeles and the biggest
surprise in the world. You go through desert roads with
nothing but cactus and sand and here and there a tiny
cottage and little patch of cultivation that tells of a brave
returned soldier, trying to wrest a living from the govern-
ment land he bought. Then suddenly, without noticing
that you have been going up hill, so gradual is the rise,
you find yourself a mile high and surrounded by tall
pines. And there is Noah Beery's Paradise.

The company was working along the bank of one of
the streams about five hundred feet from the main lodge.
The situation was that Jimmy 'Murray and Mary Nolan
had met in China during one of the bandit uprisings.
The two Americans had to flee for their lives and fate
took this opportunity to bring the two young people to-
gether. The girl and boy fought many dangers on their
way back to Peking and when I found them they were
resting by the side of this charming brook. There had
been rain, and Mary, with a brilliant shawl for a garment,
had hung up her frock to dry. She had all the comforts
of home spread about; an army blanket to rest upon and
a portable victrola to cheer her up. They had bummed
a ride in an old ox cart and the animals with their native
driver were taking advantage of the siesta. Jimmy had
built a little fire so the frock would dry more quickly and
the two young things were fast falling in love. In fact
they were already, but had not told each other so. There
was difficulty in that because Jimmy, who had escaped

The exteriors for "The Shanghai Lady" were shot at Noah Beery's
at the left; and, at the right, John Robertson rehearsing Jimmy

from prison for stealing a loaf of bread to keep from starv-
ing, thought that Mary was a great lady and far above
him; while Mary, who was a girl of the streets, thought
that Jimmy was a great gentleman and far above her/
And so Puck and Cupid and all the rest of the woodsy
band were having a fine time watching Jimmy and Mary
battle with Nature.

Mary is certainly an alluring young woman and about
the biggest chatter-box I have ever heard either inside or
outside of a studio! Between scenes her tongue was never
still. She was as full of pranks as a ten-year-old child,
which amused her little colored maid extremely. It dis-
turbed Mary to see people moving about while a scene
was going on. She was lying on her back staring up at
the trees while Jimmy went to the spring for water. Each
was battling with his own emotions to keep from letting
the other know how terribly they were in love.

Because of the delicacy of the scene it was more in-
spiring to Mary to look up at the trees and the sky and
all space beyond it than at people who had nothing to do
with the action. As she was rehearsing it her maid
walked in front of her.

"Ella!'''' Mary cried. "Go right over there and sit
down! If you don't sit down and stay down I don't know
what I will do to you."

She spoke as I have heard many a ten-year-old girl
scold its doll. And then she burst out laughing. Ella
was laughing, too. I don't want to give the impression
that I believe Mary to be a child in everything, because
I think that she is a very sophisticated young lady; but

for January 1930

'The Shanghai Lady"
Invites You to Come
Along and Watch
her Work!

Paradise Trout Club. In the picture above you see the crew
and Mary while Screenhnd's Location Lady looks on.

All the players in Hollywood love to work
for Director Robertson. Jimmy and Mary
seem to be enjoying themselves.

Helen Ludlam says Mary Nolan is as natural
and elfin as a ten-year-old child. She was
really afraid to touch these turtles, but finally
mustered up enough courage to pose with them!

there is a lot of the elfin little girl about her and it is one
of her greatest charms.

In this sequence she is barefooted, and at the end of
the scene she started to walk off the blanket when she
remembered that she was without shoes. "Ella! Why
don't you pay some attention to your mistress?" she called.
"Where are you?"

"Here ah is, Miss Mary," said the girl.

"Well, what are you doing with my slippers and why
aren't they on my feet?"

"Because — " Ella laughed.

"Now, now, no alibis!"

"Lor1!" Ella giggled, "Ef ah walks around ah gets
balled out, an' ef ah sits down ah gets balled out!"

"Hal," asked Mary of Hal Mohr the camera man, "how
did I look in that scene? Was the light right on my face?
Did I turn my head enough? Was my shawl all right?
You know I haven't much on underneath this shawl. If
it comes apart imagine my embarrassment, Hal, if this shawl
should come off."

Well, of course Hal didn't know (Continued on page 108)

SCREENLAND

The Parties

Going Places. Doing Things, Meeting People!

' 'm so glad that Leo Carrillo is be-
stowing the party concessions to
his Santa Monica Canyon rancho
on his friends so generously,"
remarked Patsy. "It was only those old
Californians, and the foreigners today,
who know what to do with our lovely
outdoors."

"What's coming off?" I inquired.
"Beatrice Lillie — Lady Peel in private
life, you know — and Leo Morrison are
giving a barbecue party Sunday after-
noon at Carrillo's ranch. Em so sorry
Leo Carrillo himself isn't here. He's in
Australia, you see; but he's coming back
to make some pictures."

An old board fence surrounds Leo's
acreage at present, but nothing can des-

Lilyan Tashman's new coiffure is
attracting attention at Hollywood
soirees. How do you like those tight
little curls around her ears?

At Beatrice Lillie' s and Leo Morrison's
White, Bee Lillie, Attn Greenway, William
Arbuckle, Georges Carpentier, Louise
Pennington, Bessie Love,

troy the natural beauty of the grounds, with their huge
sycamore and oak trees, the little stream running through
the arroyo, with its clear pools, the ferns and the wild
flowers. He is to build a home there soon.

Beatrice Lillie and her beautiful mother, assisted by Leo
Morrison, were greeting her guests as we arrived, and we
caught sight of a lot of people already gathered under
the trees. Miss Lillie looked charming in her sports clothes.

With her had come her brother-in-law, the famous
writer on Egypt, Arthur Weigall, and her sister; also her
little son, young Robert Peel.

Young Robert, at the moment of our arrival, was asking
Hal Skelly if he knew how to skip stones on a pond, and
was showing Hal how to do it. He had been running
about and had got stickers in his stockings, but hadn't
time to stop and pull them out.

Hal Skelly had donned a bathing suit and leaped into
the pond, and he and little Bobby presently were chasing
the ducks about the water.

Bee Palmer was there, as were also Mr. and Mrs. Mai
St. Clair, Marshall Neilan, Jack Pickford, Georges Car-
pentier, Tom Jackson and his wife, Bessie Love, Ann
Pennington, Louise Groody, Ben Gimbel, Vivienne Segal,
William Boyd, Mr. and Mrs. Gus Edwards, Armida, Mr.
and Mrs. Paul Porcasi, Bobby Watson and dozens of
others.

"Such a crowd of actors from the stage, just come into

for January 1930

PlCTUREVILLE

By Grace Kingsley

Bebe Daniels is one of
the few girls who can
wear the difficult long
bob without looking as
if she had just jumped
out of bed!

barbecue. See if you can pick out Alice
Nigh, Tom Patricola, Joey Ray, Fatty
Groody, Mai St. Clair, 'Bugs' Baer, Ann
Jack Pickford.

pictures!" confided Patsy.

We ate barbecued food at long tables under the trees —
delicious steaks and chops, frijoles (red beans), enchaladas,
coffee — and then went back to where we had seen a piano
resting under the trees as naturally as if it was nothing
at all to find pianos in canyons.

"Remember," Tom Jackson inquired, "when we used
to laugh at the lady in vaudeville, doing her act in one,
who would say to her partner, 'Ah, here's a piano in the
forest — let's sing!' Well, that isn't a joke any more."

Bee Palmer was the first artist to oblige. She leaned
against a great sycamore and sang one of her naughtiest
songs.

Then Bessie Love danced a wonderful little PeterTanish
dance — a sort of pantomime; Joey Ray sang and Jimmie
Morgan played the violin.

Bobby Watson pretended to sob as Jimmie played, and
begged Jim not to play Pagan Love Song — said he just
couldn't stand it.

Then Beatrice Lillie herself sang! And don't think that
Miss Lillie's songs need a setting of the theater to make
them effective. Her There Are Fairies at the Bottom of
Our Garden was just as demurely naughty and effectively
comical out there under the trees as it ever was in a theater.

Then she sang one of those brightly satirical songs — a
bit of a take-off on Galli-Curci, and I'm sure that the grand
opera singer herself would have (Continued on page 106)

SCREENLAND

5ENNETT 5TYLES

Such extravagance!
Phyllis Haver's bath-
ing costume is just
like the party dresses
girls wear now.

Marie's all dressed up in her
best bathing togs and afraid to
go in. Oh, go on!

for January 1930

^ave Changed

Kathryn Stanley must be cold. Never
mind, Kathryn — it's all in the cause
of art.

Winnie Law, Mack Sennett-Educational
bathing beauty, and what a beauty!

Life's just one bathing suit after
another. Observe the modish
low-cut back and belted waistline.

SCREENLAND

Charlie Farrell had the time of his
life in New York. He turned out to
he one of the most popular stars who
ever visited Manhattan.

Below: that 'Sally-Sunny' smile!
Marilyn Miller perched on her trunks
at the Grand Central when she re-
turned from Hollywood.

What a surprise! The Colleen Moore of real
life is no more the Colleen Moore of the
screen than a champagne cocktail is a choco'
late ice cream soda. On the screen, Colleen
is a sweet vivacious person. In real life — well, in real
life, Colleen is as young and as sweet as she is on the
screen, but there's brains in that thar head, stranger, and
you can't get away from it.

Colleen and Johnnie (McCormick) as Colleen calls her
husband, were at the Plaza. They had a beautiful suite

IN NEW

Big Stars in
the Big Town

overlooking Fifth Avenue. The drawing
room was filled with lovely autumn
flowers, and Colleen in a plain little
black dress with demure collar and cuffs
met me at the door.

Sitting down in a big chair with one foot curled under
her, Colleen talked about her recent trip to Montreal. She
went there to see an old friend, Sister Ignatia, who taught
her to play the piano when she was a little girl in a con-
vent down South.

"It's funny, you know," Colleen said, "as much as I
love jazz, I can't play it. I can only play classical things.
But I love them, too. And recently, when I finished my
last picture, I spent two grand days all alone at home,
doing nothing but practicing Gershwin's Rhapsody in
Blue. But I didn't learn it quite. It's awfully difficult,
I discovered.

"We're having a splendid time here in New York,"
the star continued. "Last night we had dinner with James
Montgomery Flagg, the painter, and his wife. Flagg has
the most beautiful daughter I ever saw. I'd like to kidnap
her. I didn't know there could be such beauty on this
earth until I looked at that three year old girl. She's like
a gold and white angel — absolute physical perfection.

"I've been reading a lot lately, too. I try to keep on
learning, although when you make pictures so fast there's
little time. I love to read biographies of people who have
accomplished big things — like Peter of Russia and Napoleon
and Goethe. But most of all I love Donn Byrne, the
Irish writer, who died so suddenly last year, in an auto-
mobile crash. How I should love to make a picture of
his 'Blind Raftery,' — you know the story of the blind harp-

for January 1930

YORK

By Anne Bye

ist who loved a woman that the world
condemned. I'd like to make 'Madame
Butterfly1 too. That's a real gamin role,
only people don't realise it. I like gamin
roles. And sophisticated parts, too. In 'Footlights and
Fools' I was a little sophisticated but Fll have to wait
to see how my movie friends like it."

Colleen has a tremendous love of art. Among her
New York friends she numbers many celebrated artists
and spends much of her time here visiting galleries and
inspecting paintings in private exhibits.

"I've had a grand time window shopping," Colleen said.
"But so far all I have bought is one hat!"

Of all the stars, Colleen impresses me as being one of

the most sincere and most womanly. She is absolutely

without pretense. And the fame and money she has

earned have only intensified her fineness of character and

her understanding of the comedy and tragedy of life.

* * *

Up at the SavoyPlasa, slim Charlie Farrell was having
the time of his life, on his first trip to New York.

"I'm crazy about New York," Charlie said, twisting his
lank hair around his long fingers. "I never believed I
could have such a wonderful time any place. Everybody
is simply marvelous to me. And I have met so many diF
ferent kinds of people — such stimulating people. Some
times I have a luncheon date with one, a tea date with
another, a dinner date with a third, and go to the theater
with a fourth. There simply isn't time for all the things
I want to do.

"I bought the first silk hat I ever had, here in New
York," Charlie exclaimed. "There is no thrill quite like

Colleen Moore spent much of her
vacation time in New York visiting
art galleries and renewing acquaint-
ance with artist friends.

Left: Catherine Dale Owen, the
beautiful blonde, came back to Broad-
way for a visit after her screen
triumphs in California.

Below: Ina and Jack, as they re-
turned from their honeymoon. The
Claire-Gilbert alliance proved a boon
to ship news photographers !

putting on long tails and a silk hat and stepping out! I'm
determined to come here often. There's something in the
air that peps me up.

"Why, do you know, out in Hollywood, even with the
best of intentions, I get in a rut. When the company told
me I could come here for the opening, I actually didn't
have a thing to wear. I just go around out there in sport
clothes and when I got to New York I didn't have any
proper shoes at all. I had to go out and buy three pairs!

"I believe the greatest fun I got (Continued on page 102)

SCREENLAND

All dressed up and ready to go, Dorothy
Mackaill adds a last touch to her make-up.

Not so long ago, I talked to a director
of motion pictures. I don't remem-
ber much of what he said about
directing pictures, but I do remember
what he said about beauty.

"A pretty face is just — a pretty face," he
said. "It gets by, but it doesn't get very far.
If there's not something underneath, something
that shines through, it's not real beauty. With-
in, without!" he repeated.

That beauty is from within is trite but true.
The director of pictures was talking to me about
beauty of mind and spirit. I'm talking to you
about the beauty that comes from wholesome
living and good grooming. I don't believe
that even the soul can be beautiful if we don't
eat wisely, exercise properly or neglect to
cleanse the skin thoroughly.

But after all, it amounts to the same thing.
Fundamentals. The director, a connoisseur in
beauty, spoke of mental health, of beauty of
soul that shines through the face and eyes.
I'm trying to tell you about physical health
and its beautifying effect on skin, hair and fig-
ure. And it all works together, doesn't it? —

Anne Van Alstyne

right living, right thinking — the foundation of beauty.
It's within.

Now, let's treat this question of fundamentals a bit
seriously, girls, because it is serious. Whether you want to
catch a beau or get a job or keep your husband good looks
are an asset. You all admit that. And you can be good'
looking. The beauty that comes from wholesome living
and good grooming, every girl may have.

Creams and skin tonics help very materially. Powder and
rouge cleverly applied do wonders. We couldn't possibly
get along without them. But a healthy skin, sparkling
eyes and live, lustrous hair come from the foundation.
And the ingredients that hold this foundation together are
health, intelligence and good common sense. Therefore,
our success in maintaining a high quality of balance before
all men is largely dependent on how we work, play, sleep,
and how and what we eat.

Think of this, girls, before you decide to order an ice-
cream soda and chocolate eclair for luncheon, and nibble
surreptitiously or openly at rich candies all afternoon so
you have no appetite for fresh vegetables or wholesome food
of any kind at dinner. Also when you dance four nights
out of six and tumble into bed without troubling to wash
your face and dash out in the morning after a cup of strong
black coffee, totally ignoring the fresh fruit juice and crisp
toast so carefully prepared for you.

And here's something else: the people whom you most

Esther Ralston takes time to protect her blonde
locks with a towel before removing her make-up.

for January 1930

'e?KIN

GAME'!

Every Girl May Have the Beauty That Comes
from Good Grooming, says Screenland's
Exponent of Popularity and Charm

admire are the ones who are most careful about right living.
Take the movie stars, for example. Probably in no other
quarter of the globe are so many exquisite girls and so
many beautiful mature women to be found as in Holly-
wood. But don't think for one moment that they spend
their leisure hours making continuous whoopee. They can't
afford to. The movie stars, more than any other class of
people, I believe, realize that they must keep themselves
physically fit if they are to retain their charm and vim
and the strength to do their work. And any one of them
would tell you, as they have told me many times, that
regular living combined with a tranquil, contented state of
mind are the real, lasting beautifiers.

Now it's all settled that external treatments alone will
not give you the good looks you long to have. Suppose,
now, you take stock of yourself. Sit down before your
mirror in the clear, searching light of day. What do you
see? A sallow, lifeless skin, large pores, pimples and black-
heads, dull, heavy eyes? If so, it's a dead give-away. It
means that you do not rid yourself of all the poisons of the
body; that your blood is poorly circulated and impure; that
the pores and skin glands are sluggish. External treatments
help to correct this as I shall explain later. But you must
begin at the beginning. From within! Improve your elimi-
nation, and your circulation. Get the poisons out of your
system. Your skin needs nourishment. It may have it from
good blood well circulated.

Doris Hall studies her reflection with an eye to the
gentle art of accenting her natural beauty.

Before this mirror which magnifies every
feature Janet Gaynor achieves an artistic
and individual make-up.

If you don't eat the right foods, if the
digestion is faulty, occasional constipation be-
comes habitual. In the effort to rid itself of
instructing secretions the system forces into the
ducts of the skin matter that clogs the pores,
yellows the complexion and dulls the luster of
the eyes. Usually, every blemish on your skin
is poison which your body is trying to get rid
of. There is but one cure for faulty elimination,
and that is to get at the cause. Nine cases out
of ten, that cause is lack of bulk in foods.

There has been much furor about diet the
past few years. Ever since the straight slim
dresses came in and we had to make ourselves
the right size to fit them — or since the slim
straight figure became the vogue and we had to
dress to fit it — which- (Continued on page 99)

76 SCREENLAND

£A 5^ew Qirl

Dorothy Jordan is the Latest Newcomer
from the Stage to Make Good in Pictures

By Joseph Howard

She's only twenty years old, with a soft
Southern voice and this smile. W elcome,
Dorothy Jordan!

THE wonder of Balboa when his eyes first saw the
Pacific, the gaping mouth of a comedian who has
just been hit with a pie, these are as nothing when
compared to the surprise with which Hollywood's
isolated and startlingly unworldly citizens learned that
stage people are just as regular as persons in any other
walk of life. Sound pictures are firmly established and
the motion picture players have been in amicable or not-
so'amicable contact with stage actors for a number of
months; but Hollywood's astonishment at the fact that a
New York stage actor can be a 'regular fellow' and a
Broadway actress 'a good egg' or 'sweet kid' has not yet
faded.

Dorothy Jordan can be classed in Hollywood's free-and-
easy vernacular as 'a sweet kid.' She came to Hollywood
with the most laudatory advance notices. Press agents
burned out the bearings of their type machines in their
efforts to tell of this musical comedy star who was about
to bedazzle the eyes of the Camera Coast. And, then they
found out that the little, five-foot -two-inch player that

brightened the casts of "Treasure Girl" and "Funny Face"
was just a sweet kid with a Tennessee drawl and one of
the most engaging grins ever unleashed before a camera.
Some of the Hollywood dwellers were even disappointed
that she wasn't high-hat and stagey in the way they had
expected all stage players should be.

"They all seem to think Fm joking," Dorothy said, in
a leisure moment on the set where she is working as Ramon
Novarro's leading lady in "Devil-May-Care," "when I say
that Fm Dorothy Jordan. They seem to expect some ma-
jestic person with a lot of dignity, temperament and poise.
They don't seem to realize that it's just as easy for a girl
to be successful on the stage at twenty as it is for a girl
of the same age to be a star in motion pictures. Why,
even Greta Garbo isn't more than a couple of years older
than I. She made her first success when she was my age.
But, still they don't seem able to grasp the fact that stage
success is no more difficult than screen success if you
are properly equipped." (Continued on page 97)

Ramon Novarro and his new leading lady, Dorothy
Jordan, in "Devil-May-Care," a Napoleonic ro-
mance and Ramon's first all-talking film.

for January 1930

Hollywood Hails Robert Montgomery as
an Ingratiating Young Actor of Real Promise

By Keith Richards

It's great to be born wealthy but it's tough to have,
wealth torn away from you before you are old enough
to really enjoy it.
Likewise, a boy who has known money, and then
is forced back to poverty, really deserves more credit than
one who has always been poor, when he triumphs over ad-
versity and climbs to success.

These two paragraphs epitomize the life of Robert Mont-
gomery, a slim 2? year old lad with laughing brown eyes
who is one of the 'big shots' among the new faces which
have come to Hollywood in the wake of talking pictures.

Eight years ago he and his brother rushed from fashion-
able prep schools to the side of their dying father, presi-
dent of one of America's biggest rubber companies.

Robert Montgomery had never done a stroke of work
in his life. When the paternal affairs were untangled it
was discovered that a fortune had disappeared overnight,
and the two boys were penniless.

Today, from that start, young Montgomery has driven

Robert Montgomery is seen and heard as Norma
Shearer's leading man in "Their Own Desires,"
and registers a real success.

In his short screen career Montgomery
has played opposite Joan Bennett, Joan
Crawford, and Norma Shearer.

himself upwards until now he is repeating on the screen
successes scored on the stage during the past four years.
In rapid succession he has had four big talking pictures,
"Three Live Ghosts," "So This is College," Joan Craw-
ford's "Untamed," and Norma Shearer's "Their Own
Desire."

He's being talked about. This good-looking boy with
the nice smile and the rather unruly brown hair has a
personality that has caught on. And, unlike most new-
comers to the screen, he isn't starting in small parts.
Because of his training on the stage, seventy-two weeks
in stock, and such big New York productions as "Pos-
session," "One of the Family," and "Garden of Eden," he
is getting talkie leads right off the bat. He's climbing
faster than any young man who ever stormed the studio
gates of Hollywood, this chap who reverses the usual
Horatio Alger formula.

You will recall that the Horatio Alger stories are all
about boys who struggle upwards from direst poverty.

Montgomery, however, had (Continued on page 93)

SCREENLAND

Come into the Kitchen

'Sweets from the Sweet— Recipes which
Win Applause from All Consumers

Dessert in Mary Brian's home is often
the result of several dough-rolling hours.
Here is one of them.

IF you can mix a cake that is light and tempting, or
can make a pie that is flaky and juicy, your culinary
reputation is assured.
This bit of philosophy is offered by Mary Brian
to those who harbor yearnings to excel in kitchen calis-
thenics.

"You may roast a turkey to a crisp, aromatic turn, or
whip up an omelet to a cloud of froth, and your skill
will go unheralded," advises Mary. "But turn out an
angel- food cake that glistens with a white satin frosting,
and you will win a niche in the Cooks' Hall of Fame."

Mary admits that the soup, salad and meat courses of
the Brian family dinners are served without benefit of her
personal touch, but the desserts and candies are often the
result of several dough-rolling hours, worked into the few
leisure moments of her busy production schedule at the
Paramount studios.

"Guests appreciate those four 'inch-high variety of cakes,
and I like lots of appreciation after an hour or two over

mixing bowls and stoves," says Mary.

Well, no doubt she gets it, for who wouldn't appreciate
a generous slice of home made pie or a big hunk of cake
whether it's plain gingerbread or of the aforementioned
four-inch-high variety, especially if prepared by the dainty
hands of lovely Mary Brian? Europeans chuckle at our
cake-eating proclivities, it is said, but if they could but

watch Mary get out
her pastry-making
utensils and all the de-
lectable materials that
goes into the making
of a good cake, smell
it baking, and then
sample it in all its
richness, they would
no longer wonder that
French pastries must
always be second in our
preferences.

Anyhow, the fra-
grance of freshly baked
pies or cake or a batch
of toothsome confec-
tion is one of the
greetings that await
the screen folk when
they troop into the
Brian home — at least
they are always hoping,
and usually they're not
disappointed.

Another domestic
confession made by
Mary Brian uncovers
the fact that she prefers to cook for men, only. Her brother,
Taurrence, is the cause for this preference, as it is his
generous flattery that sends Mary into the kitchen every
Sunday to mix up a platter of pralines or a batch of
fondant.

Mary's four favorite recipes are not of the weight'

Mary could win a niche in the Cook's
Hall of Fame as Hollywood's champion
cake, pie and candy maker.

MARY BRIAN'S

PRAL1KES

l7/s cups sugar

(powdered)
1 cup maple sugar

2 cups pecan meats
(cut in pieces)

72 cup cream

Mix sugar, maple syrup and cream in aluminum basin and
boil gently until, when tried in cold water, a soft ball may be
formed. Remove from fire, and beat mixture until of a creamy
consistency. Add nuts, and drop from tip of spoon in small
piles on buttered paper. Pour mixture into a shallow buttered
tin and when cool cut in squares, using a sharp knife.

for January 1930

with Mary Brian

By Sydney Valentine

controlling variety, but are guaranteed to win applause
from all consumers. They are: sunshine cake, with
coffee-whipped'cream frosting, (because this is Taur-
rence's favorite cake) ; apple pie, (because it is
Taurrence's first choice in pies) ; cold pineapple souffle,
(because this is Taurrence's preference in puddings) ;
pralines, (because Taurrence likes this southern candy
best) .

"My cooking activities are rather recent. As a
child mother could not interest me in the weekly
cookie-baking chores. I preferred to play Indian and
pirates with my brother and his playmates.

"When we came to California, my brother missed
the good old southern pralines. The western confec-
tioners cannot make a praline taste like buttery syrup
as the southern ones do. To please Taurrence, I
asked a school friend
in Texas to send me
an old stand-by recipe,
but I ruined many
pounds of sugar and
pecans before I turned
out a batch worthy of
a public appearance."

Mary's pralines have
won studio acclaim
since the completion of
her recent picture
"The Marriage Play-
ground." A small box,
made for the six chil-
dren who worked with
her in this production,
brought an avalanche
of praise from the
members of the cast
and crew who managed
to get a piece.

Mary spent her
precious Sundays dur-
( Continued on page 111)

Yes, we have apple
pie — fresh from the
oven. It's a favorite
dessert in the Brian
family.

FAVORITE RECIPES

Mary says she prefers to cook for
men. Well, we know plenty of men
who would prefer to have her!

SUHSHIHE CAKE

Whites 10 eggs 1 teaspoon lemon extract

1% cups powdered sugar 1 cup flour
Yolks 6 eggs 1 teaspoon cream-of-tartar

Beat whites of eggs until stiff and dry. Add sugar gradually,
and continue beating until mixture is well blended. Add yolks
of eggs beaten until thick, then add lemon extract and a few
drops of yellow coloring. Sift cream-of-tartar with flour three
times. Cut and fold flour into egg and sugar mixture. Pour
batter in buttered cake pan and bake forty minutes in moderate
oven.

8-4

SCREENLAND

'Dear old golden school-days' on the Fox Movietone lot.
Work for filmdom's little folks doesn't spell release from
school by any means.

We'll be glad to see Taylor Holmes again. He will appear
in an all-talking Christie comedy, "He Did His Best."
Taylor always did!

and some of the lessons are taken at the studio
in the morning and the three of them have lunch
together afterwards in the dressing room.

The practicing had gone on for quite some
time one morning, and Cecil De Mille looked
up from the patio of his office bungalow, where
he had striven for an hour to wade through a
manuscript. "Who was it," he sighed, "who
said that sound was to be the salvation of

motion pictures?"

* * #

Winnie Sheehan visited Victor McLaglen on
the set not long ago. "It's wonderful, Vic, how
many singing voices this sound picture business
has discovered, Janet Gaynor has a voice —
Charlie Farrell has a voice — "

"Yeah?" said Vic, starting to brace himself.

"You haven't a voice, I suppose — have you,
Vic?"

"No, sir, I have not!" exploded Vic. "And
I'm packing up for parts unknown before I'm
asked to produce one, what's more."

But a few days afterwards Victor was in-
vited to a dinner party. He went. Winnie
Sheehan was there, too. After an excellent
dinner a few of the guests found themselves
around the piano, somehow, and started warbling
a ridiculous thing called, The Du\e of Kac\iac\.
Before he knew what he was doing, Vic was
at the piano, too, singing at the top of his lungs
with the rest of them.

"By Jove," said Mr. Sheehan, "why don't you
sing that in 'Hot for Paris?' (Vic's next picture
for Fox.) It would be a corking number."

The six feet something or other of Victor
McLaglen looked down at the five feet and little
over of Winnie Sheehan with beetling brows
and lightning in his eyes.

"Nothing doing!" he said, "I'm packing up
tomorrow."

But Mr. Sheehan won. After all, it was kind
of fun to sing the foolish thing!

*H ^ *H

Who says directors have no memory? Ten
years ago John Robertson directed "The Bright
Shawl." In the cast was one Eddie Robinson
who has been in just two pictures since then.
When he was casting "Deadline" with Joseph
Schildkraut as star, Mr. Robertson needed a
heavy. None of the general Hollywood names
seemed to click and all of a sudden Eddie Robin-
son popped into his mind. In less time than it
takes to write it, Eddie had signed on the dotted
line in New York and was on the train bound
for Hollywood.

# -fc ?fc

On Bessie Love's recreation porch is a desk.
Bessie loves to write. She thinks it is the ideal
vocation and when she is 'all washed up' in
pictures, as she puts it, she wants to enter the
scribbler's field in earnest. She tells, in a little
book she keeps for her notes, anecdotes of things
that she thinks are interesting, not so much with
an eye to the future as to give herself present
enjoyment. It interests her to see how many
different ways a story can be told — a word here
and there changes the whole sense and obscures
the true meaning.

"You can travel all over the world, if you are
a writer, and take your work along with you,"

for January 1930

said Bessie.

"Just so you keep in touch with your pub'
Usher," added a cynic. Bessie laughed.

"Yes, I suppose one mustn't forget the pub-
lisher if one is a writer."

We hope Bessie will get her heart's desire,
but we don't think pictures will ever be through
with Bessie.

* * *

Both Sue Carol and Nick Stuart got a little
tired of all the publicity given them about their
engagement, I guess — anyhow, although they are
still going together, they have decided not to
be engaged!

* * *

The youngest vaudeville headliner, Mitzi
Green, made such a hit with Paramount in "The
Marriage Playground" that the big boss signed
the youngster to a long-term contract. Mitsi
is eight years old and the first child to be of'

fered a contract by this firm.

* * *

Ken Maynard, thinking his fans would like to
see a Pedelton Rodeo, has decided to put one
in a picture just for the sake of the boys and
girls who can't make the trip to Oregon. Ken's
a swell rider; never has had a double for his
stunts.

* * *

Gary Cooper is making a hurried trip to New
York and will stop off at New Mexico on the
return trip to find some frontiersman who owns
picturesque clothes that will at the same time
fit him, for his new picture. It will be a
western. On his way to New York he took in
the old home town of Grinelle, Iowa, for a
college reunion; and from there flew to Marshall-
town, Iowa, to see Estelle Taylor's vaudeville
act. Estelle and Lupe Veles are great friends,
you know, and it wouldn't surprise me much
if Gary hadn't taken in the act just to give Lupe
some first-hand information of how her friend
is going over. They say Estelle is a wow. Of
course, Lupe is in Florida doing a picture for
Inspiration, and Florida isn't exactly on the way
to New Mexico from New York, but what's a
few miles this way or that in this flying age,
particularly when a boy's sweetheart beckons?

* . * — \

In "The Vagabond King;" starring Dennis
King, there will be seen William H. Taylor,
probably the oldest picture' actor in the busi-
ness. He numbers 101 years. And he's a bach-
elor. "If I weren't, I'd have been dead long
ago," he says with a chuckle. Not that he has
anything against the women, but double harness
is just awfully hard pulling.

* * *

An Oklahoma elocution teacher wanted to get
into pictures. She took a secretarial position as
a means to attain her goal. This isn't always
a success; sometimes you just stay a secretary,
but this aspirant to fame picked Charlie Chaplin
as her boss. And Charlie is a good sport when
it comes to helping a worthy traveler. Her first
chance came in Charlie's picture, "A Woman
of Paris," and she's been going along nicely ever
since. She is a character actress. Her name is
Nellie Bly Baker and you will see her as Beedle
in "The Bishop Murder Case."

There's nothing wrong with their figures.' When not busy
with algebra or square root in the class-room these girls are
working at the Fox studios.

Barbara Leonard, a new ingenue of the screen, at home.
The girl so carelessly 'ace-ing' Barbara's king is Mrs.
James Murray.

Chez Lola Lane! An intimate glimpse of the Fox player
in her charming old-world home on a hill-top in Hollywood.

SCREENLAND

The answer to:
"What's become of
Ail e en Pringle?"
Pringie is very
much present oppo-
site Hugh Trevor
in "Night Parade."
Yes, that's a blonde
wig she is wear-
ing; and most be-
coming, too.

Eve Southern is another actress who likes to write. As
Elva McDowell, her own name, she barged into Hollywood
from her dad's Texas ranch with a cowboy story which
she sold to Bill Hart. She also played a bit in the pic
ture. D. W. Griffith thought she ought to change her
name and as long as it was his idea Eve, or Elva as she
was then, told him he would have to choose another for
her, because she liked so many names it would be hard
for her to decide. So, because of her soft, drawling voice,
he picked 'Southern" for her last name and when she
appeared on the set in costume — the picture was "In-
tolerance"-— he named her Eve. Now don't misunder-
stand us, please! Elva had plenty of clothes on, although
you would never have missed them if she had appeared
in her birthday suit, because her hair reached below her
knees, so thick it covered her as completely as a blanket,

and of the most gorgeous titian coloring you
ever saw. Why some producer didn't star Eve in
those days remains one of the mysteries of Holly-
wood. We all know now that she can act, and
she has enough beauty for half a dozen stars.
But life is like that. Anyhow, Eve plays Pearl
in Corinne Griffith's latest, "Lilies of the Field,"

directed by Alexander Korda.

* * #

James Gleason can't see why people keep
screaming about what a failure the modern woman
is. He thinks if the men had qome across with
their side of the bargain one hundred percent, the
women would always have been satisfied to stay
in the home. But when the girls found they had
to worry about the family budget as well as

"That's my new statue of Joe Gans," explains
sculptor Mahonri Young to Stepin Fetchit.
"Wha's that?" says Stepin. "Oh — oh, yassah!"

"After you, my dear Wesley!" "After you, my dear
Charles!" The Ruggles brothers indulged in a little
friendly argument when W esley, director, visited
Charlie, actor, on the set.

keeping the home cheerful for Papa, it gave them ideas. And
the funny part of it is that in two or three generations they
have, through sheer efficiency, put men right out of many a
job. And what's more, they have found it possible to take
care of the repopulation of the race. Jimmy hasn't checked
up on it, but he just wonders whether the census takers have
found less people in the world at the last accounting that
were found fifty years ago.

:■: :|:

Natalie Moorhead is a beautiful blonde you should keep
your eye on. Those who split their sides over "The Baby
Cyclone" two or three years ago in New York will remem-
ber Natalie; and since coming to Hollywood she has found
all doors swinging open for her. She has "Thru Different
Eyes," "The Girl from Havana," "A Cup of Tea," and
"The Green Ghost" to her credit; and now she is in "Spring
is Here" at First National, directed by John Francis Dillon.
Natalie is one of those lucky people who don't have to worry
about calories. "No matter what I eat I stay the same
weight," she said the other day at the studio commissary.
But Natalie is still very young and maybe that's one reason.

for January 1930

It may be another twenty years before she will

have to do a sister act with a weighing machine.
* * *

Juliette Compton is another girl you want to
watch. She is as dark as Natalie is fair. Juliette's
first American picture was for Tiffany- Stahl;
"Woman to Woman" with Betty Compson star'
ring. Now she has been signed for a fine part
with Harry Richman in a film which United
Artists has already put into rehearsal.

^ & "¥

It hasn't at this writing been decided whether
Eddie Lowe will really play in the next United
Artists Dolores Del Rio starring picture or not.
Just a little matter of credits and proper places
which has to be worked out satisfactorily to all

Connie Lewis, Lois
Wilson's younger
sister, has ambi-
tions to crash the
studio gates. She
has Lois' full ap-
proval but won't
accept big sister's
help. Connie is in
"No, No, Nanette."

Edwin Carewe, United Artists producer-director, has
transferred his interest in Dolores Del Rio's starring film
contract to Feature Productions, Inc., a subsidiary of
United Artists.

Four years ago, Mr. Carewe introduced the Mexican
actress to the screen and he has guided her screen work
ever since. Her elevation to stardom followed production
of "Resurrection," which also marked Mr. Carewe's debut
as an United Artists producer and director. "Ramona,"
"Revenge," and "Evangeline" have followed. The sale of
his activities in this contract will enable the veteran pro-
ducer to broaden his activities, and plans for the produc-
tion of five talking pictures from stories selected by Mr.
Carewe are well under way. He may make some pictures
abroad.

Those Haughty girls, Marie Dressier and Polly
Moran, are up to some new deviltry, we'll be bound.
They're hilariously funny in "Dangerous Females."
What a team!

concerned before the idea jells. After Edmund Lowe's list
of brilliant achievements and box office records, there isn't
any reason why he shouldn't take as big a bow on the bill-
boards as even the beautiful Dolores. Do you think so?

3f!' % !fc

"It's a Great Life," formerly "Cotton and Silk," the first
picture with the Duncan Sisters under the MGM banner,
proved such a wow that Metro has been trying for a week
to sign the two Scotch lassies to a five-year contract. But
while the girls were very happy at Metro, they think five
years is a long time to stay in one -place, not with one firm,
but in one place, even though that place is their dearly loved
and native California. The girls are used to the smell of the
grease paint and the theater — hustling over the country, every
inch of which they love — seeing hundreds of enthusiastic
laughing faces in front of them as they cut their funny capers;
and these things they miss in pictures. Five years is a long
time to stay away from the trouping they adore. We are
waiting now to hear what they have decided. A contract
will certainly be signed, but not for so long a period of time
if the girls can help it.

A luncheon on the "Show of Shows" set, with
Jack Warner at head of table and Ben Turpin
at the foot. Select your own celebrities!

SCREENLAND

of the Month

From
"Paris':

Andrew (Jason Robards) : "Vivienne
speaks English. How do you think I got to
know her so well?"

Cora Sabbott (Louise Closser Hale) : "I've
always understood the French could do a
great deal with gestures."

From

"A Most Immoral Lady":

Tony (Walter Pidgeon) : "Who's your
girl friend?"

Laura (Leatrice Joy) : "A grass widow
who gives all her men friends hay fever!"

From

"Why Bring That Up?"

Moran (George Moran) : "Why, what's
the matter with you?"

Mack (Charles Mack) : "Oh, I don't know!
The doctor told me to take one pill three
times a day but you can't do that!"

From

"Marianne":

Stagg (Lawrence Gray) : "I'm going to tell
you a secret. You know what a secret is,
don't you?"

Marianne (Marion Davies) : "Something
you cannot tell to very many!"

Will Rogers, Irene Rick, and Marguerite Churchill in "They Had to See Paris:

From

"They Had to See Paris":

Idy (Irene Rich) : "Ross'll learn more in one
year in Paris than he would in four years at the
university."

Pike (Will Rogers): "That's exactly what I'm
scared of!"

for January 1930

(( Peverell Marley, cinematographer, Cecil B. De Mille, and Kay ]ohnson
examine the famous 'box out of which have come so many stars.

De Milk's Magic Box

The Story of an Old Camera
—but What a Camera!

Charles Carter

UCH has been said about the number and vari-
ety of things which sprang out of a box
opened by an inquisitive lady yclept Pandora.
Modern science, however, is putting to
shame the greatest flights of imagination uttered by the
original authors of the ancient Greek myths.

In Hollywood, for instance, there is a box through
which has passed over $25,000,000 in cash money.

Out of this box unknown personalities from a score of
different states and countries have scampered to become
world-renowned figures.

From this modern Pandora container has arisen from
a financial shoestring one corporation valued at over
$30,000,000; and it has contributed definitely to the suc-
cess of three other immense institutions.

This mysterious box is Pathe Professional Camera No.
5, veteran of all the thousands of cameras in Hollywood;
credited with having photographed more productions, ac-
counted for more dollars of production cost, and the
introduction of more great stars, than any other piece of
picture-taking mechanism.

Pathe Professional Camera No. ? is the proud possession
of Cecil B. De Mille. While this director now has dozens
of cameras, this antique 'box' occupies the place of honor
in his collection, housed in a special vault at the Metro-
Goldwyn-Mayer studio with which De Mille is now
associated.

It was bought for about $1600 in the fall of 1913.
$1600 is not much money in pictures today — but then it
was over 20 per cent of the total capital which Cecil De
Mille and Jesse L. Lasky collected as the nucleus of the
Jesse L. Lasky Feature Play Company, later to become the
main production unit of the now enormous Paramount
company.

For a year and a half the new Lasky company had no
other camera. Therefore the immediate success of the
company traces back to the half a dozen original produc-
tions, "The Squaw Man," "The Virginian,11 'The Call of
the North,11 "What's His Name?11 "The Man from Home"
and "The Rose of the Rancho" — made at a time when
two cameras to a company was an unheard of luxury.

Pathe Professional No. 5 (Continued on page 93)

SCREENLAND

ASK

An Answer Depart-
ment of Information
about Screen Plays
and Players

VALLIE V. of Vancouver. Are you
first to tell me my department is
a wow? I'd hate to tell you how
many are ahead of you with that
positive declaration. May McAvoy was
born in 1901 and not 1891 as you have
been told. John Gilbert was born July
10. 1897, in Logan, Utah. Anita Page is
5 feet 2 inches tall and weighs 118 pounds.
Yes, it's true that Johnny Mack Brown is
married and the proud father of Jane
Harriet Brown. I can't give you her
weight but she weighs 6 pounds and 6
ounces at this writing.

Pat from Silverdale, Wash. I don't have
to turn my heart inside out to show its
golden lining. Or is it silver? Sue Carol
and Nick Stuart are reported engaged.
They appear together in "Girls Gone Wild"
and "Chasing Through Europe." Sue plays
with Barry Norton in "The Exalted Flap-
per." Sally Eilers, Thelma Todd. Norman
Kerry and Jason Robards play in "Trial
Marriage."

Margaret H. of Eugene, Oregon. So
you think I am a man because I write like
one. Well, well, and I have always tried
to impress the fans with my lady-like wis-
dom! Carol Lombard, whose real name is
Jane Peters, was born in Fort Wayne,
Indiana, on Oct. 6, 1909. She has golden
hair, blue eyes, is 5 feet 6 inches tall and
weighs 119 pounds. Her latest film is "The
Racketeer" with Robert Armstrong. Lupe
Velez was born July 18, 1910. She is 5
feet 5 inches tall, weighs 115 pounds and
has black hair and brown eyes. Her name
is pronounced Loo-pay Velayz.

Jamie C. of ]ac\son, Miss. You're crazy
about me, are you? Run along now, this
isn't an insane asylum but a corner on in-
formation, by mail, wire, radio or the latest
silent device. Lewis Stone was born Nov.
15. 1878 at Worchester, Mass. He has
grey hair, hazel eyes, is 5 feet 10% inches

tall and weighs 174 pounds. The digni-
fied Lewis never had a better role than
Stephen Trombolt in "Wonder of Women"
with Peggy Wood and Leila Hyams. You
can reach him at Metro-Goldwyn-Mayer
Studios, Culver City, Cal.

Leota B. of Deadwood, S. D. Heart of
the Hills. Is it b'ars or gold you have in
them hills? David Rollins was born Sept.
2, 1909 in Kansas City, Mo. He has blue
eyes, is 5 feet IOV2 inches tall and weighs
13 5 pounds. He appears in "Fox Movie-
tone Follies" and is on contract to Fox
Studios, 1401 No. Western Ave.. Holly-
wood, Cal. Arthur Lake was born in
Corbin, Ky. in 1909. He is 6 feet tall and
has light brown hair and blue eyes. You
can write to him at Universal Studios, Uni-
versal City, Cal.

Just Me from Wallace, Idaho. You
think you'd like my job, oh boy and how,
do you? Think you could put your finger
on about 10,000 players with stage stars
jumping into the lime light every day. You
don't know the half of my job. Husbands
and wives line up for inspection — Richard
Arlen and Jobyna Ralston. Ralph Forbes
and Ruth Ohatterton. John Gilbert and
Ina Claire. William Boyd and Elinor Faire.
Rod La Rocque and Vilma Banky. Buster
Keaton and Natalie Talmadge. John Bar-
rymore and Dolores Costello. Maurice
Cleary and May McAvoy. George Webb
and Esther Ralston. Corinne Griffith and
Walter Morosco.

Kitty W. of Edmonton, Alberta. My
department seems to have a definite reason
for it's famous chatter this month — who's
married to who and why not? Janet Gay-
nor was married to Lydell Peck on Sept.
11. Marian Nixon and Edward Hillman
were married on Aug. 14. Nancy Carroll
is Mrs. James Kirkland and Billie Dove
is Mrs. Irving Willat.

Bobbie Lee from San Dimas, Cal. Do
I blame you for losing sleep over Ramon
Novarro? That's a tough break. Bobbie,
but I have no advice to offer. We'll see

what can be done about having Ramon
on a future Screenland cover. He was
born Feb. 6, 1900 in Durango, Mexico.
He has black hair, brown eyes, is 5 feet
8 inches tall and weighs 155 pounds. He
sings and plays the violin. Was on the
stage in 1919 with the Marion Morgan
dancers. His latest release is "The Pagan,"
in which he sings the refrain of The Pagan
Love Song.

Julia Mae from Baltimore. Pay me all
the compliments you like. I'm the one
bright idea without the enlarged top-piece.
As far as I know, Buddy Rogers is really
as sweet and unspoiled as he appears in
his pictures. He plays with Mary Brian
in "River Romance," a Paramount release
and in "Close Harmony" with Nancy Car-
roll. Barry Norton is to be seen in "Tanned
Legs" with Marceline Day. That title may
be changed if winter comes. Write to
Barry at the Fox Studios, 1401 No. West-
ern Ave., Hollywood, Cal.

Cheihe of Lahaina, Hawaii. Am I the
Webster of the movies? Quite an idea
and who am I to refuse such swell pub-
licity? Richard Talmadge appears in "The
Bachelor Club." Some of his older films
are "The Speed King," "Lucky Dan."
"The Cub Reporter," "Watch Him Step"
and "Putting It Over."

Robert G. of Waco, Texas. You have
a large bouquet for William Powell — hey.
Bill, get a load of this! No one in your
estimation can beat him in silent or talking
pictures. But who may I ask, wants to
beat him? He was born July 29, 1892 in
Kansas City, Mo. He is 6 feet tall, weighs
168 pounds and has brown hair and eyes
He has been in pictures since 1921, his
first role being in "Sherlock Holmes" with
John Barrymore. Nancy Drexel. whose
name is Dorothy Kitchen was born in New
York City on April 6. 1910. Lina Bas-
quette was born in San Mateo, Cal. on
April 19. 1907.

Peggy from Wycliffe, B. C. Strongheart,
loved by children and grown-ups the world

for January 19 30

over, died June 25, 1929. He was 13
years old and was the first animal to attain
stardom in the movies. Miss Jane Murfin,
well known scenario writer, brought Strong-
heart to this country 8 years ago. He
had been trained in the kennels of the
Berlin police department and had a splen-
did record in the German Red Cross during
the World War. Among his best known
pictures were, "The Silent Call," "Brawn
of the North" and "White Fang." Rex
and Tarzan do their film stunts for Uni'
versal Studios, Universal City, Cal.

A. from Michigan, I thought I had a
corner on all honeyed expressions of ad'
miration but I take my hat off to you.
Yeah, I think Anita Page is all you think
she is and plus. She has blonde hair,
blue eyes, weighs 118 pounds and is 5 feet
2 inches tall. She plays with William Haines
in "Navy Blues" and in "Our Modern
Maidens" with Joan Crawford, Josephine
Dunn, Rod La Rocque and Douglas Fair-
banks, Jr.

Margaret from Everson, Pa. What do
you mean, you're off? We all have our
pet raves and Clara Bow happens to be
yours. Her next picture is "The Saturday
Night Kid" with James Hall and Jean
Arthur. Clara is 24 years old and rumor
has it that she is wearing a gorgeous
square cut diamond on the third finger
of the proper hand. The happy giver
none other than Harry Richman, another
Broadway recruit from musical comedy.
Janet Gaynor is 23 years old. Douglas
Fairbanks Jr. and Joan Crawford were mar-
ried on June 3 in New York City.

Bobbie of 'Wal\erton, Ont. You think
Screenland is a swell magazine, You're
right, we sure go over big as Dr. Eckener
said of his trusty Zepp. You can write
to Alice Day at First National Studios,
Burbank, Cal., where she is working in
"Little Johnny Jones" with Eddie Buzzell,
a Broadway stage favorite. June Collyer
is Richard Dix' leading lady in "The Love
Doctor" a film from the Paramount Stu-
dios, 5451 Marathon St., Hollywood, Cal.
Evelyn Brent gets her fan mail at the same

A favorite with Miss Vee Dee's cor-
respondents is the gentle and gifted
Mary Brian.

Beautiful Billie Dove has made new
friends since the speakies have en-
dowed her with vocal as well as
optical charms.

studio. Margaret Livingston can be reached
at Columbia Studios, 1438 Gower St.,
Hollywood, Cal. Renee Adoree and Raquel
Torres at Metro-Goldwyn-Mayer Studios,
Culver City, Cal. Dolores Del Rio at
Edwin Carewe Productions, Tec-Art Stu-
dios, Hollywood, Cal.

Gertrude of Port Arthur, Tex. Will
I always answer questions for you? As
long as I'm on the job, I'll be your will-
ing slave. Corinne Griffith was born in
Texarkana, Texas, on Nov. 25, 1897. She
has brown hair, hazel eyes, is 5 feet 6
inches tall and weighs 118 pounds. One
of her greatest successes was "The Divine
Lady" with H. B. Warner and Victor Var-
coni. Her next picture is "Lillies of the
Field."

Max. A. H. of Buffalo, 'Wyoming. Drop
your bashfulness, throw your eyes this way
and take your place with the other fans.
Greta Garbo's latest release is "The Single
Standard." John Gilbert has signed another
long term contract with Metro-Goldwyn-
Mayer Studios, Culver City, Cal. Esther
Ralston was Mrs. Darling in "Peter Pan"
and Betty Bronson was Peter.

Pebbles from Keyport, 7<[. J. As one
Sophomore to another, I accept your pity
but what shall I do with it? Clive Brook
was 38 years old on June 1. He plays
with Olga Baclanova in "A Dangerous
Woman" and with Ruth Chatterton in "The
Laughing Lady." Norma Shearer was
born Aug. 10, 1904. Her new picture
is "The Last of Mrs. Cheyney" with Basil
Rathbone, the handsome Broadway leading
man. You can write to Lupe Velez at
United Artists Studios, 1041 No. Formosa
Blvd., Hollywood, Cal. Lupe is to be seen
in "Tiger Rose" made famous on the stage
by Lenore Ulric.

The Orchid from Ts[ew Haven, Conn.
Join the Orchid Every Day Club and find
a glorious bloom out side your door every
morning. That's service for you. Colleen
Moore was 27 years old on Aug. 19, 1929.
She has been in pictures since 1917. Janet
Gaynor will be seen in "Budapest" for her
next release. Buddy Rogers' new film is
"Half Way to Heaven."

E. H. G. of Chicago. Does your movie
book belong to the silent or loud speaking
variety? Not that it matters. Eleanor
Boardman was born in Philadelphia, Pa. on
Aug. 19, 1898. She has light brown hair,
hazel eyes, is 5 feet 6'/2 inches tall and
weighs 120 pounds. She is the wife of
King Vidor, the director. She is in "Re-
demption" with John Gilbert and Renee
Adoree. She also plays in "She Goes to
War." "The Crowd" was written and di-
rected by King Vidor and the cast follows;
Eleanor Boardman, James Murray, Bert
Roach, Estelle Clarke, Freddy Fredericks,
Lucy Beaumont, Daniel Tomlinson and Del
Henderson.

Daisy of 7<io. Canterbury, Kent, England.
Do I think you're silly to want to be a
pantomimist? You are not alone with your
ambitions — many American girls crave to
be seen and heard on the screen. I wouldn't
call it silly, rather a mistaken idea of the
easy life of a celebrity. Hard work, long hours
and after achieving success, a short time
before the public and then forgotten.
Whew! What a sermon. The actresses
you ask about are of the English stage and
I haven't a record of them.

Cecelia E. from Brooklyn. Do I have
a flock of little birds working for me to
secure all the first hand information that
I pass on to you? Ever hear of the dodo
birds? Well, that's the answer. George
O'Brien, one of the most wholesome of
our screen players was born in 1900 in
San Fransisco, Cal. He is 6 feet tall, weighs
185 pounds and has dark brown hair and
eyes. His four years of work in pictures
make a list of films too long for print in
my department. His new picture is "Salute"
with Helen Chandler, Joyce Compton,
Frank Alberson .and the colored cut-up,
Stepin Fetchit.

V. M. of Pottsville, Pa. You don't owe
me anything for information — this is a
gift both pure and simple. Help yourself.
Paul Page can be reached at the Fox Stu-
dios, 1401 No. Western Ave., Hollywood,
Cal. He was born May, 13, 1903 in
Birmingham, Ala. He appears in "Speak-
easy" and his last one, "Protection" with
Dorothy Burgess and Robert Elliott.

Conrad Nagel has long been popular
but his splendid voice has increased
his following.

SCREENLAND

Pauline V. of Flathush. Nils Asthcr is
the merry heigh-ho in my mail hox this
month and now, Nils, I hope you're satis-
fied. He was born Jan. 17, 1901 in
Malmo, Sweden. He is 6 feet Yi inch
tall, weighs 170 pounds and has black hair
and brown eyes. His latest film is "The
Single Standard" with Greta Garbo, Doro-
thy Sebastian and John Mack Brown. Not
so long ago in Hollywood, Greta stood
in line with the rest of the mob to see her
own picture, "Single Standard." I'm not
kidding, that's my story and I'll stick to it.

Miss G. from Olathe, Kansas. Buddy
Rogers' home town just as sure, as I'm
the big pretzel weaver from station WHIZ!
Have you any more big boys like our prize
star movie actor down there? Now don't tell
me, I know. The winner of Screenland's
Masked Cover Contest was announced
in the May issue on page 3 2. To be exact.
Miss Margaret Viola Davie, 3130 East
Overlook Road, Cleveland, Ohio, was the
lucky lady. Robert Ellis was born in New
York City. He is 6 feet tall, weighs 170
pounds and has brown hair and blue eyes.
He was on the stage for 10 years in musical
comedy and in stock before going into
picture work. He has appeared in "Ladies
Must Live," "For Sale," "Montmartre,"
"Varsity," "Freedom of the Press," and
lately "Broadway." Bob has been handed
a nice fat contract by Universal as a re-
ward for his splendid work as the villain
in Universale prize talkie version of
"Broadway." Vera Reynolds is Mrs. Rob-
ert Ellis.

M. E. L. of Milford, Conn. Do I give
the correct dates on birthdays and the low-
down on all information concerning the

movie colony? If this choice bit of slang-
uage wasn't out of print, I'd say, I'll tell
the world I give such correct birthdatcs
that it hurts. Me for better and bigger
birthdays. Kenneth Thompson appears in
"Broadway Melody" and in "The Bellamy
Trial."

A Friend from Atlantic City. You want
me to help you out — most of us would
like to be helped in, to your marvelous
city. All excited over John Loder's flaw-
less English voice and everything in "The
Doctor's Secret," are you? When this
young captain gets some good breaks, hold
everything! John was born in London,
England, 30 years ago. He has brown
hair and hazel eyes and weighs 178 pounds.
His father is Major-General Sir William
Lowe. He made his picture debut — John,

Irene H. of West Broo\field, Mass. Why
doesn't Richard Arlen ever 'crack' a smile
in his pictures? Haven't you seen that
famous smile of his? Look again, Irene,
you've missed a lot. Richard, Mary Brian
and Nancy Cafroll are at Paramount Stu-
dios, 5451 Marathon St., Hollywood, Cal.
Joan Crawford was married to Douglas
Fairbanks Jr. in New York City in June.
Marian Nixon was born October 20, 1904,
in Superior, Wis. Her latest picture is
"Young Nowheres" with Richard Barthel-
mess. Marian's voice registers like every-
body's business — swell? I'll say it is. You
can write to Janet Gaynor at Fox Studios,
1401 No. Western Ave., Hollywood, Cal.

C. E. McC. of Baltimore. So I'm to
make a date with Loretta Young for you.
Thanks for the confidence in my ability
but even with a Packard sports roadster,

I'm doubtful. Loretta is too busy making
pictures at the studio. But I'll give you
her address and leave the rest to you:
First National, Burbank, Cal., is where she
spends her working hours. Her latest film is
"The Forward Pass." She was born in Salt
Lake City, Utah, 17 years ago. She has
blonde hair, blue eyes, is 5 feet 3 inches
tall and weighs 100 pounds. Anita Page
gets her fan mail at Mctro-Goldwyn-Mayer
Studios, Culver City, Cal., but her home
address is unknown to me. She was born
August 4, 1910, at Murray Hill, L. I. She
is 5 feet 2 inches tall, weighs 118 pounds
and has blonde hair and blue-grey eyes.
Her real name is Anita Pomares.

A Flapper from Los Angeles. Where
do all the pretty girls come from? That's
something that keeps the boys' girl friends
guessing, if you get my meaning. Sally
Blane, Polly Ann Young and Loretta
Young are among Hollywood's fairest and
prettiest girls. Sally in real life is Betty
Jane Young. Loretta is 17 years old and
Sally is 19. Loretta's next picture is "The
Forward Pass" produced by First National.
I hope you'll get an extra large photograph
all autographed and everything from her,
for your devotion deserves a reward.

Mitzt of Little Rhody. You think every
SCREENLAND customer would miss me if
I decided to 'go movie'? Never fear, dear
reader — as a star, I'd continue to be the
world's, greatest Answer Lady! Fay Wray
was Mitzi Schrammell and Dale Fuller was
Frau Katherina Schrammell in "The Wed-
ding March." You will find Gary Cooper's
address elsewhere in this department. Gary
was 28 years old on May 7, 1929.

Hollywood Holds Her Own — Continued from page 27

Rich give such a notable performance in
"They Had to See Paris?" Simply because
Irene knows her camera; she knows light-
ing problems and respects them (and oh,
how the juicers love her for it!); she knows
the different make-ups for different oc-
casions. (One does not make up the same
for a desert sequence in the blazing sun as
one would for a softly lighted interior);
she knows, from long experience, her
angles — whether she should turn full-face
or three-quarters in a semi-closeup; and
above all, she knows how to act and talk
naturally — she has no stage training or
conventionalities to overcome. Lubitsch
says that her quarrel scene with Will
Rogers — her 'husband' — is one of the
finest things he has seen upon the screen.
The critics apparently agree with him.

Then take the case of little Bessie Love.
In "The Broadway Melody" she was
thrown into competition with a whole raft
of 'stage celebrities.' Did she fall down?
Not so you could notice it! Without the
slightest stage training this young lady who
began her screen career while still a student
in the Los Angeles High School all but
stole the show.

And Betty Compson. Her competition
was even more acute, for in "On With
the Show" she was starred with two stage
favorites right from Broadway, and she
made them work mighty hard to hold up
their end.

Go down the list and note them — Gloria
Swanson, Clara Bow, Larry Gray, Janet
Gaynor, Marion Davies, Charles Farrell,

Monte Blue, Conrad Nagel, Sue Carol.
Dick Barthelmess, Ronald Colman, Lila Lee
— I could go on for a page! Do any of
these .old and new favorites seem to be
headed for the discard?

On the other hand you can name on a
full breath the stage stars who give promise
of sticking. Do you think any of the
Broadway contingent are likely to push
Charlie Chase or Laurel and Hardy off
the screen?

As for the old character actors who
came from the stage years ago and know
their screen technique better than any of 'em
— well, they are more strongly entrenched
than ever. During the first avalanche of
Broadway actors many of them were rele-
gated to the sidelines. But what a yell
went up from the exhibitors! They didn't
know who Harold Timesquare was — they
wanted Warner Oland, Tully Marshall,
Noah Beery, Jean Hersholt, Mitchell Lewis.
And they got 'em. Many contracts with
these old timers were not renewed during
the grand march of the Broadwayites, and
they were picked up by the smaller studios.
Now there is a grand rush to get them
back. For besides knowing their stuff bet-
ter than the invaders, they are infinitely
better 'box office.'

It has also been interesting to see how
these old war-horses have put it over the
invaders in the new demands for sound
stuff. They have been singing, dancing,
playing banjos, reciting, gagging and doing
their old stage and vaudeville tricks. And
don't think for a minute their fun doesn't
stand up with the new Broadway gagging.

Last week I was up playing tennis with
Charlie Chaplin. Fred Karno blew in.
Fred Karno! — Charlie's old boss in his
English music hall days. Charlie hadn't
seen him for years. While we were bathing
and dressing Charlie and Fred began 'do
you remember'-ing. In a few minutes they
were doing their old songs, dances and
gags — Charlie in less than bvd's and Fred,
a bit fat and coatless. Take it from me,
if these two old (?) battle-axes should go
on with that stuff in a Ziegfeld Follies
they'd knock New York over.

But back to our list of survivors. Per-
haps the biggest surprise has been Bebe
Daniels. Choked up with a perfect deluge
of stage stars her studio refused to renew
her contract and she was relegated to what
in baseball would be called 'the sticks,' the
smaller studios. Oh, what a blunder that
was! In her first picture she just up and
knocked 'em for a loop. Her singing in
"Rio Rita" is the sensation of the screen.

Nor has the influx of stage directors upset
the Hollywood tradition. What big stage
directors, for instance, have put over the
successes such as are credited to Harry
Beaumont. Alan Crosland. William K.
Howard, King Vidor and Frank Borzage
— to name only a few?

No, dear fans, don't worry one bit about
your favorites being lost in the new shuffle.
When the game is over you will find the
same old names blazing forth in electric
lights.

"The Noble King of France — "
Finish the verse yourself. It still holds
true.

for J anuary 19 30

De Milk's Magic Box — Continued from page 8S>

photographed all of the first forty pictures
produced by Cecil B. De Mille, and a
dozen or more by other directors. On the
last fifteen De Mille productions it has been
used at some time or other during their
making.

While $25,000,000 is the estimated pro-
duction cost which has passed through the
slow and old-fashioned F. 3.5 lens of the
box, this amount would undoubtedly be
doubled if it were possible to compute the
fortunes made by stars who rose to fame
through it.

The Marquise de Falaise, for instance,
(Gloria Swanson) thought $75 a week an
amazing salary when she came from bathing
girl comedies to play the lead in "Don't
Change Your Husband."

A test was made by this camera of a bit-
player in "The Birth of a Nation." The
result was the signing of Wallace Reid
for leading roles opposite Geraldine Farrar
— and the start of the most meteoric and
tragic career in all picture history.

Bebe Daniels, in person, seemed a rather
awkward youngster — but the Pandora's box
of the movies demonstrated that she had a
remarkable screen personality. From barely
more than a bit in "Male and Female" the
black-haired Bebe has soared to the luxury
of town cars and a home at an exclusive
beach where land is valued at dollars to the
inch rather than the foot.

Half the weight and size of the present
modernized cameras, and with one-fourth
their convenience and range of action,
Pathe Professional Camera No. 5 is re-
sponsible for some of the greatest technical
advances which movies have known.

Credited with being one of the first bits
of 'effect lighting' in films is a scene with
Raymond Hatton in "The Warrens of
Virginia." Mary Pickford and Jack Holt

were the principals of "The Little Ameri-
can" in which the camera participated in
the first use of artificial lights to film a
night scene at sea (the sinking of the Lusi-
tania). It likewise' participated in the first
successful camera to 'spot' color at will on
a picture scene (the illuminated jewel
in "The Devil Stone").

Made on one of the basic patents of pic-
ture-making Pathe Professional Camera No.
5 has only fundamentals in common with
the present machines. Where its cost was
$1600, your modern outfit, with all lenses,
motors, sound recording equipment, etc.,
runs its cameraman about $6000.

"If cameras had cost that much in 1913
there would have been no Lasky com-
pany!" drily remarked Cecil B. De Mille,
whose first picture, "The Squaw Man," cost
$15,000 — and brought the financial shoe-
string of the tiny new concern almost to
the breaking point.

Today four lenses can be changed on a
modern camera in less than five seconds.

In 1913 it was a fifteen minute job to
put on a new lens. Therefore, the majority
of the 6,000,000 feet of film exposed by
the old camera ran past a 2 inch F. 3.5
lens, just one-half as fast as the lightning
quick F.2 lenses now employed.

As an example of the rapid advances
made in camera equipment let it be said
that where Gloria Swanson required eight
lights for a scene in "Male and Female"
Mr. De Mille needed but four spots of
illumination for the photographing of Kay
Johnson in a similar set-up of "Dynamite"
which De Mille has just finished at Metro-
Goldwyn-Mayer. (Yes, we are drawing a
parallel between the bath-tub scenes of
these two pictures — made 12 years apart!)

Names have been given of a half a
dozen celebrities whom Pathe No. 5 intro-

duced to film fame — but there are scores
more. It met Thomas Meighan, for in-
stance, in "Kindling"; Julia Faye in "The
Woman God Forgot"; Florence Vidor,
"Old Wives for New"; Noah Beery, "The
Whispering Chorus"; Lew Cody, "Don't
Change Your Husband"; William Boyd, an
extra, "Why Change Your Wife"; Agnes
Ayres, "Forbidden Fruit"; "Fool's Para-
dise"; Conrad Nagel, Jacqueline Logan,
Mildred Harris; "Saturday Night," Leatrice
Joy; "The Ten Commandments," Rod La
Rocque.

Blanche Sweet, Rita Jolivet, Victor
Moore, Bessie Barriscale, Dustin Farnum,
Theodore Roberts, Robert Edeson, Theo-
dore Kosloff, Elliott Dexter, Ina Claire,
Marie Doro, Mae Murray, Wanda Hawley,
Helen Jerome Eddy, Bryant Washburn and
Marjorie Daw are still other famous faces
first photographed by the busiest camera
filmdom has known.

It doesn't work so much now, this Pathe
No. 5. It is old-fashioned in relation to
the highly modern cameras which can do
everything but mix you an ice cream soda.
It can't do some of the very involved trick
stuff now demanded, but its fundamental
picture-making quality is nowhere impaired.

So it is that Cecil De Mille religiously
uses it at some point in every picture he
makes, and it is his intention to do so
until the antiquated wooden box folds up
from old age, the ravages of wood-eating
termites — or what have you.

When the box fails De Mille will re-
move the Karl Zeiss lens and put it in the
safest safe deposit vault he can find. For
it will be the one imperishable reminder
of the sturdy outfit which stood by him
when he was pioneering in pictures — and
which has made him a fortune beyond his
fondest early dreams.

A New Boy — Continued from page 77

seventeen years of the most de luxe sort
of life before Fate handed him a 'sock on
the nose.'

He grinned when I talked to him about

it.

"I was well on my way to being a very
agreeable, well-mannered, more or less use-
less rich man's son," he said. "At- that
time my dad's death was a dreadful tragedy
but the financial failure was the best thing
that could have happened to me.

"The saving thing about our situation
was that we had been taught not to despise
work. We had never had to do anything,
but dad had always jumped on any tendency
we showed towards snobbishness. So when
the crash came my brother and I just looked
at each other, and the next day we applied
for a job at the nearest railroad yard as
mechanic's helpers.

"After four months I went on a long
cruise in the Standard Oil tanker, 'Caddo.'
When I got back I roomed with a boy
named Steve Janney, who was recently
killed. He was in the show business, and
inside of two weeks he had talked a friend
into giving me a chance in 'The Mask in
the Face,' a William Faversham production.
I did seven different characters in this piece,
for five dollars a week each, or thirty-five
dollars. Then followed seventy-two weeks
in stock, a tremendous experience, and then
Broadway again!"

A succinctly stated story, but one which

would be all the more remarkable to you
if you could see this youngster face to face.
He doesn't look at all like one who has
worked blindingly hard to achieve a suc-
cess. In fact, his Biff in "So This is Col-
lege" is Robert Montgomery to the life;
a vivid, very modern, very self-possessed,
very charming young American. To all ap-
pearances he has never had a care in the
world.

But let him state his philosophy of life.

"I don't know whether I would recom-
mend my experience for all youngsters," he
said. "Certainly I frequently regret that I
had to pass up four years in the big uni-
versity for which my father had entered
me when I was still a baby. Also there
were many times when I came, through in-
experience, mighty near to making mistakes
which might have ruined my life. It is
safest to take the college route, to be under
discipline during formative years. There is
no doubt of that. On the other hand the
school of life is a forcing school. Through
sheer necessity you plunge along faster, if
you get the right start. If you can keep
your head, college can be dispensed with.
But it is a great gamble. My boy, if I have
one, will go to college. I wouldn't want
to take the chances with his life that I did
with mine."

Sounds -like an old graybeard, doesn't he?

At twenty-five he has packed more into a
life than most men accomplish in fifty years.

Between seventeen and his present age
he has fought, and won, the most difficult
personal battle he will ever have.

You can take your hat off to Robert
Montgomery, who became a stage star, and
is attaining stellar rank on the screen, de-
spite the early handicap of being born with
a silver spoon in his mouth.

He remembers with pleasure his carefree
days; but he looks forward with even keener
anticipation to the time when he can en-
joy luxurious living again — this time on
the money won by the magic of his work
as a creative artist.

He was a nice young lad of seventeen,
that son of a rubber magnate. But he's
a far more powerful personality at twenty-
five as Biff in "So this is College" and
Andy McAllister in "Untamed."

"I had only had my chance in 'The
Mask in the Face' two days when I knew
that acting was what I always wanted to
do," he told me. "I wanted to progress
as rapidly as possible, so I inquired of older
actors. They said, 'Go out in stock,' and
I did. In seventy-two weeks I did seventy-
two different characters in seventy-two
different plays, and over fifty of them were
old men! This character work, and the
whole variety of experience, was my 'col-
lege,' the only college I have had in the
show business. That sort of thing is hard
work, but it all seems rosy in retrospect,
particularly as I seem to be getting ahead."

SCREENLAND

Can Beauty Be Hand-Made?- Continued from page 25

The patient rests a half hour. Then I'm
through and what has happened?

"Because of massage, blood is circulating
as it should through the body. Cheeks are
pink. Eyes begin to shine. The person
feels new energy, new life. They can go
out and do day's job whereas before I
began they were all in.

"Four things my clients must do. If
they won't follow instructions, I don't treat
them. First, they must cut down on
sweets and starches. No fancy desserts or
potatoes and very little bread — and that
whole wheat or rye or dark bread of some
kind. Second, no liquor. Absolutely not.
Third, they must eat lots of fruit. All
kinds of fruit. Even fruit with sugar in
it. Fourth, all poisons of body must be
eliminated regularly every twenty-four
hours.

"It is easy to understand," Sylvia con-
tinued, "why screen stars need stimulation
and recreation of massage. They have so
little time for tennis and golf. All day
and sometimes all night they stand in front
of those terrible lights. Their expressions
get set, stiff. And there comes time when
they want to relax muscles and can't.
That's where Sylvia comes in!

"And now I tell you about some of my
pet stars.

"One night I get home — I had treated
fifteen clients that day — toy usual average,
and I was tired. The telephone ring. It
was Mae Murray's dancing partner. He
say, 'Sylvia, Alice White — she want you
tonight.'

"I tell him I can't go. I spend evening
with my boys. I have two sons, you
know. He say, 'You got to go for me.'
So I call taxi and go up to Alice's.

"At that time, Alice was a little Peter
Rabbit, a little roly poly. She had been
working hard with no time for exercise.
She was making five hundred dollar a week.
Now she make three thousand. I go to
her house and Alice having bridge party.
I wait ten minutes. Nothing happen. I
wait twenty, half hour, hour. I say, 'Look
here, Miss White, I busy woman. I treat
you now or I must go home."

"Alice laugh, excuse herself from bridge
table. And I give her treatment. Such
treatment. I rub. I hammer. Alice was
good sport. She don't say nothing.

"But next day she don't telephone for
me to come again. I think: 'Aha, I'm too
much for that one. She want one of these
gentle strokers — these persons who won't
help that roly poly a bit.' A week go by.
Then one night I hear gentle voice over
telephone: 'Sylvia, will you come please?'

" 'Who this?' I say.

" 'Alice White,' she answer.

"Then I ask: 'You didn't like me? You
try somebody else?'

" 'No, I didn't like you at first,' she
confess, 'but I try somebody else and they
not so good. Will you come?'

"So I go. ■ I been there nearly every day
since. And now you see Alice in 'Broad-
way Babies." She's wonderful. Thin.
Clear-cut chin line. Slim legs. Slim waist
and hips. Ah, I work over Alice! I work
hard. We get along fine now. She gave
me these pajamas I have on."

Sylvia was wearing lovely heliotrope
pajamas trimmed with green buttons and
frogs with her name embroidered in green
on the pockets. In it she looked just like
a little doll, a little mandarin lady doll.
Really, Sylvia looks somewhere in her early

thirties, and her older son is twenty-six.
Count it up yourself.

"How do you keep from getting old?" I
asked.

"Ssh, ssh! Never mention that word
'old' cither to me or to anybody else, and
most of all don't even whisper it to your-
self. This is woman's day. She may be
old in hours — that is, in hours she spend
before the camera, in office, or in house-
work. But she need never be old in years.
Refuse to take notice of birthdays. Let
the years glide light over your laughing
head. And you keep young always — so
long as you work, so long as you laugh,
so long as you have one person in the
world to love deeply and passionately. To
love and to work and to laugh — that's
youth!"

"Tell me how you happened to treat
Miss Swanson," I asked.

"Well, now, I tell you. Laura Hope
Crews — you know Laura, the actress, she
one of my clients. She say to me, 'Sylvia,
you must come to Gloria. She is tired.'

" 'I'm busy till ten o'clock. I full up,'
I say.

" 'Come after ten then,' Laura answer.
And so I go.

"I get to Gloria's house at eleven o'clock
at night. Up in Beverly Hills. No Gloria.
The butler he take me in a little boudoir.
A beautiful little room. All soft divans
and pillows. I very tired. I sit down. I
fall asleep. I wake up when I hear some-
body say: 'Oh, hello!' It was Gloria and
it was one o'clock.

"Now Gloria, she is an unusual girl.
Very sensitive. She can't bear having
people touch her. If she likes you well
and good. If not, no hope.

"Gloria was very tired. She had been
working on her new picture 'The Tres-
passer'— the one in which she has made
such a hit in London. Fourteen hours a
day she work out on that lot. Not only
acting before the camera, but singing — and
she had never sung before. She helped

to re-write the story, she helped to direct.
She tried on clothes. She posed for stills.
Poor Gloria was worn out. Nervous,
tired. I put her in the bed. I start to
work. In ten minutes Gloria asleep. Like
a baby. So sound as her own little girl
Gloria sleeps. And, by the way, if you
could see her little girl, you would love
her. That child looks so much like her
mother it is really funny.

"I treat Gloria all the time now. And
I would have gone with her to London.
I wanted to. She need me. But then I
was under contract to Pathe and I could
not leave. But when Gloria came back,
I left everything and came to New York
to look after her. That's why I'm here
now. She is wonderful. So well and
pretty and happy now. And she too have
had a lot of trouble. But she never talk
about it. Gloria is really a princess, a slim
princess, a little aristocrat — reserved, dig-
nified, temperamental, lovely.

"Lots of Pathe stars I treat," Sylvia
went on. "I tell you now about Ina Claire
— Mrs. Jack Gilbert.

"Just before Ina married Jack, Hedda
Hopper called me up one morning: 'You
must go to Ina Claire. She need you."

" 'I can't,' I say, 'I leave now for studio."

" 'You must. You got to.'

"So I go. I saw Ina years ago in 'Gold
Diggers of Broadway,' not the movie, you
understand, the stage play. And I know
how Ina must look.

"I get to Ina's hotel. She propped up
in bed. A hundred pillows behind and
beside her. Little silk pillows, lace pillows,
satin. She was talking over French tele-
phone, dictating to secretary, telling two
maids what to unpack. Clothes, shoes,
jewelry, negligees all over place.

"I wait. I wait some more. Finally, I
say, 'Miss Claire, I'm busy woman. I have
big day's work to do.'

"She looked at me — kind of. kind of —
quizzical, you say, as if 'Don't you know
I'm the great Claire? Everybody wait for

for January 1930

me.' Then all of sudden, she laugh. How
she laugh! And I go to work.

"I never have so much fun with any
body as Ina. She real comedienne. She
laugh all time. She crack joke. She make
me laugh. So I laugh and I work. I work
hard on Ina. I want her to look just like
she had five, six years ago when she played
'Gold Diggers.' And now she do.

"I was with her all the time Jack Gil'
bert was courting her. Every morning I
see big bouquets lilies of the valley and
yellow roses, big bunches of gardenias with
one red rose in the center — oh, the flowers
Jack sent! Then one night Ina go to
masked ball. And she and John know it's
love.

"Jack is an adorable boy. And he is
extremely devoted to her. Don't let any-
body tell you different. That marriage will
last. When they went to Nevada to be
married, hardly anybody know. But I
know. Then they flew back and I was
waiting. But it was late at night. And
they tell me to come back tomorrow to
wedding breakfast. I come back. I was
the only one there at the wedding breakfast.
They were like happy children. I cry.
No matter what people say, that marriage
will go. Ina will help Jack with his talk-
ing work and Jack will help Ina with her
screen work — and they will be happy. I
know it. Some things I feel.

"At Pathe, too, I treat Ann Harding.
You know Ann, she play and make big
success in 'Paris Bound.' Well, Ann is
different from any star I ever saw. She
made big stage hit and she come to Holly-
wood. But she like being housewife better
than being star. She crazy about husband
and baby. She loves to get on old pair
overalls and dig in garden. She don't
mind getting her face and hands dirty.
She is, I think, the sweetest and most
lovable woman on the screen. And I think,
too, she is one of most sincere actresses I
ever saw. She gave me a picture and she
wrote on it: 'To my beloved darling
Sylvia.' That picture go where I go — it

stay with me to my last day.

"Carol Lombard is another girl I enjoy
treating. I helped Carol. I helped her so
much one day Marion Davies passed her
on the street and didn't even speak to her.
And that not like Marion. She speak to
everybody she know. But Carol had
changed so Marion had not recognized
her!"

"Tell me something about Marion
Davies," I said. "Everybody loves her and
loves to hear about her."

"Well, Marion — she's a great one.
There's nobody just like Marion. She'd
been working hard, too, like Gloria, on
her new picture, 'Marianne.' When I went
to her she was tired. She wasn't laughing.
And Marion always laugh.

"It was at her big house in Santa
Monica. Like a castle. All filled with
gorgeous furniture and high old colonial
beds. Now I'm only four feet ten and
I only weigh ninety pounds, so when
Marion got in bed, I say: 'Miss Davies, I
need a ladder.'

" 'A lighter?' say Marion, 'a cigarette
lighter?'

" 'No,' I answer, 'I don't want a cigar-
ette lighter! A ladder — 1-a-d-d-e-r — some-
thing to use to reach up to this high bed.'

"And then Marion laugh like anything.
So we go all through her dozens of bed
rooms looking for a low bed. We can't
find a single one. So I climb up on that •
high bed and on my knees start my job
on Marion.

"But now, I must go," said Sylvia, break-
ing off suddenly. "I must give Gloria a
treatment."

"Tell me about just one more star," I
begged, "it's so interesting, so different
from what other people tell us."

Then Sylvia stopped laughing. Her blue
eyes grew serious. I tell you just one more.
About somebody who stands close to my
heart. Somebody I go through fire for!"

"Who is that?" I asked curiously.

"It is Norma — Norma Shearer. When
I go to treat Norma," Sylvia continued,

"she was working on 'The Last of Mrs.
Cheyney.' Because of new talkies and new
effort it required, she was nervous. Novelty
of it made her worried. And she take her
work so seriously. A shy lovely girl, Norma
is — so modest that people sometimes think
she is stuck up. But she is not. She is
simple and unaffected, with the kindest
heart in Hollywood. I treated her a long
time. We grew close together. One day
I come to treat her and I'm worried. I
can't laugh. I worried about my oldest
boy. She notice it and say 'Sylvia, what
is the matter? I never saw you blue be-
fore.'

"And then I tell her. I open my heart
to her. And she help me. How she help
me. I can't tell you what she did — she
wouldn't like that, but I can tell you I
would do anything for her. That girl have
my loyalty so long as I draw breath.

"It's like that in Hollywood. You do
for people. People do for you. With
most of wealth and beauty of the world
there, human nature is the same. The
women, they want to keep young, so they'll
be loved. The men they want to keep
healthy and prosperous so somebody young
will love them. They are all children, each
one wanting to love and be loved, to play
and be happy. Just like you and me —
and everybody else in the world!"

Although Sylvia has time only to treat
professional patients, she has over nine
hundred non-professional clients who come
to her and write to her for advice — which
she gives free of charge. If you get in
touch with her she will tell you just how
to go about it to keep young and slim,
healthy and beautiful. And you have only
to take one look at her picture to know
that she has learned these lessons herself,
and what she has learned she shares will-
ingly with her friends and clients. Sylvia
is a character, a real personality, one of
the most generous and unselfish persons
I know. She is an open, above-board, plain-
spoken woman; and the beauty that she has
retained in her own face and figure she
wants to share with the world.

A Critic and a Plow — Continued

players waited with a little anxiety. Would
he be highbrow, as most operatic stars are
pictured? Would he be temperamental as
most opera stars are supposed to be? Every-
body wondered.

Then arrived on the lot a young fellow,
tall, slender, and exceedingly regular. He
uses all the modern slang, likes aviation,
and doesn't pose. He reminds one of a
young broker or insurance man — not of
an opera star.

The first person he wanted to meet was
Cliff Edwards.

"I think his Singin in the Rain is
the greatest thing in the 'Hollywod Revue,'
he proclaimed, "and I think he's one of
the greatest performers Fve ever seen. He
must be a good fellow."

And now the world's greatest Rigoletto
and the world's champion ukelele-operator
are great pals and mutual admirers.

Tibbett doesn't like a fuss made over him,
and, like Lindbergh, hides out when the
curious gather. He doesn't like to talk
shop — -which to him, of course, is music,
but is eargerly anxious to talk about pic-
tures, a new adventure to him.

He asked hundreds of questions about
make-up, about camera angles, and about
the odds and ends of the new business.
He is an ardent screen fan, and, now that
he's in the studio, eagerly anxious to meet

screen favorites he has long admired from
the silent screen.

He likes horseback riding, and every
morning sees him on the bridle path.

"When I was a kid," he says, "I used
to ride a horse bareback, with nothing but
a halter, and I can still do it. A while
back I visited some old friends down at
Fresno — you know, the grape country in
the valley, and I picked out a ranch horse
and tried it, just to see if I could still do it.

"That's where I watched 'em plow the
new way. They hitch a gang of plows
onto a tractor now and pull it through.
In the old days plowing was a fine art.
You'd start a furrow, then carefully manip-
ulate the plow in the succeeding furrows
so you'd slice off just so much at a time.
To keep a furrow straight was a fine art,
and required lots of practice. The boy
who could do it was quite a dignitary
around the Bakersfield country."

Learning to plow a furrow straight was
probably his first step toward opera. It
takes concentration to learn to plow. And
later this same concentration led him to
practice, practice, incessantly and tirelessly,
at singing, and to study, despite many ob-
stacles, the art in which later he triumphed.

Becoming an opera star is hard work.

At the studios, in his brief stay, he has
made many friends. Ramon Novarro wor-

from page 32

ships at his feet, for Novarro has studied
years to be an opera singer and is on the
threshold of an operatic career.

"I look at Tibbett much as a cub re-
porter looks at a famous editor who's been
through the mill," says Novarro.

Tibbett and Barrymore are close cronies.
Both have a keen interest in music to start
with, for Barrymore is a talented pianist
and gifted composer. Ernest Torrence, who
started as a concert pianist, is another of
the new talkie star's friends.

In fact, he numbers among his friends
the entire population of the studio. He
has the happy faculty of making friends
at first sight that marks the successful sales-
man, and which, probably, projects itself
in his personality over the footlights or
from the screen. Barrymore thinks it does.

"Personality is the one thing that counts
in an actor," says Barrymore. "How he's
made up, or even how he talks, isn't im-
portant, but the gray matter and the per-
sonality that either grips an audience or
doesn't — that's the thing. Tibbett is a great
screen star just as he's a great opera star,
because people like him instinctively."

And the reason for that is, probably,
that Tibbett himself likes everybody.

Including guys who knew how to plow
right!

SCREENLAND

World Peace — Continued from page 21

the conclusion Of which I hope to be able
to visit Hollywood.

Strangely enough, it was Rudolph Valen-
tino who first interested me in the value
of pictures. That was five years ago in
Paris — just a short time before he passed
on. At a large dinner party at a chateau
just outside of the city, Valentino was
the host and I the guest of honor. As
I sat at Valentino's right at the big oval
table beautifully set with thin old silver
and rare Sevres porcelain, I wondered
what on earth I would talk about to this
youth. I had seen many moving pictures,
of course, but of the film people, I knew
nothing.

"Suddenly Valentino looked me full in
the face. And I was shocked. Astounded.
Here was a man whose personality had
conquered the women of the world en
masse. Yet as I regarded him, I saw im-
mediately that he wasn't a handsome, mag-
netic animal. He was instead a true spirit-
ual type.

"How we talked! What a dinner it
was. Valentino and I both believed the
same. I can't say we believed the same
religion. I don't like that word and never
use it. For what the world needs is more
Christianity and less Creed. But we held
to the same spiritual principles. That Val-
entino evening remains a vivid memory.
I never saw him again. I thought then
and I think now that he was an unhappy
man. He was seeking the spiritual quali-
ties which he could not find in his present
material world.

"I have always been interested in spirit-
ual things. As a child I used to ask our
priests: 'What is life — where are we
going — where do we come from?' They
never answered me satisfactorily.

"Then I grew up. As a young man

I went into the Navy. And there I re-
mained until the end. As I married and
my children came into the world, they
asked the same questions that I had asked
years before. And I had no answer for
them. But all this time I was seeking —
hoping for a solution. Then came the
war. The revolution. Finally with my
wife and children I escaped to the Crimea.
But there I was imprisoned. It looked
like the end for all of us. But is wasn't.
I knew then just as I know now that we
were and always will be protected. Even-
tually we all escaped, and arrived safely
in Paris.

"But I was no longer satisfied to live
as heretofore. I wanted to find the answer
to the riddle that had been haunting me
all my life. And I have. It's Love. Love
not for riches or power or fame. But
Love — each man for the other, and for
the beggar that stands outside the door.

"It was at this time that I went to the
Peace Conference, where I tried to make
understood the true condition in Russia.
But they had no time to listen to me.

"I would make every man wealthy —
rich in Love, and comfortable in material
circumstances, so that he is no longer tor-
tured by poverty nor tempted by wealth.

"This can only be accomplished by edu-
cating the children. And at this time when
Premier Ramsay MacDonald and your Pres-
ident are working for the peace of all
nations, I am so anxious for the people of
America to realise that they must do their
part. It is not alone by treaties and delicate
diplomacy that war can be averted. Every
person must help. For peace will not en-
dure so long as man has the lust to fight.
So long as we give children toy soldiers
to play with and send them to military
schools, so long will wars continue. We

must force the cessation of hostilities by
educating the children — both at home and
in the schools, in the theaters and in the
churches. By teaching them less of vary-
ing gods and more of permanent Godli-
ness, as the years roll by we will arrive
at the ideal of peace towards which every
thoughtful man and woman is striving.

"There is no means more potent for
educating children than the motion pic-
ture. In five years, I understand, there
will be talking pictures in two hundred
thousand churches and parish houses, there
will be talking pictures in one million pub-
lic schools, and these same talkies will be
universally used in the teaching of medicine,
surgery, science, history, art and music.

"More than ever, therefore, is it neces-
sary that this greatest of present day
industries, the moving picture, with its sis-
ters the radio and the gramophone, should
bring to the people of the world those
things which are essentially good and beauti-
ful. And it is towards this end that I
would wish to speak with your great stars
and with the leaders of this great industry.
I want to bring to them the message which
is as old as Christianity itself. A message
which their endless rolls of film and end-
less rounds of disc can unfold to the world
this year, next year, and all the coming
years. And this message is: Hold Fast to
That Which is Enduring and True. For
in this way only can we achieve eternal
life — the life of the spirit."

In this twentieth century we have had
many cases of those who give up their
souls to gain the world. But in His Im-
perial Highness the Grand Duke Alexander
Michaelovich of Russia we have a man
who loses the whole world — and counts
it well lost — to gain his own soul.

The Broadway Blonde — Continued from page 47

hair, for instance. She likes to wear it
parted in the middle, drawn over her ears
in Madonna fashion, and in a coil at the
nape of her neck. But when Paul Stein,
the director of the picture, decided that
this was not sophisticated enough for the
part she plays in 'Her Private Affair' she
agreed to have it changed. As a result of
her sweetness I lay awake several nights
trying to think out brand new coiffures,
exactly suited to her particular type.

"It's the same way with everyone else.
The cameramen are all crazy about her, and
they pay more attention to lighting and
photographing her than anyone I've ever
seen them work with. She works so hard
herself that she inspires everyone else to
equal effort. Why, I remember one day
when she played a scene in a tight pair of
shoes, which really hurt awfully, rather than
hold up the company an hour until another
pair came out from town. Can you imagine
anyone not co-operating with a girl like
that, no matter how much effort it took?"

Having finished her scene, the young lady
who was the subject of so much praise,
joined us.

"What deep, dark secret are you three
whispering about now?" she queried as
she sank into one of the canvas set chairs
beside us.

"Speaking of secrets, have you any secrets
that your new-found fan public might be
interested in? * I queried in reply.

"I never have secrets," she answered,
"even if this picture is called 'Her Private
Affair.' They're dangerous. For if they
are really secrets, they usually worry you.
And if they cease to be secrets, they usually
worry someone else.

"One thing, certainly, that is no secret,
is the way in which Harry and I have be-
come attached to California. Neither one
of us had ever been here until Harry came
with the 'Strange Interlude' company and
I arrived in Pasadena to recuperate from a
strenuous season of playing 'Mary Dugan'
too soon after the birth of our baby. But
we consider ourselves natives, already. They
say that a New Yorker who comes to Cali-
fornia usually has to return to New York
before he can get the proper perspective
on this state, but we are so completely fasci-
nated by California, that we don't even
need the New York trip."

For some time, I had wondered just how
and where this new screen star lived. I
had never met anyone who had encountered
her at the Montmartre, the Cocoanut Grove,
the Blossom Room at the Roosevelt, or any
of the other bright spots most frequented
by the celebrities of Hollywood.

"Do you live in Beverly Hills?" I asked.

"Bless you, no!" she replied. "As soon
as Harry and I signed our contracts with
Pathe, we moved from Pasadena to the
cutest little place in Van Nuys that you
could imagine. It's not a new place, but

it's homey, and it has a nice garden and
a big yard for Jane to crawl around in and
we have two dogs and lots of chickens and
flowers. Such flowers! They would be
worth a small fortune in any florist's shop
on Broadway!"

If you have never been in Hollywood,
you cannot understand just how completely
Ann Harding had defied all rules of motion
picture existence by not only living in Van
Nuys, but openly admitting that fact. It
might be compared to a famous New York
stage star living in Hoboken. And you
can well imagine what a sensation that
would be!

"Harry and I have just bought the most
gorgeous lot high up on the very top of
one of the tallest Hollywood hills," she
continued in her enthusiastic praise of Cali-
fornia. "And we are going to build a home
there immediately. On Sundays and the
few days when we are not working, we
pack up a nice lunch, take along a canteen
of water, put Jane into the back seat of
the car and spend the day there clearing off
our lot. It's great fun, but can you imagine
what our friends in New York would say
if they could see us with grimy hands and
faces, working like day laborers?"

Well, I couldn't, and what's more, if I
had not seen snapshots of them at work,
I would have thought they were playing
some sort of joke on me. But no high-hat
for Ann Harding!

for January 1930

The Surprise Voice — Continued from page 65

distinctly understood." — (he fixed us with
stern eyes and words) — "I never sang in
a choir or a night club!"

As this sally brought chuckles from the
gang, he added confidentially, "I was driven
to it in self-defense. Singing, I mean.
During the making of a picture in which
I was playing the leading role, executives
went frantically around the studio trying
to think of someone who could sing the
leading role in another picture. They asked
darned near every man in the studio if he
could sing. They even asked a gateman.
But they never thought of asking several
picture actors on the lot who had become
popular originally in silence. Guess they
thought we had lost our voices.

"At any rate, I said to myself, said I,
'Lloyd my boy, you had better get busy if
you want to stay in this new picture racket.
They won't believe you can talk or sing
if you tell them, so you had better be good
when you do try to show them.'

"My talking voice got by okay in the
tests, so I just figured I'd wait to spring
the singing until some of the really good
singers from New York had gone back to
the stage for one reason or another.

"When my teacher finally said, 'Lloyd,
you'll never be a John McCormack, but
you can carry a tune pretty well, and you
don't flat any high notes, — I knew I was
as ready as I ever would be. And here
I am, Lloyd Hughes, warbling at every-
thing from I Kiss Your Hand, Madame and
Pagan Love Song to For You Alone and
Tosti's Good-Bye. The joke of it is, boys
and girls, you have to listen now whether
I'm good or not."

Beneath all this light and airy badinage
on the part of the usually reticent and
conscientious Lloyd Hughes, I detected a

serious note. Drawing him aside later, I
reproached him.

"Never mind running your voice down
the scale," says I. "I've got ears of my
own and a soul for music, and I think it's
pretty good. On the level, don't you get
a kick out of making the grade with some-
thing new?"

The victim looked furtively around.

"Yes," he admitted like a man, "I do.
I like to sing, but I don't want such a fuss
made about it. All I want is that role in
that picture and if it takes a voice to get
it these days, I aim to please."

What could be fairer than that?

Lloyd Hughes has had one of the most
interesting careers of any of the younger
players. No less than five Arizona towns
can claim him as a native son. He was
born in Bisbee, but he was raised and edu-
cated in Globe, Douglas, Tuscon and Phoe-
nix. His family brought him to Los An-
geles for his high school education. Lloyd
attended Polytechnic High School where
he gained a reputation as a splendid all-
round athlete

In those days motion picture companies
filming scenes on the city streets were nov-
elties. Lloyd secured his first job as an
extra in this way, and he had to play
'hookey' from school to do it. Becoming
intensely interested in motion pictures as
a possible career, the youth secured his
first real job not as an actor but in the
dark room of a film laboratory. He pos-
sessed such a fine physique and made such
a splendid appearance that he soon attracted
the attention of directors when he played
in the extra ranks.

His first opportunity came when another
adventurous youth. King Vidor, produced
and directed his first motion picture, "The

Turn in the Road." This little gem proved
surprisingly successful so both King and
Lloyd found themselves on the high road
to success. Then Lloyd attracted the at-
tention of the late Thomas H. Ince, the
star-maker, who placed him under contract
as a juvenile leading man. For three or
four years, young Hughes played leading
roles under the Ince banner and was de-
veloped into an actor of ability.

Here he met Gloria Hope, a promising
Ince player, still in her teens. After a year
or two of courtship they were married in
1922. Miss Hope immediately gave up
the screen for domesticity.

Following his Ince career, Lloyd Hughes
began a free-lance career in "The Sea
Hawk." He was then signed on a long-
term contract and played in many popular
pictures.

Lloyd and Gloria Hughes have one boy,
Donald, who will be three years old October
21st, 1929. Oddly enough, October 21st
is the birthday of both father and and son,
so they can always celebrate together. For
the benefit of those who love to know,
Lloyd stands exactly six feet in height, has
dark brown hair and gray eyes, and his
favorite sports include golf, tennis, swim-
ming and horseback riding.

"Yep," continued Lloyd reflectively, as
we strolled out of the studio after the
radio hour, "I have to make good all over
again. The little woman gave up her own
career for me and I can't let her down.
Reckon I'll have to work harder than ever.
But it sure is worth it."

If you could only see the lovely Gloria
Hughes and their husky, handsome young
son, you'd agree with Lloyd that it's well
worth it!

A New Girl— Continued from page 76

For a moment Miss Jordan's eyes were
attracted to the set where Ramon Novarro
in a French cuirassier's full uniform was
going through a scene. Nodding in his
direction, she said:

"They won't want me for a few minutes.
Ramon is doing this scene all by himself.
Afterwards — after he passes through that
door you see on the left of the set — he
meets me in a garden, and we play a scene
together. Isn't it funny to see people in
romantic costume go wandering through this
jungle of wires and microphones and studio
props? It's one of the things that I can't
get used to. On the stage it's different."

"Much different?" I asked.

"Just different in little things. Funda-
mentally there's not much difference be-
tween playing for the movies or for the
stage. The people are different, of course.
And they're different in their relation to
one another. There's more quarreling and
less friendliness on the stage than there is
in the motion pictures," Miss Jordan said.

"But you were saying just a little while
ago that the people here didn't seem able
to understand how you were so unassum-
ing," I said.

"Oh, that's just the Hollywood idea!"
she replied with a grin. "They think they're
so sophisticated out here; and as a matter
of fact, there's a great deal of the small
town atmosphere about Hollywood. For
some reason or other they nurse the idea

that stage people are a race apart. And
then they're shocked and surprised when
they find that we are not a bit better or
worse than the ordinary run of people. It
spoils their illusion, although they'd swear
that they'd never had any if you were to
ask them.

"I was called to a New York hotel to
meet a Hollywood movie man," she went
on. "When I walked in he was writing at
a desk. He looked up and said, 'How do
you do, Miss?' I answered, 'Isn't this suite
1012?' He said, 'Yes, but are you sure
you have the right number?" The poor man
had been expecting some person with a lot
of vim, vigor and temperament, and in I
walked. He later told me that he thought I
was a school girl, lost in the wilds of a
New York hotel!

"But I've been on the stage ever since
I was fifteen years old," Miss Jordan ex-
plained. "My folks wanted to send me to
Southwestern University in Tennessee —
we're Southern folks, you know — but I
decided I'd rather go to the Sargent Dra-
matic School in New York. I was just a
kid, but I'd been through high school in
a hurry, you see.

"Dramatic school wasn't as exciting as
I thought it would be, so I just ambled
down to the Capitol Theater one afternoon
and got myself a job with Chester Hale.

"That wasn't hard to do, as Chester Hale
says he can make a dancer out of any girl

who has reasonably straight legs and a lot
of stick-to-it spirit. I worked awhile for
him and then got a job in the chorus of
the Garrick Gaieties. I told them that I
could sing and they let me try out a single
number for them. After that it wasn't hard
to get a 'spot' in 'Twinkle, Twinkle.'

"When 'Funny Face' was being produced
I went to the rehearsal and asked them if
I couldn't sing a few songs for them. They
let me sing a couple of numbers and
featured me in the billing. I must have
got over all right, for when I applied for
a job in 'Treasure Girl,' they gave me a lot
to do and a great deal of space on their
advertisements."

"How did you happen to get into motion
pictures?" I asked.

"It was just as easy as getting on the
stage. The Fox studios gave me a part in
'Black Magic' And then Mr. Douglas Fair-
banks saw a preview of that film and decided
that he could use me in 'The Taming of
the Shrew.' It was the first time I ever
played Shakespeare. One day I got a call
to come over to Metro-Goldwyn-Mayer and
take a test. I was horribly nervous, but
I guess the test turned out all right, for
I got a contract and here I am, playing with
Mr. Novarro!"

It may be put down as a matter of record
that Miss Jordan won this part from a list
of applicants which numbered more than
thirty-five screen beauties.

SCREENLAND

The Upkeep of Their Careers -continued from page 49

Although that's four times what 'Buddy' re-
ceived until recently, and exactly three times
as much as Alice White once got. But
— yet. However, you must have house-
hold help. With your prc-stardom ideas
you don't have to go in for swimming pools
still in force, you confine yourself to em-
ploying a couple: the woman to cook and
perhaps double as your maid, the man to
tend the garden, do the heavier work, and
put on the butler act occasionally. It is
necessary that they live in, which means
you feed them at a cost of about $100 a
month, in addition to paying in the neigh-
borhood of $175 in salaries.

■

After all, you've heard having jewelry is
just like having money in the bank. So
it is. Except of course that it costs the
interest on the money to wear jewelry, in-
stead of the money drawing interest. And
that when you try to sell — you find it's
easier to buy. The Malibu place only costs
$1800 — first. And you spread the jewelry
payments over a year at $100 a month.
Seven thousand more has flown the coop.
You've sort of lost track now, but your
social secretary — oh, didn't I tell you? —
of course you just had to have a secretary
for your engagements, and the fan mail,
and — well, you know — this and that. Well,
your secretary tells you that after all de-
ductions, including her salary of $2000 —
there's a nice round $10,000 remaining.

Thank goodness for that! Because you've
worked hard — and played hard, which is
really part of the work — and you really
need a vacation, say in Hawaii, during your
twelve week lay-off. So you ship the small
car and the Filipino and the secretary and
the maid and yourself to Honolulu, and
have a simply gorgeous time. You return
just before Christmas to find that you've
forgotten gifts for the press, the stars, the
directors the executives and the bankers.
You're advised at the studio to contribute
to this charity and that one. On December
30 your bank telephones that you're over-
drawn a few hundred dollars. But that
they'll be very — oh, very happy to take
care of the overdraft for you.

You're a little confused. A trifle be-
wildered. You look at this amazing struc-
ture that has created itself under your feet
in one brief year. You remember how
happy you were when it became stylish to
go bare-legged — happy because you could
save on the near-silk stockings that had to
be bought on your fifteen dollar a week
salary. You wonder who all these people
are who 'yes' you — the butler, cook,
chamber-maid, chauffeur, secretary. You
wonder how you ever accumulated the
hundred pairs of slippers in your shoe
chest— the perfume cabinet with its thous-
sands of dollars' worth of scent — the gor-
geous gowns — the furs — the cars — the
jewels — the wine cellar — the headache!

But you're over! You are handed a fine
new contract — for twenty-five hundred dol-
lars each and every week! Hooray! You
move into a bigger house with a pool —
just a small one — at $800 a month. You
send East for Maw and Paw and the kids,
and set them up in your old home, give
them your old cars, servants — everything.
Twenty-five hundred bucks a ivee\! More
dough than any one in the family ever had
in a life-time! All the things worn more
than three times are expressed to Cousin
Minnie and Paw's brother's wife.

And at the end of the second year when
the secretary presents the Jan. 1 bank bal-
lance you find it's just exactly the amount
you used to have in the Christmas Savings
Fund back in the days when a dollar was
money.

If you don't believe it all, ask Gloria
Swanson who is broke after years at, not
$2000 but, $10,000 a week. Ask Erich
Von Stroheim, who told Jim Cruze he had
$20 in the world at the completion of "The
Wedding March." Ask any of that great
and glorious gang of make-believers who
plunge through the silver screen into a
lake of gold. And come up — clean!

You must have a car. It is as essential
as your make-up box. There is no other
way to get about. Economically, you'll
drive it yourself. You can, if you care
to, spread the payments over a year. Let's
say to buy it and keep it costs $250 a
month. It isn't a Rolls. But it can't be
a flivver.

Well! So far so good. And you're
quite proud of yourself. You have a forty
week contract at $1500 — an annual in-
come of $60,000! And you've provided
yourself with everything you need (so you
think). Clothes at an average outlay of
$500 monthly — $6000 a year; a place to
live at an annual rental of $3600; the cost
of running your home, including the ser-
vants, comes to an estimated $5000; and
your car sets you back $3000. A total
of $17,600. You have $42,400 left. Pro-
vided, of course, that De Luxe Pictures
exercises its option on your services. Pro-
vided you 'click.'

To make sure that you register properly
on the powers that be, you immediately
hire a publicity man. You can get a pub-
licity man cheaper than you can get a
Councillor of Public Relations. They're
about the same. Except that a mere pub-
licist's fee is less than a Councillor's. He'll
get your name in the papers for about
$3000 annually. Naturally, though, to get
your picture printed he must have photo-
graphs. Take the word of Marie Prevost,
Estelle Taylor and other established stars
that your 'Photos by Ball' will run into
$2000 every fifty-two weeks. Everyone
must have exclusive poses. A pose once
used cannot be reprinted. You want to
give the fans the very latest. Remember,
you must register to stay in the game.

Now you figure you're all set, and there's
still over half of your sixty grand left.
But you don't know nothin' yet. Through
the publicity campaign, and because of
your own winsome personality, you become
quite popular with the press, the public,
the other stars at the studio, the directors
and the executives — not only on your own
lot, but those from Befuddled Films, Inc.,
■ — an outfit several degrees more im-
portant than De Luxe Films, as you soon
learn.

So you are entertained. And in return
you hurl whoopee bids to the press, the
stars, the directors, the executives, a few
bankers, and a couple of Elks' conventions.
Extra food and drink depletes the bank-
roll to the extent of $200 a week — if you're
moderate. But it's lots of fun — and there's
still $27,000 left. Of course, you begin
to experience servant trouble around now.
The couple you engaged was okay just
for you. But both of 'em kick at fixing
things for the gang. You take on a Fili-

Two Young girls! Loretta's little
sister Georgina wants to grow up in
a hurry so she can be a famous mo-
tion picture actress like her family
idols, Loretta, Sally Blane, and Polly
Ann Young. Well watch for you,
Georgina!

pino boy and a personal maid. Luck is
with you and you get them for $150 a
month — well under the market price
There's no reason to believe that they eat
less than the first couple, so tack on another
hundred a month for their maintenance.

You find that the little car isn't quite
enough. After all, you need a limousine
and a chauffeur to go to the openings where
your public, and the press, and the stars,
and the directors, and the executives meet
and greet you. Beside, even that hateful
little thing who tried to vamp the director
on your last picture has two cars. You
get one with the sweetest special upholstery,
and a gorgeous red paint job for a dollar
down and only $5000 all together. The
Filipino drives you — in livery. Two and
two make four and the $3000 for the new
servants plus $5000 for the car totals eight
grand. And leaves $19,000 of your $60,000
salary. But there's plenty more where that
came from. You've arrived. Sure, you
have. Otherwise, how come all those mag-
azine stories about you — all the pictures
in the papers — all the parties — all the
friends!

And what's more if Jane Winton can
have all those diamonds, and Kathryn
Crawford can have a house at Malibu, why
can't you? You're every bit as good as
they are. So bang goes sixpence. You
sublet Winifred Westover's place for
$600 a month, just during the season, of
course. Say, three months. And you get
some pretty fair pearls — a ring or two.

for January 1930

A NeW 'Skin Game'— Continued from' page ;"7 '5

ever way it was, we have heard a great
deal about diet. Now, with the new dresses
with their flares and flounces and gores
and what not we're allowed to have a
few curves — in fact, they're encouraged.
But never again, I believe, will smart
women allow themselves to become or re-
main fat. What has all this to do with
complexions? Wait a minute and I'll tell
you. It made for better and clearer skins!

If you want a clear unblemished skin,
watch your diet. Cut out an over-abun-
dance of sweets and pastries, all rich, heavy,
highly seasoned foods. Eat coarse breads,
fresh and stewed fruits, a moderate amount
of meat, and lots of vegetables — those con-
taining plenty of roughage such as cabbage,
celery, onions, baked potatoes scrubbed
clean so you can eat them skins and all.
And drink at least two quarts of water
every day. If you want a real beauty
diet, write to me and I'll send it.

Now about exercise. I realize, of course,
that with the amount of energy that our
dancing daughters of today put into their
dancing, golf, tennis, basket ball and so
on, they do not allow their circulation
to grow sluggish. That is another reason
why skins are better today than ever before.
They may not be so lily white, but they
are freer from blemishes. But the business
girl who rides to and from her work, and
the home girl who drives to mill and to
market does suffer from lack of outdoor
exercise and its attendant ills. And many
girls get their only exercise dancing in
hot crowded rooms.

Even though you are not athletic in
your tastes, cultivate some form of out-
door sports for health and beauty's sake.
If you go to business, walk a part of the
way there and all the way home if not too
far. Walking is splendid exercise, par-
ticularly in winter. Walk with the chest
well out, the head up, and breathe deeply.

Deep breathing is in itself a superb tonic.
It corrects unlovely symptoms of lowered
circulation and impoverished blood. It
sends fresh air rushing through the body
doing its work quickly and well. What-
ever clears the internal organs, clears the
complexion and brightens the eyes.

And let's not forget beauty sleep! As
long ago as we can remember we had
dinned in our ears, "Early to bed, early
to rise, makes a man healthy, wealthy, and
wise." We didn't give a hoot in those
days about any of those things. But if
we had been told "Early to bed, early to
rise, makes a pink and white skin and
bright sparkling eyes," we'd have been
tumbling into bed at sunset ever since!

I come now to an unpleasant subject.
I can't put it off any longer, so must
plunge in and get it over with. I've had
a lot to say about keeping clean internally.
Now, we must consider external cleanliness.
No matter how clean your face is, it can
be cleaner; and it's not clean as long as
its pores are clogged with blackheads.
There! I told you it was an unpleasant
subject, but I know that many of you need
help because you have written me about it.

It's such a personal sort of subject. You
see, we can lay the blame of a snub nose
and a sharp chin or an unlovely profile
to our ancestors. But we can't blame any-
body but ourselves for blackheads as they
are but evidence of neglect and bad groom-
ing or wrong habits of living.

Summer or winter, no skin is clear for
iVery long, especially in the dust-laden air

of the cities. And while protective prepa-
rations do protect the skin and keep out
some of the dust, they must not be allowed
to clog the pores. A skin from which
the day's accumulation of dust, powder,
rouge and cream is not carefully removed
at night is quite likely to acquire black-
heads.

A blackhead, as we all know, is really
a pore clogged with skin secretions, dirt,
make-up or some other foreign matter. If
neglected, the pore often becomes enlarged
and even when cleared, persists in remain-
ing as a small round hole called an en-
larged pore. Sometimes it's a tight little
pore, but in either case it must be cleared.
So the first step is cleanliness.

No matter how tired you may be or
how busy you think you are, don't allow
yourself to go to bed with a dirty face.
Cleansing your face thoroughly every night
is even more important than going to bed
early — it must be done regularly. Seven
or eight hours of sleep every night "are
necessary to keep the body strong, ward
off wrinkles and give color to the cheeks,
but if you go to a dance or the movies and
are up later than usual you can go to bed
early the next night and make it up. If
your hours of sleep average up to the re-
quired number, that's splendid. But you
must wash your face thoroughly every
night.

The best way to cleanse the face whether
dry or oily is to use cleansing cream first.
This cleanses and softens the pores. Ap-
ply to the face and neck, using an outward
and upward movement. Leave on a minute
or two, then remove with a soft towel or
cleansing tissues. Then wash the face with
warm water and a pure mild soap. Rinse
well in warm, then in cold water to close
the pores. This is the night treatment. In
the morning, wash the face with warm
water, pat in an astringent, smooth in a
bit of cream and dust with powder.

An oily skin is particularly liable to
blackheads and needs special care. While
the girl with a dry sensitive skin will do
well to depend more upon cleansing cream
than on soap and water, the girl with the
oily skin may use soap and water plenti-
fully. And while the dry skin needs an
oily cream smoother well into the skin at
night, it is better to leave the oily skin
free from cream upon retiring, though a
small amount may be patted into the neck,
around the eyes and at the sides of the
mouth where lines are prone to form.
Choose a good cleansing cream and skin
food. I can tell you of a cream that is
both cleansing and nourishing and agrees
with all skins and is quite reasonably priced.

If the blackheads persist, use a flesh
brush, a very soft, fine one, with soap and
water, about three times every week. Use
cleansing cream first, and cold water after
the face has been well cleansed with soap
and water. If this does not banish the
blackheads, use a good pore cream.

It seems superfluous to add: do not neg-
lect the daily bath. Every girl knows this
is necessary to health and beauty. Bathe
at night or in the morning, as best
agrees with you.

Do you have a muddy skin, dark circles
under the eyes, a skin disfigured by pimples,
blackheads, acne and enlarged pores?
Write me your particular problem and I
will tell you about special treatments and
preparations. And don't forget the beauty
diet I promised.

Clear Skin has a
IPptvcrful (Appeal

Would you like to possess
clear, smooth skin, as appealingly
loveJy on close inspection as at a
distance?

Tonight begin this cleansing
method which leads to new com-
plexion beauty. Apply Plough's
Cleansing Cream generously,
leave it on a few minutes, then
wipe it off. With it will come
every particle of dust and make-
up— floated out of the pores by
this light, non-absorbable cream!
With the pores clean and free to
breathe, your skin will be finer in
texture and immaculately fresh.
Then, as you continue to use this
. dainty cream regularly, you will
find your complexion becoming
smoother, clearer and more at-
tractive every day.

Plough's Cleansing Cream is
available in three sizes at popular
prices. Try it!

CLEANSING CREAM

Look for the Black and White Circle on the Package

N E W V O P K. MEMPHI/- /"A N rRANCI/CO

Kill

SCREENLAND

They're Only Human!— Continued from page 19

If Norma Shearer were of the old school
and confided to interviewers, as she fre-
quently docs, that she was just about on
her uppers when she landed a job in pic
turcs, the entire film colony would have
fallen in one grand swoon.

And what would have been the effect
had there been a Clara Bow to relate the
story of her poverty-stricken childhood; of
the day when she learned that she had
won a beauty contest and knew she had
no suitable clothes to go before the camera
for a screen test. Clara managed however
and passed the test and at an age when
most girls are in grammar school was well
on her way to success. She has passed
many tests since then
— among them the
supreme test of loy
alty. Clara is loyal
to old friends. Her
confident and closest
friend is her secre-
tary, Daisy De Voe,
the little blonde girl
who was once her
hair dresser.

Marion Davies is
one of the best liked
girls in pictures, and
is not a bit too proud
to sit down and play
bridge on the set
with an assistant di-
rector, a property
man, an extra or two,
or whoever doesn't
happen to be work-
ing at the time. And
don't you love Mar-
ion's freckles? In
the old days she'd
have been going
about in a sun hat
swathed in veils and
carrying a parasol.
Not Marion. She
just lets herself he
freckled.

And Marion isn't
the only star who has

freckles and doesn't try to do anything
about it. Joan Crawford's freckles are quite
noticeable even in her photographs unless
they are touched up carefully, but some-
how they become her.

Greta Garbo — the exotic Garbo — is
another star who does the unexpected.
She's not at all bashful about having her
palm read by an extra girl, or piloting
a flivver around the beaches.

Charlie Farrell drives a flivver, too, of
quite ancient vintage — and is proud of it.
And Alice White, whom one would ex-
pect to drive a smart, expensive roadster,
keeps only a medium-priced car and likes
to drive it over rough mountain roads.
Incidentally, she lives in a small apartment
and keeps only one maid, and admits that
she has no desire to accumulate a library
of first edtions!

Nils Asther drives an old car most film
fans wouldn't own and his little five-room
house wouldn't do for a garage for Oliver
Marsh who photographs most of his pic-
tures. Nils likes to eat onions, and does,
and makes no pretense of trying to kid
himself or anybody else into believing that
his 'art' is everything when he knows in
his heart that movie money is what counts,
after all.

Nils tells a funny one on himself. "It

was just after we made 'Sorrell and Son'
that I got my first ticket for exceeding
the speed limit and went to court. The
judge said to me sternly, 'Have I not seen
you before?'

"I felt quite flattered as I thought he
meant he had seen me on the screen. I
bowed and smiled and told him he prob-
ably had seen me.

" 'Then, as an old offender I fine you
$150,' roared the judge.

"Thoroughly squelched, I explained
meekly that I had never been in court be-
fore— that I thought he meant he had seen
me on the screen. The judge, luckily for
me, had a sense of humor. He laughed

Lee Tracy, well-known on Broadway and in Holly
with his most enthusiastic fan — his mother

and suspended the fine."

John Gilbert frankly admits he was a
flop as an actor before he happened to
get a lucky break and isn't at all ashamed
of having sold tires when he lived in Port-
land. And he doesn't always show up
shaved when he isn't working and usually
wears an old sweater instead of preening
himself in sartorial splendor for the bene-
fit of curious eyes.

Bessie Love tells the world that her real
name is Juanita Horton and that her folks
were mighty poor back in the little Texas
town she came from. Johnny Mack Brown
knows darned well that probably he never
would have had a chance to get into pic-
tures if he hadn't been a football hero,
but does all he can to make himself worthy
of the popularity he has gained.

Jack Mulhall ran away from home when
he was a youngster and worked in an iron
foundry. He then joined a circus, deserted
it to appear in vaudeville and finally left
the stage flat to work in the movies. He
glories in his hardships — but as he is re-
puted to have kissed a greater number of
screen beauties than any other star, some
of his admirers might wonder where the
hardship comes in. Jack modestly boasts
that he has kissed 89 women before the
camera. Mrs. Jack doesn't mind. There's

safety in numbers, she believes.

William Haines was a haphazard sort
of bond salesman when he hit on the movie
trail. Charles King of "Broadway Melody"
fame recalls the days when he was a street
urchin in the toughest neighborhood in
New York's old east side and doesn't even
blush when he tells of his first stage ap-
pearance in the Hurtig 6? Seaman burlesque
house.

Lon Chaney is proud of the stagehands'
union card he still carries.

Raquel Torres doesn't hide the fact that
she was an usherette before she happened
to be picked to play in "White Shadows
of the South Seas."

Karl Dane is so
proud of his carpen-
tering prowess that
it's hard to keep him
away from the ham-
mers and saws on the
sets when he should
be putting on make-
up. Buster Keaton
loves to recount his
experiences on the
road with the family
knockout act. And
Cliff Edwards, better
known as Ukulele
Ike, isn't at all
ashamed of having
worked in one-armed
lunch counters before
he got going.

Colleen Moore is
fond of saying that
if she had not had an
uncle who knew D.
W. Griffith and casu-
ally introduced her to
him one day, she
might have been just
a plain home girl.
Well, she might have
been a home girl but
she never would have
been plain. Colleen
is always attractive,
and always was.
Gary Cooper is one of the most unpre-
tending of the male stars. If he's working
in a soft shirt with turn down collar or
in a shirt with no collar at all he makes no
attempt to dress up at lunch time or for
dinner either if he happens to be work-
ing. And Gary doesn't have to.

Ann Harding is one girl who is so lovely
she seems to belong to the old days when
lady stars reclined gracefully on chaise-
longues heaped with mauve and sea-green
pillows when expecting an interviewer.
But she doesn't. Ann is delighted with
California because she can have a house
and flowers growing that she has no in-
clination for reclining. You'll find her any
day working in her garden, and she doesn't
care how dirty her hands get.

Richard Arlen and his wife Jobyna
Ralston are great for the home life, too.
They have a charming house, but they
don't spend their leisure moments all
dressed up waiting for callers. More than
likely they'll be outside in smocks or over-
alls painting furniture or trimming shrub-
bery or mowing the lawn or laying a
walk. Yes, and Jobyna upholsters her own
furniture.

wood,

And

so it goes!

Nowadays the stars even admit they are
married and have children!

for January 1930

101

Could You PassTalkieTest?

Continued from page 31

photographic test only. If she photographs
in a satisfactory manner, she is turned over
to Miss Alice Kelly, dramatic voice in-
structor, who asks her to read passages
from a book or play — anything suitable.

"If the applicant has a good voice and
expression and survives this test, she is
then asked to appear in a scene with one
or more experienced actors. The scene
is generally from some play and this time
300 feet of film are shot. The applicant
is never required to make an individual
test.

"This hurdle having been successfully
negotiated, the applicant is then made up.
costumed by Sophie Wachner, fashion crc
ator, and supervisor of ladies' wardrobe
and asked to play a character in a scene
on an actual set. The best of equipment
and 100 per cent facilities are employed in
this test.

"The film is then cut and submitted
to Mr. Winfield Sheehan, vice-president,
and Mr. Sol Wurtzel, general superintend-
ent of Fox-Movietone for their approval
or disapproval.

"So much for the dramatic test.

"In the case of a test for a singing voice,
the procedure already detailed is followed
up to a certain point. The applicant is
required to practise one or two songs.
After they have been sung and it is de-
cided that the test is O. K., the applicant
is asked to return to the studio two days
later to sing the same songs with DeSylva,
Brown and Henderson, the composers, or
Dave Stamper, another composer, present
to pass judgment.

"In the event of a dancing test, the
same routine is followed only Seymour
Felix or Edward Royce, well-known stage
directors, are on hand to give their ver-
dict as to the result of the test.

"The casting office, of course, selects
all experienced actors, but they, too, go
through tests in costume before they are
finally assigned to a production.

"We take, on an average, 20 tests a
day. Some days we do not discover a
single new person who can pass it. I
might point out the fact that more than
300,000 feet of film were used up in a
recent test in Italy and the result was one
successful applicant, while in Mexico City,
not long ago, two possibilities were dis-
covered in 30,000 feet of film.

"Being the Columbus of new faces and
voices has its thrills, however, as Win-
field Sheehan will tell you if a shrewd
enough reporter will get him to talk about
Janet Gaynor."

But discovering talent or genius is one
thing and recognizing it on the screen,
well, that's another story — of the eyes and
ears of the public.

~> 4-

Clara Bow Psycho-
Analyzed

Continued from page 19

energy, which flings up skyscrapers taller
and taller, not just for a good investment,
but for the bravado and adventure of it,
which passed a prohibition law just in or-
der to make drinking an obstacle race,
something a little more exciting than merely
imbibing liquor.

All that we ask of Clara Bow is that she
keep on being more and more herself and
growing up along with the rest of us!

LOOK.

lies imitating
a pianist/

someone shouted

Then a queer thing happened

JACK had strummed some "blues" for us on hi
uke and Nan had just finished her sereaming]>
funny burlesque on the "Kinkajou." We wer*
all set for dancing when — the radio refused to work

No amount of jiggling brought it to life,
either. All we could get from that con-
founded radio were such desolate howls that
the girls begged us to leave it alone.

Someone made a half-hearted suggestion of
bridge. But Tom had a better plan. Pulling
Joe to his feet — good old "sit-in-the-corner''
Joe, whom everyone liked to pick on — he cried
in a loud voice •

"Just a minute, folks! The party is saved!
Joe, here, has kindly offered to enliven the pro-
ceedings with a piano solo ..."

This promised to be good — for, as we all
knew, Joe couldn't play a note. Naturallv we
expected him to clown

Just as he sat down at the piano, Tom
called out :

"Play 'The Varsity Drag' — that's a hot dance
number !"

Excited whispers came from all parts of the
room. "Wonder what he's going to do!" — "He
doesn't know one note from another!" Suddenlv
someone shouted :

"Get this! Look — he's imitating a pianist!"

I practiced
my spare
few minutes
And the
thorough!

A Queer Thing Happens

Raising his hand melodramaticallv, Joe waited a
moment to command silence. Then, to the complete
amazement of us all he struck the first bars of —
"The Varsity Drag!"

And how! With all the verve and expression of
a professional! No wonder Tom's eyes almost popped
out of his head! This wasn't the clowning he had
expected Joe to do!

Unable to resist the tantalizing music, couple after
couple glided around the floor. When Joe stopped
playing, the applause could have been heard around
tho block.

All evening they kept Joe busy at the piano —
playing jazz, popular songs, sentimental ballads, even
classical stuff — everything the crowd asked for!

How that lad could play! I was dumbfounded.
Joe had always seemed to be a "born wallflower"
— he had never displayed any talent for entertain-
ing— yet now ... I determined to solve the
puzzle. On the way home that
night I drew Joe aside and
demanded :

In fact,
only in
time, a
a day.
course

Before I knew it, I
was playing simple
pieces by note,
and

"I guess you
don't have to tell me
how thorough it is,"
I broke in. "Your
performance tonight
was a knockout! And
you used to say you
had no 'talent'!"

"I haven't." he in-
sisted. "Anybody can
learn to plav the
U. S. School of
Music way!"

Pick Your

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Piano Violin
Organ clarinet
Ukulele Flute
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Trombone Harp
Piccolo Mandolin
Guitar 'Cello
Hawaiian Steel Guitar
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Drums and Traps
Automatic Finger Control
Banjo (Plectrum, 5-String
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Italian and German
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This story is typ-
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strument by this easy "at home" method that has
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you don't have to know the slightest thing about
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Free Book and Demonstration Lesson

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The booklet will also tell you all about the amazing
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School of Music, 3221 Brunswick Bldg., New York.

n earth did
do it?"

U. S. SCHOOL OF MUSIC,

3221 Brunswick Bldg., New York City.

"Why, it was
easy ! I simply
took that home-
study course in followin
music your
cousin told us

Please send me your free book "Music Lessons
in Your Own Home" with introduction by Dr. Frank
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of your easy payment plan. I am interested in the
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102

SCREENLAND

WORLD FAMED
HOSPITALITY

of the

N^vv LosAntfeles

is graciously
acknowledged by

THEIR
IMPERIAL
HIGHNESSES *3r

PRINCE and PRINCESS
ASAKA of JAPAN

Chuichi Ohashi, Japanese
Consul, in writing of the
recent stay of Prince and
Princess Asaka said:

"I ta\e pleasure in con-
veying to you their hearty
gratitude for the courtesy
and hospitality with which
your hotel accommodated
them."

No other hotel in the
world offers more varied
attractions. Superb 27'
^ acre park, with min'
iature golf course,
open air plunge and

§11*- tennis courts. Rid'
ing, hunting and all
sports, including 18'
hole Rancho Golf Club.
Motion picture theatre
and 35 smart shops
within the hotel.
Famous Cocoanut ,--r)?
Grove for dancing
nightly.

v Hi

V r~

"Write for
Chef's Coo\ Boo\ of
California Recipes

BEN L. FRANK,
Manager

In New York — Continued from page 73

out of this trip was having my father and
mother with me. Papa is a theater exhibi-
tor. He has three theaters but he doesn't
often get to New York. And to have him
and mama both with me — it's great. Every
morning I give mama a little check and
say: 'Now go on and buy something —
something you don't absolutely need." She
can hardly get used to it. She's so ac
customed to living modestly in real New
England fashion that she can't get used
to the idea - of buying something not a
necessity.

"I'm coming back to this town, you bet.
And I'm going to keep on with my sing-
ing lessons. I'm crazy about singing. I'd
sing all the time — if I had my way. And
when I made my personal appearance tour
— and I'm going to visit five more cities
on my way home — I sang in every city.
Gee, I hoped they liked it. They seemed
to. And sometimes I got as many as
twenty encores.

"Pictures are like New York," Charlie
concluded. "Just when you think you're
all set and going along on an even keel
something turns up which changes every-
thing. But that's what makes it exciting.
That's what makes films the most wonder-
ful game in the world. I am so grateful
that I finally got in the movies, for when
I began, and for a long time afterward
everybody from the bottom to the top said:
'He won't be able to do it. He's not
the type.'

But here I am. And here I want to
stay."

* * *

Jack Gilbert and his comedienne bride,
Ina Claire, stepped off the boat the other
day from their delayed honeymoon trip
abroad. But they only remained in New
York long enough to gulp a cup of con-
somme and nibble a piece of toast, and
then they were whisked into their compart-
ment, and the train pulled out for the
Golden West.

Gilbert looked fine. Thinner somehow
— but bronzed and smiling as usual. He
says he enjoyed every second of his first
European visit. Ina, to whom a jaunt to
Europe is no more unusual than a week-
end at Malibu Beach, walked down the
gangplank looking as if she had had Paul
Poiret, Lady Duff-Gordon and Edward
Molyneux sitting up nights doing nothing
but stitching the one simple suit she wore.

Ina accompanied Jack back to Holly-
wood to get him all settled and happy, and
then she will return to New York for a
few weeks to take care of certain matters
in connection with her stage career.

* * *

"She's the answer to the producers'
prayer!"

That's what they say about Catherine
Dale Owen out in Hollywood. And it's
true, too. Miss Owen, as you all have ob-
served by now, is the extremely lovely
blonde who plays the princess in John
Gilbert's first talkie, "His Glorious Night."

At tea, in the lounge of the New York
Ritz, Catherine told me all about it. In
real life, she's the aristocratic type, all
right — a southern girl whose long, fine hair,
deep, blue eyes, slender wrists and ankles
speak eloquently of blue blood.

"I never dreamed of having Mr. Thal-
berg give me a Metro contract," Miss Owen
explained, as she drank her China tea and
ate her English muffin. "I never dreamed

even of going on the stage. It happened
absolutely by accident.

"A few years ago," she went on, "my
sister decided she wanted to study for the
stage. So mother signed her up for a
course at the American Academy of Dra-
matic Art, in Carnegie Hall. Then my
sister made other plans. The four hundred
dollars had already been paid for the course
and we couldn't afford to lose it. So I
entered the Academy in her place, staying
both for the junior and senior courses.

"It wasn't long before the stage com-
pletely absorbed me. A short time after
I graduated, I got a part in 'The Love
City,' in which Scssue Hayakawa, the film
actor, was the star. Then I played in 'The
Whole Town's Talking," 'The Play's The
Thing,' Bclasco's 'Canary Dutch,' Chan-
ning Pollock's 'Mr. Moneypenny,' and
several others.

"Suddenly talking pictures came along.
But, sad to say, nobody offered me a con-
tract, although I took several tests. Finally
I made up my mind to get into talkies —
contract or no contract."

And it was here that Miss Owen showed
her courage. Packing perfume and pocket
handkerchiefs, she stepped on the Limited
for California.

"Three days and three nights I had on
the train with nothing to do but to think
of the sudden step I had taken," Catherine
said. "I thought how ghastly it would be
if I got there and couldn't find a job. I
thought of all the hundreds of dollars I
might be throwing away. I couldn't sleep.
I couldn't read. And actually I couldn't
eat."

It was Monday morning when Catherine
pulled into the Los Angeles depot. Mon-
day afternoon she went to an agent's office.
Monday evening before the sun took its
sudden slant into the west, Irving Thalberg,
one of Metro's big bosses, had her signed
up.

For weeks Thalberg had been trying to
find a beautiful aristocratic blonde to play
the role in Gilbert's picture. Greta Garbo
was up to her long bob in work. And all
the other Metro blondes were either tied
up or not the type. Thalberg had despaired
ever of finding the ideal girl when Catherine
walked into his office. She made such a
hit in her first film that she was immediately
cast opposite Lawrence Tibbett, the famous
Metropolitan Opera star, in "The Rogue's
Song."

This late southern addition to the film
ranks dresses awfully well and conserva-
tively. The day she entertained at tea, she
wore a black velvet dress of striking cut,
a string of small real pearls, and several
gorgeous diamond and emerald bracelets.
With her small dark hat and plain black
coat with its collars and cuffs of softest
sable, she presented a distinguished picture
which made more than one New York
dowager pause to wonder who the new
debutante could be.

* ❖

In a blaze of glory, Gloria returned to
New York, trailing Paris clothes and Lon-
don honors at every step. In her new pic-
ture, "The Trespasser," which has its
Broadway opening as we go to press, Miss
Swanson has entirely eclipsed her former
successes. This picture was first shown in
London. On the opening night, somebody
tiptoed up to Gloria in the theater and
touched her on the arm: "I'm terribly

for January 1930

sorry, Miss Swanson. I don't know what
to do about it. I hate to disturb you. It's
never happened in this theater before."

Gloria looked up and saw the distressed
theater manager: "What on earth are you
talking about?" she asked.

"Why, it's this crowd. They keep yelling
for you. They want you up on the stage.
And outside — outside I can do nothing with
the people. We've sent for more police
reserves. I must apologize," the manager
ended lamely.

Realising that popularity demands no
apology, Gloria mounted the stage and was
greeted with a reception the like of which
the English have given no American screen
star. '

The world is so excited at the fact that
Miss Swanson has developed a beautiful
singing voice in her new talkie that people
are simply swarming around her. How
she maintains her calm, I don't know.

The first day she was interviewed. Miss
Swanson was wearing a dress whose black
elegance proclaimed the best Paris has to
offer. The portable phonograph in her
suite was never silent. Everyone wanted
to hear Gloria's voice on the records. Per-
haps you know that no talking machine
company will allow any doubles to sing for
them. Therefore if you buy a record of
Gloria Swanson singing a song, it is Gloria
in the flesh, or in the larynx rather, and
nobody dragged in to take her place. There
may be and have been voices doubled for
talking pictures but never for records.

On this particular occasion, the most out'
standing feature about Gloria was the new
fashion in which she is dressing her hair.

"The way I comb my hair depends en-
tirely upon the type of dress I am wear-
ing," Gloria explains. "The coiffure must
not only be in keeping with the style of
gown worn but also in keeping with the
character of the individual. In the days
when wigs were the mode, it was an easy
matter. But now every woman must either
work out her own problem herself or de-
pend entirely upon the professional hair
dresser.

"It is my belief that each costume must
have its own different style of head-dress.
Therefore, 1 have let my hair grow long
again. In that way I can either dress it
formally for evening occasion or I can have
it arranged so as to give the effect of a
bob if I desire it — which I seldom do. I
believe there is a decided tendency toward
the return of long hair."

Edna Murphy, in private life the wife
of Mervyn Leroy, was in town visiting her
folks. Evelyn Brent and Neil Hamilton
were two others who breezed in and out
again. Evelyn and Neil and Elsa arrived
on the same ship, the Aquatania. Miss
Brent looked strikingly handsome as usual,
in one of those off-the-face turbans, and
Neil seemed none the worse for wear after
his continental vacation. Constance Ben-
nett arrived on the same train as Mr. and
Mrs. Dick Barthelmess, and sailed the same
day. More about Dick next month.

' j

The RCA Radiola which Olive
Borden offered in the October
Screen land has been awarded to

Mr. Emory W. Hanlon,
52 Locust Avenue,
Danbury, Connecticut.

103

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PARIS AMERICAN PHARMACAL CO.
S802 McCune Bldg., DesMoines, Iowa

Enclosed with this coupon on separate
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104

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Playrooms of the Stars — Continued from page 43

use of the place last summer than she did,
because she was so busy at the studio. That
was when "Dynamite" was being filmed.

Robert Vignola, known as Bob to a
couple of million, more or less, people who
are his friends, built a special playroom in
the basement of his home on Whitley
Heights, which overlooks Hollywood. It
isn't exactly a basement because three sides
of it are open, but Bob's house, like so
many Hollywood homes, is built on a hill,
one story on one side and two on another.
The room is about fifty feet long with a
piano and gaming tables of all kinds.
There are specially-built compartments for
these so when there is dancing they can
easily be put out of the way. On a semi'
circular dias, the rounded part of which is
filled with windows, is a spot for the musi'
cians. Bob is crazy about Hawaiian music
and usually there is a stringed quartet for
the parties. On the walls are photographs
of all the big guns of the film world, and
there is one of the most interesting guest
books I have ever looked at which holds
names, small photographs and personal
messages from Julia Marlowe, Sothern,
Irving, Sir Herbert Tree, Oscar Wilde,
Mary Pickford when she was Mary Moore,
and when she became Mary Fairbanks,
James K. Hackett, Lillian Gish, and most
of the other prominent film players. Bob's
guest book is unique in that the artists and
cartoonists who have been his guests have
used a page of it for their creative art.
There is Payne, known the country over
for his "S'matter Pop"; F. Cornejo, a
Mexican artist, John Richard Flannigan,
Billy de Beck, Walter Lantz, Jimmy Murphy
of "Toots and Casper" fame; Rube Gold-
berg, Bert Green and many others. Milt
Gross drew a dizzy cartoon expressive of
his difficulties in finding the place. Then
there are such names to be found as Basil
Woon, Humbert Nobile, John and Mabel
Ringling, Jack and Estelle Dempsey, Jean
Hersholt, Billie Dove and many others of
Hollywood's elite. Altogether the book is
the pride and joy of Bob's life.

Corinne Griffith's beautiful winter play-
room has ample provision along the walls
for compartments holding puzzle games of
which she is very fond. She calls it her
'whoopee' room and she designed the fur-
niture herself, seeing to it that there were
plenty of those low leather couches which
are so comfortable. Almost every kind of
puzzle can be found tucked away some-
where. There are various sorts of card
games, jack-straws, books of humorous
drawings by famous cartoonists and artists:
Hy Mayer, Ralph Barton, Bairnsfather,
Arno; and eighteenth century prints.
There are many folding tables, games picked
up in Europe, ping-pong and horse race
games. There are no professional gambling
games. Corinne doesn't- want anyone to
lose money in her house and even bridge
players, if they are a bunch who only enjoy
it if there is a money hazard, are not
allowed to play for more than a cent a
point. For Walter Morosco's benefit there
are many musical instruments, for Corinne's
husband loves a band. There are jars for
colored cigarette holders and all kinds of
smokes, bowls filled with candies and cry-
stalized and stuffed fruits. In fact, there
is everything one can think of with which
to spend a pleasurable evening. On a
tiny mezzanine floor, which is used for a
library, a door opens out into the 'whoopee'
room. A concealed motion picture pro-

jection machine and a hidden screen appear
when Corinne wants to play theater man-
ager. The 'whoopee' room looks out upon
a lawn; with tennis court and swimming
pool. There are compartments built for a
'Doug' set, the game introduced by Doug
Fairbanks, medicine ball, and even foot-
ball.

The summer playroom is an outdoor
barbecue kitchen. The stove has all con-
veniences for cooking different things —
spits, cranes, etc. The dishes are all pewter
so that nothing can be broken. The kitchen
overlooks a charming garden with one of
the largest white camellia bushes in the
state. Night-blooming jasmine and wisteria
clamber riotously over the roof, massing
the place with brilliant color. Refresh-
ments are sometimes carried into the
'whoopee' room, but more often the guests
move out to the kitchen.

Charles Mack, of Moran and Mack, runs
to futuristic things. His whole house is
furnished along futuristic lines. The walls
of the playroom are of natural wood. The
dominant thing in the room is the Snooker
Table, which is practically an English bil-
liard table. It is red and semi-modernistic.
There are all sorts of games, roulette, ping-
pong, all kinds of musical instruments.
There can be a regular brass band.

Lois Moran's room is perfectly charming.
It is a combination play, gym and living
room. As you enter the room which is
58 by 38 feet, you face a bank of mirrors
covering the farther end and reaching al-
most to the ceiling. This makes the room
look twice as long. On one side it faces
the street and the windows here are built
high up so no one can look in. The other
side flanks the garden and French windows
open into it. At the other end is the
large fireplace with a huge davenport facing
it, and comfortable chairs. Book shelves
line this nook and from the rafters is hung
a swing for the baby and a place for her
toys. The 'baby' is Lois' little cousin Betty,
whom Mrs. Moran adopted several years
ago, you remember. She is really quite a
girl now, about seven years old. There is
a player piano, a radio and victrola and a
bar — ah-ah! Not the kind you mean! This
is a dancing bar where Lois practices her
dancing and keeps fit. There are bear rugs
scattered over the polished floor, and ex-
cept for the corner before the fireplace the
room is bare of furniture, leaving plenty
of room for dancing. Lois is preparing for
a vacation which she is going to take in
Europe and Mrs. Moran had her trunks
brought into the playroom. It gives
such a homey atmosphere to the room to
have a tiny corner of it reserved for living.
You can just see Betty playing with her
toys, Lois practising on her bar, and Mrs.
Moran sorting out this and that and pack-
ing them away for the European tour, all
of them chattering back and forth mean-
time.

On top of one of the highest of Beverly's
hills, sits Fred Niblo's beautiful home. The
playroom here is a curio and projection
room as well. It occupies the whole base-
ment of their house and is laid out in three
compartments which open into each other.
Pictures have taken Mr. Niblo, and his
wife, Enid Bennett, to many lands, and
they have brought home interesting things
from all of them. The screen is covered
with embroidered tapestry, hidden when
not in use. There are collections of hats,
flintlocks, cannibal spears, few of which can

for January 19 3 0

be duplicated. There are vivid Navajo
rugs, snowshoes, ancient moccasins and In-
dian gourds. The furniture is inlaid fol'
lowing an intricate pattern. A totem pole
from Alaska stands next to a head hunter's
weapons from India. Every country is rep-
resented to some degree in this interesting
collection. All sorts of games are to be
found here, even ping-pong. The Chinese
compartment features Chinese and Japanese
games. Standing about are antique Buddhas
and carved dragons. Chinese embroideries
cover the wall. In the billiard compart'
ment the walls are whitewashed to display
to advantage the rare Russian samovars,
smoking pipes, masks from heathen temples
and even a skull! The atmosphere is ex-
tremely informal, from the entrance through
the hall of fame, the walls of which are
lined with pictures of celebrities from every
field" of activity, to the impressiveness of
the Chinese room. The grown-ups aren't
the only ones to find games to their liking
either, for the three Niblo children are
well taken care of and even have juvenile
pictures and comedies to amuse themselves
and their little friends.

Both Hoot Gibson and Reginald Denny
use their Big Bear Mountain cabins mainly
for recreation. They are near together,
each one surrounded by several acres of
ground. Hoot always takes his Hawaiian

107

musicians with him when he throws a party
at the cabin because he is as mad about it
as Bob Vignola. Reginald Denny's cabin
is full of personality. The living room,
which is the playroom, has an enormous
fireplace and davenport facing it, and many
roomy lounging chairs and coffee tables
scattered about. There are shelves stacked
with books, about 1000 of them, I should
say. The furniture, however, was made to
order, and I think it was 'Bubbles' — Mrs.
Denny's — idea. For instance, a table has
a flat top made from a slice of tree trunk.
The natural bark rims it. The legs are
made of branches. The smoking stands
are crooked branches with two twigs grip-
ping a metal ash receiver. Everything has
several coats of varnish, so nothing is rough.
There is provision for riding, skiing, skat-
ing, ice hockey, archery, target practice and
indoor card and other games.

Harold Lloyd has an underground passage
running from his house to his playroom
which is hollowed out of the hill. Only
one side is open and there is a little door
and very narrow path running down the
side of it to the golf course far below.
Looking up at it, it looks like a tunnel
room in a medieval castle. There is noth-
ing but four walls so far, because Harold's
house isn't finished, but there will be plenty
to amuse one, you can be sure of that.

You Can't (Type' Love

Continued from p<$ge 45

something wrong with a clinging vine if
she simply clung when the cook left or the
house caught fire."

"It's hard to lay down rules about mar-
riage," contends Buddy.

"Once when I was down in Texas, I
went to a party. In the group, were a girl
and a man who met each other that evening
for the first time. For some reason before
the party was over someone dared them to
get married. 'I'm game, how about it?'
said the man, and the girl laughed and
said: 'I'm game, too!' And they took the
dare and were married.

"According to all rules, they should have
been miserable, but as a matter of fact they
are two of the happiest people I know.

"The other side of the case is illustrated
by my uncle. For nineteen years, he kept
company with a girl. Several times they
set wedding dates, but always something
happened. A death in one of the families.
Losing a job. A move to a new place.
Always something.

"Then at last they got married — and there
again they are happy, because they thor-
oughly understand one another and don't
expect too much."

"Kindness is a terribly important thing,"
declares Olive. "When I was fifteen or
sixteen, I used to think that a romantic
man would be ideal, but now I've come
to the conclusion that kind people are the
loveliest in the world.

"I've worked ever since I left school, and
I think I'd expect to work if I married. I
don't know — it seems to me I should be
happier if I were working, if the man didn't
seriously object.

"I adore children; not just little babies,
as all girls do, but children growing up.
I find them interesting. The odd thing is
that children seldom make friends with me
at first. Later, when they're more used to

seeing me, they become quite chummy, and
I like the feeling that I seem to improve
upon acquaintance.

"But I've noticed that frequently children
separate people. Parents are not the same
thing as sweethearts. When the baby comes,
the mother either becomes absorbed in him,
neglecting her husband, or neglects her child
for the demands of the man she married.
It seems too bad! Not that I shall let it
prevent my having children. I hope I shall
remember what I've noticed and see that
I don't neglect either one."

"Seems like children would draw people
together," drawls Buddy, "but I reckon the
whole thing is more or less a gamble."

Olive regarded her slim self in her make-
up mirror, as she deftly applied a puff — an
exquisite self clad in ' futuristic black-and-
white lounging pajamas, her dark hair
closely set in its new bob.

"One thing is certain — and the rest is
surmise," she paraphrased, with a smile,
"when I get married I am going to grow
my hair! I loved my long hair, and I miss
the two curls on my neck. I rather like the
bob, and I felt I needed it to give me a
new personality for the talkies, but I liked
my long hair better."

The certain thing in Buddy's mind is that,
girls or no girls, he is going to keep him-
self in the pink of condition.

"I have a trainer," he exults. "I make
four pictures a year and as it doesn't take
so long to make talkies, I have three or four
weeks between pictures. My trainer is at
the club by 7:30 each morning and I work
the medicine ball with him. It weighs
tweny pounds and every muscle comes into
use before I get through manipulating it.
Then comes my swimming lesson and after
that a sunbath."

Much more enthusiasm manifested about
the trainer than about the not-impossible-
she!

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VALENTINO FANS

14 Beautiful original pho-
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the immortal Valentino,
also scenes from all of
his photoplays — 4 Horse-
men, Sheik, Eagle, &c.
50 or more scenes of each
play, 25c each. Latest
photos of all the screen
stars, ready for framing
or that photo album. 25c
each or 5 for $1.00.
RUDOLPH VALENTINO Scenes from all the recent
photoplays, 25c each or 12
for $2.50 — These are all
original photographs, size 8x10. TJ. S. 2c stamps,
money order or currency accepted. Established 1912.

S. BRAM STUDIO

Film Centre, 630 -- 9th Ave., Studio 326
New York City

AVIATION
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Dept. 6321 3601 Michigan Ave. CHICAGO

Hotel

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CINCINNATI

The next issue of
SGREENLAND
Will Be On Sale January 5

106

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ASTROLOGY

What do the Stars foretell for 1930? Would yon
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The Parties of Pictureville

Continued from page 69

laughed could she have heard it.

Somebody in mischievous spirit had set
a little straw hat on Miss Lillie's head as
she sang; and when she had finished taking
her bows, she reached for the hat, gave it
a mock angry look, and threw it away, ex-
claiming, "Why, the nasty thing's broken!"

Then Miss Lillie's sister, Mrs. Weigall,
played the piano. She is a concert pianist
and of course her playing was so lovely
that, even at a picnic, we were willing to
be shushed. An elderly Spaniard with a
guitar hugged to his breast, eyed her with
all the love of his race for music in his
eyes.

Georges Carpentier sang in such an ex-
ceedingly delightful and magnetic voice
that Patsy whispered, "Who would expect
a prize fighter to have such a prize voice?"

Then Ann Grecnway sang charmingly.

Ann Pennington was among the guests,
she having come with Joey Ray, and we
met Sylvia Fields, too. Sylvia said that
she was returning to New York, her con-
tract with Fox having ended, but we can't
see how they let such a clever little actress
get away from the talkers.

William Nigh, the director, looked over
the famous guests with a comically bored
face, and then exclaimed:

"Well, I don't see anybody here I could
use!"

Pretty little Ella Wickersham is a charac-
ter in Hollywood. She is a beautiful little
invalid who spends her life in a wheel chair.

And it was Beatrice Lillie herself who
insisted on wheeling Ella about so that she
could view the Carrillo ranch! A graceful
little gesture that I'm sure Ella will never
forget.

Suddenly we heard masculine shouts in
the distance, and glancing up we caught
sight of Tom Patricola, over on a hillside
overlooking the canyon. He was waving an
alpenstock and dancing up and down, and
Hal Skelly called to him not to do his act
so far away from the audience.

We had started away to explore the can-
yon, when we heard the music of a violin.
Turning back we found that the player
was a colored man, chauffeur to someone
in the party — and how he could play!
Beatrice Lillie shushed us all in order to
listen.

Next we decided that we had discovered
where Miss Lillie got her comedy talents,
for her mother and Fatty Arbuckle did a
burlesque grand opera number.

Alice White came rather late, with her
newest admirer, Sid Bartlett, but we had
no chance to talk to her.

Darkness crept over the canyon, and the
smell of the sycamores, sweet after the hot
sun had gone down, perfumed the evening,
as we traveled homeward.

"Getting houses to match their person-
alities is what the Hollywood film stars are
doing now-a-days," remarked Patsy the
Party Hound. "I suppose that is why Mary
Duncan is moving into a Spanish house in
Beverly Hills. Her hair is dark now, and
that English house she had in Bel-Air
didn't suit her dark personality so well!"

"Oh, Mary isn't frivolous like that," I
answered. "Besides, she's always the same
thoroughbred, human and delightful."

"Anyway," Patsy said, "we're invited to
her house warming. And she gives such
lovely parties that if said parties depend on

her changing her personality I hope she'll
become a regular chameleon so far as color-
ing is concerned."

The moon wasn't on tap that night, but
it didn't worry our hostess in the least.
She had just ordered up artificial moon-
light effects for her Spanish patio, and it
was all lovely.

Mary Duncan and her sweet sister Ann,
who looks much like Mary, greeted us
warmly at the door.

We found a number of guests already
assembled in the beautitul drawing room,
among them Carmelita Gcraghty. Carmelita
said she was sad because she had found
out that it was Mary's birthday, and she
had brought no gift. Mary hadn't told
anybody.

"When I left home my father said that
it was bad luck to come to a house-warm-
ing without a gift," Carmelita explained.
"It's an old Irish custom, you see- — and
then when I found it was Mary's birth-
day— "

Mrs. Lubitsch was smiling slyly, and we
found out why.

"When Mr. Lubitsch goes away out of
town to write on a story, I always go and
play a lot of tennis," said Mrs. Lubitsch.
"He doesn't like it very well, but w-hat can
I do?"

"Evidently there's a lady who knows just
how to manage her husband," said Patsy.

Virginia Valli arrived with Charlie Far-
rell, and we said hello, too, to Dorothy
Jordan, recently come to pictures from the
New York stage.

Colleen Moore was there with her hus-
ban, John McCormick. They have a beau-
tiful new home in Beverly Hills, you know.
We asked her what part of it she liked
best, and she answered with what Patsy
calls a Hibernicism: "Why the garden of
course, in other words, the outside!"

Ben Lyon and Bebe Daniels were there,
all attention to each other, and Georgie
Jessel came in alone. He was expecting his
wife out from the east, he said, but she
hadn't arrived yet.

Georgie was wearing his hair very long,
and explained that it was for the picture
he is doing.

"The long hair is bad enough," he said,
"but they won't let me smoke those long
cigars on the set. I'm supposed to be the
wistful type, and wistful types, it seems,
don't smoke long black cigars. Maybe if
they did, they wouldn't look so wistful."

Bebe Daniels was wearing one of those
long, floating bobs which make most girls
look as if they had just gotten out of bed,
but it is very becoming to Bebe.

Bebe has been appointed honorary col-
onel in the Aviation Corps, you know,
and has to go out and review the field
about once a week. She is learning to
fly, and has already done a solo flight.

"I suppose the aviators just hate to have
you review them," remarked Willis Gold-
beck, the writer.

By the way, Willis was all attention to
Mary Duncan.

John Colton and Zoe Akins were there,
and Basil Rathbone and his fascinating
wife, Ouida Bergere, Hedda Hopper, Mr.
and Mrs. Ned Marin, Mr. and Mrs. Al
Rockett, King Vidor and Eleanor Board-
man, and a lot of others.

Hedda Hopper looked lovely, and as
usual was wittily and charmingly entertain-

for January 1930

107

ing a circle of men.

Hedda declared vivaciously, when we
asked about her son, William De Wolf
Hopper, Jr., that she had told him he
should go and see his father this summer,
but the youth had answered cannily that
he was afraid that if he did, his famous
dad would set him to work!

"No, he doesn't want to go on the
stage," smiled Hedda, "I don't think he
wants to do anything!"

Eddie Lowe and Lilyan Tashman were
there, Lilyan strikingly dressed as usual.

Lilyan is wearing her golden hair in a
new fashion, tiny plastered curls at the
sides, so that she looks like one of those
quaint heads on an old Roman coin.

"My, what a lot of the tried and true
there are here tonight — all Hollywood's
Pyrami and Thisbae. There are Lila Lee
and Johnny Farrow, Nick Stuart and Sue
Carol, besides Bebe and Ben, and Irene
Mayer and David SeUnick."

Belle Bennett was there, very brown, she
and her husband, Fred Windermere have
been yachting off and on all summer, Mr.
and Mrs. Chandler Sprague, Lowell Sher-
man, Howard Sheehan, Mr. and Mrs.
Edward Knopf, and Manuel Ricchi, who,
you recollect, used to be married to Agnes
Ayres.

The buffet supper was served delightfully
at small tables on a large lawn at the rear
of the house. These enclosed lawns and
gardens, surrounded by high walls, are very
convenient for evening and even for after-
noon parties, and all the new houses have
them.

After supper, a Hawaiian orchestra played
for dancing in the drawing room, and one
cf the Hawaiians sang a native song — one
of those songs that would probably cause
us to blush if we knew the translations,
although to the Hawaiians they are just
sweet love songs.

There was a Hawaiian dancer to enter-
tain us, too.

Sue Carol told us that she could give
an imitation — only Nick wouldn't let her!

Nick told us about Sue's independent
ideas of how to play golf — how Sue held
up a whole long train of players, during
her first game, by going and picking up
her ball to place it in a better position!

M. Corneglion, who controls many
theaters in Paris, brought Leatrice Joy.
They came rather late, from another party.

Mary Duncan danced a good deal, and
her sister declared that Mary was rather
conscience-stricken because she was having
such a good time at her own party — thought
she should, as hostess, be doing nothing
except to see to it that her guests were
enjoying themselves.

"Oh, I like her that way," declared
Colleen Moore. "If there's anybody that
can make you suffer, it's an over-anxious
hostess."

Standing at Mary's sweet little garden
gate, which opens onto a court which you
cross before entering the house, we bade
Mary good night and many happy returns.

"Oh, do you suppose that Cheiro will
read my palm?" inquired Patsy excitedly.

"Well, at any rate, if you are going to
beg that of him, don't forget to address
him and his wife by their titles, Count and
Countess Hamon!" I cautioned her.

We had been invited to a party which

the famous astrologist and palmist was giv-
ing at his home in Santa Monica, where
he had just arrived from England.

When the Count and Countess were in
this country before, we were introudced to
them by Mary Pickford and Douglas Fair-
banks, who entertained them. Cheiro has
a book on palmistry which is considered
an authority on the subject for such as be-
lieve in that sort of thing.

The Count and Countess are a handsome
couple, beyond middle-age, charming and
delightful.

They have taken one of the homey old
places in Santa Monica, a couple of miles
back from the sea, and it was there they
greeted us. We found a number of guests
before us.

Jane Winton was there with her play-
wright husband, Charles Kenyon. Jane had
been entertained by the Count and Countess
when she was in London a couple of years
ago. She told us of the Count's beautiful
London home, and of .seeing among the
Count's treasures several autographed photo-
graphs of their Majesties the King and
Queen of England and of the Prince of
Wales.

Countess Hamon herself smiled as she
told us about sending one of the Count's
books to her Majesty; of how royalty may
not receive any presents from their subjects,
even so small a thing as a book; of how the
book was returned next morning.

"But we found out," said the Countess,
"that the Queen had sat up half the night
reading the book!"

Which shows that even majesties are
awfully human.

Gladys Unger, the playwright, was pres-
ent, and so were Theda Bara — who is an
ardent student of the mystic, you know — ■
and her husband, Charles Brabin; Mrs. Sam-
uel Goldwyn, Alec Francis and his wife,
Vivian and Rosetta Duncan, Robert Vig-
nola, Mr. and Mrs. Arthur Hornblow, Ilka
Chase, and Jack Hartland, the countess's
son, who plays the piano magnificently,
being a graduate of the Royal Academy of
Music, whose friend, another musician,
Frank Perkins, was also a guest.

There was a lot of interesting chatter,
but the real sensation of the evening came
when, noting the decorations which the
Countess wore, she told us that she had
been given them by the Khedive of Egypt
•for keeping her mouth shut!

Somebody, of course, made the expected
remark ■ about its taking that much of a
reward to any woman to keep her mouth
shut, but questioning our hostess we found
that, according to the Countess, when she
was a very young and very beautiful woman,
she was kidnapped from her boat on the
Nile! And by the Turkish Prince Yusef,
who was going to present her to his uncle,
the Sultan of Turkey, to adorn his harem.
Her bodyguard was killed, but she was
rescued by a eunuch in the Princes' ser-
vice who took pity on her and whom she
bribed. However, she lived in a Turkish
harem in Egypt for two years, but was in
no way molested. And when she was re-
leased, she did not notify her government!
That was why the Khedive decorated her.

Peg Talmadge told us that Constance
Talmadge is happy in her marriage, and
has no desire to work in pictures again.
Here's hoping Connie changes her .mind.

The portrait'insert in the February issue will be of
Rudy Vallee. And the artist? None
other than Rolf Armstrong!

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what he could do about that. One thing
he knew: it didn't come off, and it was all
right in the scene. And the light was fine
on her face; in fact, it was beautiful.

"Was I all right, Mr. Robertson?" she
asked her director, "Did I say that all
right?"

Mr. Robertson told me afterwards that
Mary is a conscientious worker. "She tries
very hard, and there is a sincerity about
her portrayal of this girl that is really fine."

Although John Robertson is one of our
least exploited directors, he is also one of our
best. He has directed most of the biggest
stars in the business, both when they were
beginning and after they reached the
heights. He has contributed, also, a few of
our finest pictures. Who will forget "Sen-
timental Tommy," "Dr. Jeykel and Mr.
Hyde," "The Bright Shawl," "Tess of the
Storm Country?" And then there were
"Spanish Jade," "Annie Laurie," "Captain
Salvation," "Classmates," "The Single
Standard," and scores of others. His per-
sonality is so gentle and so understanding
that one is apt to forget he can also make
things hum when others begin to take it
easy. But he always manages not to hurt
any feelings, and from all I hear in and
around the studios, when a player knows
he is slated for a John Robertson picture
he is tickled pink, so to speak.

I asked him about Greta Garbo. I was
interested to know, because of the conflict-
ing reports that I have heard of her, what
the director who has brought the happier
side of her nature to the screen, thought
about her.

"Is she phlegmatic, as they say she is?"
I wanted to know.

"She has poise," he said. "Innate poise.
Mentally she is terribly active. Her mind
is like a steel trap. She grasps situations
instantly and knows exactly what to do
with them. You have only to suggest your
meaning to Garbo. She is a brilliant
woman, but she is slow to admit anyone to
her confidence. She has the fidelity of her
race. Once she is hurt and her suspicions
aroused, forever after she is careful whom
she opens her mind to. But when she is
sure that you are sincere and friendly, she
changes from the silent, sullen woman she
is' reported to be, and becomes the most
fascinating, delightful and natural person
imaginable, with a mentality that is start-
ling in its force and comprehension."

"All ready, Mr. Robertson," announced
his assistant, Billy Reiter.

Of course there was the usual studio
paraphernalia scattered about. Mr. Beery
wouldn't recognize his 'Paradise' had he
stepped up at that moment. A generating
truck was farther down stream, and a quan-
tity of incandescents, reflectors, mike booms,
and what not. On a hill near the public
highway were stationed two men to check
oncoming motors during a take.

"See that caged truck?" asked Sergei
Petschinikof who is a musician, and whose
father is a famous conductor and composer,
but who has a yen to learn the moving
picture business and has the sense to start
from the bottom. "In that caged truck
is a gang of prisoners going to the prison
camp up above. They work on the road."
Except for their being forcibly detained I
thought they might be in a worse place.

Mary was trying to untangle her feet

from the strands of the shawl. "Gee, this
is terrible," she said. "I'll sure never get
to heaven in this picture." She stretched
out on the ground in the spot marked off
for her.

"Can't you lie in a more gracious posi-
tion, Mary?" asked Hal. "You look like
the morgue or something."

"Well, I'll try, Hal. but you know this
ground runs around in all directions. I'm
just balanced on a couple of bumps any-
way."

"All right. Let's go. Baffle the water!"
called Mr. Robertson.

You see there is any quantity of water
in a spot that is supposed to be waterless
and except for Lone Pine, it is the best
I have tasted in the west, or any place else
for that matter. Noah Beery was lucky
enough to stumble on this patch of earth
one time while hunting and bought over
eleven hundred acres of it. There is a con-
tinuous flow of water that supplies two lines
of trout brooks; and underground it is said
there is a gigantic natural reservoir, the
extent of which has never been measured.
Of course the streams all gurgle happily
and that's not so good for sound pictures,
so as luck would have it each pool had
been equipped with an adjustable wooden
dam that can shut off water from the pool
below. When Mr. Robertson cried. "Baffle
the water!" a 'grip' stationed at each pool
adjusted the dam and the water was al-
most completely silenced.

In one scene both Mary and Jimmy had
trouble with their lines. It was tried three
times and the last one got halfway through
when Mary slipped up.

"Cut!" cried Mr. Robertson, "and save
that much in case it's all we get! Now
you two kids sit down and study those
lines until you know them."

"Well, well, if there isn't the Murray
family," said Hal Mohr. welcoming Jimmy's
bride, who is as pretty as the proverbial
peach.

"I just got up," she said. "Isn't this
place lovely? I slept like a top last night
after the cat excitement subsided."

It seems that a mother cat had, with the
peculiarity of her sex, chosen the roof of
one of the bungalows to give birth to her
brood; and the kittens, now nearly two
months old, preferred it to any other sleep-
ing quarters. It happened to be the roof
of the bungalow in which Mary was domi-
ciled, so, just as Mary and her maid were
falling asleep, a scrambling on the roof
frightened Ella almost out of her wits and
her screams communicated her fright to
her mistress, who upheld her end of the
duet lustily.

This is Mary's first picture since her
automobile accident and a nurse still ac-
companies her. The nurse was in an ad-
joining bungalow and when she heard the
uproar she slung a robe around her and
ran barefooted to the cabin to find out
what on earth had broken loose. Peering
from the edge of the roof were several
pairs of gleaming eyes which didn't re-
assure her at all, and she made her way
to the two screaming women, expecting to
find them in the claws of a mountain lion
at least. By that time the whole camp
was aroused and Hal Home, manager and
part owner of the Club interests, had
arrived upon the scene. Ella gasped out

St. A Womanly
W FORM?

f or January 1930

her story, although it seems she had little
to tell; it was just that she heard a lion
trying to get into the window and Mary
had screamed because Ella was screaming!
Trying to control his laughter, Mr. Home
stepped outside and called to something.
Again the scratching and scrambling and
he came in with a furry bundle that looked
scandalized at all the row these humans
were making so late at night.

Holding up the mother and one of the
kittens, he said: "Here's your lion, Ella!"

Whereupon everyone enjoyed a good
laugh and turned in once more.

"There you are!" called Mary to Hal,
who was talking to Mrs. Jimmy Murray.
"Just foolin' around. Wasting your time
again."

"We know our lines, Mr. Robertson,"
said Jimmy as he came over to greet his
wife.

Earlier in the day I had asked him
whether he expected to return to New
York. "Only for a visit. You know I'm
married now," he said shyly, "and she's
never been there. We'll have to go so I
can show her Broadway."

"Pull yourselves together now," said Mr.
Robertson. "We'll be recording a sunset
in a minute." And this time the scene got
itself played through to the end.

The late Jeanne Eagels must have known
Mary Nolan when she was preparing for
her characterization in "Her Cardboard
Lover." Whether she did or didn't, Mary
is just like the girl as Miss Eagels played
her on the stage. Everything she did was
a delight to her; she ran across the floor
in a filmy negligee and looked behind to
see how it floated. She was like a little
girl conscious for the first time of her own
reflection in the glass and fascinated by
what she found there. Mary Nolan is like
that in real life. At least she was that
day, but as I had never met her before it
may not be characteristic of her usual
manner. It might just have been the mood
she was in.

I noticed a lot of literature on the backs
of each one of the location chairs. As a
rule there is simply the name of whoever
it has been assigned to; but one of these
read, "Here's where Marks parks." On
another, "Our camera man, Hal Mohr,
and his assistant."

Mary told me that the reason for the
special write-up was that each person had
to buy his own chair. Universal is the
only studio in Hollywood with such an
original idea.

"Did you have to buy yours?" I asked.
Mary laughed. "Imagine my embarrassment
when I went to sit down and there was no
chair for me! I asked for one and was
informed that $3.50 was the price. It was
the first time I had been asked to pay for
a chair in any studio in Hollywood and the
request left me speechless with amazement.
I called the front office and there was a
chair for me in half an hour." But the
rest weren't so lucky.

They were about ready to shoot when
Mary sang out, "Ooh, my toe is cramped."

"Well, never mind," said Hal Mohr, who
was frantic to see the light turning yellow,
which would mean that work was over for
the day. "We have enough to wait on
without waiting on you. You can stand
it another minute."

And then the light failed.
There was still enough to take stills,
when you got out from under the trees, so
Sherman Clark, the still man, posed Mary
and Jimmy with turtles, which took con-
siderable courage on Mary's part because

she was scared to death to touch them.

Some of the boys played a set of tennis
and took a dip in the large swimming pool
stretched in front of the lodge. Mr. Robert-
son took me over the Club showing me
the hatcheries. There are about six with
different sizes of trout. Under cover are
runways about two feet deep and ten or
fifteen feet long with fish so tiny you can
scarcely- see them. As they grow they are
put into pools with others of their size.
There is constant circulation of water be-
cause the pools are really little reservoirs
on different levels with the stream washing
through them.

It is an ideal spot for a sound picture
location. No airplanes fly anywhere near
the spot — there are dangerous air pockets
because of the mountains. There is water
the year round, beautiful trees and mossy
banks, shade and sunshine and clear, pure,
dry air. There is a camp which holds about
forty people and about a dozen bungalows
housing, at a pinch, three each. The lodge
consists of a large dining room with a
dance floor and a recreation room with all
sorts of gaming tables and everything to
play from parchesi to billiards. There is
a long veranda looking out over the swim-
ming pool and tennis courts, the surround-
ing mountains and the desert below. Grad-
ually some celebrated people are finding out
about the place, renting or buying land
from Noah and building on it.

We had a delicious trout dinner topped
off with apple pie made from fruit picked
right off the tree. Everything they serve is
club grown except the vegetables, and they
are planning to do that next year. Soon
there will be a fine hotel which will take
care of the increasing demand for accommo-
dations. Altogether it looks as if Mr. Beery
had done pretty well for himself. His part-
ner, Hal Home, has been in the theatrical
business for nearly twenty years and he took
his business staff along with him to help
with the Club. His treasurer was treasurer
at the box office, and so on. And they all
love their change of location.

Jimmy and his wife walked about arm
in arm, utterly oblivious of everyone and
everything about them.

Next day Jimmy was rehearsing the scene
where he runs to the brook for water. He
was supposed to be terribly upset and ran
as though all the fiends were after him.

"Gee," said Milton Krasner, second
camera man, "if Jimmy had wings he'd
take off, he's going so fast."

We finished up early and started for
home. I had purchased a new suit case of
proportions suitable for accommodating all
my location outfit, such as tramping boots,
breeches, etc., which I usually had to make
a separate bundle of. And of course this
was the one and only location that I needed
none of it. When it was put beside the
car waiting its turn to be stacked, the prop-
erty boy caught sight of it.

"What's that?" he asked thunderstruck.
"The studio organ?" I don't wonder he
thought so.

Mr. Robertson, Hal Mohr, Jimmy, Mrs.
Murray and I rode down together. Jimmy
and his wife sat on the front seat with the
driver and sang songs most of the way. Mr.
Robertson told us about a lady he met in
San Francisco who reminded him of a
character in one of Blasco Ibanez' books.
Not long afterwards he went to Europe and
met the celebrated author. At luncheon
one day he told Ibanez about the lady and
discovered that the Spaniard did know her
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Growing Up— Continued from page 36

the depths of despair did her no good.

Gradually she pulled herself out of that
frame of mind by believing that nothing
was important enough to worry about.
Even now there are few things she thinks
big enough even to argue about. She has
learned to do everything according to the
very best of her judgment and once a
decision is done to forget it.

In four years she worked herself out of
westerns and into a role in Richard Wal-
lace's "The Poor Nut." Even good re
views failed to get her more work. Psy-
chologically, defeat is very bad for anyone
trying to succeed. It worked into Jean
until she wasn't quite sure whether she
was good or not. A test won for her a
chance for the lead with Richard Dix in
"Warming Up." Success in the role
would mean a five-year Paramount con-
tract.

Unknown to anybody at the studio Jean
Arthur passed the most severe test of her
life. The director encouraged her, but she
was nervous. The years of futile attempts
had torn down her faith in herself. She
did not know the executives were talking
seriously of taking her out of the produc-
tion, but during one of the scenes she
heard someone in back of the lights whis-
per that this was her last day. Those few
careless words snapped into her. A terri-
fic anger gave her excess energy through
the day. No one said anything about
stopping and she finished the picture. The
culmination was a contract.

Hollywood seldom accepts a new girl
with open arms. Jean wasn't noticed very
much after "Warming Up," but Para-
mount's renewal of Jean Arthur's contract
twice since this picture has given Holly-
wood confidence in her, and has given her
confidence in herself.

Like most other persons who have had a
hard fight for success, Jean has a keen
consideration for the rights and feelings
of persons with whom she associates. And
few girls in Hollywood are quite as natural
as she. She lives with her parents in an
old frame house in the midst of a small
grove of trees on one of Hollywood's side
streets. The place has all the earmarks of
belonging to one of the early settlers. It
is comfortable but very plain. There is no
gardner. Jean's father likes to water the
lawn and keep it trim and neat. On warm
days he takes off his coat and digs in the
garden. There is no maid in the home.
Jean drives her own Chrysler roadster, and
lives the life of the average American girl.

With all her determination, Jean Arthur
has some of the mystery of a foreign celeb-
rity, an unusual quality for a young Ameri-
can girl. No one is ever quite sure of
what she is thinking. Crowds of people
meet with her distinct disapproval. At just
two of Hollywood's premieres has she ever
appeared. She loves solitude. I never have
seen her with a girl friend or at a bridge
party or tea. She takes long rides by her-
self, or with one of her dogs for company.

All the year round she goes swimming at
the beach. Every day when she is not
working she gets up at six-thirty and takes
her dogs to the beach for a swim. Beach

clubs meet with her disapproval because of
the crowds. She has a special place where
she likes to go. It has a fine beach front
with a sign which says 'No Trespassing."
No one yet has questioned her right to be
there but if they did she probably would
say in a calm way: "I'm sorry, I didn't
think you'd care," and walk away.

Jean's dogs are two of the important
interests in her life. One is a wire-haired
fox terrier and the other is a giant St.
Bernard. On mornings when his mistress
is working he goes into the hills for a
bath in the creek. He climbs on a rock,
jumps into the shallow water and swims
out. On one of his trips to the hills, he
lost his eye in some sort of accident. But
the loss only seemed to add to his vitality.
Jean says he could knock his head off and
still go on in his happy way. The big St.
Bernard is clipped every summer to re-
semble a lion. Both dogs fall all over
themselves trying to greet Jean when she
comes in the house.

At the studio Jean attends to her own
affairs and keeps to herself. She knows
few people. She passes persons on the lot
unconscious of their presence. She talks
very little except to those she knows well.
She spends her vacations alone at some
quiet resort. People are attracted to her
because she is always well and tastefully
dressed but she is seldom recognized.

Travis Banton, fashion creator at the
Paramount studios, says Jean is one of the
smartest young girls on the screen today.
She has a sense of clothes that is born, not
acquired. Banton first met Jean when he
designed her wardrobe for "The Mysteri-
ous Dr. Fu Manchu." He made her inter-
esting clothes and she wore them as no one
else could. She became more interested
in her personal wardrobe and manages to
have all the pieces of each costume in har-
mony. She has the good taste to adopt
Banton's ideas to her own personality.

There is in Hollywood a select group of
well-dressed women including Kay Francis,
Florence Vidor. Evelyn Brent and Lilyan
Tashman. Jean Arthur now belongs in
this group.

Oddly enough, there is no type of parts
that Jean prefers to play. There is only
one thing which determines whether or not
she likes a role, definite qualities which
make a part either one thing or another.
She liked her part in "The Saturday Night
Kid." It wasn't sympathetic, but it was
definite. She played a spoiled sister and
there was no attempt to make her sweet.

Hollywood people are interested in the
fact that Jean has been seen frequently
the last year with a wealthy Pasadena youth.
No one seems to know him very well.
That is another part of her life that Jean
tries to keep to herself.

In five years Jean Arthur has experienced
more disappointments than a score of girls
know in their lifetimes. It has left its
mark on her. In her eyes at times one
sees the disillusion of one who has struggled
for success and found it an empty affair.
Undefeated and undismayed, Jean Arthur
has come into her own.

H iiiiiiiiiiiiiiiiiiiiiiiiHiiiiiiiiiiiMiiiiimiiimliiH iiiiiimuiiiiiiiiiimiiiiiiMiMi iiiiiiiiiinitiiiiiiiiiiiiiiii " " 1 fT]

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for January 19 3 0

111

Come Into the Kitchen with Mary Brian

Continued jrom page 79

ing the work on this picture, mixing up
large kettles of pralines to meet the de'
mands of those who demand 'more.'
Here are some of Mary's recipes:

COFFEE-WHIPPED'CREAM'
FROSTING
Whip until stiff one half pint of heavy
cream, add sugar to swee-ten. Add black
coffee until cream is a light chocolate color.
If the coffee and sugar thin out the cream,
beat until stiff again. Cut sunshine cake
in half. Spread frosting between layers,
then thickly over entire cake. Serve
immediately.

APPLE PIE
4 or 5 sour apples
% cup sugar

y± teaspoon grated nutmeg
% teaspoon salt

1 teaspoon butter

1 teaspoon lemon juice

Few gratings lemon rind
Line pie plate with paste. Pare, core

and cut the apples into eighths. Put row
around plate onchalf inch from edge, and
work towards centre until plate is covered.
Pile on remainder. Mix sugar, nutmeg,
salt, lemon juice, and grated rind, and
sprinkle over apples. Dot over with butter.
Wet edges of undercrust, cover with upper
crust, and press edges together.

Bake forty to forty-five minutes in mod'
erate oven. A very good pie may be made
without butter, lemon juice and grated rind.
Cinnamon may be substituted for nutmeg.
Evaporated apples may be used in place
of fresh fruit.

CRUST PASTE

2 cups flour
% cup lard
% cup butter

Ice water

Put flour in bowl, add lard and cut in
with knife. When finely chopped add
water, to make a very stiff dough, using
as little as possible. Cut the butter into
the dough, leaving it in rather small pieces.
Chill in ice box for several hours or over
night. Place ball of paste on floured
cloth, pat and roll out.

COLD PINEAPPLE SOUFFLE
Yolks 3 eggs
Grated rind 1 lemon
Juice 1 lemon
V2 cup sugar

Few grains salt
% cup canned sliced pineapple
V2 cup pineapple syrup

1 tablespoon granulated gelatine
% cup cold water
V2 cup cream

Whites 3 eggs
Beat egg yolks slightly and add grated
rind, lemon juice, sugar and salt. Cook
over hot water, stirring constantly ' until
mixture thickens. Remove from range and
add gelatine, which has soaked in water
five minutes, and pineapple. When mixture
begins to thicken, add cream, beaten until
stiff, and egg whites, also beaten stiff.
Turn into a mould, garnished with pieces
of canned pineapple and candied cherries
and chill thoroughly. Remove from mould
to chilled serving dish and garnish with
half slices of canned pineapple and candied
cherries.

Thou Wow! — Continued jrom page 41

childish Elda, with all her supreme confi'
dence and faith in herself and the world,
I shudder."

"Then," she continued, "I decided that
I had learned all that the chorus could
teach me. I wanted to take a fling in
straight drama. Finally I landed the youth-
ful heroine's role in 'The Country Boy.' "

After many months as a dramatic actress,
this little Quaker girl, who was still more
Elda than Hedda, became a prima donna,
singing the title role in "The Quaker Girl."

"I knew three high notes and three low
notes. In between there was absolutely
nothing. But I managed to do fairly well
with the half dozen.

"It was during this time that I achieved
the greatest triumph of my life," she went
on. "The company was playing in Pitts-
burg, and I persuaded my mother and
father to come over to- see me. It was the
first time that they ever had set foot within
the wicked land of the theater."

So peace was made with the Furry family
and the seven minister uncles who forgave
her, but never came to see her behind the
footlights.

The next step in her career was marriage
and a three-year retirement from the stage.
She emerged from her taste of domesticity
to enter pictures. She has never returned to
the stage except spasmodically.

In those three years every trace of the
Quaker Elda disappeared. She became com-
pletely the polished, scintillating Hedda of
today.

She says that she never expects to marry
again. She doesn't say that she knows she
will never marry again. She may change
her mind. And she may not.

"Why should I marry?" she asked,
shrugging her slim shoulders. "I have al-
most everything I want: a home, my son
and many friends. Why should I settle
down?"

Hedda is so vitally interested in all
phases of life, that her mental demands are
naturally polygamous. She likes the soph-
isticated women whom she plays on the
screen.

"They are interesting, these women. They
aren't really wicked at heart. Merely bored
creatures trying to amuse themselves with
life and love. Most women lack the cour-
age of their convictions. That is their weak-
ness. I try to give my screen characters
this courage, which is essentially masculine,
lightened by a sense of humor and an
amused detachment. I want to make them
a dash of scarlet in a world of more-or-less
colorless femininity."

If you turn back the leaves of history,
you will find that the dashingly scarlet
women there portrayed are the ones who
are remembered. Their daintily ineffectual
and feminine sisters are forgotten.

These remembered women seem to have
made a successful study and an absorbing
hobby of the men of their particular cen-
turies.

Do the men enjoy being hobbies?
Ask Hedda. She knows!

CAdele Qflllla

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A BIG HOLIDAY OFFER

SGREENLAND
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49 W. 45th St. New York, N. Y.

112

SCREENLAND

Sixteen Millions A Day

WH AT
food for
thought
these staggering fig-
ures afford!

(( Sixteen thousand
thousand human be
ings attend motion
picture theaters lo-
cated in every city,
town, village and ham-
let in America every
day, seeking and find-
ing diversion and en-
tertainment!

Benjamin De Casseres, emi-
nent dramatic critic, begin-
ning with the next issue
will conduct Screenland's
drama department in kis
pungent and inimitable style.

([[This stupendous
audience — the back-
bone of American life — consists of every age, every
degree of taste and intelligence. When times are
good, it's a luxurious pastime; when the complex
affairs of life cause troubled minds, an evening at
the theater for a modest admission charge fills up
the void until things straighten out. And they
always do.

(( A goodly portion of these many millions have
learned the trick of happy living. They know that
a fair amount of entertainment is necessary to a
well balanced life. They take their screen plays
seriously, see to it that these precious evenings
aren't wasted, by keeping abreast of the inside news
of what the enterprising producers are doing, and
by reading the interesting 'behind the scenes' activi-
ties of the stars and players whose talents are pub-
lic treasures. And here, by the way, is where
Screenland steps into the picture.

C[ You, for whom this magazine is published, are
part of those whose intense interest keeps the pro-
ducers 'on their toes1 and spurs the directors and
stars on and on in their ambition to make their
work worthwhile. Behind these scenes are exhaust-
ing days and sleepless nights — and in most instances
an unselfish devotion to their art.

C[ And how times have changed!

G[ Ten years ago, almost ten years before talking
pictures, David Warfield, one of America's great-
est character actors, had trouped from city to city
for the previous fifteen years, playing "The Music
Master." He told the writer of this page that he
had just refused an offer of a million dollars to play

Nancy Carroll, a screen star
who needs no 'ghost writer,'
will contribute a series of
interviews to Screenland.
First, Hal Shelly — in the
next, the February issue.

"The Music Master"
in pictures — a silent
picture, of course. He
refused the offer be-
cause he was more in-
terested in his art than
in the money it pro-
duced for him — he
couldn't get the 'reac-
tion' from his audience
— because he couldn't
hear their sobs while
he shed his tears as his
own voice sobbed. To-
day, the great War-
field could sit in the
audience, watch him-
self weep, hear himself
sob, hear the rest of the audience sob, and perhaps
do a little sobbing himself.

C[ In years to come, there will be other Warfields,
just as we have Garbo, Swanson, Colman and the
rest. They will come up out of the ranks in pic-
tures and from the legitimate' stage.

C[ The shining stars and brilliant plays of Broad-
way are finding their way into talking pictures,
for the sixteen millions a day will laugh and weep
and give them all the 'reaction' they need.

C[ And before you close the book, Screenland
announces:

G[ Benjamin de Casseres, distinguished dramatic
critic, who packs a stick of dynamite along with
a genuine understanding of plays and players, com-
mencing with our next issue, will conduct a series
of reviews of Broadway productions that may
ultimately become big picture attractions.

C[ J^ancy Carroll has joined Screenland's staff.
One of the most popular screen stars, Nancy is
also a writer— a real writer. She was doing in-
terviews for a New York daily newspaper before
she went into pictures. One of her willing victims
was Hal Skelly. Little they thought, the inter'
viewee and the pretty interviewer, that one day
they would be co-starring in The Dance of Life."
Appropriately enough, Nancy's first assignment for
this Magazine is to interview Hal Skelly. And no
ghost writing, either. The Carroll charm is as
fresh and natural on paper as it is on the screen.

The Publishers

CECIL B. DE
GREATEST
SCREEN
TRIUMPH

ONCE again Cecil B. DeMille has done the phenomenal!
Director of a hundred outstanding hits, he has added one
more name to his long list of successes. This time he has made
what will surely be considered his greatest screen achievement.
Never did Mr. DeMille have a more thrilling story, finer per-
formers or better technical resources than in Dynamite, the
most exciting picture he ever made!

Dynamite tears down the camouflage of "high society" and
exposes its seamy side — its parasitic women — its weak-kneed
men — its shameless flouting of decency — its feverish chase after
money and forbidden thrills... A thrilling story of an heiress
who learns of true love from a sturdy son of toil, a miner —
entombment in a mine — almost certain death — the offer
of two men to sacrifice their lives for her safety — and
finally escape with the man she really loves! Charles
Bickford, Conrad Nagel and Kay Johnson in the leading
roles give the best performance of their careers. Don't
miss Dynamite/ ALL-TALK1NG. (Also a silent version.)

Dynamite digs through the outer
veneer of sham, pretense and
glitter — and gets down to the
bed-rock of human emotions.

METRO-GOLDW¥iT-^IAYER

"More Stars Than There Are In Heaven"

To the manner bor n

A glimpse through doorways hung
with apricot velvet ... a glance
across a gleaming parquet floor . . .
and one senses instantly, in this
person or that, something genuine,
something authentic, as indefina-
ble as it is apparent. . . . And it is
this quality in Camel Cigarettes
which sets them definitely apart in
the minds of discerning people.
. . . They are so evidently, so de-
lightfullv, to the manner born.

TURJOSH&^DOMESTIC
:IGARETTES_^

America's Smart Screen Magazine

,vUil_l»3L5 I'm.

LAND

Gloric
Swans*

olf Armstrong s
16 Screen Beauties

FEBRUARY

25c

Edgar Walla

Captain Edward Molyne

didni l<

now s

air

"Why, it's Nancy Carroll! I didn't know she had red
hair!"

This fascinating Paramount star — like all your other fa-
vorite motion picture stars — becomes a new personality
under the magic wand of Technicolor — real, vibrant, con-
vincingly alive! A photograph transformed into a radiant
reality!

Black-and-white motion pictures disclose only half the
loveliness of handsome women, only half the magnetism
of virile men. Technicolor works the miracle that shows
the players in their true human colors.

Settings, costumes, landscapes, that were merely "pretty"
in black-and-white, become exquisite in Technicolor.

nico

After ten years of intensive research and experiment,
the Technicolor process has been perfected. Technicolor's
color experts, Technicolor's scientific staff, its cameras and
its laboratories are used now by the greatest producers
for their finest productions.

Technicolor is a name for the motion picture patron to
remember. The process of photographing color and pre-
paring the motion picture film makes the color endure, so
that the smallest theatre in the smallest town gives its pa-
trons, with Technicolor, the same beauty of color, the same
accuracy of reproduction, that grace the screens of the
finest motion picture theat;__ _.. Broadway.

O T // natural color'

SOME OF THE TECHNICOLOR PRODUCTIONS

IT'S A GREAT LIFE, starring the Duncan
Sisters (Metro-Goldwyn-Mayer); DIXIANA,
with Bebe Daniels (Radio); GLORIFYING
THE AMERICAN GIRL, with Mary Eaton:
Eddie Cantor, Helen Morgan and Rudy
Vallee in revue scenes (Paramount);
GOLDEN DAWN, with Walter Woolf and
Vivienne Segal (Warner Bros.); HOLD

EVERYTHING, with Winnie Lightner and Joe
E. Brown (Warner Bros.); The PARAMOUNT
PARADE, all-star revue (Paramount);
PARIS, starring Irene Bordoni (First Na-
tional); THE ROGUE SONG, with Lawrence
Tibbett and Catherine Dale Owen (Metro-
Goldwyn-Mayer); SON OF THE GODS, star-
ring Richard Barthelmess (First National);

SONG OF THE FLAME, with Bernlce Claire
and Alexander Gray (First National);
SONG OF THE WEST, with John Boles and
Vivienne Segal (Warner Bros.); THE VAGA-
BOND KING, starring Dennis King (Para-
mount); BRIDE OF THE REGIMENT, with Viv-
ienne Segal (First National); UNDER A TEXAS
MOON, all-star cast (Warner Bros.).

for February 1930

Dixie Lee
Sharon Lynn
George MacFarlane
J. Harold Murray
George Olsen
Paul Page
Tom Patricola
Ann Pennington
Frank Richardson
David Rollins
"Whispering"
Jack Smith
Richard Keene Mar jorie White

and 76 other outstanding
stage and screen stars in this
all talking, singing, dancing
Musical Extravaganza.

'test oJlars
\Q o/JGroadway &J%l/i/wood

Happy Days

■f Story by Sidney Lanfield Dialog by Edwin Burke
\J ; Staged by Walter Catlett

\ifk Directed by BENJAMIN STOLOFF

One hundred of the most scintillat-
ing personalities of stage and screen
contribute their talents to this all-
star, all-talking, singing, dancing
musical extravaganza! The most
colorful, tuneful, tantalizing show
the stage or screen has ever known!
Coming soon to your favorite
theater — don't miss this

MOVIETONE

F eb r u a r y, 19 3 0

THIS MONTH'S PROGRAM:

Covfr Gloria Suianton Rv Rolf Armstrong

CovfiNn Rapk with thf Pl^y-rack Tom Moore.

Sound Nfws Rv Evelvn Ballarine

Blanche Sweet. By Keith Richards .

\4ovtfs 1 r\T THF Air Rv Till ia Sha wpII

RunY Vai i ff — an insert Bv Rolf Armstrong

OfiXT FF^^THM Q OF TT-TF FAMS J PttPVS TYDYn Rp^aPT^

V^ui> rcooiwiNo \ ) r 1 1 1 n, i ai\ o, j_<c l t t / j j / kj i/t ivtuutio

The Most Beautiful Still of the Month.

1 4

Oabrh (~^t a\/TMTTT3 T^nrtY/iit<

The Charge of the Light Brigade, Holly-

Richard Barthelmess — A Portrait . . . .

fx)

l f\

Ruth Ybanez — A Portrait

1 1

7 1

Editorial. By Delight Evans

1 1

Richard Dix — A Portrait

Have You A Talkie Voice? By rrank La rorge

•77

My Pal Hal. Hal Shelly. By Nancy Carroll

T A V I 1 A V 1 T7 A lJ nvfv/1i +

1 *r

Edgar Wallace Solves Some Mysteries of

jtANtiit jviacuon ald — /\ Jrorirait . . . .

/ )

the Movies. By Rosa Reilly

L L

/ <J

Is Publicity Fatal to Happy Marriage in

Douglas Fairbanks Jr. — A Portrait

Hollywood? By Ruth Tildesley ....

Barry Norton — A Portrait

Gary Cooper Psycho' Analyzed.

Fay Wray — A Portrait

By James Oppenheim

Norma Shearer — A Portrait

Grand Opera on the Screen? By Rob Wagner

Arthur Lake — A Portrait

A Gift from the Arlens

Phillips Holmes — A Portrait

What's the Matter with Women's Clothes?

Holmes: Chapter II. Phillips Holmes.

By Captain Edward Molyneux . . .

By John Godfrey

What is Beauty? By Rolf Armstrong . . .

Reviews of the Best Pictures.

Rolf Armstrong's Gallery of 16 Screen

By Delight Evans

Beauties 3

5-50

Critical Comment on Current Films . .

The Millionaire Script Girl.

Revuettes of Other Pictures

By Sydney Valentine

On Location with Billie Dove.

"And Nothing but the Truth."

By Helen Ludlam

By Muriel Thirer

What The Mouth Tells. Screenland's Beauty

Do's and Don'ts for Girls Who Want to

Department. By Anne Van Alstyne . . .

Write Scenarios. By Jeanie Macpherson

The Stage in Review. By Benjamin De Casseres

Hard Working Hollywood. By Helen Ludlam

Come into the Kitchen with Loretta Young.

Paul — that's all. Paul Whiteman.

By Loretta Young

By Jason Carroll .

Hot from Hollywood. K[ews and Gossip . .

Progressive Film Parties. By Grace Kingsley

The Best Lines of the Month

102

She Wants to be Wicked. Corinne Griffith.

Ask Me. By Miss Vee Dee

103

We Build, We Do Not Destroy!

In New York. By Anne Bye

By the Publishers

130

Published monthly by Screenland Magazine, Inc. pendencies, Cuba and Mexico; $3.00 in Canada;

"VOT Btewt^md ^rid office.: 4»We«.45& Stteet. foreign, $3.50. Entered as second-class matter TV T

V UL. New York CltV- William Galland, President; N«„»mk», in iot » .1, d . r>n: xt v i l\ O

* X ' J°sePh M- Hopkins, Vice-President; C B. Mantel! November 30, 19:,, at the Post Office at New York, 1XU.

^^^V Secretary. Frank J. Carroll, Art Director. Yearly N' Y - under the Act of March 3, 1879. Addi- A

Member Audit Bureau of Circulations

for February 1930

YOU'RE MISSING
SOMETHING IE THE
"SHORTS" AREN'T
PARAMOUNT, TOO!

TALKAKTOONS

Not a dull moment at theatres that show Paramount
Short Features together with Paramount Pictures of
The New Show World ! . . . Paramount Sound News —
fresh as your morning paper— vivid as being on the
spot yourself . . . Christie Talking Plays — with famous
stars of stage and screen in delightful short comedies
. . . Paramount Talking, Musical Acts — kings and
queens of musical comedy and revue more brilliant
than ever on the talking, singing screen . . . Paramount
Screen Songs with the famous bouncing ball that makes
you want to sing . . . Paramount Talkartoons — a laugh
a second ! <J The Whole Show by Paramount is your
guarantee of quality entertainment from the first
moment to the last. Tell your Theatre Manager ! "If
it's a Paramount Picture it's the best show in town I "

PARAMOUNT FAMOUS LASKY CORPORATION
AD O LP H ZUKOR, PRES., PARAMOUNT BLDC, N. Y.

*
★

Cparamount

★

tpictur&s

SCREENLAND

MAKES EYES LOOK

LARGER

45ound MiWS

No matter how little
your eyes may be, a few
applications of harmless
Murine will make them ap-
pear much bigger. It clears
up their whites and increases
their sparkle, thus causing
them to look larger.

Millions use Murine to
beautify their eyes and also
to relieve irritation and strain
resulting from over-use, late
hours and exposure to sun,
wind and dust. 60c at drug
and department stores . Try it !

VRML

f-OR Y°UR

MGRICAN ACADEMY
OF DRAMATIC ARTS

Founded 1884 by Franklin H. Sargent

The foremost institution for Dramatic and
Expressional Training. The instruction of the
Academy furnishes the essential preparation for
Directing and Teaching as well as for Acting.

The training is educative and practical, de-
veloping Poise, Personality and Expressional
Power, of value to those in professional Ufe
and to the layman.

WINTER TERM BEGINS
JANUARY 15th

Catalog describing all Courses from the Secretary
Room, 253-B, CARNEGIE HALL, New York

■ j " 1 liiitMi 'mmmu m 1 1 1 i 1

CULTURED SPEECH

ATLASTISomethingNew!;

Learn Cultured Speech and Cor-
rect Pronunciation quickly from
phonograph records. Also increase
your vocabulary this new easy
xvay. Be a fluent talker — culti-
vated speech is a social an d business
asset of thefirstimportance. This new
"learn by listening" method highly recommended
by leading educators. Recordssen t onfree trial. Write
for information and free Self Test. No obligation.

THE PRONUNCIPKONE INSTITUTE

3601 Michigan Ave., Dept. 6322, Chicago

Evelyn
Ballarine

Shop Talk from the Studios

What's happened to the co-
starring teams? And where,
oh, where, are those strong,
silent he-men? Let's blame
the talkies if we miss them.

Janet Gaynor and Charlie Farrell seem
to be the only surviving co-starring team.
"Playmates" is their next. Gary Cooper
and Fay Wray split, cinematically, some
time ago — in fact, it was B.T. (Before
talkies). Richard Arlen has no screen
steady — he 'two-times' with Nancy Carroll
and Mary Brian! Nancy Carroll is the
feminine lure opposite him in "Flesh of
Eve," while Mary Brian takes first place
opposite him in "Burning Up." The Greta
Garbo-John Gilbert team is a thing of the
past as well as the Ronald Colman-Vilma
Banky duet. Dorothy Mackaill and Jack
Mulhall parted some time ago, too. It really
seemed that Loretta Young and Douglas
Fairbanks, Jr. would represent the younger
set's co-starring team, what with "Fast
Company," "The Forward Pass" and
"Loose Ankles" to their credit. But now
we hear that young Doug has switched his
film affections to Lila Lee in "Those Who
Dance" and that Loretta Young is cast
opposite Sydney Blackmer in "Murder on
the Second Floor." So that's that for that
team, too!

As for the he-men — take Ronald Colman
(go ahead and try to take him!) — he used
to be one of our strongest, silentest, most
romantic he-men when suddenly either he
or the advent of the talkies broke the spell
and the silence. Now he's the talkingest,
most whimsical and humorous player in
pictures. And Gary Cooper is no longer
a strong, silent boy-friend. We must con-
fess, however, that his talkie appeal is
more potent and twice as effective. So,
are we complaining? No, sir!

Which reminds us that frozen-faced
Buster Keaton is going to burst into song
in "On the Set" which Edward Sedgwick
is directing. And Harry Langdon is going
to warble, too. Harry wrote the song which
he will sing in his next Hal Roach comedy.

William Haines is collegiate again. His
next picture is "Fresh From College," with
particular emphasis on the fresh, we sup-
pose. Anyway, Leila Hyams is his moral
influence in the film.

Go west, young men, go west, for Joan
Crawford has 'gone western.' She plays
a girl of the wide open spaces in "Mon-
tana." Johnny Mack Brown has the male
lead opposite Joan and Cliff Edwards and
Benny Rubin supply the comedy, not for-

getting Rubin's Yankee Doodle laugh which
he introduced to us in "Marianne."

Greta Garbo is to have two leading men
in "Anna Christie." Reason: she is making
two separate films. Charles Bickford has
the lead in the English version and Nils
Asther in the German version. Greta's
next talkie will be "Romance," from the
stage play made famous by Doris Keane.
La Garbo has been fortunate in the selec-
tion of talkie roles. In "Anna Christie,"
she plays a Swedish girl and an accent is
part of the program. In "Romance" Greta
plays an opera singer whose lovely accent
enhances her charm.

"Sunkissed," starring Vilma Banky, will
also be made in English and German ver-
sions.

Jetta Goudal is coming back in a picture
for Warner Brothers called "China Lady."
This is Miss Goudal's first talkie. It is
the story of an American girl brought up
in China who absorbs the Chinese customs
and mannerisms so thoroughly that she is
constantly taken for a Chinese girl. This
sounds like a perfect role for the exotic
Jetta.

Dorothy Dalton is back on a movie lot
again after a long absence. You'll see her
in "Bride 66," which her husband. Arthur
Hammerstein, is producing, with Lois
Moran also featured.

Ethel Clayton is staging a come-back,
too. Watch for her in "Hit the Deck."

"McFadden's Flats" is going to be re'
vived with Charlie Murray, fresh from a
vaudeville tour, in the title role once more.
And William Powell again becomes Phdo
Vance in "The Benson Murder Case."

And another picture without women in
the cast! Fox is producing "Men Without
Women," an undersea picture with sixteen
men in the cast and John Ford directing.
This makes three womanless pictures now
in production. "All Quiet on the Western
Front" and "Journey's End" are the others.

Lupe Velez may do "Kiki" as her next.
It's a gamin role and should be suited to
Lupe's particular talents. Do you remem'
ber Norma Talmadge and Ronald Colman
in the silent version? Norma Talmadge is
scheduled to do "Du Barry" next.

"Ladies Love Brutes" is the picturesque
title of George Bancroft's new talkie. And
here are a few more titles worthy of your
attention: Warner Baxter in "Such Men
are Dangerous." (It's an Elinor Glyn
special). Richard Dix's next Radio picture
is called "I Love You." Don Jose Mojica's
first talkie is titled — "One Mad Kiss."

for February 1930

WITK77of THE BRIGHTEST STARS IN HOLLYWOOD'S HEAVEN

Since their first startling intro-
duction of Vitaphone Warner
Bros, have gradually massed won-
der upon wonder until it seemed
that talking picture progress had
surely reached its peak.

But now suddenly at a single
stride Vitaphone comes forward
with an achievement so immeas-
urably superior to any that have
gone before, that the history of
screen development must be com-
pletely rewritten and revised.

"THE SHOW OF SHOWS" is
a connoisseur's collection of the

supreme examples of almost every
form of stage and screen enter-
tainment.

Only Vitaphone could assemble
the names of John Barrymore,
Richard Barthelmess, Beatrice
Lillie, Ted Lewis, Georges
Carpentier, Irene Bordoni,
Dolores Costello, and enough
more for 20 average pictures, all

&a¥uBaTc<m.oii,
' picture? <

"Vitaphone'* is the registered trade mark of
the Vitaphone Corporation. Color scenes
by the Technicolor Process

on one prodigious program.

And you'll remember as long as
you live such sensational features
as the Florodora Sextet composed
of headline screen stars — the
Sister Number with eight sets of
celebrated screen-star sisters — the
stupendous Lady Luck finale with
a chorus of 300 and fifteen speci-
alty "acts."

If you could see only one motion
picture this season, that picture
should be "The Show of Shows."
Don't dare miss it — for you may
never look upon its like again!

A SWEEPING DEMONSTRATION OF THE SUPREMACY OF VITAPHONE PICTURES. PRODUCED EXCLUSIVELY 3Y WARNER BROS. AND FIRST NATIONAL

SCREENLAND

William S. Paley, the clever young
president of the Columbia Broadcast-
ing Corporation, foresees the closer
alliance of radio and movies and dis-
cusses the possibilities of each en-
tertainment.

HOW will television in the home affect
the motion picture industry? Will
it encroach on the financial pre-
serves of the celluloid medium?

Will television, projecting its visualized
vocal programs into every equipped home,
interfere with theater attendance? Will
the new etherized pictures on radio waves
keep people in their own living rooms,
instead of in the movie houses? Will
radio in its newest improved form take
away from the film industry its income
cr at least a part of it?

These questions and many more con-
cerning the two great mediums of enter-
tainment are being asked not only by
movie fans and radio listeners but by
people directly connected with both groups.
Conjectures brought up by the recent state-
ments of scientists and engineers that
practical television is just a short time
away, have caused consternation in many
quarters, doubt in others. It's the same
sort of doubt that greeted the arrival of
movies many years ago, that accompanied
daily radio broadcasting ten years ago.

From an antagonistic attitude developed
by lack of knowledge as to the purpose
and effects of each, radio and movies have
been drawn together in the past two years.
Paramount has secured a controlling in-
terest in the Columbia Broadcasting Com-
pany, one of the two great coast-to-coast
chain companies. Who better than the
chief executive of the Columbia group is
in a position to prophesy the future of
both industries and to foresee their future
closer alliance?

So it is to William S. Paley, president
of the Columbia Broadcasting System, that
we turn for official information and defi-
nite views as to the coming relative place
of radio and films in entertaining the
miHions.

The herd instinct, Mr. Paley maintains,
is the safeguard for movies and the thea-
ter. Radio, he believes, is merely a sup-
plement to the charms of home life but
it will never keep people at their own
firesides. Man will continue to attend
places of amusement where he can mingle
with other men. And so, radio will never
take the place of the theater.

MOVIES

IN THE AIR

An Authority Prophesies an Exciting
Future for Screen and Radio

By Julia Shawell

This clever head of a giant chain of
stations is young enough to be enthusiastic
and so versed in the requirements and
possibilities, aims and purposes of his own
business as to know what he is talking
about. He points to the fact that people
have assembled to be entertained for
thousands of years and apparently will
continue to do so as long as their kind
remains on earth.

On the other hand, Mr. Paley reminds
us that radio and the theater are shooting
at one goal, the best entertainment for the
public at the lowest possible price. In
his discussions he dismisses any imprac-
tical altruism and treats both industries
as money-making institutions in the hands
of sound, sensible economists.

Instead of as had been at first feared,
radio would ruin the movies by keeping
the public at home to listen-in, Mr. Paley
says that radio has been a stimulant to
motion picture patronage and has been
directly responsible for the sound on
celluloid. As to television, he comments:

"Even when television is perfected on a
commercial scale and televised subjects
are broadcast into millions of homes, the
motion picture theater will gain, rather
than lose, in popularity. Television will
play a large part in the very theaters that
some feel it threatens. Consider what
can be done in the field of news reels
alone. Imagine seeing flashed upon the
screen in simultaneous sight and sound
and natural color, an event of world-wide
interest as it is taking place!

"Visualize world-series baseball games,
football games, automobile and horse races,
the instant they occur, on supersized
stereoscopic screens!

"I predict that thousands of new theaters
will spring up all over the country for
the showing of televised news events alone.

"Today, the annual paid admissions of
motion picture theaters amount to $800,-
000,000 from an average weekly attendance
of about 100,000,000 persons. These figures
do not sound like ruination."

Mr. Paley admits no one can predict
how far away practical commercialized
television really is but he expresses his
confidence that the present generation will
live to be entertained by television.

"Just as the films have utilized the
resources of radio science to give the
screen a voice, radio broadcasting will
eventually borrow eyes from the master
minds of the motion picture laboratories,"
the Columbia president opines; but he
admits it is still too early to decide
whether they shall broadcast direct per-
formances from the studios, motion picture

performances from, film strips synchron-
ized with sound, or theatrical presenta-
tions from the stage. He suggests the
possibility of using all three types to
furnish television with its subjects, to-
gether with great news events and sporting
matches.

Mr. Paley and others in his field have
been asked many times whether the pros-
pect of television carries a threat against
theaters all over the world by promising
visual entertainment in the home to sup-
plement the audible programs now obtain-
able on radio receivers from the broadcast
stations all over the country.

In answering this question here, Mr.
Paley does not stop at mankind's gre-
garious instinct for a reason. He has even
more material evidence. He replies:

"Certainly, the use of the popular little
filming cameras and projecting machines,
(Continued on page 119)

Dig Bill Hart speaks to his friends
over the radio. Bill is coming back
to the screen soon.

for February 1930

hear her Again!

Yo u'll HEAR an entirely new and different Corinne Griffith in
"Lilies of the Field," with a mellow, lilting voice that will win
you from the first word

You'll SEE a new Corinne Griffith in"Lilies of theField"-a fast-
stepping girl of today doing daring things in daring costumes.

Cf Lilies of the Field," made from a famous Broadway hit, rips
through forbidden walls to lay bare the lives of worthless
women and faithless men.

It probes the secret places of a mother's heart to find a love
far greater than that which lovers know.

Its powerful dialogue, its catchy new songs, its striking chorus
numbers, its lovely star, make"Lilies of the Field" one of the
most satisfying talking pictures yet produced. Watch for it !

Corinne Griffith

"Vitaphone" is
the registered
trademark of

The Vitaphone
Corporation

All- Ta Iking -S inging

_ •

With Ralph Forbes, Jean Bary directed by Alexander Korda
A FIRST NATIONAL & VITAPHONE PICTURE

JANUARY IS FIRST NATIONAL MONTH!

1(1

SCREENLAND

CONFESSIONS
of the FANS

FIRST PRIZE LETTER
$20.00

Life is a scourge to most of us. The
moving picture brings a ray of hope —
romance. A morning dew calling this
heart-seed to blossom, the withered rose of
other days to enchanting beauty.

Audiblcs? They enhance the illusion.
Magic of the human voice. Sweet
witcheries of music and song. And now,
color. Nature come nearer. We see vary
ing greens of tropical paradises, hear the
silences of the desert stretching away into
a monotone of brooding mystery. Our
hearts are awed by dark expanses of polar
seas with glittering, crunching icebergs sil-
houetted against the intense blue of Arctic
skies.

Now, lovely springtime of a temperate
clime. We feel the running sap in the
sugar maple. A sweet breath Comes from
the meadows. A brook. Golden sunlight
plays hide and seek with violet shadows
upon gurgling wavelets. Yonder wheat
field, a sea of billowing, tender green,
is the trysting place of bob-o-link and quail.
Lilting melodies from thrushes in the
boughs; a lark fluting intermittent ecstasies
among the daisies. The dear sounds of
peace from thicket and grass. Enchant-
ment. Blessed world of make-believe, the

magic screen!

Louise Ann Vester,
6431 Roble Ave.,
Los Angeles, Cal.

SECOND PRIZE LETTER
$15.00

Once upon a time there was a little girl
very much like the little girl in "Lucky
Star" whose life held not much of beauty
— only sordidness and ugliness.

Then a boy — a boy very much like the
one in "Lucky Star" slowly but surely
opened her eyes to the beauty of the world
— to the truth so beautifully expressed by
Keats in his "Ode to a Grecian Urn," that
"beauty is truth, truth beauty." The little
girl's life has been changed by the gospel
of beauty proclaimed by the boy, and who
can estimate the countless number of lives
that may have been changed by the "Lucky
Star?"

Let us have more pictures like "Street
Angel," "Seventh Heaven" and "Lucky
Star." and more players like Janet Gaynor
and Charles Farrell. To me, and to count-
less beauty-hungry souls, they are like a
Schubert melody in a world of "Crazy
Rhythm."

Margaret Wilkening,
3 3 Camden Avenue,

Dayton Ohio.

THIRD PRIZE LETTER
$10.00

During the past four years I have seen
an average of two hundred and fifty moving

This is YOUR department, to
which you are invited to con-
tribute your opinions of pictures
and players. For the cleverest
and most constructive letters, not
exceeding 200 words in length, we
offer four prizes. First prize,
$20.00; second prize, $15.00; third
prize, $10.00; fourth prize, $5.00.
Next best letters will also be
printed. Contest closes February
10, 1930. Address Fans' Depart-
ment, SCREENLAND MAGAZINE, 49
West 45t/r Street, New York City.

The Editor

A school teacher says that Douglas
Fairbanks is an excellent interpreter
of good literature. Right!

pictures yearly, so perhaps I may be con-
sidered competent to judge their value.

I am the policewoman of a city of about
forty thousand population. We have five
moving picture theaters, four equipped with
the necessary apparatus for talkies.

There are still many people in our city
who are opposed to moving pictures and
we had numerous bitter fights at the polls
before we obtained Sunday movies. At
present there is considerable talk about try-
ing to take them away from us.

This much I \now. My work is easier
while there are Sunday movies. Before we
had movies on Sunday we had to cope with
the problem of boys and girls getting into
cars and going to nearby cities, often not
returning until the next day. I know that
there is less juvenile delinquency in a city
where there are Sunday movies for it is
only natural that modern youngsters must
have something to occupy their time.

There is no doubt in my mind that
moving pictures are becoming better all the
time; not only technically, but better in
tone. And they are improving in every

way. t

Dorothy M. Springer,

Policewoman.
Colorado Springs. Colo.

FOURTH PRIZE LETTER
$5.00

I don't see why theme songs are the butt
for so many silly jokes. Think over the
popular songs of the last year or so.
Ramona, Diane from "Seventh Heaven";
Dream of Lilac Time, Marie, Sonny Boy,
Weary River, many others — all from the
movies. Yet people groan at the mere
mention of a theme song.

The auditory sense recalls memories more
than any other. As I listen to Neapolitan
Rights, the delicate, picturesque beauty of
"Fazil" flashes through my mind; and I
have only to shut my eyes while listening
to The Desert Song to imagine myself far
away in the romantic, starlit desert. I,
for one, don't care what anybody says.
I li^e theme songs!

Miss Lorna L. Slocombe.

16 Hancock St.,
Lexington, Mass.

A Word from Berlin

Some months ago, we saw and heard
our first sound-picture. "The Singing Fool."
All the people were full of enthusiasm.
We never saw nor heard such a wonderful
artist as Al Jolson. You can be assured
that we all love him, because he is 100%
human. Everywhere you could hear the
two names: Al Jolson and Davey Lee.
Both have found their way into all German
hearts. I have seen this masterpiece of
American film-art four times — and thou-
sands of others have too. You can tell
them in your country that we want to see
and hear more of Al Jolson and others like
him.

Otto Behrens,
Berlin W. 30.
Viktoria Luise Platz 12 pt.

Helps for English Teachers

As a teacher I would judge every movie
for its literary as well as its artistic worth.
Douglas Fairbanks satisfies my ideal in his
selection of material to depict, and in his
depicting of the material selected. He is
surely a lover of good literature as well
as an excellent interpreter of the same.

For several years I have scheduled the
teaching of "Robin Hood" to coincide with
the appearance of "Robin Hood" at one of
the theaters here. I can give my classes
the tale of Robin Hood but he can give
them "Robin Hood" himself. And "The
Thief of Bagdad" is such a thief that my
copy of "Arabian Nights" became dog-eared

for February 19 2 0

THAT HAPPY PAIR!

Here's Bessie Love and
Charles King of "Broad-
way Melody" fame.

No wonder they're
laughing and singing!

They've made a picture
that's even greater than
"The Broadway Melody."

METRO-GOLDWYN- MAYER

'■- ; - -- :'■ . - .-■ ■ . ■ - "more stars than there are in heaven"

SCREENLAND

as soon as Doug gave my pupils a glimpse
of the flying carpet.

And who could better interpret the Pet-
ruchio of the divine William? I venture
the bet that Douglas Fairbanks will popular-
ise Shakespeare in one performance while
some professors spend years — and never
succeed in 'Taming the Shrew.'

Sue Maxwell,
605 South Broad St.,

Cairo, Ga.

A Paying Investment

I am a home lover and the movies have
helped me to make my home more attractive.
I have had many ideas and fresh inspira-
tion that aided me in arranging my house
and planting my garden.

The movies help to modernize the home.
No matter how large or how small your
home may be, there are ways you can
beautify it. And gloomy days or business
cares cannot take away the pleasure you
will find in a well-planned garden. Instead
of being an expense, it actually pays to
go to the movies.

Mrs. A. Svehla,
3215 S. Ridgway Ave.,

Chicago, 111.

A 'Once Upon a Time' Heroine

I never thought the day would come
when I would actually see a flesh-and-
blood symbol of all my favorite story book
heroines, from Cinderella to the patient
Griselda. I have found that symbol in
Janet Gaynor.

Such a sweet, tender, unspoiled child of
the screen drama! In an art where many
actresses strive for an exotic personality,
glamourous background and a present full
of publicity stunts, it is comforting to find
one important player who remains natural
and sincere.

Accompanying this natural charm there
is an elfin, magic quality in Janet that
speaks of wishing rings and fairy spells
and all those quaint unreal things that

attach themselves to princesses and per-
sonages who figure in those 'once-upon-a-
time' stories. And now that Janet's prince
has found her, there's only one appropriate
ending: May they live happily ever after!
Mrs. Wilfrcde Luther,
5018 Reading Road,

Bond Hill,
Cincinnati, Ohio.

A New Movie Fan

I am eighty years of age and I have seen
but two pictures in my life — "The King of
Kings" and "On With the Show." They
were so wonderful that I have decided to
become a movie fan!

My husband has always been in the
theatrical business and I have seen a great
many fine plays, but none could compare
with these two pictures. During "On With
the Show" I actually forgot where I was
and thought I was seeing a real play with
real people.

I greatly enjoyed the singing of Miss
Betty Compson; she has a lovely expressive
voice; also the singing of Miss Holman in
her specialties and the dancing of Joe C.
Brown. I hope to see more of these players.

Mrs. Ella J. White,
20 Summerhild Court,

Stoneham, Mass.

Fourth Grade Favorites

It was the first week of school in the
Fourth Grade and I, as teacher, was trying
to get better acquainted with my pupils so
I asked them a few question concluding
with 'who is your favorite movie star?'

It was to be expected that they would
give the cow boy or wild west heroes
their vote but by actual count Buddy
Rogers and Clara Bow won out. Then,
they asked me about my favorite. I couldn't
tell them of Ruth Chatterton and Jeanne
Eagles as they were too young to know
them, so I said Al Jolson. And forty-five
pairs of little hands gave hearty applause.

Sound pictures have brought better talent

They're singing Sonny Boy and praises
of A I Jolson in Germany, too!

to the screen and they have developed the
better screen actors and eliminated the poor
ones. The one big exception is Emil
Jannings.

Edith L. Hunter,
213 W. Auglaize St.,

Wapakoneta, O.

New Sense of Values

I was glad to see a picture like "The
Lady Lies." It marks a new trend toward
freedom from dogmatic intolerance. Such
themes as glorifying the loveliness of char-
acter of the 'other woman' were always
marked as polemic. But why? Must one,
because she readjusts her sense of values
and maps out a new plan of living which
(disregards conventions, be pronounced bad.
wholly and totally and entirely devoid of
virtues?

The movies have always been a source of
satisfaction to me because they have fol-
lowed that admirable advice of Pope's —
"Be not the first by whom the new is tried;
nor yet the last to lay the old aside."
Therein lies a certain conservative safety,
yet a pliability and adaptability to modern
thought and demands. How many indi-
viduals and concerns would do well to
' follow this advice!

Opal L. Paap,
3626 C Street,
Lincoln, Nebraska.

This is your department.
Write and tell us what
you think of the screen and
its stars.

for February 1 9 3 0

Here is the Kleenex Way
to remove cold cream

Massage cream lightly into the skin and allow it to
penetrate for several minutes . . . till it collects impuri-
ties from the pores and softens the skin. Then— Kleenex!

C*URPLUS cold cream should be blotted
»J up from the skin with Kleenex cleans-
ing tissues. Otherwise ... in time you'll
notice little oily areas around the nose—
the chin— the mouth. Then blackheads,
perhaps. And pores made larger.

Experts insist on Kleenex because of
its amazing absorbency. You don't need
to rub and scrub and stretch the skin,
as when you try to wipe away the
surplus cream with towels and "cold
cream cloths."

Kleenex absorbs by blotting

Kleenex is so wonderfully absorbent
that it simply blots up every bit of cream
your skin doesn't need. Instantly, gently,
without rubbing. And it lifts up, along
with the oil, any cosmetics or dirt that
lingered in the pores.

You use these tissues just once, then
discard them forever. Thus, each tissue
that touches your face is fresh, soft, and
dainty. And there's no problem of
stained and soiled towels — and high
laundry bills!

The new Kleenex is truly a delight-

KLEENEX

Cleansing Tissues

— it blots off all the
surplus cream that
your skin doesn't need

Failure to remove cold cream is
a grave mistake in skin care.
Experts say cold cream should
be removed with Kleenex.

As\ for Kleenex in your favorite color

Flesh Pink Sea Green

Canary Yellow and Wliite

Tlie colors are absolutely pure . . . and
they harmonize exquisitely -with bath-
room and bedroom decorations

ful toilet accessory. There are pastel
tints, very soft and lovely ... of pure
white, if you prefer. The box itself is
a marvel of ingenuity, modern in de-
sign and color . . . and cleverly made to
hand out automatically, through a nar-
row slit, two exquisite tissues at a time
(the correct number for a treatment).
You see, you can't waste Kleenex. And
the tissues are kept absolutely clean
till needed.

More hygienic than handkerchiefs

Once you know Kleenex you'll find a
score of uses for these lovely little tis-
sues. Many use them in place of hand-
kerchiefs—and certainly they are far
more hygienic and comfortable, espe-
cially when one has a cold !

All drug and department stores have
Kleenex. Ask for it at the toilet goods
counter. If you prefer to try it without
investment, the coupon will bring a
generous sample.

Kleenex Company, Lake-Michigan Building,
Chicago, 111.
Please send a sample of Kleenex to :

SL-2

Name

Address .
City.

St at 2

SCREENLANI)

SCREENLAND

Leading "The Love
Parade'1 is M. Mau-
rice Chevalier, le
grand Monarque of
musical movies. Gay
and Gallic, he wins us
as he won the audi-
ences in his own Paris.

Chevalier has come
into his own. His
new picture presents
the flavor of the best
French wines and wit.
In this prohibition
country Chevalier sup-
plies a real need!

Chevalier's grin and engag-
ing talents have made him
the idol of the French.
When he signed a long con-
tract with Paramount to
make pictures in Hollywood
he had inserted a clause per-
mitting him to return to
Paris at intervals to appear
on the stage. Truly an in-
ternational attraction.

H e sings love songs to his
heroine as no other musical
comedy man can — half-mock-
ing, half-tender little songs,
with a Parisian tang. Right
and left, M. Chevalier with
his lovely leading lady,
Jeanette MacDonald.

for February 1930

Honor Page

Chevalier,
salut a vous!

Vive
Maurice!

Chevalier in his screen
uniform reminds us that
he served in the war, and
won the military cross.

Screenland's Accolade
pour le Merite to Mau-
rice Chevalier, the first
Frenchman to sweep ev
erything before him on
American screens. Speak-
ing of international amity,
Chevalier does his share
in making us feel at home
in Paris. While we
watch "The Love Parade11
we become Parisian in
spirit, for the Chevalier
charm is a little like the
best champagne.

SCREE NLAND

JtiJ

^£1 ■ 3

THE CHARGE OF THE LIGHT BRIGADE

Hollywood Version

Dorothy Mackaill's well known sense of humor prompted
her to assume this heroic pose, in which she leads a battalion
of studio arc lamps on to victory. Huzza, huzza!

for February 1930

THE EDITOR'S PAGE

YOU might think, to look at
the lines forming at the
box-offices to see "The
Trespasser," "The Love
Parade," "Rio Rita," "Taming of
the Shrew," "Show of Shows,"
and other great sound hits, that
the little old world has grown
sound-screen-conscious. And you
would be right.

Egypt has seen and heard its
first musical movie — shades of
Cleo! Milan, Italy, world capital
of classic opera, has equipped a
fine hew theater for sound — O sole
mio! The former Kaiser may make
a movie version of his life. Arthur
Bodanz,ky, renowned conductor,
has announced his faith in films in
the following credo: "All of a
sudden out of the movies will
grow something very great."

Well, we told them so. It's gratifying to us old-
timers of the movie Boosters' Clubs to look around
us and see all the big boys sitting up and taking
celluloid nourishment. It will do them good.
Don't we thrive on it? We struck up the band;
now listen to the echoes:

Heywood Broun:

"It seems to me that the pictures, now that they
have found a voice, offer a far more flexible medium
for the transmission of ideas and emotion than does
the old style drama. There is no reason why the
very best that is in the boldest dreamers may not
be flashed and sounded on the screen. Indeed, it
is much easier to be subtle in a talking picture than
in a spoken play. The stage is dying, but from the
next room comes a lusty squall. Maybe the sound
is not always pleasing to the ear. These noises are
still incoherent. The talkies, you see, are in their
infancy. But it is a bouncing child. I think it may
fly high."

Mary Pickford:

"The talking pictures are too talkative. The
ideal picture would be a combination of the silent
film and the talkies. A universal language is neces-
sary for universal popularity of the talking picture."

Professor Walter B. Pitkin of Columbia
University:

"Truth is, Hollywood is a factory town just as

Pittsburgh and Akron and Detroit
are. Everybody there is a factory
worker. And, like most other
factories, the workers are picked
because they can handle their jobs
and stick to them. All in all,
Hollywood is one of the least
exciting places on earth, once
you recover from the myths
about it."

Florenz Ziegfeld:

"Gloria Swanson has made the
young blood of America look like
a bunch of amateurs."

Gloria Swanson:

"There is only one beautiful
woman in the movies. That is
Corinne Griffith. The rest of us
are just types."

Henry Goldman, ex-city censor of films,
Kansas City, Mo.:

"I have no dislike for the movies, but having
viewed about 60,000 reels of them in four years, I
suppose I'm fed up for life. Besides, I learned all
the variations of the thirty-six dramatic situa-
tions, and I understand that no others have been
invented."

George M. Cohan:

"Broadway today is a sample room for Holly-
wood. They pick and choose and then rewrite,
trading only on another's ability to create. They
must themselves create for their special medium
before they can hew out an artistic niche for them-
selves. I wonder what they'd do if the members
of the Authors'1 League refused them rights to
tinker and rehash. It might be a good idea; it might
develop an original scenario; it might eliminate this
parasitical tendency."

Arthur Hammerstein:

"The talking pictures have done terrific damage
to the stage. I'm going to Hollywood while the
going is good. Human flesh is different from the
screen, I admit. But who can pay for flesh to-
day? I put $300,000 in every musical comedy
and take a chance on losing. Put it in a movie
and you can't lose."

D. E.

SCREENLAND

Frank La Forge is an interna-
tionally known accompanist and
vocal coach, who has trained many
Metropolitan Opera stars. If you
want to know the real facts about
this voice-canning business read
his article.

Now that the screen has learned to talk it seems
quite certain that all of our screen folk will
have to do likewise or go the way of last year's
leaves. Although screen fashions change now-
adays with bewildering rapidity, there is little doubt that
sound has come to stay. Breaking the screen's long silence
has been a fly in the ointment to many movie stars. They
are wondering whether voices will take with their public
as have profiles. The representatives of thirty different
nations who draw Hollywood pay envelopes are spending
sleepless nights because they will have to learn to speak
English 'as she is spoke.' In fact, if the United States hopes
to continue to supply a world market, movie stars may
have to learn to speak three or four languages, as opera
singers have long been required to do.

While the question,
"Have I a talkie
voice?" is challenging
all our idols of the
screen, it is setting
aflutter the hearts of
many unknowns who
believe they have the
vocal qualifications.
Who knows what new
stars may be made
overnight by appealing
to ears as well as eyes?
This is an age of mira-
cles and seldom has
opportunity knocked
more loudly on the
doors of those who
have vocal accomplish-
ments.

The factors that
make a voice 'take' are
not so up in the air as
many suppose. I have
been working with
these factors for a

Have You

By |

Frank La Forge

number of years in training stars of the Metropolitan
Opera House, most of whom make phonograph records.
Canning the voice is not a new process by any means.
It has just been hooked up to pictures with a few refine-
ments added. And don't jump to the conclusion that stars
of the speaking stage will immediately get across in talking
pictures. Having learned to use their voices, they will,
no doubt, have acquired the habit of good diction which
is an advantage. But most of them have also learned
to throw their voices so that the person perched in the
last seat of the gallery will know what it is all about.
This habit is a disadvantage to the talkie aspirant since
the thrown voice does not record at all well. The process
of recording the voice requires a technique all its own
and must be learned by all comers whether veterans or
tyros.

When Richard Dix, whom I trained in diction, first
heard his voice coming back at him he did not recognize
it as his. Although the words were his he thought someone
else was talking. This is a frequent occurrence partly be-
cause a person does not hear himself talk as others do and
has usually acquired habits of speech which sound strange
when reproduced. Then again, the voice that enters the
'mike' does not emerge in the reproduction an exact
likeness.

That little 'mike' — what a strange power it wields! It
has come to be a veritable monarch saying thumbs up or
thumbs down to the highest or lowest who seek its pres-
ence. Let us see if we can find out what will please His

Royal Highness.

A I Jolson, the first great hi
tomed to the 'feel' of a real
of the film studio almost fl
set putting over

t of the talkies, was so accus-
audience that the dead silence
oored him. Here's Al on the
one of his songs.

There are three mus-
keteers in this little
drama of putting over
the voice. They are
diction, resonance and
personality. The first
is absolutely necessary
if the words which are
spoken into the 'mike'
can be understood
when reproduced. The
second makes the dif-
ference between a voice
that is pleasing and
one that is not. The
third holds the secret
of the voice you'd walk
a mile to hear.

Consider diction.
The average Ameri-
can is not wholly to
blame for the plain and
fancy murder he does
to the mother tongue.
He is usually the victim

for February 1930

A Talkie Voice?

Who Knows What New Stars May Be
Made by Voice Appeal? An Authority
Defines and Discusses the Exacting Re-
quirements of the All-Powerful 'Mike.'

of his environment and picks up the language from his
parents and early associates whether they speak well or
ill. The brand of talk he learns in childhood generally
clings to him for life and there are more than fifty-seven
varieties in this broad land. I have frequently guessed
the state from which a person hails from hearing him talk.

Then too, if English were more smooth and vocal, as
is Italian, and not so peppered with consonants, Ameri-
cans as well as foreigners would find it easier to speak.
Yet these very consonants give the language its spiciness.
The trouble is, many Americans slur over the consonants
or talk as though they had a bit in their mouths. They
do not take the consonant with a kick as they should.
For instance, unless you are a trained speaker, when you
say 'We've got him," it will sound like this, 'We gottim.'
And yet consonants are not difficult to tame. They may
be put in their place with a little effort.

You probably know that these trouble makers, the con-
sonants, are obstructions to the free flow of speech, while
the vowels (A, E, I, O, U) as the word indicates, are
vocal. Consonants interfere with the voice in various
ways. Some of you were no doubt taught in school that
consonants are either hard or soft, but this classification
is inadequate, to say the least. Consonants are either
voiced or unvoiced according to whether or not the voice
is used in their pronunciation. If no voice is used the
consonant is merely articulated. Pronounce the word thin
and you will find that the th has no voice. Then pro-
nounce this and you recognise voice in the th.

Can your friends understand you the first time over
the telephone? This is a test of your diction. The New
York Telephone Company gives all of its operators special
training in diction, stressing particularly the numerals.
They are drilled to say the numerals as follows:

0
1
2
3
4

oh
wun
too

th-r-ee

5
6
7

fi-iu
si\s

sev'ven

8 ate

9
10

m-yen
ten

MAX-

B/MU

ZaWrw

These pronunciations are necessarily exaggerated so there
will be the least possibility of a mistake; but in a talking
picture they would sound ridiculous. Some telephone
operators take great delight in rolling the R in three. ..One
flip of the tongue is sufficient. In Italian, the word caro
with one flip of the tongue means dear. With a double R,
carro, it signifies chariot. Imagine a telephone operator
speaking an impassioned caro to her Romeo and you can
see what the result would be! It is well nigh impossible
for us to make this fine distinction as do the Latins, pro-
nouncing R as is the custom in this country.

W is another interesting letter. I was taught that W
is sometimes a vowel and sometimes a consonant, but ex-
perience has shown me that it is always a vowel. For
instance, in the word where a peculiar thing occurs. If
you will pronounce the word slowly you will see it should
actually be spelled hwere as the sound of the H preceded
the sound of the W. When followed by another vowel
it is more obvious that the W is a vowel.

M is one of the most frequent (Continued on page 122)

This diagram shows how John McCormack's voice
looks on paper. He is singing "Annie Laurie."
Note the evenness of the wavy line or vibrato.

The popular Irish tenor is at work right now
recording his voice for the films. Will the 'mike'
be kind to John? They say he'll be a sensation.

SCREENLAND

'Don't forget to say that I'm 'New York's favorite juvenile,' "
Hal Skelly cautions his fair interviewer, Nancy Carroll.

Our Star Reporter Makes Good on her
First Assignment, Interviewing Hal Skelly

By Nancy Carroll

Editor S Note : And if anyone ever suggests that K[ancy Carroll didn't write every
word of this story herself, he'd better loo\ out! Hancy is honest — and Irish!

The editor of Screenland took a lot for granted
when she asked me to interview Hal Skelly, and
to write such facts and impressions as might be
forthcoming from such an assignment.
She took for granted, in the first place, that I, a screen
player in Hollywood, would help another screen player in
Hollywood get a lot of nice, free publicity.
I should be so big-hearted!

She took for granted that I would write nice things
about Hal Skelly, when I know so many things that are
not at all nice.

It is not my fault if the editor of Screenland has a lot
of libel suits on her hands.

For what I don't know about Hal Skelly! Hum!

Well, the editor brought it on herself.

Here goes:

Hal Skelly was born in Davenport, Iowa, and if you
can find out the year you're a better interviewer than I

am. He's no boy, I can tell you that, even though every
once in a while he proudly boasts that he is: "New York's
favorite juvenile."

I knew Hal Skelly before he came to Hollywood to play
with me in "The Dance of Life." I knew him when we
were together in a musical comedy called "Betty Lee,"
he as one of the principal comedians, I, just one of the
girls in the chorus.

I wish to say this much for Hal at that time. Every-
body in the troupe liked him. He used to breeze in for
a matinee or an evening show, always on time, always
gay-hearted, and he'd yell: "Hello, kids!" to us as he
passed the door of the chorus dressing room.

That seemed a little thing, as I look back on it now,
but it was a big thing at the moment. We girls all knew
that Hal Skelly was our good friend. It's fine to have
friends.

I left New York and went on the road with a show.

for February 1930

Hal stayed on. Soon we in show business all heard of the
tremendous success he was making as S\id Johnson in
"Burlesque," a show by George Manker Watters and
Arthur Hopkins.

The next time I saw Hal was when Paramount brought
him to Hollywood to continue his role as S\id Johnson in
the all-talking film version of "Burlesque." For the screen
it was called the "Dance of Life." I played Bonnie King,
Hal's wife.

When you're a man's wife, even just in a motion pic-
ture, you get to know him pretty well!

Hal Skelly is a boy; a great, big, happy-go-lucky person
who makes friends at once — and keeps them.

We made "The Dance of Life" under trying conditions.
Paramount's newly-completed sound stages had just burned,
the day after they were completed, and we had to work
at night on an improvised stage. In the day-time the noise
of traffic outside the studio interfered with sound-picture
making.

During those weeks of night work, starting around seven
in the evening and generally finishing at dawn, Hal Skelly
never failed us. By his unfailing jokes, his happy way
of going about things, his untiring efforts to give the best
that was in him at all times, he kept us all in good humor
and eager to match smiles with him.

Between scenes we would sit back out of the way and
talk; that is, Hal would talk and I would listen. It was
restful to hear him recount the many interesting experi-
ences of his life.

He told me how it was that he happened to enter the
show business:

His first experience was in the attic of his home in
Davenport. He took a bundle of altar candles, stuck
them in their own wax on the floor for footlights, and
entertained his small friends by a series of dance steps of
his own inventing.

Nancy knew Hal before he came to Hollywood.
They were in the same Broadway musical show —
he as a principal, she as one of the chorus. Now
they're both screen stars.

Hal hasn't a chance to back out of being
interviewed when Nancy gets busy. She
knew him 'when,' too!

When he was fourteen years of age the Norris and
Rowe Dog and Pony show came to Davenport and Hal
got a job leading one of the ponies in the parade. His
father, standing on a curb to watch the parade go by,
yanked his young son from the line of march and sent
him home.

Hal, the next day, followed the show out of town and
did not see his father again for fourteen years!

During those fourteen years Hal Skelly wandered the
world. First he went to Chicago and secured a small part
with the company playing "The Time, The Place, and The
Girl." That engagement lasted until one night he was
recognized from the audience by his uncle, Senator James
Butler, who came back-stage, scolded Hal, gave him some
money and told him to get on a train and go home.

Instead Hal went the other way.

He found a place with another circus. Later he joined
a carnival company. Then he went into the medicine
show business. Vaudeville attracted him for a time. Next
he tried his luck with run-down musical shows. Then he
made the circuit all over again.

He remembers particularly one season in the south with
an itinerant medicine show troupe, headed by 'Dr.' Ruker.
Hal was with the Number Two company. The Number
One company played a week in advance and specialized
in the sale of a liver medicine. The wily Doctor had it
so fixed that the liver medicine would give a slight stomach
disorder to the customers. A week later the Number
Two company came to town and sold them stomach
medicine!

This curative was made by combining a little port wine
with an Epsom Salts solution. It was one of Hal's duties
to mix and bottle the potion. This he did in a galvanized
pail, stirring the concoction with a wooden paddle. The
medicine was called 'Dr. Ruker 's Curo A Number One,'
and Hal believes that the eminent doctor realized quite a
profit from its sale. (Continued on page 128)

22 SCREEN LAN D

Edgar Wallace

Cyril Stanborough

Wallace — the most popular and prolific writer of mystery stories
in the world, with every book a best-seller. He has written
140 novels, has had as many as six plays running in London at
the same time, and produced a motion picture on the side.

Over it all, Wallace presided like a silent-footed genie.
He rubbed his magic ring and a pretty, fair-haired English
secretary appeared:

"Get me London on the telephone, please," Wallace
ordered. "And take this letter. No, make it a cable:
'Why the devil didn't you let me know my pet filly was
running in the fifth race? Do you think Em asleep just
because Em three thousand miles away?' "

He was interrupted by another secretary. "Telephone
message for you, sir."

"You take it."

"I can't, sir. It's Mr. Colebaugh, of Collier's."

"All right, all right — put him on."

"Hello, hello! Sure, Ell have lunch with you — but when
I get back from Chicago. With this high cost of American
living Em always glad to have lunch. Sure, Ell have the
articles ready. Em working on them now."

He picked up the tube of his dictaphone, dictated two
paragraphs and turned to his secretary: "That article is
all ready now. Type it off, please, and shoot it over to
the editor."

Wallace sat down heavily in his chair, lit another cigar-
ette, about the eighth, and mopped his forehead;

"Let's see — where were we now? Busy? Oh, it's always
like this! We were speaking about the talkies. Well,
as I said, Em all for 'em "

"Excuse me, Mr. Wallace, ready with London." It was

u^^^^he talking picture," says Edgar Wallace, "is the
best recruiting ground for the theater that the
I stage has ever seen. I am all for the talkies,"
he continued, "for I realize that they are attract-
ing a new kind of audience — a more intelligent audience
into the moving picture houses — and ultimately into the
stage theater itself."

The great Wallace — the most popular and prolific writer
of mystery tales in the world — leaned back and puffed on
his cigarette in its thin polished holder an actual foot long.

Wallace is a big man. He is hearty and human, with
the shrewdest but kindest eyes you almost have ever seen.
A tall protruding forehead fringed with gray hair juts
out like a porch roof over a large nose and large chin,
cheeks, jowls and ears. His face is punctuated by the
heavy black hairy triangles which form his eyebrows. These
rise in acute angles of irony or ripple in bursts of laughter.

Mr. Wallace was in America on a combination pleasure
trip and tour of inspection. With him came his wife, his
four children, two secretaries and several friends. The
drawing room of his Park Avenue hotel apartment looked
like a tornado had hit it. The fragile chairs were over-
weighted with books, pamphlets, papers, and racing forms.

Two oblong tables staggered under a load of type-
writers, wax dictaphone cylinders, magazines, manuscripts,
cigarettes, vases holding gigantic chrysanthemums, tele-
grams, letters, appointment books, and pads.

for February 1930

Solves some Mysteries

of the Movies

The 'Master Mind' of Detective Fiction is on
the Trail of the Terrible Talkies. Watch Out!

the first pretty secretary. Wallace
ambled to the telephone and chattered
in a low smooth voice with an un-
known over thirty hundred miles
away. It was as easy as that!

"You know," Wallace picked up the conversation, "I
wrote one of the first talkies. At least it was taken from
my play, 'The Terror.' I thought they made a good pic-
ture out of it. Of course, though, to my way of thinking,
it was burlesqued a bit. But I enjoyed it. It was my
introduction to this new medium of dramatic art."

"Would you consider writing scenarios for the talkies?"

"Of course I would. I'd like to. But I'd want a lot of
money. It's this way with me! I don't need the talkies.
I've written one hundred and forty novels, many of which
have sold as high as five million copies a year. Nearly
every season I have from three to a half dozen plays run-
ning in London, and a few in the Deutsches Theater in
Berlin, and in other cities. Also each day I write for the
London paper a theater column, and an article on racing.
I love horse racing better than any other diversion — out-
side of the theater, which is at the same time my work
and my recreation. So you see I have little time for pic-
tures. But I could find time. You can always find time to
do what you want to do."

"How do you find time," I asked, "to accomplish so
much work?"

"By doing it!" he answered. "By starting when I get
out of bed in the morning and working until the job is
finished, at night, or the next morning, or the next week!

"In connection with pictures, I have just finished, one
now. It is called Tour Aces.'' I was the producer. I
wrote the story and directed it. I took four men for the
male leads — none of whom had an ounce of film training.
They were all stage actors. I did everything in connection
with this film but the camera work and the lighting.
Unlike most producers, I have sense enough not to butt
in on things I know nothing about. I left that part to
technicians who are masters of their jobs.

It didn't take long to make the picture and it only cost
$15,000. If any other English producer had made it, it
would have run to $90,000."

He leaned forward: "I'll tell you something. There's no
reason why England can't make good pictures. Pictures
that will sell here in America. But I'll tell you why she
hasn't. The English picture business has heretofore been
mostly in control of men — duds from Hollywood. Not
the able Hollywood producers and directors. But, with
rare exceptions, men who didn't make the grade in their
own country, and came to England with a long tale and
took in our unsuspecting people. Of course, we have had
splendid American directors and actors in English movies,

but it has been the exception rather

By Rosa Reilly than the rule, However' 7. ^

J J seen our mistake now. And it s all

going to be changed. Any country
must work out her own salvation.
And that's what England is going to do, pictorially. She
may be a little slow. But she always has been sure. And
here's something else I want to tell you. I don't hold
with the English producers who say we don't get — what
is it you call it here in the States? — oh, yes! — a break with
English pictures.

"I am convinced," he went on, "that when we send
America a good picture the people will receive it in the
spirit in which it is sent and will be just in all their criti-
cisms. It's been the fault of English producers, not of
American critics, that our pictures haven't gone over so
well."

"Are you going to Hollywood on this trip?" I asked.
"No, I'm not. And I rather suspect that out of the
many authors who have visited America, I am one of the
few who hasn't gone there. But here is one thing that
every person should realize, l^ever go to Hollywood until
they send for you! If you've got something to contribute
to Hollywood, whether in acting, writing, directing or in
a technical way, Hollywood will (Continued on page 114)

A scene from "The Terror," the first mystery talkie,
taken from the Edgar Wallace play. "They made a
good picture out of it," says the honest author.

SCREENLAND

John and Dolores Costello
Parry more are happy
though married — but they
smilingly refuse to brag
about it.

Below: William Boyd
and Elinor Faire when
they were 'the blissfully
happy Bill Boyds.' The
jinx got them and
they're separated!

Corinne Griffith and Walter Morosco — win-
ners in the marriage game and not so bad
at tennis!

Is Publicity

Happy Marriage

e're so happy!"

These are the three most fatal
words ever uttered in Hollywood, if
you can believe the local super-
stition.

Better to walk under a ladder, sit down thirteen
at table or omit knocking on wood when boasting of good
luck, than to declare in cold, undying print that you and
your husband are ideally mated.

"The minute you are catalogued as happily married, the
Jinx will get you," one of our latest brides assured me,
while begging that no mention of her own felicity be made.
"Publicity on happiness is fatal!"

Is it?

Well, there's Elinor Faire.

Elinor's romance was the result of love scenes played
with Bill Boyd in "The Volga Boatman." They had never
met until, as a glamourous princess and a picturesque
peasant, they stepped out on the set. Two months and
four days after that meeting, Elinor and Bill were sending
telegrams of announcement from Santa Ana signed "Mr.
and Mrs. William Boyd." And for more than three years
interviews with either of them included a reference to
their perfect bliss.

"I'd rather miss a good part in a grand story than do
without Bill," said Elinor, for instance. "I had made up

Put the Soft Pedal on Happi-
who hope for Matrimonial

By Ruth

Evelyn and Jack Mulhall. She gave up a promis-
ing screen career for him and he appreciates it.

for February 1930

Norma Shearer and Irving
Thalberg. She'd have mar-
ried him even if he hadn't
happened to be her boss!

"Stick to your career
and you'll stay interest-
ing!" is Laura La Plante
Seiter's advice to girls
contemplating Holly-
wood matrimony.

His Colleen and her John: the McCormicks
— smart, Irish, and successful in movies
and matrimony.

FATAL to

in Hollywood?

ness!" Advise Famous Film Stars
Felicity. Right or Wrong?

Tildesley

When the Noah Beerys were a happy family. Now
they are victims of the Hollywood marriage jinx.

my mind to stay home and settle our new house
while Bill made his picture at West Point, but at
the last minute the thought of -picking out new
curtains without being able to show samples to Bill
and hear him say he liked whatever I liked, well, I
decided I could have a better time with Bill!"
There appeared here and there Bill's views on the desir-
ability of wives adorning the home, Elinor's confession that
Bill was her first sweetheart, advice on how to hold hus-
bands, and so on and on, together with pictures of the
Boyds in poses of conjugal amity.

The Jinx got them! The 'happily married Bill Boyds'
have separated, whether for years or forever nobody knows.

Five years ago, the happy-marriage tag was firmly
affixed to the Reginald Dennys, the Noah Beerys, Milton
and Gladys Sills. We knew that people could be real pals
and sweethearts long after the honeymoon because of these
shining examples.

When Marguerite Beery was pasting hankies on the
mirrors to save ironing them, Gladys Sills was cooking the
evening meal over a gas jet in the little room next door.
They had a time making ends meet in their first struggling
young-wedded days. They used to like to talk about it
when Noah and Milton were famous on the screen.

"Its sharing hard times that tests love," they used to
saY- (Continued on page 120)

SCREENLAND

He is the 'strong, silent man of the
movies. But it remained for the psycho-
analyst to reveal the subtleties of a
different and deeper Gary Cooper.

THE fascination of Gary Cooper is that he is an
authentic American type, not of the hail-fellow-
well-met city-breed so well typified by John Gilbert,
but of that pioneer line that was toughened into
living with death and living with silence in the crossing
of the plains, and cf whom Lindbergh is a worthy throw-
back. It is today a type become somewhat rare. It met
the Red Men on prairie and among the mountains, con-
quered them physically and was conquered by them spiritu-
ally. Our pioneers were Indianized, whether because they
had to adopt the Indian tactics to fight a to-hell-with
death and most cunning enemy, or whether Mother Earth
herself made them over into the American soul.

Gary Cooper has kindly filled in a questionnaire which
Screen land has sent to the most important stars, and
apparently he has no illusions about himself. I have
watched him carefully in pictures and seen him play a
poor sap who never knew what it was all about and also
play an airman whose twinkling eyes showed that he knew
every move he was making. But whatever role he plays,
there are some qualities that repeat. He always seems
meditative, slow in action, careful in expression, holding
himself just a little aloof from his fellows, and displaying
a dogged courage. Heap Indian here! The Indians were
notable for their ability to take punishment, for their
wilful and careful cunning, for their coolness in action,
for their undownable doggedness, for their concentration
on one goal to the exclusion of everything else. They met
death or dealt it out with heart and soul. It is possible
the white men would not have conquered them if the
Iron Horse, with its terrific power of modern machinery,
hadn't ruthlessly smashed them back. America made the
African his slave; the Indian never. He did not have the
slave nature. He was a worthy foe, who imbued his ene-
mies with his own qualities.

One feels in Gary Cooper this mixture of the Indian

Gary

PSYCHO-

You Will Really Know
and Understand Gary
After Reading This

and the pioneer. The pioneer finally, as ranchman or gold-
hunter, was a lone-wolf. He lived much with nature, often
much away from men, sometimes he made the solitary
trek. The Indian villages were very sociable places; but
many of the white men who became Indianized, became
more or less solitaries, acquiring the sterner side of the
Indian nature.

Gary Cooper's years on a ranch probably deepened
this tendency in him. The reader may remember the
two psychological types, the introvert and the extravert —
the introvert more the dreamer, the inward man, the
brooding man, who is often shy, highly self-conscious, and
often finds it hard to adapt to the world, to mix easily
with his fellows; the extravert more the doer, the mixer,

Gary is proud of the Indian vest and holster
made by his own hands 'way back when he
rode the range on his father's Montana ranch.
An old Indian cattle-hand taught the boy the
art of beading.

for February 1930

Cooper

ANALYZED

James Oppenheim

the good fellow, the man who finds it easy to 'sell' himself
or anything else, who feels at home wherever he goes.

Gary Cooper, answering the questionnaire, sets himself
down as much more the introvert than the extravert. In
fact, he makes the ratio 36 to 23. He sets himself down
as highly self 'Conscious, as exceedingly shy, as feeling mis-
understood by most people, as hating to be conspicuous,
as a day-dreamer, as more or less of a poor mixer, as
rather moody, and as getting easily tense. He only allows
himself a fair share of practicality, yet he does on the other
hand claim for himself a natural love of activity, of doing
things, of being realistic and having common sense.

In spite of the figures, and Gary Cooper's own estimate
of himself, I am inclined to think that he is by nature

Gary is an authentic American type — ■
a type become somewhat rare. Of fine,
sturdy, rugged pioneer stock, he is suited
to roles like "The Virginian."

Mrs. Cooper, Gary's mother, shows her
screen star son an English candle lamp
handed down through four generations by
his ancestors. It is the only one of its
make in America.

an extravert, and that it is more the Indian attitude and
the ranching experience that have made him what one
might call city-shy or crowd-shy. He was born, I think,
one thing and became another. But even if this is so,
he would, under any circumstances, have been slow to
action, thoughtful, meditative, dogged. He is not the in-
tutive type of man who sees things in a flash and is 'raring
to go'; nor yet the sensational type who wants excitement
and to get a kick out of everything, the natural born
fighter, flirter and mixer; nor yet the feeling type man,
like Lincoln, who sacrifices himself to a love for humanity.
He is, I believe, the thinking type.

He chews the cud of thought, and you can almost see
him chew it. The good thinker, like the Indian, con-
centrates on his goal and excludes everything else. He
is inclined to be cool. He is exceedingly masculine. He
shuts out disturbing emotions; he works out a system and
lives by it. He is orderly, knows exactly what he is doing,
and has the courage of his convictions; or, if you will, of
his system. He does not cross bridges until he comes to
them. Time enough when the bridge heaves into sight.
Then he pauses, takes a look, counts the cost, looks for
the best way, and having made up his mind, sets across
with stubborn doggedness and every refusal to turn back.

But the experience, as well as the blood, of Gary Cooper,
have made him less practical than his forebears, less intent
on making his heap, less intent on the business side. True,
he went into the movies because he saw big money in
it, for one thing; but a man of a slightly different bent
of mind would have gone into something still more prac-
tical. For Gary Cooper has much of the artist, the dreamer
in him. Just as he isn't a straight extravert, in fact is
more introverted than extraverted, just so he isn't a straight
thinking type. He also has moods. He is swayed by deep
emotions. He has a love of art for its own sake. Only
a true artist could give at one (Continued on page 118)

SCREENLAND

"Now They Can Do
Grand Opera!" You
Say of the Soundies.
But Will They — and
Can They?

Above: John McCormack, concert
and opera star, converted to the films.

Left: Hope Hampton as she appeared
as "Manon Lescaut" for Vitaphone.

GRAND

On The

Don Jose Mojica,
young and fiery
lyric tenor of the
Chicago Grand
Opera Company, is
singing and acting
for Fox Movietone.
His screen debut
will be made in a
Spanish light opera.

IF you wish to get the goat of the average musician
just kid grand opera. Hell put you down as an in-
corrigible ignoramus or an aesthetic moron. Yet nine
persons out of ten consider grand opera a grand
joke. The music may be grand, they will tell you, but
the scenery! — the singers! — the costumes! All the grand
music in the world will not compensate for these optical
pains.

Furthermore, the average person laughs at the story and

the way it is told. Imagine a big two-hundred-and-fifty-
pounder-on-the-hoof singing his heart out in lace panties
and accompanying himself on a stingy little mandolin!
And imagine anybody wishing to make love to a big
broad-backed dame resting in her corsets like a pan of
overset dough!

Nor is your Average Man the only kidder of this great
art-form. John McCormack is quoted as kidding the pants
off grand opera — if perchance it ever wore pants! And
no less a musician than Victor Herbert once wrote a grand
opera sketch for The Lambs in which the singers took
half an hour to announce that The house is afire!' and
by the time this timely notice was finally understood by
the choral ensemble, the house had burned down!

Notwithstanding the ribald esteem in which grand opera
is held by the mob, one of the first exclamations that ac-
companied the success of sound pictures was: 'Now they
can do grand opera at a price that everybody can pay!1

But can they, and will they? And if they do will it
be the same as it is done in the theater? We will answer
these questions all together. They can and will do grand

for February 1930

..;

Rob
Wagner

Above: Lawrence Tibbett, great bari-
tone, in "Rogue Song," on the screen.

Martinelli's glorious voice has thrilled
movie audiences via Vitaphone.

OPERA

Screen?

opera, but not in the form that has brought down upon
its head the hilarious laughter of the mob.

Europe, which is artistically more daring than America,
will no doubt be the first to make the grand experiment
of doing grand opera according to its ancient (and perhaps
archaic) idiom, but we shall ease into it, gradually change
those things that have offended, and finally emerge with
an art-form that will be grander than the grandest opera
ever heard and seen in the capitals of Europe.

And in doing it, these are the things we shall not do:

We shall not accept the stage limitations regarding
locations, sets and scenery.

We shall not offend the eye with singers who are physic-
ally unattractive.

We shall not offend the dramatic sense by singing all
the dialog.

When Screen land asked me to write this piece I im-
mediately dashed over to the M-G-M lot and had a long
interview with Paul Bern who supervised the first near-
grand opera that this famous studio has undertaken. Then
I went down and gave an imitation of a Metropolitan

Our own Ramon Novarro has his chance to
sing as well as act in "Devil May Care," which
you'll see soon.

audience while I sat alone and saw a couple of reels run
off.

The production is called "Rogue Song.1' Lionel
Barrymore directed it and Lawrence Tibbett of the Metro-
politan Grand Opera Company plays and sings the title
role. In the cast are other famous singers and they are
backed up by a full symphony orchestra of fifty pieces.

The opening shots are all outdoors — the first great
triumph over a stage production. (Continued on page 114)

SCREENLAND

Jobyna and Richard Arlen and a close-up of 'Doug'
the latest Hollywood game, which will be awarded
complete to the writer of the best letter answering
Dick's question. This is the game developed by
Douglas Fairbanks and named after him. It was very
carefully developed as a game to bring about the
best physical condition of those who play it.

THE Arlcn gift is an all-movie gift.
Douglas Fairbanks developed the game
and the Richard Arlens offer it to you.
We won't attempt to describe the game
because a book of instructions goes with the gift
but we do know that it combines the best quali-
ties of tennis and Badminton. In fact, 'Doug,'
as it now stands, incorporates the most desirable
characteristics of various racket games.

Dick says a few sets of 'Doug1 each day keep
him in trim. However, the game is interesting
for pure sport's sake.

And now the only thing that stands between
you and the gift is a little matter of a question
which Richard Arlcn asks you to answer for
him. In return for the best letter answering
his question, Richard will present the winner
with the game of 'Doug.1 Here's the question
you must answer: Do you think that Richard
Arlen should appear in comedy drama, such as
his first starring vehicle "Burning Up," or play
straight dramatic roles, such as Steve in "The
Virginian?" Give reasons for your answer.

Address:— RICHARD ARLEN
Screenland Contest Department
49 West 45th Street, New York City

Contest closes February 10, 1930

On your toes! If Dick Arlen serves on the court as
well as he serves his public he plays a great game.
For speed, 'Doug' has no equal in the entire realm
of racket sports, according to Douglas Fairbanks
and other fans.

Dick and all the things that go to make the game of
'Doug.' Four rackets, four feathered balls, and the
net and everything! It's Dick's favorite sport and
he wants one of his fans to enjoy it, too.

for February 1930

A GIFT

from the

ARLENS

Richard Arlen says if you are a tennis enthusiast be
prepared to surrender to 'Doug.1 It's the newest Holly-
wood racket!

When things quiet down at the studio for Dick and
Joby, they dash out to their home at Toluca Lake, where
our Dick is Mayor, and play a few sets of 'Doug.1 Joby
says it's more effective than the Hollywood diet — and lots
more fun!

Now write the best letter and win -the Arlen gift. By
best letter is meant the clearest, cleverest and most concise
letter answering Richard Aden's interesting question.

Arlen is always at your service. He wants to know
in what sort of vehicle you like him best — light comedy or
drama? As you • know, in "The Virginian" Dick plays a
very dramatic role, and in "Burning Up" he is light and
gay. It's up to you to decide which you like best. Give
Dick your sincere opinion and in exchange he'll give you
'Doug.' Fair enough!

Joby and Dick at their Toluca Lake home
where 'Doug' is their favorite pastime. They
hope you will have as much wholesome fun
out of the game as they do! And they hope,
too, that whoever wins the gift will share it
with his family and the next-door neighbors,
so that everybody will have a chance to play.

All photographs of
Mr. and Mrs. Arlen
hy Otto Dyar.

Just before the battle —
we mean, game of 'Doug'!
Whom are you placing
your bets on — Joby or
Dick? Friends of the
popular Arlens form a
long waiting line on Sun-
days to play the game
that is generally voted
the most fun of any out-
door sport in Hollywood.
Such famous tennis play-
ers as William Tilden
and Mrs. May Sutton
Bundy are enthusiastic
about 'Doug'; while
Charlie Paddock endorses
it and Charlie Chaplin
tlavs it. What a recom-

S C R E

E N L A N D

Alice Joyce is awarded honorable mention
by Molyneux as one of the well-dressed
screen actresses.

Captain Edward Molyneux, the young couturier whose
smart clothes are worn by queens, screen stars, busi-
ness women, opera singers and home women the
world over, gives Screenland readers valuable advice
on the all-absorbing subject of style.

Gloria Swanson and Ina Claire are the best-
dressed women in the movies — and two of the
best gowned women in the world.
They have learned how to dress because they
are true cosmopolites. They know their world. They don't
confine themselves to one country or to one . metier.

However, I am sorry to say their excellent standard of
dressing has not quite been reached by the majority of
moving picture actresses, with the exception of Alice
Joyce, Marion Davies, Mary Pickford and a few others.

There are two reasons why picture stars — as well as
the majority of other women — are not always well- dressed.
The first is that they have little understanding of the
essential fitness of clothes. The second is that they dress
to follow the current mode instead of gowning themselves
to suit their own individual style.

In connection with the first point, I can't tell you how
often I have observed screen stars on vacation in Paris,
starting out for a sight-seeing or shopping trip in the
morning, dressed in silk or satin, wearing fancy shoes,
many jewels; and, to crown it all, a hat with a fussy be-
jewelled pin.

But let me say right here that I think these movie
actresses are not to blame for their extravagant clothes.
They become so accustomed to lavish dressing in pictures
than when the time comes for them to lay aside their
ostentatious gowns and put on street dress — like many
another actor when the curtain falls, it is difficult to cease
playing a part.

Whafs the
matter with

The Famous Fashion Creator

By Captain

Of course, screen stars as well as other women, realize
that it is outre to dress extravagantly in the morning. No
lady of the haut monde in any country approves of over-
dressing. Laws of style are like laws of civilization — they
vary little in any part of the civilized world. And a
lady still holds to certain traditions whether she be walk-
ing down Hollywood Boulevard, taking a stroll on the
Bois de Bologne, or climbing through a mountain pass in
India. They all realize how they should dress, but in
the stress of modern life, many grow careless. They
become so absorbed in their homes or their careers that
they hurry into whatever costume is handiest and rush
into the business of the day without much forethought
about appearance. That is a great mistake. The world
can only judge you by your clothes — at first. Nobody

for February 1930

Ina Claire, true cosmopolite, is one
of the best gowned women in the
world, says Captain Molyneux.

Mary Pickford has excellent stand-
ards of dressing, understanding the
essential fitness of clothes.

WOMEN'S

Clothes?

Reveals Some Secrets of Smartness

Edward Molyneux

will take the trouble to explore the interior of your mind
or spirit unless the exterior attracts them. If all young
girls realized this, there would be fewer lonely women in
the world.

I am known among the designers of the world as a
conventionalist. But I think I am not too conventional.
Born as I was on my grandfather's estate in County
Waterford, Ireland, I early became accustomed to seeing
my mother and relatives simply garbed in the morning.
They wore tweeds or dark dresses and coats, or suits;
plain hats, plain shoes, and their only ornaments were
their wedding rings and small strings of real pearls.

In my childhood I believed there was nobody better
dressed than the true Irish gentlewoman. I still believe
so. For the older I grow the more I realize that dress

Gloria Swanson, according to Cap-
tain Molyneux, is not only one of
the best gowned women in the
movies, but also in the world.

in certain of its basic essentials is
as unchanging as the laws of
nature.

One of my greatest pleasures is
designing clothes for morning
wear. It is one of my real hobbies.
So perhaps you would be inter'
ested in hearing just what I con-
sider suitable for the hours of the
day before the sun has crossed the
meridian. Screen stars should pay
especial attention to this point be-
cause what they wear at any hour
is liable to affect the clothes of
hundreds of millions of women and girls in every country.

Rich or poor, humble or exalted, every woman strives
to be well dressed. And for that reason I prescribe the
same clothes exactly for the star who dashes out of her
bath early in the Hollywood morning and hurries out to
an eight o'clock call at the studio; for the Duchesse de
Richlieu, rising to drink her chocolate in her Paris town
house; for the business girl, boiling a cup of coffee in
her little kitchenette preparatory to taking the subway
to her secretarial job in Wall Street. Naturally the quality
of the material will vary — according to the purse of the
purchaser. But all essentials will be the same.

For the morning, simplicity is absolutely necessary. I
would suggest a simple dress or suit of rep, wool or
jersey, in dark gray, dark blue, (Continued on page 123)

A portrait of Armstrong in his studio, with one of his gorgeous
'Armstrong Girls' in the background.

What h Beauty?

Read the Distinguished Artist's Penetrating Analysis
and Then Turn to his Gallery of Screen Beauties
Beginning" on the Opposite Page

By Rolf Armstrong

BEAUTY — anywhere, everywhere. In any of nature's
countless creations, from the speck of color on a
moth's wing, to the granite contour of a mountain
range, artists, since the first cave dweller, have
found inspiration, and motifs for their work.

Consider the incalculable, consummate beauty displayed
just in the cycle of a day. Against the black background
of night, is sketched the pastel we call dawn, brightening
into the impalpable web of a hazy midsummer morning.
Daylight intensified, reveals wonder upon wonder — water
that shines like tightly stretched silk; trees and clouds in
endless patterns; the entire gamut of color, from palest
grey to flaming vermilion; sun blazing on beaches yellow
and smooth as chamois-skin. Purple shadows of after-
noon; sunset; twilight; starlight; moonlight.

Subjects, and problems enough for any artist's lifetime.
Yet occasionally an artist continues to grope his way
through this labyrinth, till he comes upon the very climax
of subtle beauty, wherein seem combined the essences of
all other beauties — magnificent architecture; texture of
moonlight; a distillation of all colors, so blended and
attenuated that they are no longer colors, but nuances,
transparencies; contours elusive as smoke, yet vital, cosmic,
characterful — nature's supreme challenge to the artist — a
beautiful woman!

And when you realize that this composite, concentrated
beauty has the added lure of sex, you cease to wonder
that, through the centuries, it has proved such a force

that kingdoms, life, love, honor, and happiness have been
sacrificed on its altar. Today, since, the market value of
beauty is probably higher than ever before, a girl, brushed
even lightly by its enchantment, may rise, almost over
night, to fantastic heights. So women strive for beauty
because it will bring them wealth, power, and fame. Men
strive for wealth, power, and fame because it will bring
them beautiful women.

To try to analyze this beauty, and translate it upon
canvas in terms of paint or pastel, has been the lifelong
struggle of many an artist. From my own observation
and experience, I am inclined to believe that perception,
originality, color sense, technical facility — indispensable as
they are to the artist — are incomplete equipment for this
particular undertaking, unless sustained by sheer physical
endurance to work untold hours, face innumerable defeats,
and be ready each day to try again. For beside the exact-
ing problem of reproducing precise structure and pro-
portion, there is the riddle of that inner emanation from
heart, mind, or spirit that gives individuality to each face,
so that no matter how closely their basic structure may
conform to the one classic standard, no two beautiful
women ever look exactly alike.

The silver screen has always seemed to me a vast canvas
upon which masterpieces of beauty might be created.
The cinema is more closely allied to the art of painting
than is generally realized. Primarily, motion pictures
develop a story, build up an (Continued on page 119)

for February 1930

Right: camera booths leaving for location,
manned by technical artists who are part
of the army behind the screen scenes.
Tractors are used as the motive power for
hauling this equipment, mounted on low
trucks. With this 'fleet' is 'Gene Searle, the
script girl-heiress — one of the hardest work-
ers on the First National lot.

Left: the script girl and the
star of "Little Johnny Jones":
'Gene Searle and Eddie Buzzell.
'Gene is learning the film busi-
ness with ambitions to become a
director some day.

The Millionaire Script Girl

She Rides to Work in her Limousine —
but She is Making Good on her Own

By Sydney Valentine

IN one circle of society she's 'Bobby' Jackson, but the
studios know her as 'Gene Searle.
'Bobby' Jackson rides after the foxes, plays polo,
bathes in the surf at Deauville, takes a little whirl
with chance at Monte Carlo.

Nagene Searle has been saying 'Yes, sir,' for four years
to motion picture directors, part of the time 'holding script,'
part of the time being assistant director, and the rest of
the time writing scenario treatments.

It didn't seem logical for a script girl to come to the
studio day after day for over a year in one of three rolling
fortunes, automobile aristocrats. A big chauffeured town
car, some days. The same chauffeur in a limousine, other
days. And a powerful, expensive roadster sometimes, with
'Gene herself at the wheel.

Then occasionally a lawyer, brief 'case in hand, con'
suiting with the girl, when the director could spare her
or let her retire for a moment to the corner of the set!
So, gradually, the secret came out. 'Bobby' Jackson and

'Gene Searle were identified as the same girl. A big oil
company behind the family, and the Jackson-Bell radio
behind these cars and other expensive accessories of the
'script girl.'

Interviewed at First National Studios in Burbank, where
she was 'holding script' on a talking comedy called "Loose
Ankles," Miss Searle gave the whole story willingly enough.
She did not mind Douglas Fairbanks Jr., Loretta Young,
Louise Faxenda, Inez Courtney and other members of the
cast joining in the interview, all asking as many questions
as the interviewer.

"It's all very simple," Miss Searle remarked. "I want
to be a film director. Lois Weber was my model. Now
we have Dorothy Arzner, whom I admire very much."

"Why a film director?" Louise Fa^enda wanted to know.
"You could be an actress. Most people, seeing you come
in here in that big roadster, mistake you for Laura La
Plante, Bill Seiter's wife."

Miss Searle smiled. "I wouldn't (Continued on page 112)

SCREENLAND

They Play the Game in Holly-
wood— the Game of 'Truth'

HEY'HEY and hilarious Hollywood.
Headquarters of all-around-the-clock whoopee
and hectic festivities— or so the guileless imbiber
of Hollywood gossip supposes. But —
As you've oft been told before, there's lots of home life
out west that hasn't nearly as much sin in it as the cinemas
would imply. And while we're not prepared to paint the
movie colony as a cross between little Eva's heaven and a
Y. M. C. A. sitting room — what we are going to do is let
you in on a few of the milder amusements that are all the
rage at present in screen circles.

If you happen in on a little party in the Beverly Hills
section and spot a bevy of gorgeous ladies tearing each
other's hair out, you'll know they've been playing ''Truths."
You might have met the game before at one of these nice
friendly blow-outs, where the hostess is always devising a
means to bring her guests closer together by introducing
something 'really intimate.' Anyway, you'll be interested
to know that even as you and I sit around speculating on
our favorite movie star, the best looker, best dresser and the
rest, so do the boys and girls themselves pass judgment on
each other. And their way of doing it is to gather for a
session of "Truths." This is how the stars play the game —
and we have the dope first hand, together with the actual
score-card kept in Eleanor Boardman's hand-writing, on a
piece of King Vidor's stationery. Eleanor, as you know,
being Mrs. Vidor.

Among those present at the Vidor house following a
dinner party, were Gloria Swanson, Lois Wilson, Charlie
Chaplin, George K. Arthur, Eleanor Boardman, Josephine
Dunn, Harry D'Arrast, who directed many Menjou hits,

Lois Wilson tied with Harry Crocker for
second highest score. Lois rates high for
kindliness and sincerity.

°i
i
i

The actual score-card, in Eleanor Boardman's hand-
writing, at the 'Truth' party. Gloria Swanson has the
highest rating. Hostess Eleanor at the left.

for February 1930

but the TRUTH!"

By Muriel Thirer

and Harry Crocker, Chaplin's ex'assistant.

A score-card was drawn up allowing a column for each
player, at the top of which was written his or her name.
Out in the margin, and reading from the top to the bottom
of the page, were listed the qualifications about which the
players were going to come clean. They are such items as
sex appeal, charm, good looks and so on.

The highest rating that can be given on any item is ten
points; the lowest, zero. Each player must fill out a sheet,
giving grades anywhere from zero to ten — half tones ac-
cepted— to all the participants, including him or herself.
After all the sheets are completed, the percentages are added
together and divided by the number of persons playing, in
order to get an average. And then the final list is drawn
up, showing at a glance who rates highest honors for wit,
wisdom and all the other attributes that go to make a movie
star worth her contract.

Here's how Eleanor Boardman's game ended, and it's the
real low-down on what these stars think of each other.

Gorgeous Gloria led them all for sex ap-
peal and adaptability. Gloria is a favorite
in her own home town!

arry
ocker

arry
Arras

!0. K

thur

<f> -

u •—
•_ a.

eg a

oria
vansot

tis

ilson

<L> C

UJ CO

JZ —

(1U

°£

Sex Appeal

6y,

4y,

Aesthetic Sense

4 ~

Charm

61/2

8y,

Good Taste

Adaptability

Intelligence

Kindliness

Good Looks

41/2

8y,

Sincerity

iy2

Sense of Humor

64%

56%

58%

(Continued on

page

118)

Charlie Chaplin, one of the distinguished guests at
Eleanor's party, rated 9 for sense of humor — but only
1/2 for sincerity! Right, George K. Arthur.

54 SCREENLAND

DO'S and DON'TS

Who Want to

She's young, she's pretty — and she's one of the
most famous and highly-paid writers in the world:
Miss Jeanie Macpherson.

PEOPLE always laugh when I succumb to entreaties,
and tell what I think a girl should do who has as-
pirations towards the writing of scenarios.
No one ever believes me, but to my mind no
young woman should approach the stiff competition of
film writing until she has first attended a business college
and taken a full secretarial course.

No matter what college degrees a young woman may
hold, or how thorough an educational and cultural back-
ground she possesses, she needs the direct contact with
the commercial drama of the world. Stenography and
secretarial work teach order, a first requisite for any writer.
More important, however, they take a girl from the clois-
tered surroundings of the home and make her stand on her
own feet. Both wit and observation are quickened.

While any business office will have some values, the
would-be writer will attempt to get a secretarial job in a
newspaper office. Here she can observe the technicalities of

gathering news, of assembling the drama of
the day. She should keep training herself in
writing, until she is fit to accept any vacancy
which may occur in the reportorial staff.
While I never had a day's training in a news-
paper office, I have greatly regretted the lack.
What comes as second nature to a reporter
has been very hard work for me. Reporters
soon learn to take what is vital from the
news, and reject the rest. This is a trick
which comes only from special training. I
value the attribute so highly that I go con-
trary to my own experience when I urge
journalistic work as a writing essential.
The hardest step comes next.
When a girl gets to be a reporter she has
attained a certain standing. I say to such a
girl, "Forget your pride — and go back to your
pothooks again."

In other words, seek a secretarial position
in a studio, even if you have to take half the
salary. You are 'unknown' as a writer. You
wouldn't have a chance to get by the studio
gates for the training you need in screen
technique.

As a stenographer, however, you are in de-
mand. It is not easy to get into any picture
studio, but it is an easier road through short-
hand than any other.

Once inside the guarded gates a clever, ca-
pable girl will find many situations in which
qualities of sincerity and seriousness will give
her opportunities to observe technique and,
eventually, a chance to 'practice' on a story.

All of this takes a lot of time and hardly
fits in with the ideas of the young graduate
who looks at a picture and tells her friend,
"I could write a picture that good myself."
What an awakening she gets when she tries!
Let me say to you with heartfelt emphasis that there
is no quick and easy road to successful screen authorship.
When you are trying to combine human emotions with
physical factors such as sets, lights, cameras, etc., you
must know certain fundamentals which are not learned
in a day, or even a year.

I can hear some who may read this article saying, "She's
a hot one to hand out all of this free advice. She never
worked that way — she admits it herself!"

That's all true, but if I had followed this systematic
path as over a score of big woman scenario writers have
done, I would have saved myself years of time and much
nervous and physical energy.

I went from acting into scenario writing, from $200
a week as a star in my own two-reel pictures, to writing
for Cecil De Mille at $25 a week.

I sacrificed $17? a week simply because the man made

for February 1930

FOR GIRLS

Write Scenarios

me mad.

He insinuated that I
couldn't write — and I de-
termined to show him!

Oh, how I would have
loved to have had some
basic newspaper experi-
ence in those days!

I wrote my first script,
"The Rose of the Ran-
cho," six separate times.
If you don't think that it
is terribly hard work, try
it! Finally I was able to

satisfy Mr. De Mille, but it was a very close shave, and
it all might have been easier had I known more about
story fundamentals.

In writing my stories I find it necessary to use an out-
line which looks exactly like one of those organization
charts' a capable business secretary sees every day — you
know, one of those things whereby a little square marked
'President' leads off to squares bearing the names of all
the other executives of the corporation, and from them
to the minor departments.

To my mind this idea copied from big business is the
one way to construct a story.

Where the business chart would say 'President' I put

Cecil De Mille's Scenarist
Gives Practical Advice on
Breaking into the Screen
Writing Racket

By Jeanie Macpherson

'central situation . '

From there lines lead
out to 'supplementary
situations.'

Around the side of the
chart are from six to forty
or more little circles.
These are my characters.

I sit in front of this
map and start drawing
lines. Every supplemen-
tary situation and every
character must have a
line leading direct to the
central situation — or I abandon it.

This map system is a bit hard on inspiration, but it is
infallible as a clearing house for 'dead wood.' It is very
easy for a writer to fall in love with a fascinating char-
acter. However, if that character does not fit into the
plot, does not definitely advance the motivation, he or she
must go, no matter how delightful!

All of these thoughts apply to both talking and silent
pictures.

Talking pictures, taken by themselves, afford a number of
problems of their own. Their technique is very different.
However, this should not concern a girl who wants to
write. Technique is the (Continued on page 120)

Miss Macpherson going
over a scene with the
Big Chief, Cecil B. De
Mille, in his elaborate
and imposing office at the
studio. Jeanie has writ-
ten the scenarios for such
De Mille successes as
"The Ten C omtnand-
ments," "The King of
Kings," and "Dynamite."
She is a thorough crafts-
woman, loves her job,
and works hard at it.

SCREENLAND

The Boys and
Girls of Movie-
land are Al-
ways on the Job

Hard Workin

Above: Harry Richman shows
Lilyan T ashman, Joan Ben-
nett, and James Gleason an
invitation he won't he able to
accept. Too busy.

"An actor's life is a hard life
if he takes it seriously," ad-
mits Edmund Lowe. But he
likes if.

THERE has been a good deal of sputtering done about the
hard work of the screen players, particularly since the advent
of talking pictures. Every time a writer is in a hurry to
see a player they are always prepared to hear, "Well, So-
and-so worked till five o'clock this morning, so could you make
the appointment at four this afternoon instead of eleven?" And
that's likely to go for days. Oh, it happens all the time.

You look at the working schedule and see that a picture which
in the old days used to take four weeks to 'shoot,1 will be finished
in three. There's plenty to read between the lines there. It means
working for hours overtime. On the other hand, the players are
paid enough to enable them to live in luxury. They can go home
to a comfortable house, have their meals served to them in bed if
they are that tired; and all the annoying 'little' things are taken
care of for them. Such as seeing that things are sent to the
laundry, the cleaners; clothes properly brushed; boots shined;
stitches taken when a button comes off. ' Relieved of those cares
a girl need not hunt up a plastic surgeon for the fashionable face
lifting before her time. Of course, if you must work to the point
of exhaustion every day in the year, the luxuries don't loom up
so big. There are things to be said on both sides. Anyhow, I
thought I'd do a bit of scouting about to find just what was what.
The first player I corraled was Betty Compson, who hops from
studio to studio so fast it would take a Washington detective to
keep tabs on her.

"Hard work never hurt anyone," Betty told me. And of all the
girls and boys in Hollywood this past season, I imagine Betty could
chalk up the greatest number of actual working hours, and is there-
fore best qualified to judge. Her energy is inexhaustible, which is
perhaps why she is able to stand the grind better than others. Being
a free-lance player, during the past year Betty has not had one

for February 19 3 0

Holly wood

Helen Ludlam

Above: Kay Johnson is mar-
celled by machinery aboard
ship on location while she
manicures herself — and
likes it.

Betty Compson hasn't had
a day off from picture mak-
ing during the past year,
"hard work never hurt me!"
she says.

day between pictures, and sometimes is working on two at the
same time, at different studios. She was one picture girl who
could speak lines and whose voice registered one hundred percent
over the 'mike1 at the beginning of this talking picture eruption, and
was therefore in constant demand. The limitations of some of
the picture players were a handicap to the industry when the
fever first broke out. Those who could speak lines were snapped
up like diamonds on bargain day.

How does Betty keep up the hard work? Well, this is what she
told me.

"It isn't the hard work that hurts people. It's what they do
after work is over for the day. If they don't try to go to parties,
or the theater, but will go home and rest, they will live through it.
It's trying to burn the candle at both ends that does the damage.

"When I am working I cut out everything but doing my job.
I used to like the good old days that got you home in time for
dinner as well as anybody, but the business is having growing
pains and that makes it hard for everyone until things are settled.
There's no use trying to kid yourself. If you're working and want
to last through the ordeal, do nothing but your job while the picture
lasts. There is almost always a day or two between when you
can attend or give a party. Not for me, though. I haven't had
a day to call my very own — oh, for months! Even Sundays."
Everyone in Hollywood would understand what that last remark

meant in the Cruze household. Jim never
goes to openings, to anyone's home or
shopping. But he is a convivial person
and likes to have his friends come and
see him. Every Sunday is open house
in the Cruze Flintridge abode and guests
Start coming (Continued on page 126)

The Duncan Sisters are game
troupers and hard workers.
When you see this opera bur-
lesque with its spontaneous
comedy in "It's a Great Life,"
you'll never believe how hard
they worked to get it just right.

SCREENLAND

Russell Ball

Whiteman takes himself seriously only so
far as his beloved music is concerned. "I'm
a jazz band-master, first of all," says Paul.

-^p ey, there! Are you an actor?" shouted a busy
W B assistant director to Paul Whiteman as he
■ was rolling down the studio avenue at Univer-
sal City.

"Certainly I'm an actor," retorted the amiable king of
jazz, suspicious of a gag. "Who says Fm not an actor?"
he continued indignantly.

"Okay. You're just the type we're looking for. Hop
yourself right over to Milestone's office. He needs a cook
for 'All Quiet on the Western Front.' "

Whiteman shook with laughter when he confronted the
startled Milestone to apply for the job. His band boys
were rather indignant to think that their maestro had been
mistaken for a German cook'type, particularly in view of
the fact that Whiteman's face and figure are what might
be called well and favorably known. But the king of jazz
got both a laugh and an idea out of the situation.

"Wouldn't I have made a hot and romantic hero?"
demanded Paul. "Can't you hear the wise-crackers saying,
after watching me trying a Jack Gilbert on the heroine:
kas a great lover, that fat bird is a good cook'?"

It will be recalled that the Whiteman picture has been
long delayed over the difficulty in finding a story which
would suit. The jazz king and Junior Laemmle solved the
problem by deciding upon a revue in which he can keep
on just being Paul Whiteman.

There are many screen stars in Hollywood who have
known Paul Whiteman since the days when he started
with his own orchestra at the old Alexandria Hotel in Los
Angeles. They firmly believe he will prove a riot in pic-
tures. He may be a ton in size, but he has always been
a ton in music, and he is very apt to prove a ton in
musical-talking pictures because he has a rich and humor-

H e may be a ton in size, but he
is every ounce a musician.

PAUL-

Maestro Whiteman Bows

By Jason

ous personality, unlike anyone's in the world of amuse-
ment.

"I have been called a revolutionist in music," said Paul.
"I am a revolutionist, but solely of progressive ideas tem-
pered with common sense. Jazz supplied the tonic music
needed. We hadn't had anything from the old masters
in centuries. Of recent years such men as Victor Herbert
contributed brilliant music, but his like are few and far
between. Jazz came along to express the spirit of
America."

"Why are you making a picture," I asked the jazz
maestro.

"Say, buddy, Fm as eager to score a hit in pictures as
a baby star. That's why I was so insistent and determined
not to make myself absurd by attempting to play the role
of the usual hero. Fm a jazz bandmaster, first of all.
Revue is my line. Fve done revues for years in New
York, so I know what I can do with this type of pro-
duction.

"Who wouldn't want to be successful in pictures? They
offer far greater opportunities to the individual artist than
the radio in pleasing millions of people throughout the
world. I have made countless records. I have toured with
my band around these United States five times, and in
Europe as well, playing in person before thousands of
people. I have played, and still do every week, to an
audience of a possible thirty million radio listeners. Now

for February 1930

He believes that jazz expresses
the spirit of A merica.

thafs all

to Screen Audiences

Carroll

I have an even greater opportunity to add to whatever
fame I have attained. Who wouldn't want to succeed in
pictures?"

Then he added rather wistfully, "I wonder if this is
asking too much? After all, fortune hasn't been unkind
to me."

He will play but one familiar number in his revue,
Gershwin's famous Rhapsody In Blue, which was
originally written for him to play. The entire score will
be brand new. Because of its popularity Whiteman simply
had to include the Rhapsody, the screen rights of which
he purchased just before starting production.

Of course, the jovial Paul will have able assistance from
such screen stars as Laura La Plante, John Boles, Glenn
Tryon, Joseph Schildkraut, Mary Nolan, Hoot Gibson and
Ken Maynard; and such stage entertainers as the Sisters
G, Clara and Eleanor, Berlin dancers who are a hit in
Europe; Charles Irwin, Grace Hayes, William Kent and
Stanley Smith. It will please picture fans to know that
Jeanette Loff is to have her big opportunity in the White-
man revue, as she is playing the leading feminine role
throughout. Might be nice if the maestro had her do
an organ number. She used to be an organist in an Idaho
picture theater, you know. And John Murray Anderson
will stage the production.

This writer happened to be present one eventful night
in the old hotel, when the famous picture stars of the

Russell Ball

"Say, buddy, I'm as eager to score a
hit in pictures as a baby star!" says
Paul Whiteman.

day cheered Paul on to his first personal success. There
were Mabel Normand, Wally Reid, Charlie Chaplin, Lew
Cody, Harold Lloyd, Pauline Frederick, Cecil De Mille,
Roscoe Arbuckle. That night proved the turning point
in Paul Whiteman's career — but let him tell it.

"I came by my musical ability quite naturally," he
started. "My father, Wilberforce J. Whiteman, was
director of musical education in the Denver schools for
thirty years. My mother sang in oratorio and the Denver
choirs. So you see, I was really born in music. One
thing I want to make plain, I was not a child prodigy.
I much preferred to ride horseback with the cowboys on
my dad's ranch. I used to play hookey from my practice
hours, and finally won a licking in the woodshed from
my dad for temperamentally smashing my violin into bits.
Result: I was the chief viola player in the Denver sym-
phony at the age of seventeen.

"Three years later I was playing through the San
Francisco exposition in the World's Fair orchestra. It was
in that picturesque old city that I first met jazz;. Down
on the notorious Barbary Coast. It hit me hard. Here I
was a symphony player, down on my luck and blue. Jazz
was made for blues. In those days it was crude, uncouth;
but somehow the fantastic beat of the music haunted me.
I had gone as far as I could in the symphony as a viola
player, and the pay was poor. I determined to try jazz.
At first I was a complete failure, but I persisted until I
could jazz it up with the best of them. I had fallen from
the aristocracy of a symphony orchestra to the slums of
music in those days, but my hunch persisted.

"Here I started my first orchestra, and you can well
imagine that I was regarded as a nut in San Francisco band
circles. Along came the World (Continued on page 129)

SCREENLAND

Progressive

Star Parties as well as Pictures
Must Have Clever Continuities

cc^^^^HREE grand whoopee parties!"
I announced Patsy the Party
I Hound, gleefully. "What could
be sweeter? All in one night,
too," she confided. "You know — one of
those progressive parties where you all go
to somebody's house and take off your
things and settle down to an evening of
solid enjoyment. Then, when you are in
the middle of a particularly interesting
game or conversation, your hostess says,
'Come on, everybody, we're all going to
another party,' and you pile into cars and
go to somebody else's house and have a
perfectly wonderful time and eat a lot
more delicious food — and then you all go
on to a still bigger and better party. It
will be loads of fun but don't tell — it's a
surprise to everyone but the hosts and
hostesses!"

The parties, Patsy further confided, were
to be given by Charlie Mack, of Moran and
Mack of vaudeville and radio; Frank Mayo
of the good old drama; and by Mary
Lewis, of grand opera — quite representa-
tive, if you ask me.

We knew a vaudeville party would be
a lot of fun and it was. But if you ever
saw a grand opera star or a dramatic actor
turn loose you know that they certainly
do enjoy a little comedy relief in their
lives.

Bright lights shone from the windows
of the big Mack home as we drove up and,
never having met Mr. Mack before, we
nearly shook hands with the butler, think'
ing he was our host. The occasion being
informal he was the only man in evening
clothes. We found our host much more simply clad.

Mrs. Mack, young and pretty, greeted us at the door,
and her husband came forward to invite us into the bar
room, all outfitted correctly even to the brass rail, except,
alas, that our beverages were strictly of the B. C. grade.
Meaning, of course, before cellars.

Out in the big loggia, opening on the back garden, a
fire was burning in the fireplace, and around it a number
of guests were gathered. Little tables were set out there
for supper also, while other tables were set in the dining
room and library.

Most of the guests, however, were in the drawing room,
and there we discovered Cecil Cunningham, vaudeville and
musical star; her little foster daughter, who is going into
pictures, and her husband. Miss Cunningham herself en-
tertains the idea of going into talking pictures, I found.

"I'm the elderly It girl!" she laughed.

The Duncan Sisters, Vivian and Rosetta, were there, but
as usual Nils Asther, to whom Vivian is engaged, found

Patsy Ruth Miller has been guest
of honor at many smart parties
since her marriage to Tay Garnett.
The latest is a post-nuptial shower,
by way of a novelty. "I think
men like long dresses," said Patsy
Ruth. "By 'men' probably meaning
her own husband!" whispered her
hostess, Mrs. Darryl Zanuck.

for February 1930

91 LM ^ARTIES

By Grace Kmgsiey

some excuse for not coming to the party. Nils
is either high'hat or shy, or both. He hates
parties, and never goes to them, nor to openings
either. But Rosetta and Vivian were as full
of life as ever.

Clara Bow came with Harry Richman. She
was looking lovely in a white, tight fitting
evening gown, and wearing her hair, of a
gloriously titian shade, in a long bob which
floats in curls over her shoulders. We found
her all delighted at the prospect of playing
"Madame Sans Gene." She and Harry seemed
very devoted, and everybody thinks it will really
be a match between the two.

Another couple, reported to be engaged,
came together. I mean Lowell Sherman and
Helene Costello. Helene looked perfectly
lovely. Lowell was wearing his usual monocle,
plus a 'spare1 on a black silk cord attached to
his waistcoat.

"He's going to take no chances of going
about with a shamelessly naked eye!" remarked
Polly Moran.

Lew Cody was there, looking quite well
again. He told us that he goes to see his wife,
Mabel Normand, every day, and that he has
to take her a fresh stock of jokes. She is in
a sanitarium, you know, in the beautiful Pasa-
dena foothills.

"And don't the jokes have to be new, too!"
ejaculated Lew.

Lew says that Mabel really is slowly im-
proving, is doing everything the doctors tell her
to, and is as happy as a kid every time she
finds out that she is making a little gain in
strength.

Polly Moran had come with William Haines.
There's a great and real friendship between
these two. Both are indefatigable kidders and
jokers, and both really are serious at bottom.

Norma Terris was there with her husband,
Dr. Wagner. Norma is a lovely, vivacious
girl, and we hear that she is making a big suc-
cess of her Fox roles. Her screen debut was
made in "Married in Hollywood."

Charlie Mack is really funnier off the stage
than on, with his droll, unctuous humor. He
told us about going horseback riding up at his
ranch in the Newhall hills, where he is found-
ing an artistic colony, horseback riding evi-
dently being a new (Continued on page 124)

The Head Man and his wife at home:
Mr. and Mrs. Charlie Mack. The Black
Crow is one of the new hosts of Holly-
wood, entertaining lavishly in his mod-
ernistic mansion. This picture shows a
corner of the living room.

SCREENLAND

SHE WANTS

Corinne Griffith, Aristocrat of the

for her Film Future.

By Betty

Corinne Griffith, posing
perilously as the Winged
Victory or something.
Anyway, it's nice.

"As I gaze into my crystal ball," Corinne
might say, "I see bigger and better, snappier
and more sophisticated parts." It's all
right with us.

Gorinne Griffith has kicked over the traces! The
patrician of Hollywood, the orchid lady of the
silver sheet, the aristocrat of the film world, has
turned over a new leaf in her screen career and
the future pages will be plentifully supplied with aster-
isks, for the new Corinne Griffith, born of rebellion and
revolt against the languorous ladies of the salon, the blue-
blooded noblewoman and virtuous clinging vines of her
early performances, plans to be wicked, wayward and wild.
In future, Corinne will drain the cup of life's bitterest
experiences. She will fling convention to the four winds
and sound the depths of sin. She will make whoopee
with a capital W, if necessary to her art, and live the blood
in the veins of drls of the slums, women of the streets and

Above: a scene from her new all-dialog and singing
a very hot number. Right: the lily who toils, practicing

ladies of easy virtue. All this, cinematically speaking, cf
course!

When Miss Griffith's first all-talking production, "Lilies
of the Field," is released, the orchid is going to be trans-
planted into hardier soil and exchange the fetid hot-house
atmosphere for the glitter and glow of Broadway night
life. As a show girl in a New York cabaret she will —
hold your breath and prepare for a thrill! — wear tightc.
Furthermore, she will execute a jazz tap dance atop a baby
grand piano and she will drink too much champagne at
a big jamboree at which she plays hostess to the first cf
the 'lilies1 to take unto herself a legitimate husband.

In her private life, Corinne Griffith continues to remain
serene and detached. She is the despair of scandal-
mongers. She is never seen in public with any male es-
cort except her husband, Walter Morosco, who is the pro-
ducer of all her pictures. She is considered the epitome
of good manners and good taste. This charm, grace and
inborn refinement of a personality somewhat unique in
flamboyant Hollywood have been reflected in the beautiful
Corinne's shadow-self. A poised loveliness and commend-
able restraint have marked her performances with a flavor
particularly her own. But the urge to spread her wings
and taste variety, the spice of screen life, is upon her.

"I'm sick and tired of hearing about my poise, my
beauty and my ability to wear gorgeous gowns," says
Corinne. "I want to be an actress, not a clothes-horse.
For years, this beauty myth built up around me just be-

for February 1930

to be WICKED

Screen, has Other and Hotter Plans
Read and Anticipate

Boone

Seriously, the star ap-
pears in this — er — garb
in a ballet number in
"Lilies of the Field."

film, "Lilies of the Field," in which Corinne appears as
her dance routine for her teacher between scenes.

cause I happened to get my first start in pictures by win-
ning the prise at a Santa Monica ballroom contest, when
I was sixteen years old, has been publicized until it has
become a detriment rather than an asset.

"To this day, I'm constantly reading how I was selected
as Queen of the Mardi Gras in New Orleans. Not a word
of truth in it — I was just a child when I went to New
Orleans with my father, who had business there. I at-
tended boarding school and studied art, at the time, in-
tending with all the ego of my eleven winters and summers
to become a great portrait painter. It had never entered
my head at that age to go on the screen, Furthermore,
I was regarded as the ugly duckling by my family. I was
pale, delicate and thin and I had failed to inherit my
mother's great luminous brown eyes, the distinguishing
mark of beauty in our family, as Mother was very proud
of her Italian origin. To have the only blue eyes in the
family was almost a sin.

"But once I had been tagged with the beauty label there
was no getting away from it. Artists invited me to sit
for them, couturieres wanted me to be the first to wear
their most expensive models and producers cast me in
stately and languid roles written around jewels and satins.
As long as I walked through a part without stubbing my
toes they were satisfied, but I, myself, was miserably un-
happy. I knew in my heart that the really vital thing
about beauty on the screen is that it is more important
to be able to express beauty (Continued on page 116)

The gorgeous
Griffith adorns
Malibu Beach
when she isn't
working at the
studio.

SCREENLAND

June Collyer came to town for a
visit but found herself rushed into
a talking picture.

Harold Lloyd is the only film star
who can travel around New York
without being recognized.

Jeanette MacDonald, the newest
talkie rave of "The Love Parade,"
sandwiched a Manhattan vacation
between pictures.

DICK Barthelmess has gone abroad — to give his
larynx a rest, and his wife a good time.
Like all the other film stars of the silent re-
gime, he has found the making of talking
pictures no more difficult than an animal trainer would
find tight rope dancing. And like other film stars who
have made a big success in this new art, he decided that
he had earned a trip to Europe. So after he completed
his work in "Son of the Gods," he hopped the flyer for
New York.

At the Savoy Plaza where he stopped with his wife

IN NEW

Film Stars Brighten
the White Way

before sailing, I called to see him. Over
the afternoon coffee cups, he said: "I'm
really here for pleasure. I don't want
to talk business. Do you mind?"
Of course I didn't mind. So I just settled down in my
big chair and listened lazily while Barthelmess and his
wife spoke of their intended trip. "Rome at Christmas"
. . ."Winter sports in Switzerland where the waiters skate
over the ice carrying champagne to thirsty onlookers". . .
"Carnival time in Munich where nobody goes to bed
until the last handful of confetti is thrown, the last balloon
exploded". . ."Down the blue Mediterranean to Egypt"
. . ."Back to Hollywood in time for spring."

You see Dick is of Bavarian extraction, way back, and
still has an uncle in Munich. So he is visiting Europe
primarily to introduce his wife to his Bavarian relations.
Clannish, those Bavarians.

Dick is looking awfully well. In his herringbone suit,
white shirt and dark tie, he seemed positively collegiate —
except for his eyes. They were frankly tired. But a
good rest will fix all that.

And, by the way, right here is the place to say that
Mrs. Richard Barthelmess is a personage. Not a bit beau-
tiful. But slight and slim and distinguished. In a navy
blue dress and straight off-the-face hat, her deep, husky
laughter and her lovely white hands brought an intimate
charm into the room — a charm you rarely find in the
wives of celebrities. Wives of celebrities are usually bored
or miserable or frightened. But Mrs. Barthelmess struck
me as a woman who was enjoying life. She is certainly
an intelligent wife. Sophisticated enough to keep her hus-

for February 1930

YORK

By Anne Bye

band amused. And yet unsophisticated
enough to want to look after his bodily
comforts — and that's the rarest wifely
combination!

I hope I may slide down the next pair of subway stairs
if Marilyn Miller doesn't seem as young and pretty today
as she did when she first toe-danced her way into the hearts
cf all America in Mr. Ziegfeld's "Sally."

Marilyn had just returned to New York after her fine
work in "Sally," her first talking picture. Almost im-
mediately she had her tonsils out, and I felt a little hesitant
about intruding on her while she was convalescing. I
had heard it said that Marilyn didn't like to be inter-
viewed. And I felt with that, plus a minus pair of
tonsils, I might get a grouchy greeting.

But I didn't. Miss Miller has what Barrie calls 'that
damn charm.' She was as sweet and hospitable and direct
as a young, unspoiled child. And in her princess dress
of aquamarine velvet enhancing the honey of her hair
and milk and roses quality of her skin, she presented a
picture of beauty not often seen around these parts.

When I asked her how long she expected to stay in
New York, she answered: "That's hard to say. I never
stay in one place very long. It's a bad habit I contracted
as a child. You see, when I was little, I was on the
stage. The Gerry Society was always after my parents,
so to keep a lap ahead of this well-intentioned but an-
noying organisation I had to make many a flying jump.
Finally it got so bad I spent most of my childhood in
Europe, where there wasn't any Gerry bogey. So now

I suppose the only way I'll ever settle down is to build a
railroad track in my backyard and take a ride every time
I feel those travelling blues coming on.

"I started dancing so young I can't remember when.
But I can well recall my first dancing lesson. I was
visiting my grandmother down in Louisville, Kentucky.
Her cook had a little boy who could clog and cut the
pigeon wing in a way that turned me pink with admira-
tion. I persuaded him to teach me how.

"We waited until everybody was out, then stole my
grandmother's sewing board, put (Continued on page 105)

SCREENLAND

Don't be deceived. Tom Moore's voice is really a whole
lot better than Blanche Sweet pretends. These two
great troupers have made a hit with the 'mike.'

Coming Back with the Play-back

Tom

Moore
Sweet Return

TOM Moore and
Blanche Sweet
enacted a little
love scene before
the microphone, in a set
with a kitchen stove and
an apartment sink. They
stood for a moment for
the 'test.'

"Playback!" yelled Robert Ober, directing the dialog
in the new picture of Manhattan night club life, in which
they're making their come-back in talkies; and Ober, Albert
Kelley, co-director, and the cast went into the sound-tight
play-back room to listen.

From the horn rolled the words of the scene — and Moore
grinned. "It seems funny to hear your own voice," he
commented.

"That play-back," Ober remarked afterward, "is really
the come-back of two great screen stars. Every inflection,
every word, shows what thorough masters they are of the
art of acting. The public will know they've made a come-
back when they see the new picture on the screen, but
the studio knew it the minute the first wax play-back of
one of their scenes was heard in the monitor-room."

The talking picture has done quite a Columbus job of
'discovering' old-time screen celebrities. And now come
Tom Moore and Blanche Sweet to prove that the old
favorites of the screen can conquer this new art of talking
into a black microphone.

Moore had been on the stage, and Metro-Goldwyn-

and Blanche
in the Talkies

By Keith Richards

Mayer got him away
from Henry Duffy, pro-
ducer of stage plays with
a Pacific Coast chain of
stock theaters. He had
been a smashing success
before the footlights, but
then, after all, he'd been
a stage star long before he went into pictures, as had his
two brothers, Matt and Owen. Miss Sweet has grown up
with the silent picture, from the days of Griffith. She
knows every subtle trick of the camera, and has had suffi-
cient stage experience to be very, very sure of her voice.

"It's all like coming home to me," grinned Moore, with
his irrepressible smile. "You see, I was on this lot very
early in the game, and with the old Metro, too. See this
police uniform I have on? Well, I had it made in 1922;
wore it in 'One of the Finest/ in 'Officer 666,' and a dozen
other pictures. I guess this uniform has returned me
something like eight thousand percent on the original in-
vestment! I wore it on the stage, too, in a couple of
police plays."

Moore is eagerly interested in the talkies, and hopes to
put over some of his old-time success with them.

"I'd like to play 'Canavan,' the street sweeper who be-
came the political boss," he confided, for one. "It was a
Saturday Evening Post story, and we made it under the
title of 'Hold Your Horses' back in 1920. I always thought
it one of the greatest picture plays ever written as well
as a great story of how the Irish (Continued on page 116)

Garbo! There's magic in the name. She
is the most famous woman in the world
today. Her coiffure and clothes are copied.
Her strange sombre beauty has been hailed
by artists. But her highest praise has come
from her audiences. In an industry swept
by sound her pictures continued to be box-
office attractions. But now — Garbo smashes
the silence with "Anna Christie." Her
voice, with its Swedish accent, will be heard
for the first time. The question is, will
audibility break Garbo's spell, or will she
pursue her triumphal progress? Somehow
we know the answer. Garbo, speaking or
silent, is a great star. She does not need
sound, but she will make good use of it
She cannot fail.

Anton Bruehl

RICHARD BARTHELMESS began by play-
ing poor but honest roles such as
Tol'able David. True to film form, Dick has
progressed artistically and materially from ob-
scurity to celebrity, all without losing one of
his loyal following on the way.

RUTH YBANEZ, grand-niece of the late
Blasco Ibanez, famous Spanish author,
and member of a well known Florida family,
makes her screen debut in "Hell Harbor."
Director Henry King, on location in Tampa,
selected Miss Ybanez for her beauty and charm

Ernest A. Bachrach

RICHARD DIX is entering upon an interesting new
phase of his picturesque career. He has made
"Seven Keys to Baldpate" as his latest contribution to
the gaiety of the sound screens, and it is said to be bv far
his best talking picture.

THE gayest young mod-
ern in movies, Alice is
an ambitious youngster
whose pretty head is as level
as it is brightly blonde.

Elmer Fryer

4- -

THESE are Alice White's every-
day clothes — the ones she works
in. But that's quite all right with
us, and with the rest of the world.

THIS infectious grin, backed up by a voice
and a pair of agile dancing legs, is starred
in "Hit the Deck." It belongs to Jack Oakie,
once a chorus man on Broadway, then a strug-
gler up the Hollywood ladder, and now a
great, big hit.

ANOTHER Broadway blonde gone to
Hollywood, but not Hollywood. Jeanette
MacDonald, after many triumphs on the Broad-
way stage, repeated her success on the screen
in "The Love Parade." Positively next appear-
ance, "The Vagabond King."

Russell Ball

SHARON LYNN was never an ordeal to the
optics, and now that she has discovered she
owns a voice, she becomes one of our more
exciting adventures in the cinema. (An elegant
way of saying that Miss Lynn is nothing less
than a full-fledged wow.)

Elmer Fryer

FAIRBANKS the younger. As grave and
poetic as his father is brisk and buoyant,
Joan's husband is fast developing into an ex-
cellent actor of considerable depth and power.
He is one of the most promising and ambitious
young men in Holler-wood.

BY request: Mr. Barry Norton. The bov
from the Argentine has progressed pleas-
antly in screenland since he first attracted
favorite attention in "What Price Glory?" How
many remember that Barry was in one of the
first talkies, "Mother Knows Best?"

RAY, 'ray — Fay! You'll have to excuse us,
but Miss Wray affects us that way. This
young woman with the soft, mysterious smile
is the little Mona Lisa of the motion picture
studios. At least, we like to think so; so leave
us with our dreams.

Puth Harriet Louise

NORMA SHEARER is one of the most in-
teresting personalities in the whole of
Hollywood. Reason: she's a nice, cultured girl
in love with her husband, and yet she can plav
a Mary Dugan and make your heart ache; or
a Mrs. Cheyney and make it throb. An artist!

ARTHUR LAKE, play-time boy friend of
American sub-debs. He is fresh and
funny, in a way so ingratiating that even the
regular boy friends have to like him. Arthur
is a nice kid; if you ask him his favorite actress
he says, "My sister Florence."

Otto Dyar

PHILLIPS HOLMES, an engaging young
man. What a disappointment he must be
to those pessimists who persist that talented
men's sons are rarely if ever chips off the old
block! Phil has the ability and the ambition to
make good on his own.

for February 1930

HOLMES:

CHAPTER II

Presenting Phillips,
son of Taylor

By John Godfrey

Holmes the first is showing Holmes the second how to
make up for the movies. Taylor Holmes has lately
returned to the screen in Christie comedies.

IN the summer of 1925, Hollywood boasted an ex-
clusive social set composed of six youngsters between
the ages of 15 and 19. They were good-looking,
happy, and hard-working. Where one was seen,
there were the other five. Each had a particular claim
to distinction.

Mary Brian and Betty Bronson had scored several
months before with their screen debuts in "Peter Pan."
Lois Moran and Douglas Fairbanks Jr., had finished parts
in "Stella Dallas." The other two boys were unknown to
the film public. Freddie Anderson was a young camera

assistant at the Paramount stu-
dios who secretly hoped to
become an actor some day. The
only one of the six without
serious intentions of seeking a
screen career was Phillips
Holmes, son of Taylor Holmes,
who was visiting his family in
Hollywood before starting to

Left: Master Phillips Holmes
on his way to school. He had
no theatrical ambitions in
those days.

college in Cambridge, England.

All six of this group are in Hollywood today appearing
in talking pictures. The ideas of Phil Holmes have changed
considerably in the past four years. He has developed a
desire to become an actor. By inheritance, he knows what
the business is about. And Taylor Holmes, from experi-
ence gained from his long association with the theater, has
given his son invaluable advice. He has made sound ex-
amples of the careers of this younger set of four years ago
and has convinced Phil that it takes between three and
six years to become firmly established on either the stage
or screen.

So Phil knows that slow but steady advancement is
nothing to worry about. He can see that Mary Brian
is now about to reap big returns from her five years of
experience. That Douglas Fairbanks Jr., and Lois Moran
are steadily becoming more popular. And that Freddie
Anderson has quit his camera job and is building a sound
foundation for his advancement with small parts. Phil
also believes that if one doesn't succeeed in six years, he

probably never will.

Fortunately, no illusions
of early stardom are in the
boy's mind, yet there is little
doubt as to the eventual suc-
cess of Phillips Holmes. He
has five qualities, any one of
which would be enough to
give any boy a good start.
He has the character and
background of Taylor
Holmes, the manners of
<| Clive Brook, the voice of

Frederic March, the physique
fe*. tgjf of Richard Aden and tin-

good looks of the late Wal-
lace Reid.

Any girl of today who
wants a little advance in-
formation about the boy who
will be one of her screen
The two boys on the right favorites in 1932 might just

are Phil Holmes and Doug . , b.£ ' . ,

Fairbanks Jr. — before they as well acquaint hersell with

were famous. (Continued on page 110)

SCREENLAND

Reviews

^ SEAL; OF j

Jeanette MacDonald and Maurice Chevalier
in the enchanting "Love Parade"

Rudy Vallee, Marie Dressier, and Sally Blane
in "The Vagabond Lover"

The Love Parade

WHAT a star I What a leading lady! What a cast!
And what a director! All contribute their very
best to "The Love Parade," but perhaps the
greatest contribution is the director's. For
Lubitsch has surpassed himself. He has made this frothy
little continental operette a thing of beauty, light, and
laughter. He has helped to mould Chevalier into just about
the greatest male attraction in the movies. He has so sym-
pathetically assisted at Jeanette MacDonald's screen debut
that this beautiful girl from Broadway acts with the ease
of a film veteran. The music is enchanting; the dialog
witty; but it is Lubitsch, I believe, who has put so much
charm, poise, and sophisticated humor into this first original
operette. And the talkies sadly needed just these qualities.
"The Love Parade" is a miniature masterpiece. Chevalier
is simply a knockout. He and his picture have every-
thing. Excuse' me while I go to see it again!

The Vagabond Lover

NOW let's all get together and have a good laugh on
our boy friends. Because ah, it has been admitted!
Rudy Vallee, of the good old Lehigh Valleys,
has made a pretty good motion picture debut in
"The Vagabond Lover." It's true that the crooning lad
of the radio has not quite mastered all of the celluloid
technique, but you forget that when he sings. It's an
amusing trifle of a story on the old mistaken identity theme,
in which the youthful band boy with the sax appeal is taken
for a king of jazz and urged to play at a society function
before all of the big wigs and little whiskers. If Sally
Blane hadn't been in the offing, Rudy would have can-
celled; but Sally's in the offing and Rudy has his innings.
Marie Dressier romps away with a personal hit in hilarious
comedy scenes. But it's Rudy's show, and when he sings
you can let the rest of the world go by.

Paris

Jack Buchanan and Irene Bordoni in love in
the musical "Paris"

PARIS is Paris, and always will be. You can't stop
it. But "Paris' starring Irene Bordoni, assisted
by the amiable Jack Buchanan, is also "Paris."
And who wants to stop it? It's a screen version
of the play which further glorified the boulevards and Folies
Bergere; and it is enhanced by the charms of the chic
French chanteuse whose naughty eyes and caressing voice
are almost, if not quite, as potent on screen as on stage.
To say nothing of a big, brilliant beauty chorus; and the
very English and agile Mr. Buchanan. But this tour of
"Paris'" is worth embarking on if for no other reason than
Louise Closser Hale. As a prim lady from Boston who
takes an apartment above Harry's bar, and a lot of other
things, Miss Hale is the month's most irresistible chuckle.
Just as Miss Dressier peps up Rudy's show, so Louise Closser
Hale is the life of the party in "Paris." Talkies are giv-
ing seasoned troupers a chance.

for February 1 9 30 87

on Current Films

Footlights and Fools

HAVE you seen Colleen Moore as 'Fifi of the Follies?'
Not Colleen Moore? Yes, Colleen Moore, the
same Colleen who was 'wurra-wurra-ing' in "Smil-
ing Irish Eyes." In fact, in "Footlights and Fools"
Colleen proves that she is just about the most versatile little
girl in this blinking age of celluloid. Colleen rolls her
eyes and sings snappy songs, and shows us that she can
toss an ooh-la-la with the best of the Bordonis. The story?
Well, the little Irish girl is presented to the theater-going
public as 'Mile. Fifi,' and everybody believes it. Why not?
There are two leading men Frederic March, as a million-
aire, and Raymond Hackett as a lovable ne'er-do-well. Take
your pick, because I'm not going to tell you which one
our heroine picks, no matter how hard you tease. The
funniest scene occurs when the song plugger demonstrates
his latest vo-deo-do to Colleen's priceless pantomime.

The Kiss

TAKE a good long look at this good long kiss; for it
is Garbo's positively last appearance in a silent mo-
tion picture. The Swedish charmer carries this load
of a mediocre story on her splendid shoulders and
so makes "The Kiss'' worth seeing. With anyone else as
chief kissee, it would not be worth bothering about, even
though Jacques Feyder from France directs with a nice
appreciation of what dramatic values there are and an
always interesting techinque, to say nothing of unusual
camera angles. It is a typical continental theme: young
wife, jealous husband, adoring lover, up to a certain point;

and then it fools you. For the young wife censors, take

notice remains a faithful wife, but the husband comes to

a bad end. Next to Greta, the most interesting thing about
"The Kiss" is the film debut of young Lew Ayres, a smould-
ering boy who is a real find.

Seven Faces

IF you think this picture is a group array of Lon Chaney
playing the Lucky Seven at one smack, you're wrong.
It's that new youngster, Paul Muni, who threatens to
out-Lon Chaney by at least four faces. This is what

we call a protean role one lone actor, count him, playing

seven characters, with the author writing in a dream se-
quence to give all of the faces a chance. That Muni is
an artist, no one can deny, particularly in his delineation
of 'Papa Chibou,' the old attendant in a wax-works museum.
He also portrays Napoleon, Don Juan, Franz Schubert, Joe
Gans, a hypnotist, and a costermonger, just to show us
he can do it. The love interest is ably supplied by Marguerite
Churchill and Russell Gleason. But all seven faces belong
to Muni; he is clever; and if you don't believe it, look in
your mirror and try to make seven different faces at your-
self. Ha! Not so easy, is it?

The Forward Pass

YES, that bright little girl in the back row is right
"The Forward Pass" is a football picture. But Eddie
Cline, who directed, has done a drastic thing. He
has shown us a college where there isn't a single neck-
ing party or gin-swigging harlequinade. Dear me, is the
coming generation slowing down? But take my word for
it as a person who knows a dropkick from a goal post that
this little picture presents the best sequences of actual foot-
ball action I have ever seen. Douglas Fairbanks Jr. is the
brave boy in the game, and my spies tell me he really
played. It looks all right. The girl is Loretta Young, and
she, too, has found she has a singing voice. It's a nice

voice and a nice little song the title escapes me, but it's

not 'Football, I Love You.' If you want to see some college
and football life with all the comforts of your favorite
theater, save your cheers for "The Forward Pass."

SCREENLAND

Revuettes

So This Is College

Yes, college — I said college. Oh, it is, is it?
Yeah. Oh, yeah? Yeah I Etc., etc. Well, it
strikes me as being that kind of a funny picture.
It doesn't ring true. It's so collegiate it hurts.
On the other hand, it has a good football game in
it, so don't say I'm not fair. A Damon-and-
Pythias-at-college combination are Elliott Nugent
and Robert Montgomery. They are pals on the

gridiron and in life you know the sort of thing.

Nothing can come between them nothing, except

maybe an occasional co-ed. Sally Starr, who looks
a little like Clara Bow and more like Nancy
Carroll, but isn't either of these girls, is the
femme appeal as the college vamp.

Nix On Dames

Another back-stage comedy, this time about two vaudeville
acrobats, sworn buddies and woman haters, who both tumble
for the same girl at> the same time. Light stuff made amus-
ing by the boys, Robert Ames and William Harrigan, and
charming by the girl, Mae Clarke; while Maude Fulton, who
wrote the piece, and George MacFarlane, lend comic
assistance.

The Saturday Night Kid

Clara Bow as a self-sacrificing martyr who takes it on the
chin when her sister steals her sweetheart is a waste of her
time and ours. Jean Arthur runs away with the Nasty Little
Sister Prize for the new year and also with Clara's picture.
Jean is an acting sensation but it's hard on Clara, and
not her fault. Bring back, oh bring back our red-hot
Bow I

Tanned Legs

And still they come, these musical comedy movies. This
one lives up to its title, all right, except that the legs are
not tanned, since it isn't a technicolor film. But they belong
to Ann Pennington, so no complaints. Arthur Lake is clever;
'Penny' dances in her own inimitable style, and Sally Blane
is the sweet heroine. A gay little trifle.

The Night Parade

The title doesn't begin to tell the story. Adapted from
the prize-fight play, "Ringside," this is excellent, rousing
entertainment under Mai St. Clair's direction. Hugh Trevor
plays a young champ framed by a 'gang' with the help of
Aileen Pringle, handsome menace. If you like fights, don t
miss this, because the wallop is all there.

for February 1930

OTHER PICTURES

Song Of Love

Meet the feminine Al Jolson Belle Baker. Miss

Baker is a star from vaudeville making her screen
debut, so let's give her a hand, especially since she
is an agreeable personality with a pleasant voice
who has the good sense and taste to stick to the
stuff she can do so well. As a sentimental song-
stress she is in a class by herself. She shares

honors with the small boy who plays her son

David Durand, a genuinely likeable and gifted
youngster with few smarty tricks. The story of
back-stage vaudeville life is slim; but the star, the
boy, and Ralph Graves as a philandering hoofer
put it over. The theme song, 'Take Everything
but You,' will be whistled.

Woman To Woman

Mammyl What are they doing to our It girls? Here's
Betty Compson crooning to her screen child as a French war

bride who becomes a famous dancer in fact, she dances her

self-sacrificing way right out of the film. Betty does good
work but the plot fails her. Juliette Compson is the other
woman, and very pretty, too. George Barraud is the lucky
man.

The Sacred Flame

Adult entertainment of a high grade, but not recommended
as a gloom chaser. It is a sombre drama adapted from W.
Somerset Maugham's stage play, with Lila Lee splendid as
the wife of a war cripple, Conrad Nagel; Walter Byron as
his younger brother who supplants him in her affections,
and Pauline Frederick superb as the mother who finds a way
out.

The Long, Long Trail

Hoot Gibson with sound. Far from sounding the death-
knell of the wild and woolly drama, the talkies have revived
interest in westerns; and Hoot and his horse are safe as
long as they continue to supply the demand for hard-riding
and shooting melodrama as competently as they do here.
Sally Eilers, soon to become Mrs. Hoot, is the girl friend.

The Love Doctor

You may recognize in this talkie comedy the echoes of
"The Boomerang," an old stage favorite. It makes a pleas-
ing though mild vehicle for the comedy talents of Richard
Dix. If you like Richard the shortcomings of his material
won't disturb you excessively. June Collyer is the very
beautiful nurse who is glad to share Dr. Dix's heart troubles.

SCREENLAND

It might be just a quiet little country church in a peace-
ful village — if it weren't a 'set' built on Warners' ranch.
That's Billie Dove at the gate, and Director Lloyd Bacon
without the coat.

IN spite of its title, "The Other Tomorrow" isn't a story
of the life beyond — and of course changing the title
is the easiest thing in the world, so by the time you
see it on the screen it may be called something else.
"Another Yesterday," or something!

Anyhow, what do we care so long as it stars Billie Dove,
and Kenneth Thompson and Grant Withers are in the cast?
Especially Grant Withers. You want to watch yourself
when you look at Grant — he'll steal right into the first line
trenches in your own particular heart attacks if you don't
look out. But if you find yourself floundering don't let
Loretta Young know it! She's his particular girl friend,
you know. He's the kind of kid that you feel you have
known all your life as soon as you meet him. Not a bit
of self'consciousness. The whole world is just made up
of 'folks' to Grant. He talks easily and naturally, just as
though you had always been pals. A great gift, that.

The location was built at Warner's ranch. It has about
2000 acres and is a stone's throw from the First National
studios, with every variety of scenery one could wish for
a country locale. Mountain roads are flanked with beauti'
ful live oak trees. In a little clearing had been built a
country church, and the Lloyd Bacon outfit was in a huddle
around it. Billie Dove was hard at work on the church
steps, having an argument with Scott Seaton who plays
her dad. Not a personal argument, a professional one.
We spied Ken Thompson and Grant Withers settled com-
fortably in a snappy touring car, both buried behind the
stock reports of the morning paper. It was a bad time to
interrupt, but I took a chance.

"Hello/" exclaimed Grant, scrambling to adjust a seat
for me. "Thought you were coming to see the carnival
scenes."

"I am, but not till tomorrow night when you will all be

working."

"Carnival!" groaned Ken, emerging from the stock re-
ports. "You know when I was in Cuba, the cemeteries
were filled with the most interesting tomb stones. There
was one in particular that I remember — black, shiny black
onyx. I thought it so appropriate!"

Grant looked at his pal and buddy and shook his head.
"Too bad. He was a fine fellow once. See what Wall
Street has done to him. Over there, old man," Grant
waved toward the location graveyard adjoining the little

On
Location

By Helen Ludlam

for February 19 3 0

with

BILLIE
DOVE

Kenneth Thompson and Grant Withers, the leading men
in Billie Dove's picture, "The Other Tomorrow/' wait-
ing to be called. Our Location Lady moved the camera
up on them as they sat there.

church, "over there you may find rest and relaxation. And
remember, every cloud has a silver lining and nothing's
as bad as it seems and — "

But Ken had a faraway look in his eyes. "Guess I will
have a look at them. Sometimes the inscriptions are very
cheering."

"Gosh, but I'm tired," said Grant. "Loretta and I went
to Mayfair on Saturday night, (meaning the Mayfair Club
dinner dance), and you know it means three o'clock be-
fore you get home. Then I fell out of bed early Sunday
morning. Took a three-gallon water jug, a thirtyfive pound
pack and a rifle and set out for the big open spaces. I
had climbed 6500 feet before noon, deer hunting. Didn't
even sight one. Got home and collapsed. I was so tired
I couldn't sleep at all last night."

"Who made the trip with you?" I asked

"No one. I played a lone hand. No one else would be
crazy enough to do so much concentrated tramping up-hill
on a hot day like yesterday."

"Come on, Grant and Ken," said Lloyd Bacon. "I
can't ask Billie to do all the work on this picture."

"Why not?" retorted Grant. "Her public wouldn't mind.
It's a shame to disturb me, and poor Ken is over there trying
to pick out a suitable epitaph for himself. You guys have
no heart at all."

"Come on, you two, before this sun goes out of busi-
ness for the day."

"Gee, that was terrible!" said Ed Marin, assistant director.

"What was terrible?" Lloyd Bacon wanted to know.

"That scene! The extras all went the wrong way."

"Well, what am I supposed to do? Burst into tears?
You were a great help, people, I want to thank you," Bacon
went on, addressing the extras. "You did all the things
I told you not to do. Get it right this time. This is the
full scene."

Billie was looking charming, as usual, in a blue crepe
silk street dress and becoming hat.

"My dear," she greeted me, "what on earth can you find

out here to write about?"

In the shade of the old um-
brella: Irva Ross, script girl,
Billie Dove, Helen Ludlam and
Kenneth Thompson. The cam-
eramen are perched on the
'parallel' at the right.

"You'll be surprised," I
said. "The fans don't care
a fig for the scenery. They
want to know about you."

(Continued on page 106)

SCREENLAND

1. These lovely lips and teeth belong to
one of our prettiest ingenues. Who is she?

2. A tender, serious mouth — but its owner
is a beloved and brilliant comedienne.

3. The siren smile that wrecks hearts or
wins them, according to mood.

4. This well-groomed, well-shaped mouth de-
notes strength of character and ambition.

"WHAT ^he

A Smiling Mouth with Well-kept
Charms in the World, Says

By Anne

When you sit in a theater and watch every move of
one of your movie favorites, which of her features do
you most admire? Of course, it depends upon which
one of your favorites it is, but there is always one thing
that stands out.

It may be only the set of her head or some gesture of her hands,
or the way she walks that intrigues you. It may be a pair of
eyes suggesting velvet and moonlight or a 'sweet, red, splendid,
kissable mouth.' If the latter, you wonder what she does to her
mouth to make it so lovely or if she was born with a mouth like
that. Well, she may or may not have been born with it — I don't
pretend to know. But I do know that even though you were
not born with a beautiful mouth you can do much to add to its
beauty.

Much has been said about the expressiveness of the eye but when
all's said and done it is not to be compared with the expressiveness
of the mouth. The mouth and eyes may work together — they may
laugh together, be tender together or cry together — or they may
work wholly at odds. Lips may smile with honeyed sweetness while
eyes are cold and hard. Eyes may twinkle with laughter while the
mouth is pursed in a fine little line. The eye expresses the mood
of the moment while the mouth is the readable record of the years.
A mouth that has been habitually querulous for fifteen years cannot
become suddenly sweet.

Eyes tell tales, but not so plainly as do our mouths. The mouth
speaketh, often without opening!

Your mouth may indicate your character. Tradition says that the
long upper lip indicates a person ruled by brains, with an inclina'
tion toward hardness; and that the short upper lip, though always
considered a mark of beauty, denotes lack of energy and reasoning
power. Also, that the short, narrow mouth denotes pettiness and
cold heartedness while the short, too full mouth indicates love of
luxury and selfishness.

5. A sweet and pensive mouth. Its owner
came to the screen from the stage.

And that's not all
of it. The character
readers had things to
say about lips, too;
thick lips which

Do You Know Which Stars
For Their Names

6. A little girl, displaying well-brushed
teeth? No, a well-established favorite.

7. This mouth shows real character.
Its possessor is one of our great
actresses.

"Pack up your troubles in your
old kit bag," is this little star's
theme song.

for February 1930

e5¥outh <Sells

Hp--

Teeth is one of the Most Potent
Screenland's Beauty Expert

Van Alstyne

designate a person as pleasure-loving; thin lips denoting a narrow
outlook. Tradition was not even kind to the mouth famed in song
and story — the Cupid's bow, contending that such a mouth may-
denote conceit and selfishness.

So much for tradition, which probably was all wrong anyway!
So don't go scurrying to your mirror to study your mouth and then
start worrying about it. You can't do much outwardly, but perhaps
you can do a little inside work. Because the shape of your mouth,
or at least its expressiveness, has been determined, to some extent,
by your real inner character and personality. If you want a mouth
with pleasant, graceful lines showing affection, enthusiasm and whole-
some energy, you must deserve it!

So don't be discouraged, girls! If you can't have the 'sweet, red,
splendid, kissable mouth' of your favorite star, you can at least have
a sweet-expressioned mouth. Here is the recipe: Every pretty look
counts for prettiness, every ugly look for ugliness. This isn't senti-
ment, it's a simple, physiological fact. Muscles are most susceptible
to training. After they have done a thing a number of times they
incline to do it all the time. And skin, though elastic in extreme
youth, tends to become less so as the years go by and to keep the
shape into which it is most habitually drawn.

Don't become discontented and disillusioned and let your pliant
mouth droop at the corners like plumes that started out in sunshine
and got caught in the rain. If you keep your sweetness and sense
of humor and generosity your mouth will take on a warm, human,
understanding expression and you'll be a nice person always. All
grown-up life is a bit difficult, but if you hold on to your courage
and a few of your dreams it will all be there in your undefeated
mouth.

There's one consoling thing, too, about a mouth -that isn't all it
should be. In certain small ways the little stick of red or white
paste may seemingly correct minor faults of the mouth. If your
mouth is too large and of too bright color, a plain white lipstick

will make your lips

Ti X 71 > 1 r> 1 np o l°°k fresh and pleas-

1 hese Mouths Belong To i ant, yet will not add
Turn to Page 108 &fnor color in„,

O (Cont. on page 108)

16. A smile we all love to see! Mark
the dazzling beauty of the teeth.

15. A mouth with laughter waiting at its
corners. Married to another great star.

14. These sweet lips denote affection.
That's what we feel for their owner.

13. The possessor of this mouth is one of
the preferred blondes in Hollywood.

12. You've seen this mouth at work in
talking pictures, in vaudeville and aU
ways welcome.

SCREENLAND

The ^TAGE

By Benjamin De Casseres

"Sweet Adeline"

weet Adeline" is the light musical knock-out of
the century. I have seen them all since the original
"The Black Crook," and there isn't one that I
wanted to go back to — but I could see "Sweet
Adeline11 once a month for the next six months. Why?
Because there isn't anything in the ten scenes that shouldn't
be there and because what isn't there is just the filth and
nudity that we are all getting pretty well fed up on.

A Hoboken beer-garden, 1898; San Juan Hill, the Bowery,
McGowan's Pass Tavern, the Hoffman House bar, Madison
Square roof-garden, Fort George, the City of Paris: variety
de luxe to the real, original, dejazzed music of Jerome Kern,
who knows the difference between melody and muck

And — Helen Morgan, whose beauty and voice are worth
the price alone; Charles Butterworth, cadaverous, unsmiling,
shuffling, the greatest real comedian doing business in this
country today, and I do not except my two ancient and
honorable heroes, Charlie Chaplin and Leon Errol; Irene
Franklin, cynical, vibrant, only more so than ever; Robert
C. Fischer in an old German air that will twist a tear out
of you, and little Caryl Bergman, a human oddity. Oh,
yes, thirsty Jimmy Thornton — may his gullet never be
parched!

"Ladies of the Jury"

As everything is being wise-cracked and satirized, of

Helen Morgan's beauty and
voice enhance the charms of
"Sweet Adeline," a great
musical comedy.

Gladys Baxter, in "A Wonderful
Night," is a thing of beauty with a
good footlight voice.

for February 1930 9?

i n %V. VIEW

Considering the New Plays Which May
Later Find Their Way To the Screen

course the bonehead jury had to go on the grill sooner or
later. Fred Ballard has certainly roasted the twelve-good-
men-and-women-tried-and-true wheeze to a brown turn in
this play.

A regular New Jersey murder trial. Girl killed hubby —
so it looks. Jury retires. Now, the interior of the jury-
room for two days (acts II and III) shows us just what the
jury 'thinks1 about, how it forms its 'opinions,1 how it
changes what was really its mind back in the paleozooic
slime, and how and why it came out "not guilty," although
everybody voted guilty except Mrs. Fiske, who held out for
the Little Girl. While it is all good satire, it is only stomach-
quivering in spots. It thins here and there and might mv
prove by condensing.

But it is, after all, a vehicle for Mrs. Fiske, who, although
still the champion word-chewer of the American stage, is
vibrantly hilarious and poppingly explosive. We forgive
her her dancing mannerisms, her spasmodic twitchings and
jerkings, because of the cerebral and vital personality that
surges out over the footlights and catches the most unimpres-
sionable of her auditors in a kind of electric fluid. Wilton
Lackaye returned to the stage as the Judge, and got a big
reception. But it is Svengali and Tess in pretty strange
surroundings!

"A Wonderful Night"

Soused — that's the word; soused to the thatch, to
the toes, to the gizzard — on the music of Johann
Strauss!

This old magician of the swooning waltz; and
demonic czardas had something eternal in his music.
It never wears; it never cloys; it never relents in its
Bacchic and Venusan power.

When you speak of Strauss, tell me not of Richard,
but of Johann, who whips my (Continued on page 121)

Arthur Byron caps his
long career with one
of the most convincing
• hits of acting seen on
j Broadway in some
\ seasons, in "The
Criminal Code."

Bette Davis and Donald Meek in a scene from
"Broken Dishes," a play about a married worm
who turns. De Casseres suggests this would
make a good talkie vehicle for Will Rogers.

SCREENLAND

Gome into the Kitchen

By Loretta Young

Iwas born of poor but practical parents. That isn't
exactly so, but I like the phrase 'poor but practical.'
As a matter of fact, we had a comfortable home, a
happy family and a lot of friends. We weren't
exactly rich, but we were comfortably fixed without going
in for any swanky splurges.

Now when I say my parents are practical, I mean that
they have good sound common sense and took care that
their four daughters and one son should not grow up
with any fancy notions.

Perhaps you do not know it, but before I became an
actress, my name was Gretchen and Gretchen it still is
to my two older sisters, Polly Ann and Sally Blane (don't
you like those quaint names) and my brother, Jack, who

This charming Young girl specializes in the
creation of a light and delicious sponge cake.

gave up being a picture actor to become a lawyer.

Mother had a well-developed system in the rearing of
us four girls, first at our home in Salt Lake City and
then in Hollywood. I don't remember much about Salt
Lake because we moved to Hollywood when I was just
a kid. At that time my uncle was business manager for
George Melford, the director, and the first conscious wish
that I recall was a desire to become a great actress like
Mabel Normand. She was a favorite of all the children
at that time.

Like most parents, my father and mother met my am-
bition with a tolerant smile without changing the program
of my education. I didn't like school very much and
cooking and sewing seemed an awful bore, but it was
part of the family schedule that I should go through the
same practical routine as my sisters did before me.

When I was old enough to wipe a plate without allowing
it to slip through my fingers, I was taught the rudiments
of kitchen technique. I remember my mother used to say,
'whatever a woman may become, she must know how to

LORETTA YOUNG'S

SPONGE CAKE:

7 eggs

1 teaspoon cream
of tartar

1 cup sugar

1 cup flour

1 teaspoon vanilla

. : i ' I:

Beat yolks until thick and whites until stiff; add sifted sugar;
cut and fold in flour sifted with cream of tartar. Bake in a
slow oven 30 minutes.

for February 19 3 0

with Loretta Young

Loretta Learned to Cook before she Learned
to Act. Now she's an Expert in Both Arts

Some day we're going to drop in on Loretta
at this point and beg for just a bite.

cook.' She used to try to engage our interest in learning
how to prepare special dishes. Each one of us had a
specialty that was served on a certain night each week
and if it turned out good, parental commendation was
generous.

I recall my sister Polly excelled in the making of bis-
cuits which we had every Sunday night for supper. Sally
specialised in the preparation of meats so the roasts and
dressings, whatever they might be, were entrusted to her.
You see, mother really was practical and saw to it that
our ability was not limited to fancy dishes.

Now, for all our careful training, I don't pretend to
like cooking as a steady thing. I think, like everything
else, it should be done in moderation and in the creative
spirit. A woman who has to cook three meals a day
cannot be expected to get any fun out of it; but to go
into the kitchen intent upon making something good to
eat out of raw ingredients is different. It gives an outlet
to the creative urge and a pleasing sense of satisfaction
when the results are worth while.

FAVORITE RECIPES

EGG BREAD:

1 egg 1 level teaspoon of soda

2 cups cornmeal 1 level teaspoon of salt
2 cups buttermilk % tablespoon of lard

Sift meal, salt and soda into the milk; add egg well beaten.
Melt lard in heavy frying pan or sfeillet. Add ingredients when
you are .sure that lard is hot. Bake in a very hot oven. Be
sure that the oven is hot!

I recall that in the kitchen of our old home, when all
of the family were living together, we had a battered and
much thumbed cook book. But more important than that,
in our culinary department was what we called 'Young's
Cook Book.'' This title was roughly lettered on the cover
page of an album in which each one of us wrote our own
recipes. First there came recipes by mother. Then there
followed sections of the book given over to each of us girls
in the order of our age. As we developed various dishes,
revising or amplifying the recipes in the standard cook
book, we wrote them down in the family record which
even now is a treasured relic of our childhood. I suppose
this book will go down through various generations of
Youngs and I hope it will be added to by our children
and grandchildren.

In turning over the pages, I find this recipe for cookies
credited to Gretchen — that's me!

My cookies always made their (Continued on page 110)

Loretta lets her little sister Georgianne par-
ticipate in the good old family custom known
as 'licking the pan!'

SCREENLAND

News and Gossip
of Pictures and
Players

Helen Twelvetrees, with a brand new
contract to her credit, drums up news for
this department. Thanks, Helen.

Hollywood gasped when Lew Cody appeared at
the "Rio Rita" opening with a lady gorgeously
attired in black lace with all the trimmings, in'
eluding a high Spanish comb. "How could he,"
they whispered, "with his wife, Mabel Normand, so ill?"
Lew, however, lost no opportunity to present his com-
panion to his wondering friends. Then it leaked out that
the lady, who boldly acclaimed Lew as her favorite actor,
and stated a decided preference for Bebe Daniels as an
actress, was Bebe's grandmother! It seems that Grand,
mother has said she wished she had a good-looking escort
for the premiere and Lew, always willing to oblige, said
he'd be delighted. So there they were.

Fred Stone had rasped the speakers at the last opening
about always saying the same thing: "Hello, everybody!
It's a great opening and we're tickled to death to be here"
— or some such trite remark. So Freeman Lang, who
usually handles these radio affairs, thought it might be a

for February J930

good way to get dollars for the
Christmas Community Chest Drive,
and every unwary person who started
with "Hello, everybody!" had to fork
up a dollar. Also, if the speech was
very short, they had to pony up.
As a result, the Community Chest
fund was the larger by a consider-
able number of dollars.

* * *

George O'Brien had such a beam-
ing smile on his face the other day
when we saw him at the studio cafe
that we thought something unusual
must have happened to him.

"It has. I've had a hair cut, and
boy! I feel as though I were free,
white and twenty-one."

George has been out on the plains
doing "The Lone Star Ranger"
and had to let his locks grow too
long for comfort so as not to ruin
the picturesqueness of the char-
acter. We were told to believe
it or not but it was the first all-
talking Zane Grey story. Bill
Farnum did the yarn ten or
twelve years ago; then if memory
serves, Tom Mix took a hand at
it, and now George O'Brien in
what is said to be the most inter-
esting version of them all.
* * *

Little Janet Gaynor had to go
shopping for a house. She's mar-
ried now to Lydell Peck, you
knew, and husbands have to be
kept some place. Janet hunted
until the wheels almost fell off her
car and then she "found the cutest
house! I took it because of the
staircase, and signed a lease for
six months. It winds and winds
till it gets to the top — the stair-
case, I mean, of course, not the
lease."

Anita Page says the new circular play-
ing cards are easier to hold and the
corners don't break and give them-
selves away.

Bessie Love and William Hawks
never dreamed of jailing in love
and are vastly amused at finding
themselves engaged.

Mr. Peck, who is a wealthy
young man, studied for the law
but didn't take much of a shine to
it and although he graduated from
law school he never practiced.
When he fell in love with Janet,
he adopted her profession as well
and is now on the Paramount pay
roll in the capacity of scenario
writer.

* * *

The impression seems to have
gone the rounds that Tittle Toot-
ing' is a restaurant, just because
food was mentioned in connection
with an item of gossip. We want
to correct that impression. It is
not a restaurant. It is simply a
locality. The members are a half
dozen or so convivial Englishmen
and their friends who are close
neighbors and like to entertain.
The residents are all bachelors;
the non-residents are married.
Among them are Victor MacLaglen,
Joseph Schildkraut, Montagu Love,
Lawford Davidson, Lionel Belmore, Eric
Snowden, Alfred Tennyson and Eric
Stacey.

At a recent dinner Lionel Belmore
convulsed the gang by telling a joke on
himself. Clarence Badger was directing
a picture he was in and asked Lionel
to cross his knees. "I have never crossed
my knees since the day I was born,"
declared Lionel. "Well, try, anyhow,"
said Badger. So Lionel tried. And kept
on trying for five solid minutes, getting
redder and redder in the face and more
out of breath with the effort while the
onlookers roared with laughter and the
cameras recorded the comedy.

George Bancroft looks up Emil Jannings in Berlin.
George was vacationing and Emil was between^ pic
Hires. When is Jannings coming back to uss

Eric Stacey had a taxicab of very
ancient vintage, 1906 to be exact, sent

100

SCREENLAND

Topsy and Eva Duncan have at last signed
their much discussed contract with Metro. "It
would have been signed two days ago," said
Rosetta, "except that I couldn't make head or
tail out of it. Looked like a telephone directory
to me. I went about the house muttering 'the
party of the first part gets all the money and
the party of the second part does all the work.'
That's the way it looked — you need a Phila-
delphia lawyer to translate these things."

The kids clean up half a million over a period
of two years in which they will make four pic-
tures. It is their privilege between times to go
off on vaudeville tours — and clean up another
half million, or more. Not so bad! Their next
film may be "The Heavenly Twins."

Lupe Velez with Henry King, director, and technical
crew shooting a scene for "Hell Harbor," filmed
near Tampa Beach, Florida.

over from England, and he rents it to the movies. It nets him quite
an income. For a joke Blanche Mehaffey drove it up to the entrance
of the Carthay Circle Theater with her party for the opening of the
season — -"Rio Rita." The shouts of laughter they received almost put
the 'mike' out of commission.

* * *

Did you know that the very first part Ken Maynard ever played was
with Marion Davies in "Janice Meredith?" He played Paul Revere.

Jim Cruse and Jim Tully have joined hands in producing Tully's
"Circus Parade"- — Cruse as producer and director, Tully as author and
actor. They have been friends for years but this is the first time they
have trouped together on a set.

During a recent trip to New York, Tully introduced Cruse to H. L.
Mencken, another old friend. "I've never read any of your ravings,"
began Cruse; and Mencken came back at him with, "And I've never
seen any of your screen abortions." So they immediately became pals.

Es telle Bradley, Anita Garvin, Thelma Hill and
Addie MacPhail, the four beauties of the Educational
Comedy lot.

A director develops a voice. King
Vidor shows Marion Davies a rec-
ord of songs he recorded, including
several from "Hallelujah."

Jetta Goudal has broken the taboo
against her since winning her case against
Cecil De Mille, by appearing in several
Bryan Foy shorts for Warner Brothers.
The first will be ""The China Lady," all
talking, and I hear there is to be singing as
well. Warners plan to present the exotic
actress in a feature after the first of the
year when the studio reopens.

Screenland's representative had been on
a still hunt for news and had had a par-
ticular trying day of it. "Will you please,"
we said to Jimmy Gleason on the Harry
Richman set, "say something smart?"

for February 1930

101

Jimmie stood square in front of us, arms
akimbo. "Are you," he demanded severely, "a
motion picture producer?"

"No — n'not yet!" we confessed weakly.

"Well, that's all you need to become one
— that line and a coupl'a million dollars."

And we faded peacefully out of the picture.

% & ^

In case there has been anything said to the
contrary, Joan Bennett's voice is not being
doubled in the Harry Richman picture now
called "Puttin' on the Rits." They say it is
positively the permanent title.

When the studio folk heard the playback of
the theme song they wanted to know who
Joan's double was, and they wouldn't believe

When Gray meets Gray! Alexander
Gray of stage and screen "Sally" and our
own Larry Gray of the movies make
friends on the First National lot.

the child sang it until they saw for themselves.
But we know, because we were there too and
heard her sing it, not once but several times.
She stood in her Alice-in- Wonderland costume,
a distance of barely one foot from us — look-
ing as lovely as an angel. Not that everyone
didn't know Joan had a beautiful voice, but
when she sings it is contralto! And she is such
a blonde little thing and so tiny, you expect a

soprano. For no reason, but you just do.
* * *

It seems to be renovating time in Holly
wood. Jack and Ina Gilbert are moving to
separate establishments until Jack can get to
the bathroom without saying 'good-morning' to
a dozen carpenters and clambering over a pile

Rudy Vallee's radio contest announced in January
Screenland is still open. Write the best letter tell-
ing Rudy what is your favorite Vallee Victor record
and why, and win this Victor radio. The contest
doesn't close until February lOfA.

of lumber to find his underwear. The alterations were to have been
completed while the ' Gilberts were in Europe, but they didn't get
finished and the confusion was too much for them.

The case is a little different in the Edmund Lowe household. Lilyan
is having her bedroom redecorated. According to everyone who saw it,
it was one of the most beautiful rooms in Hollywood, or rather Beverly
Hills. In Eddie's opinion it was the most beautiful, though to be
facetious we don't quite see how Eddie could possibly be a fair judge
of that. And now the fair Lilyan, who can never stand to have things
stay put for long, has cleared the beauty all away and is turning it
into a pure white room.

"Even the carpet," groaned Eddie. "Can you see what Champ and
Snoopy will do to that white carpet when they come to wake us up
in the morning?" Champ and Snoopy are Eddie's two pet wire-haired
terriers.

"They aren't going to come in, in the morning," said Lilyan.

"You can't teach an old dog new tricks," declared Eddie impressively.

Our Gang are learning their lines from Miss Laura
Peralta, Spanish teacher, for a Spanish edition of
their comedies.

102

SCREENLAND

^he 5Best J^ines

of the Month

From

"The Love Doctor":

Gerald (Richard Dix) : "You are chilled
through."

Virginia (June Collyer) : "Yes, I had a ter-
rible scare, and my spine feels like a piece of
spaghetti."

From

"So This Is College":

Eddie (Elliott Nugent) : "You know, every
time I look at Biff I can figure out why girls
walk home."

Biff (Robert Montgomery) : "And you're the
reason they run home."

From

"Taming of the Shrew":

Petruchio (Douglas Fairbanks) : "In faith I'm
moved to woo thee for my wife!"

Katherine (Mary Pickford) : "Moved? In
good time ! Let him that moved you hither
remove you hence."

From

"Nix On Dames":

First Clerk: "Say, you know I studied to be
a pharmacist once, but flunked in my exam-
inations."

Second Clerk: "What happened?"

First Clerk: "I couldn't make sandwiches."

Lupino Lane and Lillian Roth in "The Love Parade."

From "The Love Parade":

Jacques (Lupino Lane) : "Do you know the story
about the Frenchman and the farmer's daughter ?"
Lulu (Lillian Roth): "Yes, I know it!"
Jacques: "I'm the Frenchman."
Lulu: "You are not."
Jacques: "How do you know?"
Lulu: "Because I'm the farmer's daughter!"

for February 1930

103

Miss Vee Dee's correspondents have
a soft spot in their hearts for Dolores
Del Rio. Her next picture is "A
Sailor's Sweetheart."

PLAIN Jane from Lexington, Ky.
You surprise me, I wasn't wise to
the fact that Kentucky had any
plain ones. But here's some sym-
pathy, I'm just that kind of a girl. Yes,
we've lost Victor Varconi for a time —
he might come back if he knew how
much we miss him. He was born in
Kisvard, Hungary, on March 31, 1896.
He has brown hair and eyes, is 5 feet 10
inches tall and weighs 180 pounds. On
the stage in Budapest he appeared in "King
Richard III" which is the highest success
to come to an Hungarian actor. On the
screen he has played in "Triumph," "Chang-
ing Husbands," "Feet of Clay," "The
Volga Boatman," "King of Kings," "Chi-
cago," "Tenth Avenue," "The Angel of
Broadway" and "The Divine Lady."

Teresa S. of Logansport, Ind. Mary
Brian's new picture is "Kibitzer" with Neil
Hamilton and her preceding one was "The
Virginian" with Gary Cooper and Richard
Arlen. You can reach Mary at Paramount
Studios, 5451 Marathon St., Hollywood,
Cal. Bebe Daniels appears with John
Boles in "Rio Rita." She sings and talks
and is altogether lovely in one of the big
roles of the year. Atta girl, Bebe!

Dorothy K. of Red Ban\, 7v[. /. Pola
Negri hasn't made a picture for us for
a long time — she left us bag and baggage
and we'll have to worry along without her.
She was born in Poland but doesn't give
her age. She has black hair, hazel eyes,
is 5 feet 4 inches tall and weighs 120
pounds. Billie Dove's parents were of
Swiss descent. Her real name is Lillian
Bohney. When she was 15 years old and
an accomplished dancer, she was offered
a chance to go on the stage and appeared
in "The Midnight Frolic" in New York.
She also played with Johnny Hines in
comedies and with Tom Mix in Westerns.
Billie's latest film is "The Painted Angel."

Louise B. of Seattle, Wash. You're
going to be thrilled all right for here you
see your name in this famous department.
Your favorite, Nick Stuart, was born April
10, 1906 in Roumania. He has curly black
hair, brown eyes, is 5 feet 9 inches tall
and weighs 154 pounds. He has been in
pictures since 1921 when he started to work

ASK ME

An Answer Depart-
ment of Information
about Screen Plays
and Players

Miss Vee Dee

as an extra for the Fox Studios. His
latest film is "Happy Days."

Chloe of the Swamps. III. What a rip-
ping blue theme song that would make.
I'm glad you look for me the minute you
buy Screenland. That's turkey for me.
Write to Neil Hamilton at Paramount Stu-
dios, 5451 Marathon St., Hollywood, Cal.
Olga Baclanova played with Pola Negri,
Warner Baxter and Paul Lukas in "Three
Sinners." Richard Arlen was born Sept.
1. 1899 in Charlotteville, Va. He is 5
feet 11 inches tall, weighs 161 pounds and
has brown hair and gray eyes.

H. T. of Morristown. We want to know
if Tom Patrick was ever a cowboy and a
cartoonist? Where are you Tom, speak
up — let's hear from you. Roland Drew's
real name is Walter Goss. He was born
in Elmhurst, L. I., in 1903. He is 6 feet
tall, weighs 165 pounds and has black hair
and gray eyes. Not married. He played
with Dolores Del Rio in "Evangeline."

Kyspie from Ossining, T. Yes, dumb
films, as we say on Broadway are still being
shot but audible pictures are the last word
in the film world, in Hollywood. Warner
Baxter and Roland Drew had the male
leads in "Ramona" with Dolores Del Rio.
Roland was the Spanish Don and young
hero lover of Ramona.

A Fan from Canada. It takes something
else besides 5 feet 6 inches to get a good
movie contract — an unlimited supply of 'it'
or that and a dogged determination to suc-
ceed. Greta Garbo, Phyllis Haver, Irene
Rich, Myrna Loy and Zasu Pitts are all
5 feet 6 inches tall. Agnes Franey was
born in New York City 18 years ago.
She won 1 four beauty contests and over
hundreds of other girls she won a place
in the Zeigfeld Follies. Agnes is 5 feet
tall, weighs 100 pounds and has blue eyes
and golden hair. Canada has given our
films several top-notchers, among them are,
Barbara Kent, Marie Prevost, Mary Pick-
ford, Fay Wray, Norma Shearer, Betty
Egan and Pauline Garon.

Fifth City Boy of U. S. With several
cars at your command, fine clothes and

Nils Astker's engagement to Vivian
Duncan hasn't changed his standing
in the 'Ask Me' department. They
still ask questions about him.

surrounded by money you want to find out
what's doing in Hollywood in the picture
industry. Although we have several young
blades in pictures whose fathers are cap-
tains of finance, it would be just as easy
for you to crash the gates if you didn't
have a penny. If you can convince the
producers that you have all the magnetic
personality you think you have, we'll hear
from you before many moons have waned,
to say nothing of waxed. Go to it, Boy,
and good luck.

Jessie K. of Riceton, Sas\. Canada.
When such extravagant praise comes from
all quarters of the globe for my depart-
ment, I'm just melting down with emotion.
I'm sure I can't say why Gary Cooper, the
quiet reserved man of the screen, fell in
love with Lupe Velez, the whirlwind and
saucy mad-cap of the flickers. Love's a
darned queer thing, girls. Nancy Carroll's
first all-talkie was "Close Harmony" with
Charles Rogers. Her voice is pleasing and
her songs are some of the best from Broad-
way. You can write to Nancy, Clara Bow
and Gary Cooper at Paramount Studios,
5451 Marathon St., Hollywood, Cal. Joan
Crawford can be addressed at Metro-Gold-
wyn-Mayer Studios, Culver City, Cal.

John C. of Luzerne, Pa. You like Screen-
land a lot, you're no real estate dealer
but a modernist if I know what that is.
I give up — never was good at riddles.
Lon Chaney has not changed his mind as
yet about making a talking picture. Lon
prefers to be silent with his thousand faces.
Rudy Vallee leads the cast of "Vagabond
Lover" produced by RKO Studios, 780
Gower St., Hollywood, Cal. Others in
the cast are, Sally Blane, Danny O'Shea,
Marie Dressier and Eddie Nugent.

Helen B. of Ipswich, Mass. I've gone
quite gaa-gaa over the name of your town —
it makes such a fine morsel to roll over
the tongue. Write to Billie Dove at First
National Studios, Burbank, Cal. Mary
Astor at Fox Studios, 1401 No. Western
Ave., Hollywood, Cal. Betty Bronson and
Irene Rich at Warner Bros. Studios, 5842
Sunset Blvd., Hollywood, Cal. Anita Page
and Robert Castle at Metro Studios, Culver
City, Cal. Jackie Coogan can be reached
at 673 South Oxford Ave., Hollywood, Cal.

104

SCREENLAND

Signor S. of "Hapoli, Italy. I'd make
a good title-writer, would I? If I thought
you were serious, we'd step aside and have
a silent chuckle over that. Your favorite,
Don Alvarado, was born Nov. 4, 1904, at
Albuquerque, New Mexico. He has black
hair, brown eyes, is 5 feet 1 1 inches tall
and weighs 160 pounds. His real name is
Jose Paige. You can write to him at United
Artists Studios, 1041 No. Formosa Ave.,
Hollywood, Cal. He plays in "The Bridge
of San Luis Rey," with Lily Damita, Raquel
Torres and Duncan Rcnaldo.

Ann L. from Utica, H- T. I'm sorry
that I can't answer contest questions in
the magazine or personally — time and space
forbids and would it be fair, I ask you,
now would it? Raoul Walsh appeared in
"The Birth of a Nation," as John Wil\es
Booth. He directed Douglas Fairbanks in
"The Thief of Bagdad"; also directed "What
Price Glory," "Loves of Carmen," and "The
Cock-Eyed World," and wrote the script,
directed and played in "Sadie Thompson,"
in which Gloria Swanson was the star.
Raoul was born in New York City and
was on the stage playing leads, heavies
and juveniles before going into pictures.

P. K. of Indiana. Where did you get
the idea I am Mary Astor and that I give
funny answers? Now I'll think up one.
Barbara Kent and Larry Kent are not re-
lated. Larry's real name is Henri W.
Trumbull. Barbara was born in Gadsby,
Alberta, Canada. In "The Lone Wolf
Returns," you saw Billie Dove and Bert
Lytell. It was released in July 1926. You
can reach Nancy Drexel, Lois Moran and
Janet Gaynor at Fox Studios, 1401 No.
Western Ave., Hollywood, Cal. Esther
Ralston, Nancy Carroll, Clive Brook, Fay
Wray and Charles Rogers at Paramount
Studios, 5451 Marathon St., Hollywood,
Cal. Loretta Young at First National Stu-
dios, Burbank, Cal. Louise Fazenda at
Warner Bros. Studios, 5842 Sunset Blvd.,
Hollywood, Cal. Marion Davies, John Gil-
bert and John Mack Brown at Metro-Gold-
wyn-Mayer Studios, Culver City, Cal

Billie from Atlanta, Ca. Do I always
give good answers? Here's one! Clive
Brook was born June 1, 1891. He has
brown hair and grey eyes. Look carefully
in this department and you'll find his ad-
dress. His latest picture is "Slightly Scarlet."

Girly from N.. T. City. We do not send
out photographs of the screen stars so I'm
unable to tell you the cost of large photo-
graphs, but why don't you write your
favorites a complimentary letter and ask
for a picture? You may get something
you least expect. Several of the addresses
you asked for are found elsewhere in this
department. June Collyer, Edmund Lowe
and Charles Farrell can be reached at Fox
Studios, 1401 No. Western Ave., Holly-
wood, Cal. Dolores Costello at Warner
Bros. Studios, 5842 Sunset Blvd., Holly-
wood, Cal. Lane Chandler is at Univer-
sal now.

Walter R. from Fairfield, Conn. Quickie-
comedies are turned out too fast for me
to keep the casts for publication — often
just one or two principals are given any-
way. When "Big Business," with Stan
Laurel, Oliver Hardy and James Finlayson
comes to your theater, stay away if you
don't want to laugh your head off. Renee
Adoree's latest film is "Redemption." with
John Gilbert, Eleanor Boardman and Con-
rad Nagel. Renee was born in Lille, France,

on Sept. 1, 1901. She has dark brown
hair, dark blue eyes, is 5 feet 2 inches tall
and weighs 105 pounds.

Just Marge from Denver. One of the
friends from radio-land, are you? Wel-
come! Be sure to read Screcnland's new
movie-radio department. Nancy Carroll
will be seen in "Flesh of Eve," with Richard
Arlcn. Nancy has auburn hair and blue
eyes. Sue Carol is not Nancy's sister, not
even a fifth or sixth cousin. Gary Cooper
has dark brown hair and blue eyes and
is 28 years old.

ferry of St. Louis. Why are "The St.
Louis Blues," when from out the town
comes such swell letters and such Gary

Ann Christie, a sprightly comedienne,
sports a new beret.

Cooper-like big boys? Some towns get all
the good breaks. Felipe, the Spanish Don
in "Ramona," was played by Roland Drew.
His real name is Walter Goss and he was
born in 1903 at Elmhurst, L. I. He has
black hair, dark gray eyes, is 6 feet tall
and weighs 165 pounds. Ben Lyon is a
favorite among the men screen fans, partly
due to his aviation activities. He is a
government pilot with a license and ever'
thing. Ben was born Feb. 6, 1901, at
Atlanta, Ga. He has dark brown hair,
blue eyes, is 6 feet tall and weighs 170
pounds. His next picture is "Lummox,"
with Winifred Westover. Clara Bow is
5 feet 31/.; inches tall and weighs 110
pounds. She is said to be engaged to
Harry Richman.

Freda B. of Pittsburgh. Sonny Boy,
where is Mam-ah-may? All kidding aside,
I am not able to tell you Al Jolson's ex-
act age but about 43 would be a safe
guess. He has a Peter Pan complex, just
never will grow up; and who wants him to?
He has light brown hair and brown eyes
and can fill our best movie houses with
tears and paid admissions, and we like it.
Clara Bow's cousin, Billy Bow, is to appear
in her next picture.

Ellie T. from Saginaw, Mich. Why so
serious? Let's shake off the gloom if there
be any and clap hands; you're wrong, I
said clap, hands, not hold hands. Estclle
Taylor plays with Lon Chancy and Lupc
Vclez in "Where East is East," a Metro-
Goldwyn-Mayer release. You can write to
Charlie Chaplin at Charles Chaplin Studios,
1420 La Brca Ave., Los Angeles, Cal.
Wallace Beery at Paramount Studios, 5451
Marathon St., Hollywood. Cal. Conrad
Nagel at Metro-Goldwyn-Mayer Studios,
Culver City, Cal. Mary Ann Jackson,
Wheezcr and Farina can be reached at Hal
Roach Studios, Culver City, Cal.

M. E. of Auburn, 7\[. T. Do you be-
lieve everything you read and can I depend
on that? Ronald Colman is 38 years old
and has not married again and has not gone
back to England to live. Barry Norton is
24 years old and not married. Clive Brook
is 38 years old and is married to Mildred
Evelyn. They have two children. Dolores
Del Rio is 24 years old. Her latest pic-
ture is "The Bad One," with Edmund
Lowe.

Arlo Lee of Santa Cruz: More snappy
names this month with lots of appeal and
plenty of rhyme and hey, hey! Dolores Del
Rio was born in Durango, Mexico, on Aug.
3, 1905. She has black hair, brewn eyes,
is 5 feet 3% inches tall and weighs 115
pounds.

/. E. F. of Amart'Ilo, Texas. Your color
scheme is all wrong, Jean, for Colleen
Moore hasn't one green eye and one blue
eye, but one brown and one blue. You
can address Richard Arlen at Paramount
Studios, 5451 Marathon St., Hollywood,
Cal. Sue Carol at Fox Studios, 1401 No.
Western Ave., Hollywood, Cal. Betty
Bronson at Warner Bros. Studios, 5842
Sunset Blvd., Hollywood, Cal. Betty
Compson at RKO Studios, 780 Gower St.,
Hollywood, Cal. Norma and Constance
Talmadge at United Artists, 1041 No.
Formosa Ave., Hollywood, Cal. Ben Lyon
at Columbia Studios, 1438 Gower St.,
Hollywood, Cal. Colleen Moore and Jack
Mulhall at First National Studios, Burbank,
Cal.

Mi\e of Honolulu. From the Isles of
Friendliness — that suits me and may your
shadow grow never-the-less. Jack Mulhall
was born in Wappingers Falls, N. Y., on
Oct. 7, 1894. Jack has been a featured
player for First National for some time.
He plays a dual role in his new picture,
"Dark Street," with Lila Lee. You can
reach Joan Crawford at Metro-Goldwyn-
Mayer Studios, Culver City, Cal.

Elaine from Man\ato, Minn. I do not
talk for publication on any other subject
but the who's who and why of screen
stars. But take it from me, I know my
stars. Barry Norton, whose real name is
Alfred de Biraben, was born in Buenos
Aires, Argentine, on June 16, 1905. He
has black hair and brown eyes. Davey
Lee was born on Dec. 29, 1924 in Los
Angeles, Cal. He has brown hair, dark
blue eyes, weighs 47 pounds and is 36
inches tall and has been in pictures since
July 1928. Write to Ramon Novarro at
Metro-Goldwyn-Mayer Studios, Culver City,
Cal.

Fort Wayne Fan. Welcome, Hoosier!
'That interesting new vamp' of the talkies
is Kay Francis, from the stage. Yes. I like
her, too. She is under contract to Para-
mount. Write to her there.

for February 1 9 30 105

In New York — Continued from page 65

it on the parlor floor in front of the old-
fashioned base-burner which heated the
whole house, and I was off to a flying
start. First the black boy would do a
double shuffle. I would watch him and
worked out then and there my first routine.
That's the method I've followed ever since.
I don't know anything about music or
counting time. I can't read a note. But
when I hear a song or a dance, I get the
rhythm in my bones, and keep at it until
I get the number down pat."

There is no mysterious reason why
Marilyn keeps in front year after year
when many of her early contemporaries
have flashed out. It's because she works.
And that's no hocus-pocus either. I know
her singing teacher well. And he says
not a day passes but Marilyn has her sing-
ing lesson. And that is true of her dance
routines also. She works for certain
stated intervals every day. No matter
whether she is on a train, a steamer, a
movie lot, or a Broadway stage. And this
continuity of effort has raised her from an
unknown child actress to one of the highest
paid and most beloved stars in the world.

You've heard of two-faced people,
haven't you? Well, so have I. But never
a seven-faced one. However, the other
day I encountered a man who really has
seven faces — and each of them a good one.

This seven-faced gentleman is no other
than Paul Muni who did remarkable work
in his first picture "The Valiant." Paul
came back to town for the opening of his
second picture, "Seven Faces," at the Roxy
Theater. In this new talkie, he actually
plays seven entirely different roles, and
plays them with conviction.

He used to be known as Muni Weisen-
frend of the stage. He played in "Four
Walls," "We Americans," and other
Broadway plays, until Winnie Sheehan saw
him and nabbed him to make pictures on
the Fox lot.

Muni is good-looking in a dark quiet
way. The last thing on earth he resem-
bles is an actor. And yet he is mad on the
subject of acting. I never saw a man so
passionately absorbed in his work as this
young man of Viennese parents. Nothing
else exists for him. When you talk to
him of other things, he listens politely and
then weaves back again to the stage, the
screen — any form of dramatic art.

"How I should love to play Rasputin,"
Muni said. "That will be one of my com-
ing pictures, I hope. But before I do any
more serious roles I should like to do a
'hoofer' part."

That rather amazed me because you
always connect Muni with serious roles.
But it seems he has danced ever .since his
father and mother left Vienna and brought
him to America at the age of eight. It
was down on the east side that he got his
stage baptism, dancing in the Yiddish and
German theaters. Breaking in on his
father's and mother's act any time he could
contrive some little bit of business which
would fit in — and sometimes when he
couldn't.

The strange thing about Muni is that
despite the fact that he lived abroad until
he was nine, he speaks perfect American,
without the slightest trace of accent. He
looks absolutely American, too. All ex-
cept those strange eyes.

Muni is tremendously interested in the
question of make-up. He believes that most

make-up is unnecessary. He believes if you
feel a part sufficiently, you can so immerse
yourself in your feelings that you can
actually concentrate to the point where
your face will fit whatever part you are
playing.

Paul has played many roles of older men.
And as you watch him speak of these
roles, suddenly his eyes grow dim. His
face and forehead become furrowed. The
muscles of his mouth droop. Before your
eyes, this twenty-eight year old actor has
turned himself into an old man. This
concentration amounts almost to the point
of self-hypnotism. And it is a fascinating,
eerie thing to watch.

While we were speaking of such things,
Muni's wife came in. She is a handsome
woman who has a brilliant sense of clothes.
She used to be a Broadway actress but has
given up her work for writing. She re-
cently completed a scenario for her husband
which Fox has bought and will soon make
into a picture.

Home, to June Collyer, is the Park
Avenue apartment of Mr. and Mrs. Clayton
Heermance. Yes, June was named Miss
Heermance before she took to talkies. She
came east for a vacation, only to be rushed
into stardom in a picture directed by Irvin
Willat — Billie Dove's husband.

Lunch at the Ritz, with June is fun.
Both Mr. and Mrs. Heermance are usually
present. Mrs. Heermance is a sweet-faced
woman who is continually torn between
her desire to be with June in Hollywood
and wanting to be with her husband and
two sons in New York.

Mr. Heermance is ripping. Clever, hu-

Kay Francis, one of H ollywood's best
dressed women, makes gingham more
popular.

morous, full of fun. One of the best
raconteurs (German for sheik) I have met
in a long time. At the table over their
eggs bouffant, June and her father kidded
each other about who would pay the check
and declared they would toss for it. Papa
pays.

Hollywood has done something to June.
When she first went into the movies she
was just a sweet, pretty girl. And now —
well, she's different. Prettier than ever,
and vivid and sparkly as if somebody had
just told her a delicious secret which she
daren't share with the world. I wonder
if she's met her prince?

The Ritz was particularly gay that day.
There was the Grand Duke Alexander on
one side of us and lovable Dorothy Gish
on the other. The orchestra played won-
derful old dance tunes from "The Choc-
olate Soldier," and June made an exquisite
hostess. As she sat there in her pretty
green dress and hat, with a soft coat
trimmed with luscious lynx thrown over
her chair, I felt that this girl was equipped
to reach any heights she wanted — in the
social as well as in the dramatic world.
She's one of the best bred girls in pictures
— our own little movie crown princess.

I was invited to tea up at Jeanettc
MacDonald's the other day. Jeanette, as
you've heard, has made a tremendous
success in "The Love Parade."

Consequently, I toddled up to the Maison
MacDonald near Central Park around five
o'clock. Jeanette's maid answered my ring
and said her mistress wasn't in. I waited
a little while in the comfortable drawing
room and pretty soon Jeanette's nephew
came in. About a quarter or an hour
later, Jeanette's mother arrived with Jean-
ette's music teacher. And long about six
bells — sure enough, in came Jeanette in the
flesh, and with her — Mr. Ritchie to whom
I hear Jeanette is engaged. If Mr. Ritchie
is the lucky man, I think Jeanette is a lucky
girl — if you get what I mean.

Miss MacDonald was overwhelmed at
being late but she had been detained down
in Mr. Lasky's office. A matter of a new
contract.

She is a real beauty, violet-eyed and
golden-haired. She was dressed in one of
these new different dresses — gray tweed
which would have killed the coloring of
any women but the most unsynthetic blonde.
The dress was long and Jeanette's figure
was — as you will find in "The Love Parade"
- — perfect.

It is possible for a screen star, no matter
how famous, to stroll the streets and mingle
with the crowds in Manhattan if he really
wants to. Take Harold Lloyd. He dis-
guises himself simply by discarding his
prop spectacles. When he hung around
the Rivoli Theater on Broadway where his
first talking comedy, "Welcome Danger,"
was playing, and went inside to listen to
the comments of the paying guests, he was
never once recognized. Who would ever
see in the quiet, unobtrusive young man
the great screen comedian whose clever an-
tics fetch him a healthy little stipend of
something like $30,000 a week? Harold
came up to call at Screenland while he was
in town, and if the office boys hadn't tipped
off the elevator boys no one except the
publisher and editor would have been the
wiser. As it was, Harold was a big hit
in his impromptu personal appearance.

SCREENLAND

On Location with Billie Dove — continued from page 91

"But why come all the way out to this
dusty and uncomfortable place? Why not
have lunch with me at the studio one day
when we are working there? I can tell
you just as much."

"Ah, but this is a location story. And
they are more interesting because of the
hazards and the handicaps and the in-
ventions— so I go to lots of uncomfortable
places to find out just how uncomfortable
they are. But this is heaven — you should
have been on those railroad tracks when
Paramount was making 'The Virginian!" "

Billie laughed her musical laugh and
gave my hand a pat with her soft little
paw. "You poor girl!" she said.

"Poor nothing!" I declared. "I adore
to be uncomfortable under such thrilling
circumstances! Just think how many gals
envy me sitting on those railroad tracks
between Gary Cooper and Dick Arlen!
Not to speak of the boys who would like
to be talking to you in my place."

"Come on, Mary. Some powder for
Miss Dove's nose," directed Lloyd Bacon.
"And — -my grief, is that a drop of rain?"
It was. "Billie, get under cover. That
dress will be ruined with even one drop
of rain on it."

"Oh, Miss Dove! Oh, Miss Dove!"
sang Grant Withers capering about like a
jumping jack. "Quick, Miss Dove!"
Putting his two hands together megaphone
style, Grant bellowed up to the sky: "Hold
the rain! That will fix it, Lloyd, you
needn't worry any more," he said, pre-
tending to be full of authority.

"Step over here, will you?" .said one
grip to another. "I want you on a con-
ference." Together they placed a covering
over Billie's head.

A severe-looking little woman came up
to me and asked where the assistant di-
rector was. "He's the man wearing two
hats — over there by the cameras." I might
have said two of everything, since he had
two megaphones slung on his arm and two
pencils, one behind either ear.

"Well, I am going to ask him why the
teachers aren't on the set for these children.
You know," she shook a threatening finger
at me, "those children are supposed to be
in school and if they don't get their les-
sons it goes very hard with them the next
day."

I soothed her as much as I could, but
after all I was just a visitor and not in
the least responsible, although I began to
feel so. But I realized she was just re-
hearsing what she was going to say to the
assistant director. It all got straightened
out. The children had been taught in the
morning and would not get another lesson
until the following evening, when they had
to work. When children work at night,
however, they are sent home at nine-
thirty.

"Does the picture follow the story?"
someone asked.

"Darned if I know," said Ed Marin.
"We have only four more days to shoot
and I haven't read the script yet! Want
to read it?" He tossed a copy over to
the inquisitive one.

"The first requisite of an actor," said
Lloyd Bacon impressively, "is to know his
lines. Now Billie knows hers — she studies
at night." Grant Withers was very busy
picking up little stones from the gravel
path. "Yes, Billie knows hers. She's not
a good time, Charlie — and that goes for
Mr. Ken Thompson, too. But I have the

script, Grant. I'll read your lines in case
you blow up," Mr. Bacon finished with
a wicked twinkle in his eye.

"Who's a good-time Charlie?" exploded
Grant. "One dance and one hunt have
I been on since this racket started — and I
haven't blown up once in my lines today!"

"Well, let's get the scene in between
drops," said Mr. Bacon, "and then we
might as well migrate. That sun's quit
for the day." The scene went through
fine and Grant drove us back to the
studio.

We got out the next evening for the
night scenes at about eight o'clock. Such
a transformation! The carnival was on.
Booths decorated with paper flowers, lan-
terns strung all over the place. Booths

Harrison Ford is repeating his silent
successes in the speakies.

with canned fruit, candy, fortune tellers,
soda pop — a shooting gallery where you
got prizes; lots of people and fun.

Billie was dressed all up in a lovely lace
affair with a picture hat. She was terribly
excited because a visiting school friend was
to do an extra bit in the picture. The
friend is in the party to greet Billie when
she and Ken Thompson drive up to the
carnival, and even has a line to speak.
She has no wish to become an actress,
but she was thrilled to death to play she
was one just for this scene.

It was necessary for the motor car to
start at a given signal and dash up to the
group. Of course it didn't. "Just a mov-
ing picture prop!" said an assistant of the
beautiful five-thousand dollar job, which
burned its owner up.

After the party got out of the car Ken
ran it outside the picture lines near an
arc lamp.

''What's he doing that for?" I asked.
"You'll see." I was told. When he made
himself comfortable Ken pulled a book out

of his pocket and started to read! He is
a great reader and as he wouldn't be
wanted again for an hour there was no
reason to waste the time.

Some distance away was a long table
with a powerful lamp over it. Seated
about were four or five children with their
teacher who was supervising the 'home
work' for the next day. Little Joyce had
to make five maps, and when she explained
them to me I was amazed to see the differ-
ence in the duties of the school children
today, as compared to those of — well — shall
we say twenty years ago! One map had
to show all the railroads, one all the bus
lines, one all the air lines and their ports
and I've forgotten the other two. What
research!

Loretta Young came out for half an
hour to talk to Grant and they sat in her
car on the sidelines giggling and having
a lot of fun.

A location looks weird at night. The
lamps stood on twenty-five foot parallels
and all around it is black as ink. Night
work increases the number of things the
prop men have to think about, too. For
instance, when Ken drove the car to the
church yard gate where the carnival was
being held, light from the lamps struck
the metal trappings of the engine and sent
out halations for a foot around. Two or
three of them ran for black adhesive tape —
the prop man has to be ready for any emer-
gency on a location — and strapped up all
the trappings of the car just as though it
had a busted rib!

"Is someone going to comfort those
geese?" asked Lloyd Bacon who had been
trying to direct in competition with the
quacking of the birds, disgruntled because
of being kept up at night. The geese
were borne off bodily, in disgrace, but
a handful of corn or whatever it is that
geese like best, soothed their ruffled feel-
ings and they behaved very well the balance
of the evening.

It's a strange thing how many actors turn
writer and how many writers turn actor.
Grant Withers is one of them. He likes
writing and hopes to go back to it some
day. "But I darn near starved to death
when I was doing it," he laughed.

"I never knew you were a writer," I said.

"Oh, sure! I was on a paper here for
nearly a year, and believe me it was a lean
one. I decided I'd have to make some
money and then scribble. Acting's all right.
It's interesting and there's a lot to learn
and I like to learn things. Good copy
around here, too. I'm storing it all up
and some day, maybe, I'll get it on paper."

Billie was so busy I had little chance
to talk to her that evening. But I found
out that, like all the rest of the girls in
Hollywood, she was not neglecting her
singing and dancing. "Both of them are
restful, do you know it? Singing is won-
derful exercise and after a lesson I feel
ready to tear down the world. Dancing
limbers up all the muscles that stiffen up
when we have to sit about the studio all
day. It's turned the talking picture busi-
ness into one of the healthiest in the
world. We must keep up with these two
accomplishments or else our range of parts
will be terribly limited. The easy days
of the 'silent drammer' are no more!" she
said with a little sigh.

Then they all started in on what seemed
to be a long stretch of work, so the Location
Lady decided to call it a day.

for February 1930

107

ou can keep your skin lovely
just as 511 Hollywood Actresses do

98% of the lovely complexions
you see on the
or with Li

riix Toilet So

ap • • •

NOBODY knows better than the world's
popular screen stars the importance of
petal-smooth skin. As Raoul Walsh, famous
Fox director, says: "Smooth skin is the most
potent charm a girl can have — and an essen-
tial for stardom on the screen, with its many
revealing close-ups."

Of the 521 important actresses in Holly-
wood, including all stars, 511 use Lux Toilet
Soap, not only at home, but on location. For
at their request it has been made the official
soap in all the great film studios.

Like 9 out of 10 screen stars, the loveliest
Broadway stage stars, too, use Lux Toilet
Soap. No wonder so many of them have suc-
cessfully passed the screen test for talking
pictures!

And the European stars are now using it!
In France, in Germany, in England. You'll
be delighted with the way this fragrant white
soap cares for your skin. Order several cakes
— today.

Mary Astor, ever so at-
tractive a screen star.

Mary Brian, beloved little
Paramount star.

Betty Compson, attrac-
tive Radio Pictures' player.

Sue Carol, vivacious star
with Fox Films.

Marion Davies, one of the
most fascinating of all the stars.

Joan Crawford, lovely
Metro-Goldwyn-Mayer star.

Clara Bow, scintillant Para-
mount star.

Evelyn Brent, beautiful
Paramount star.

Bebe Daniels, charming
Radio Pictures' player.

Dorothy Mackaill, lovely
First National star.

Billie Dove, lovable First Janet Gaynor, delightful Eleanor Boardman, ap-
National star. little Fox star. pealingly beautiful star.

Betty Bronson, a star
famous for her charm.

Marion Nixon, beautiful
Warner Brothers' star.

May McAvoy, petite star
with Warner Brothers.

Lux Toilet Soap

Luxury such as yon have found only in Jine Fremh
soaps at $ot and $1.00 the cafe . NOW

108

SCREENLAND

What the Mouth Tells — Continued from page 93

To make the lips appear fuller add rouge
beyond the line of lips using care to keep
the line very even. And to make lull
lips appear thinner, work not quite to the
edge of the lips with the lip-stick. A
mouth without shape can be cleverly
shaped somewhat after the Cupid's bow
model, but this requires skill.

Be careful in selecting your lip-stick.
It should have body as well as color. A
good lip rouge doesn't dry the lips but
gives a live, natural appearance. If of
the right shade and consistency it will add
beauty and softness to your mouth.

A mouth to have full charm must have
a finished look of perfect grooming — an
added beauty that bespeaks health and
culture. And no girl can be really at'
tractive without fine, healthy teeth. It's
a pity that fairy god-mothers did not be-
stow upon all of us the pearly white, even
rows of teeth of the
story-book princesses
and the movie hero-
ines— but as they did
not, we must do what
we can toward attain-
ing and retaining this
real asset to personal
charm.

Much more is being
done about teeth than
used to be done.
School children are
instructed in care of
the teeth. Periodical
examination of teeth,
with visits to the den-
tist when necessary,
are doing much toward
keeping the future
generation in a better
state of health than
has ever before been
the case.

The older generation is taking these in-
structions to heart as well as putting them
in practise. Mothers have learned that
if the first teeth of children are cleaned
and filled they will last several years
longer than if they are neglected, and the
shape of the jaw and to some extent the
quality of the permanent teeth depend on
their soundness. Very small children to-
day are acquiring the tooth brush habit
and probably by the time well-trained little
girls of today grow up they will have
greatly increased the percentage of Ameri-
can consumption of tooth brushes both by
practise and example.

The dentist, too, has become an important
person in our lives. He is invited to in-
spect our teeth every three or four months
for possible damages and to advise us about
dentifrices and mouth washes. And at
least twice every year — if we are wise — we
have our teeth cleaned by a dentist. If
you pay these visits regularly, you will find
that the dentist is not a fearsome person at
all. And if you begin early and keep faith
you will have few unpleasant sessions with
him for a great many years, if at all.

American girls have the reputation the
world over for being healthy and charming.
One reason is that when they smile they
almost invariably display beautiful teeth.
It is said that European women envy
American women this important asset to
beauty and attribute it to the superior skill
of our dentists. But the American girl
knows that her own conscientious habit of
daily care of the teeth and health is re-

sponsible for the well-kept appearance of
her teeth. And she knows that keeping
the teeth absolutely clean is the safest and
surest method of preserving them.

We must not only keep the teeth clean,
we must keep the mouth clean, too. There-
fore, a good protective or antiseptic mouth
wash should be used at least twice every
day.

Equipment for a perfect dental toilet may
be simple but must be faithfully used. First
of all, the teeth should be brushed not only
twice a day but five times: in the morning,
after each meal, and at night. This is a
bit difficult for those among us who have
jobs outside the home, but we must do the
best we can about it. Wielding the tooth-
brush so often may be a trifle boresome
but surely no more than getting the seam
of your stocking straight or any other
bothersome detail of the toilet.

Qlllllllllllllllllllllllllllll Itl 1 1 IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIMtllllMIIIIIMI IIIIIMHIIIMIIIIM lllllllllll 1 1 1 1 II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 Q

THE MOUTHS BELONG TO:

1. Anita Page

2. Marion Davies

3. Greta Garbo

4. Mary Duncan

5. Natalie Moorhead

6. Lois Wilson

7. Ruth Chatterton

8. Lupe Velez

9. Billie Dove

10. Janet Gaynor

1 1 . Bernice Claire

12. C arm el Myers

1 3 . Mary Nolan

14. Mary Brian

15. Dolores Costello

16. Vilma Banky

i r i I I I i I I I i i i i i I '! I I i I I I i M 1 1 I r i i i i i i i i i i I i i f i i i I I . I I 1 I I I I I I I I I r I I I M I I I I I I I I I l I I I I 1 I I I I I t I I I i i I 1 I I I 1 i i i i i i i i i i i i i i i : i i i m ; M I I I t i P I I II I I i i I i i i i i I P

It is best to have two tooth brushes, so
a dry one may be used each time the teeth
are brushed. At least once a day, rinse
your tooth brush in bicarbonate of soda
and warm water.

When it comes to selecting a tooth
brush there is a wide choice. There are
many shapes and sizes. Quite as your jaw
curves, so must the bristles of your brush
curve to reach remote teeth. Choose a
brush with bristles neither too hard nor too
soft. There are brushes so shaped as to
make it an easy matter to brush the wisdom-
teeth. There is a brush or rather a handle
with two brushes easy to insert, whereby
a brush is always available. There are
brushes easy to keep clean with bristles set
far apart; and there's a rubber brush for
cleansing the teeth as well as massaging the
gums — for we must do our 'daily dozen"
on both teeth and gums if we would keep
them in good condition. Healthy gums
can stand the same amount of brushing as
the finger-nails.

Dental floss is an important item of the
dental equipment as it will do what the
most aggressive tooth brush will not do —
pass between teeth that grow close to-
gether. This should be used at least once
daily — the last thing at night.

Of course we've been long 'in the know'
that teeth must be brushed up and down
and not crosswise, using a dentifrice and
a dry brush. Begin at the upper left side.
Place the brush well up on the gums and
as far back as possible and brush down-
ward, twisting and forcing the brush be-

tween the teeth. Draw the brush upward
and across the gums and downward on
the next group of teeth. Brush each sec
tion several times, keeping the upper and
lower teeth closed. The lower teeth should
be brushed upward in the same manner.
Or perhaps you have been taught to use
a rotary motion from left to right. If so.
that's all right, too. The main thing is
to get the teeth clean.

When it comes to dentifrices, our mentors
give us no rules to follow. There are
liquids, pastes and powders and a brief
could be held for each. Some dentifrices
claim germicidal, antiseptic or anti-acid
qualities; others claim merely to cleanse.
Dental journals advise a simple combina-
tion of pure ingredients, free from gritti-
ness and of pleasant taste. The product
that best suits your mouth is a matter of
experiment — but if you are in doubt, or
if your teeth or mouth need special at-
tention, let your den-
tist advise you in
your choice of denti-
frices.

If you need a spe-
cial teeth whitener,
baking soda is excel-
lent for this purpos;
and will remove the
most stubborn stains
from the teeth.

To sum it up — if
you would prevent
painful and expensive
dental work, if you
would have white,
well-kept teeth, use
dental floss often,
brush your teeth more
often, and invest in a
good dentifrice and
mouth wash.

And don't forget
that what you eat has
ever so much to do with your teeth. A
small girl's diet should be carefully planned
by the mother who wishes her debut in
any career to be a success. For acid fruits,
green vegetables, whole wheat bread and
milk furnish the calcium, vitamins and
phosphorous which make strong, sound
teeth.

Unless grown-ups follow the same menu
they can't keep their teeth in good con-
dition, either. To chew an apple a day
keeps the dentist as well as the doctor
away. Celery and crusts of bread are di-
rectly useful in keeping the gums healthy
and the teeth sound, provided we grind
them sufficiently fine. Not so long ago.
however, an article came out in a leading
magazine stating that it's a mistake to chew
our food too fine as it leaves the stomach
with nothing to do! Another fine old
theory exploded — or is it? We don't be
lieve that in this hurrying age there's much
danger of anyone chewing food too fine.
So put down chewing as another habit
that if formed early in life is a real aid
to good looks.

Care of the teeth must not be neglected,
even for a day. and must continue in-
definitely.

The mouth tells a lot, girls. Let yours
reveal a sunny, understanding disposition
and the charm that perfect grooming gives.

Do you want to know more about good
grooming, charm, how to be popular?
Write to me. I'm always glad to help!
Please enclose stamped, addressed envelope
for reply.

for February 1930

109

"Antiseptics and Drugs are
worthless in Toothpastes"

—Says looted Health Magazine

IF you are using a toothpaste
in the vain hope that it will
correct or cure some disorder of
teeth or gums, you must heed
this plain warning!

Thousands of people are harm-
ing their teeth by believing that a
dentifrice can cure — and neglect-
ing to go to the dentist for the
proper scientific treatment which
he alone can give to teeth and gums.

No dentifrice can prevent or cure
pyorrhea. No dentifrice can perma-
nently correct acid conditions of
the rnouth. No dentifrice can firm
the gums. Any claim that any den-
tifrice can do these things is mis-
leading, say high dental authorities.
A dentifrice is a cleansing agent —
like soap — and should be made
and sold and used with tlhe one
object of cleaning the teeth.

This is a tremendously important
object in itself. Everyone wants

*Why Colgate's Cleans Crevices
Where Tooth Decay May Start

Greatly magnified picture
of tiny tooth crevice. Note
how ordinary, sluggish
toothpaste (having high
"surface-tension") fails
to penetrate deep down
where the causes of decay
lurk.

Read this warning:

"The only function of a dentifrice
is to aid in the mechanical
cleansing of the teeth without
injury to them . . . the antiseptics
and drugs incorporated in many
dentifrices are valueless, neither
curing nor preventing disease."

From an article in "Hygeia"

—the health magazine of the

American Medical Association.

clean, sparkling teeth. Everyone
knows that cleanliness of teeth
and mouth is vital to complete
health.

Why not, therefore, accept this
sane and common-sense attitude
toward toothpastes. Dentists are
all urging it. Stop looking for a
dentifrice which will cure. Begin
seeking the one which will clean
your teeth best.

Because it does this one thing
superlatively well, Colgate's has
become the world's largest-selling
toothpaste. Millions of people use
it, and for 26 years have kept
right on using it, because they
have found it cleans better.

This diagram shows how
Colgate * 3 active foam
(having low "surface-
tension" ) penetratesdeep
downintothe crevice,
cleansing it completely
where the toothbrush
cannot reach.

The reason for this is simple.
Colgate's contains the greatest
cleansing agent known to
man, in a special, mild, effec-
tive form. This cleanser, when
brushed, breaks into a spark-
ling, active foam. Careful scientific
tests have proved that this foam
possesses a remarkable property
(low "surface-tension") which
enables it to penetrate* deep down
into the thousands of tiny pits
and fissures of the teeth where
ordinary sluggish toothpastes can«
not reach. There, it softens the im-
bedded food particles and mucin,
dislodging them and washing them
away in a foaming, detergent wave.

Thus Colgate's cleans your teeth

thoroughly, safely. You have not

fooled yourself with "cures."
t * t

Also in powder form for those who

prefer it — ask for Colgate's Dental

Powder.

The 25c tube of Colgate's
contains more toothpaste
than any other leading brand
priced at a quarter.

Colgate. Dept. M-907, Y. O. Box 375
Grand Central r*ot*t Office, N. Y. C.

Please send roe the booklet, "How tu
k«*y Teeth and Mouth Healthy" and a
trial tube of Ribbon Dental Cream, free.

110 SCREENLAND

Come Into the Kitchen with Loretta Young— continued from page 97

appearances when we had a party, and
even if I do say it myself, they were just
about the finest cookies I have ever tasted!
RICH COOKIES
Vi cup butter
% cup sugar

1 egg well beaten
% cup flour
% teaspoon vanilla
Vi cup walnuts in halves
Cream butter and sugar together and add
egg then flour then vanilla. Drop on
buttered tins, smooth with a knife and put
half a walnut on top of each. Bake in
moderate oven.

My next piece de resistance is a lemon
souffle, a bit more difficult to make than
sponge cake, but very tasty. Here is the
recipe :

Ho hies:

young Phil!

Phillips Holmes has been acting in mo-
tion pictures since June 1928. His^roles
in "The Return of Sherlock Holmes" and
"Pointed Heels" are his biggest to date.
And he is now at the unusual place in
an actor's career where six roles come at
one time. He is being sought for parts in
special productions by three studios other
than Paramount. And there are roles in
four new productions waiting for him on
his home 'lot."

At twenty-two Phil looks twenty but
acts with the poise, manners and confidence
of a man of forty. And he combines this
sophistication with the occasional embar-
rassed gesture of youth. The effect is
fatal to femmes!

New York City was the scheduled birth-
place of Phillips Holmes, but it happened
that the situation was handled in Grand
Rapids, Michigan. In order to correct this
geographical mistake Phil has spent much
of his spare time in New York. Although
his mother as well as his father were of
the stage, Phil grew up without thinking
seriously of carrying on the name of Holmes
in electric lights.

While Douglas Fairbanks and Taylor
Holmes were leading men on Broadway,
Doug Jr. gave a seven-year-old-birthday
party to which young Phil was invited.
This is the one big memory of Phil's early
years because that day marks the beginning
of a loyal friendship between him and Doug
Fairbanks Jr.

When Phil was nine, Essanay engaged
his father to come to Chicago for motion
picture work. The elder Holmes had the
old-fashioned belief that a man should con-
sider his family as well as his career. This
made it imperative that the family, with
recent additions of a young son and
daughter, move west. The change from
night work on the stage to daytime picture
work gave Phil more of his father's com-
panionship. He spent considerable time
watching scenes being made with Virginia
Yalli. the leading lady, and Rod La Roque,
the menace. On one of these visits to
the studio, Phil made his picture debut by
playing his father's caddy in a brief se-
quence for "Uneasy Money."

The following year brought Taylor
Holmes a contract with Triangle pictures
and a trip to California for the entire fam-
ily. In Los Angeles, Phil was put into
boarding school at Harvard Military Acad-
emy. The enrollment several months later

LEMON SOUFFLE
Yolks of 4 eggs

Grated rind and juice of 1 lemon
1 cup sugar
Whites of 4 eggs

Beat yolks until thick and add lernon
coloring, add sugar gradually, and continue
beating, then add lemon rind and juice.
Cut and told in whites of eggs, beaten
until dry, turn into a buttered pudding
dish set in a pan of hot water and bake
30-45 minutes in a very slow oven. Serve
with or without a sauce.

Now I don't mean to say that I origi-
nated these recipes but I did make certain
innovations that gave them individuality.

Some day when I have a daughter of my
own — maybe — I am not even married yet,

of young Doug Fairbanks brought the two
boys together again and for two years they
attended the same classes and played on
the same football team. At that time, the
big events of their lives were Saturday
afternoons when Doug, Phil and Flobelle
Fairbanks, the daughter of Robert Fairbanks,
attended the Orpheum and stopped in at
a drug store on their way home for caramel
nut sundaes.

Then Phil went East to attend Newman
Prep School and Doug Jr. left to travel
in Europe. In 1925, Phil came back to
spend the summer with his parents, and
found Doug Jr. there just beginning to
establish a foothold in pictures. Through
his friendship with Doug, Phil met Mary
Brian, Betty Bronson, Lois Moran and
Freddie Anderson — which brings us right
back to the beginning of the story!

At the end of a happy summer, the
youngsters returned to their cameras and
Phil sailed for England with his mother.
She went on to Paris where he joined her
for the Christmas holidays. The following
two years which he spent at Trinity Col-
lege were the most enjoyable of his life.
With the average allowance of an American
college boy Phil found he had a small for-
tune in England. He was on the rowing
team and joined the Footlights Club. He
made occasional trips to Paris and spent
the next Christmas at St. Moritz, Switzer-
land.

During the boy's two years in England,
his father was reminded of the fact that
Phil was the world's most infrequent letter
writer. When he returned to the United
States, his parents had no idea as to the
boat on which he was sailing. By mistake,
the steamer on which Phil had sailed wired
the family that he was not on board.
When he docked in New York, a telegram
informed his worried family of his arrival.

In New York, a friend of the family,
a banker, told Phil of his mother's serious
illness. He assured the boy that his mother
needed a year for complete recovery. He
knew Phil had been in England two years
and was planning to go back, but the
banker offered him a position — three years'
training in finance, then an excellent op-
portunity to enter the banker's firm at a
very good salary. With a decision to be-
gin work in the fall, Phil left for California.
His mother was slowly recovering and re-
fused to hear of his leaving school to work.
In the end, a compromise was effected.

I am going to teach her how to cook just
like mother taught us and I am going to
try to make it a pleasure for her rather
than a drudgery.

I have a pet theory of my own that if
we succeed in making play out of our work,
it turns out a whole lot better and keeps
us out of a rut. There are various ways
of turning work into a sort of game and
no child minds playing. Then it helps
a lot when words of appreciation follow
something that is well done. I know in
our household there was a spirit of friendly
competition between us three sisters and
even my brother Jack, learned something
about cooking which has stood him in
good stead on camping expeditions. I don't
know of any one who can do more with
a tender, juicy steak than brother Jack.

Phil would attend Princeton, instead of
putting the ocean between himself and the
family.

The next spring, at Princeton, he was
awaiting with some trepidation the ordeal
of examinations when a telegram was
handed him. It read: "I am coming East
with Charles 'Buddy' Rogers, Mary Brian
and film company to make a production at
Princeton." (Signed) Freddie Anderson.

Phil was overjoyed. Frankly, he had
liked Mary very much when he knew her
several years before. He was anxious to
show Mary to Princeton and Princeton to
Mary. For two weeks, Phil heard nothing
more and almost forgot the telegram. Then
one afternoon, there was a note in his room.
"Kindly see the Dean at 3 o'clock."

Not knowing quite what to expect, Phil
went to the office and was met by two
men, one of whom said: "You know what
we are here for?" Phil's answer was a
courteous 'yes.' though he actually had no
idea. Finally he learned that the men were
from the Paramount Studio and wanted
him for a part in a Buddy Rogers picture.
Remembering how the school had razzed
previous productions of campus life, Phil
refused the offer.

But after several consultations with
his classmates and with Frank Tuttle, the
director, Phil finally submitted to a film test.
The prospect of a trip to California by
airplane if he made good led him to accept
the role of Buddy's room-mate in the pic-
ture. Instead of the usual side remarks
and general razzing by the students, the
picture progressed very well at Princeton,
principally because of the genial personality
of director Frank Tuttle. And thus ended
Phil's Princeton career!

Following this picture, Paramount insisted
that Phil sign a contract, but with a clause
permitting him to cancel the agreement if
he decided to return to school or begin
a financial career in New York. Phil ac-
cepted, then went to Boston where his
father was appearing in "The Great
Necker." Wisely, Taylor Holmes told
Phil that if he was thinking of a stage
career he could start as juvenile lead for
three weeks of the Boston run. Phil ac-
cepted the suggestion, but after the play
closed went at once to Hollywood.

He played small roles in Paramount pic-
tures: then came his role in "Sherlock
Holmes." Today, they are laying ^ odds
along Hollywood Boulevard that he'll be
the screen hero of 1932!

Chapter II— Continued from page 83

for February 1930

111

Th.

In dieting for the slim figure, be sure your diet is well balanced with a regular supply of roughage

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Universal Star

You know them — the women who
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H H X

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112

SCREENLAND

The Millionaire Script Girl — Continued from page 51

be »n actress if I could become three scpa-
rate and distinct film Bcrnhardts. In the
first place, I'm frightfully camera shy.
Second, I want to be a director. There's
a real job — the most fascinating in the
world!"

" "Gene!" bellowed a voice from the
nearby 'set.'

"Coming, Mr. Wilde!" cried the mil-
lionaire script girl.

"Never mind — just tell me whether
Doug's place at that luncheon table in the
other sequence was on the right hand of
Eddie Nugent, or on his left?"

"On the left, Ted!"

"Okay!" And Ted Wilde could be heard
resuming his preparations for a scene, while
we turned back to the script girl.

"Are you really a 'millionairess?' "

"Heiress of a million, perhaps, but my
own fortune from my interest in the
Jackson-Bell radio, and other smaller in-
vestments, isn't as formidable as that,"
she smiled. "However, with my script girl
salary of forty per week, I manage to get
along without borrowing from my family!"

"Yes," Loretta Young remarked. "She
struggles along in an eighteen-room house
with only a dozen servants, a stable, a
swimming pool, tennis court — more dog
than Tom Mix!"

"Built by radio!" 'Gene quipped. "At
any rate, I can claim no credit personally.
I had a fixed income from my parents,
saved some of it, and invested it. An
easier way of making money than being a
script girl, and keeping track of the ties
Doug here uses, or Loretta's changes of
shoes."'

"Why did you keep the fact that you
were wealthy a secret for so long?" I
wanted to know.

"It would have been an obstacle to my
progress in pictures to have it known.
Even then it was rumored about that I
was somebody's favorite. That's the way
of the world!

"Now, it doesn't matter, for everyone
knows me and realizes that I have made
good on my various jobs without influence.
Except in getting my forty-a-week script
job! That took all the pull I could bring
to bear."

"Because you were breaking into the

movies?"

"No! I was already in. That's the kick
of it. I had been a scenarist for a year.
But they told me a script girl had to have
brains. Her position — in contrast to that
of a scenarist, I suppose — is a responsible
one. I wasn't quite fitted for it.

" 'How,' I asked the producer who broke
this news to me, 'is one to qualify for this
important position?'

" 'Well, usually they come from the type-
writing department. You see, the typists
copy the scripts, and that teaches 'em con-
tinuity and all those things.'

" 'And I merely write some of the
scripts they copy, and I'm not qualified?'
I demanded with very real astonishment.
He thought I was impertinent, of course,

so that ended the conversation.

"Looking back over the situation, I see
some justice, if very little logic, in the
producer's argument. He no doubt thought
I was crazy to wish to give up a two-hun-
dred-a-week billet as a scenario writer for
a script girl's job at forty."

"Why did you?"

"Because the script girl has a chance to
understudy the director. I don't believe
being an assistant director — I've been one
myself — gives such a thorough insight into
the director's tasks."

"Did you finally persuade this producer
to let you become a script girl?"

"Not that producer. That was at M.
G. M., where I got my first job as scenarist,
collaborating with Max Marcin. I went to
Universal for the first script job. Once
I had broken the ice I had no difficulty
in getting other script jobs anywhere in
the industry. With brief vacations I've
given myself, I've been working continu-
ously ever since."

"How did you originally break in?"

"I had thought I wanted to be a writer
at one time. I wrote short stories, scen-
arios and plays, and some of the former
were accepted, encouraging me just enough
to make me keep on. I tried to sell Mr.
Marcin an idea for a play or scenario, and
he looked at some of my work. When he
signed his M.G.M. contract I was signed
as his collaborator. The stories we did
together were manual labor on my part,
creative work on his, but it was marvelous
training, and I was able to supply gags
and bits of business. He even gave me
credit for a little helpful criticism.

"I soon lost interest in scenario writing,
however. The director is the principal
creative artist in pictures, and I believe he
always will be. So I made my resolution
to become a director, and with that in
view tried for six months to be 'demoted'
from scenarist to script girl. I had to go
to another studio to do it, which seems
to be a commentary on the status of film
writers in producer minds."

"They got that way when Goldwyn im-
ported the Eminent Authors," put in Louise
Fazenda slyly.

"When and where were you assistant
director?"

"With Norman Taurog and Arthur
Gregor in pictures made at Tiffany-Stahl
and Columbia. I could have stayed on
Poverty Row as assistant, I suppose, but
I wanted experience in the latest talkie
methods at the big studios. Failing to get
in on Vitaphone's ground floor at Warner
Brothers, I connected with First National
because I knew of the coming merger.

"How? I'm not telling. A business
agent of mine got the news for me. I
worked with the late John Griffith Wray,
however, on a talkie, 'The Careless Age,'
as my first tryout here. Then they gave
me script on Billie Dove's 'Her Private
Life,' which Alexander Korda directed;
'Little Johhny Jones,' directed by Mervyn
Le Roy, and this one with Ted Wilde.

I'm glad to work with as many directors
as possible. Their methods are all
different. "

"How do you propose to go about be-
coming a director?"

I'll do as others have done, begin ham-
mering at the various producers for a
chance. Then they'll get a 'flop' story
with a poor cast available, to fill a niche
in a program. They'll give it to me, so
as not to risk a known director's repu-
tation on it. If I can make a good picture
out of it, I'm 'made.' If, as the conditions
and law of chance would dictate, it's an
utter failure artistically and financially,
back to the script I go. Ultimately I break
through!"

"Now that it's known about your money,
will they be more likely to give you such
a position?"

"I could be a director tomorrow — on
Poverty Row. All you have to do is in-
vest a few hundred thousand in a pro-
duction down there. I was tempted many
times while I worked there. I'd have
loved it — walking in there and saying:
'Mr. So-and-So, I'll direct 'The Sea Out-
law' for you!' and just before they threw
me out, waving a check that would have
had all the effect of a magic wand.

"But one needs producing facilities they
haven't got. So I'm going to get a real
director's job, with one of the big com-
panies. I'm not quite ready for it yet.
There are more developments in talking
and color pictures I need to know."

"Now that the papers have commented
on your wealth and all that, are you
bothered by propositions to finance pictures
and so on?"

"No. I turn all such applications over
to the very hard-boiled and capable gentle-
men who handle all my affairs of a legal
and financial nature."

"She's busy dodging hungry but hand-
some young actors who're looking for a
meal ticket, though," Inez Courtney in-
terpolated.

"Well, I can take care of that side of
my affairs without lawyers," laughed Miss
Searle.

At that moment two persons rushed up
to her. One was a prop boy, the other
a uniformed negro chauffeur.

"Hey, "Gene!" burst from the prop boy
loudly, "Mr. Wilde wants to have you
check the day's shots with the cameraman
right away. Shake it up!"

"Okay, Jim, coming immediately."

Turning to the interviewers, she re-
marked: "Master calls — I must go. Good-
bye!"

"Miss Jackson, if yo' please!" whispered
the chauffeur, "Marie says yo' clothes are
ready fo' tonight. When do you-all want
me?"

"Have the car ready at seven-thirty,
Washington!" she said, without the slightest
notion that we, an interviewer and a group
of motion picture celebrities, were 'taking
it big.'

The five $20 gold pieces offered by Mr. and Mrs. John Barrymore in the

~H.ovember issue of Screenland have been awarded to:

D. E. Dunn, Mr. Harold Willard Gleason, Loriel and Scott Wells,

Suite 41 A - 603 Howe Street, Kingswood School, 1809 Vine Street.

Vancouver, B. C, Canada. West Hartford, Connecticut. Berkeley, California.

D. LeMar Vannest,

. 321 East College Street, Mr. Joseph Brosnan,

Iowa City, Iowa. Oak Forest, Illinois.

for February 1930

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SCREENLAN1)

Grand Op 6T& 011 the Seidell? — Continued from page 2CJ

The scenery is real, the sets solid and the
characters appear to be actual people, rather
than a lot of choristers dressed in costumes.
There are mountain camps, forest scenes
and great palace interiors, so that we are
introduced to real people living in a real
world.

But how, then, about the music? Real
people in real life do not go about singing
their affairs. Here is where the construc-
tionists of the story have shown their
cleverness. Tibbett characterizes a 'singing
bandit.' a chap with a gorgeous voice given
to setting everything to music, even to
telling a narrative. The result is that two-
thirds of the story is told musically and
without the least shock to the realities.

Furthermore, Tibbett 'goes over' in a
way utterly impossible in grand opera, due,
of course, to the grand old close-up. In
other words, everybody attending "Rogue's
Song" will have front seats. Better than
that, they will mix right in among the
characters.

Nor is the close-up merely optical. We
now have a close-up on the voice. Instead
of the singer having to project his tones
fifty feet away so as to get over the foot-
lights, he may speak and sing in the in-
timacy of a tete-a-tete. Tibbett told me
that it was permitting subtleties of singing
hitherto denied all opera singers.

So much for "Rogue's Song" — now for
a few general observations. Where screen

opera will beat the stage is in the ability
to cast even the minor roles with great
singers, for the studio pays them but once
to appear before thousands and thousands
of audiences.

Nor will it be necessary to cast the lead-
ing roles with monstrous creatures equipped
with bellows like pipe-organs. We can
put a handsome chap with a good voice —
like Ramon Novarro, for instance — in the
stellar part and the 'mixer' will build up
his voice until it sounds like Caruso — if
such a thing is desirable.

Thus we come to the triumph of sound
reproduction, in which the new king, known
as the 'mixer,' does such extraordinary
things with the human voice. He has made
Raymond Griffith audible! — a chap who
has whispered his way to great heights in
the silent drama, but for whom everybody
shed tears when sound pictures arrived.
They reckoned without the skill of the
'mixer.'

Orchestral effects and accompaniments
will be finer than in the theater, for the
'mixer' can also determine the volume and
the co-ordination of the various instruments.
Each group of instruments has its own mi-
crophone that feed-in to the monitor cab-
inet where sits the mixer and an orchestral
leader. The singer's voice arrives via its
own 'mike,' and by tuning down and up
on the various receptions, these two men

can achieve a perfect blend. If the motif
is romance, they emphasize the violins; if
it is 'heart stuff' they bring up the English
horns: if the orchestra is too loud for the
voice they tune it down.

The mechanics of all this are utterly be-
wildering to the stage director who has
been used to directing from the orchestra
pit where he can command both the singers
and the instruments.

In screen opera he directs the stage
action utterly detached from the orchestra,
which occupies a box-shaped room some
distance away, and the only way he can
know how the singing and playing are
blending is through his telephonic head-
piece which is connected with the mixing-
room.

Another serious problem is to record the
voice of the singers when they are in the
open — riding across country, for instance.
In this case the photographic close-ups —
made silently — of the fellow singing are
reproduced in the studio and the voice
'doubled-in.' This is done by having the
singer repeat the horseback song while
watching the lip action on the screen.

The grand opera of the stage may be a
joke to Mr. Average Man but his ancient
prejudices are going to collapse in the pres-
ence of screen reproduction of those same
great classics.

What a day we are living in!

Edgar Wallace Solves Some Mysteries of the Movies

send for you — if you're good enough."

"How did you learn to be such a
shrewd business man?" I asked. "Writers
aren't always."

"I'll tell you. I've been poor. Awfully
poor. So poor I had to count every
ha'penny! I had to learn to be shrewd,
not to be taken in by people who are
smarter in business than I am. I need
money. A terrible amount of money. I
am an extravagant man and I made up my
mind at the beginning of my career to
make a terrible amount of money and not
to let people out-smart me while I was
doing it.

"By nature, I am a gambler. But I
have learned to develop a flair for safety.
I believe I've gotten to the top because
while I'm perfectly willing to gamble. I
always allow myself a margin on the safety
side. I like racing because it's a gamble.
I like bridge — because often it's a gamble.
Any kind of human gambling I love. But
not the stock market. That's cold-blooded,
inhuman. I like to see my horse run; to
win or lose my money quickly. There is no
thrill comparable, at least to me, to getting
out on a soft English morning, on the
green English downs, and watching my
horse romp home!"

Wallace has a great capacity for lusty
enjoyments because in his youth he had
few. Left an orphan at nine years, he
was adopted by a fishmonger in Billings-
gate, the famous old London fish market.

"My foster father and mother were good
to me," Wallace explained, "but they had
little. And at eleven I started selling news-
papers on Fleet Street. Later I became
president of the Press Club before which I
had often stood on foggy evenings selling
my papers.

"There wasn't enough excitement in sell-

Continued from page 23

ing papers, so I ran away to sea — got a
berth as cabin boy on a fishing trawler.
Later I enlisted in the army, and went to
South Africa. Here one day Kipling came
on a visit. I wrote a poem in his honor.
It was published in the Cape Town Times.
It was through this that I met Kipling.
And he inspired me with a desire to become
a writing man.

"When my enlistment was over I went
into newspaper work, becoming a war cor-
respondent for the Evening Mai! in the
Boer war. After this I took up police
reporting. I got real stimulation out of
this, but from time to time I would lose
my job — for no especial reason. Because
the life was so precarious and because I
had covered enough crime to know some-
thing about it. I decided to write my own
stories. And so I began my career of a
mystery writer. It was more successful
than I ever dreamed.

"We will always have mystery stories,
mystery plays and mystery films. Just as a
man needs iron in his diet so most of us
heed mystery entertainment. W e nearly all
live humdrum existences, working ior our
daily bread and going home at night to
nothing more diverting than supper and
bed. There is little color or glamour for
most of us. Tomorrow and tomorrow and
tomorrow stretch out our little lives from
day to day. as Shakespeare said, or words
to that effect! I like to write mystery
books and plays because I know they pro-
vide people with the glamour and color
their everyday lives deny them. It keeps
them out of mischief and sends them to
sleep at night with some of the hero's
reflected glory in their minds and hearts.

"That's one of the reasons I should like
to write for talking pictures. For the
mystery play is not a passing phase. We've

always had it and we always will have it
to provide adventure for those of us who
cannot sail the seas of adventure and
glory."

"Why is it," I questioned "that all pro-
ducers have such trouble getting good
stories for their films?"

"I'll tell you why," Wallace answered.
"It's because a producer tries to do more
than produce. He'll get a good author,
pay him a lot of money for a story, and
then when everything is ready to shoot will
tear his story apart by saying: 'Here, let's
write in a part for so and so.' Or, 'Change
this. Don't make the climax a gambling-
hall scene. Have an African elephant hunt
instead." The average producer who knows
no more about drama than a baby does
about bootleg liquor inserts his thumb into
the pic and the result is like nothing on
earth.

"I feci that I am one of the few writers
not only able to write scenarios but also
to re-write them instantly on the stage of
a movie lot, as well — if the occasion re-
quires. Not because I am anything phe-
nomenal but because on the stage I have
done just that year after year. Producing,
writing, and directing plays has been my
job for longer than I can tell you. Owing
to the fact that I have learned my craft —
which is a combination of three media —
through years of unending work, I realize
that the average moving picture producer
should confine himself to figuring produc-
tion costs and let the director and writer,
the actor and technician, combine their
talents to work out a picture in which
dialog will not impede action and in which
action will carry the positive earmarks of
reality. That's the answer to the perfect
moving picture — the answer to every
movie producer's prayer!"

for February 19 3 0

11?

They dared Officer Kane
to play

. . and his music held them spellbound

ETHEL'S house party was at its height.
Shrieks of laughter mingled with
phonographic music could be heard
outside.

Suddenly there came an ominous knock-
ing at the door. Ethel ran to open it and
— lo and behold — there stood Police Officer
Kane.

"G-G-G Good Evening," gasped Ethel.

"I want to see the man of the house,"
thundered Kane.

"I'm sorry," stammered Ethel nervously,
"but my father is not at home."

"Well, what's going on in here anyway?"
continued the officer sternly. "Sure and
every one on the block is coniplainin' of
the noise. I've a good mind to arrest the
lot of you."

Ethel was mortified — what a disgrace !

"Oh please," pleaded Ethel, "please don't
do anything like that, I promise "

But Kane could restrain himself no
longer.

"Don't worry, lassie — you were all havin'
such a fine time I couldn't help dioppin'
in. Go on — have all the fun you can,"
laughed the big good-natured policeman.

"Oh," sighed Ethel, greatly relieved,
"how you frightened me. Won't you join
us?"

Kane Joins the Party

"Ha," laughed Kane as the
Victrola started again, "what's
the matter with you all —
playin' that canned music —
can't any of you play this
beautiful piano? Sure I'd like
to give you a tune myself."

"I dare you to play for us,"
shouted Ted Strong quickly
sensing a chance to have some
fun at the policeman's expense.

Others chimed in, "Yes, do
play for us, Officer." "Just
one tune." "Yes, just one — ■
that will be plenty!"

"I'm afraid I'll have to be goin', stam-
mered Kane, embarrassed as could be.

"Mr. Kane, I think you might
play for me after the fright you
gave me," smiled Ethel.

"Well, b'gorry, maybe I
will," agreed the officer.
And as he sat down
at the piano

Pick Your
Instrument

Piano
Organ
Ukulele
Cornet
Trombone
Piccolo
Guitar

Hawaiian Steel Guitar
Sight Singing
Piano Accordion
Italian and German
Accordion
Voice and Speech Culture
Harmony and
Composition
Drums and Traps
Automatic Finger Control
Banjo (Plectrum.
5-String or Tenor)

everyone laughed and cheered. But the noise
stopped instantly when he struck the first rollick-
ing notes of Rudolph Friml's famous "Song of
the Vagabonds." They were amazed at the way
his large hands flew lightly over the keys.

"More — more." "Encore." "That's great — play
another." They all shouted and applauded as
the last notes of that snappy march song died
away. Kane then started that stirring old
soldier song "On the Road to Mandalay." One
by one the guests all joined in and sang.

Then Kane wound up with that
popular dance number, "You're
the Cream in My Coffee," and the
whole crowd danced.

"Well," he laughed happily as
they applauded long and loudly,
"I'll have to be on my way now."

"Thank you for your lovely
music," said Ethel. "You must be
playing a good many years ?"

"Sure and I haven't been playin'
long at all." Then the questions
came thick and fast, "How did
you ever learn so quickly?"
"When do you find time to prac-
tice?" "Who was your teacher?"

Violin
Clarinet
Flute

Saxophone
Harp
Mandolin
'Cello

as a policeman. Then one evening I a saw a
TJ. S. School of Music advertisement in a mag-
azine, tellin' of a new way of learnin' to play
with no teacher at all. I didn't believe it my-
self but they offered a free sample lesson so I
sent for it. One look at the Free Demonstration
Lesson showed me how easy it was, so I wrote
for the whole course. My friends all told me I
was crazy until I started playin' little tunes
for them from real notes.

"There were no tiresome scales or tedious ex-
ercises either. With these simple lessons I played
real pieces almost from the start. Now I'm
playin' classical numbers or jazz, havin' the
time of my life."

* * *

This is not the story of just one isolated case.
Over half a million people have learned to play
by this simple method. You, too, can learn this
easily understood way. Even if you don't know
one note from another you'll graspi it in no time.
First it tells you how to do a thing — then it
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self and hear it.

You teach yourself — right at home — without
any uninteresting finger exercises, tedious scales
or other humdrum methods.

Free Booklet and
Demonstration Lesson

To prove how practical this course is, the U. S.
School of Music has arranged a typical demonstration
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Don't delay — act at once — fill in and mail the
coupon below today — no obligation whatever.

(Instrument supplied if desired, cash or credit).
TJ. S. School of Music. 3222 Brunswick Bldg., New
York City.

U. S. School of Music

3222 Brunswick Bldg., New York City

Please send me your free book, "Music Lessons in
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Have You

„ Instrument ?

Kane Tells His Story

"Well, to tell you the truth I
had no teacher. I've always loved
music but I couldn't take regular
lessons on account of my duties

Name

Address _

City State..

116

SCREENLAND

She Wants to Be Wicked — Continued jrom page 63

than to be born with it. I longed to
play women in varied walks of life re-
quiring keen characterization and I wanted
to give vent to my emotions. If there is
anything calculated to make a star discon-
tented with the pinnacle of fame it is being
without a say as to her story material.
But I was not then in a position to choose
my own vehicles. I had to take what was
assigned me and try to make the best of it.
They kept on giving me parts where things
always happened to me, but now I'm going
to be the one to start things happening —
and humming!

"The first time I succeeded in selling the
idea that I could portray human everyday
flesh-and-blood women of the people, was
in 'Classified.' I had to fight tooth and
nail to be allowed to play a working girl.
That picture justified my faith in myself
and proved that the public would accept
me in stories other than those written
around twenty or thirty French gowns. It
made more money than any of my previous
productions. My fan following doubled.

"At last, in my new contractual agree-
ment with First National, I have a clause
which stipulates I may choose my own
stories and gradually, I have been departing
more and more from my former saccharine
roles in machine-made vehicles. In future,
I will deviate still further in selecting my
screen material. Stories of human strug-
gle attract me most, whether it is a struggle
for achievement, fame, money, virtue,
power, love or existence itself. Red-
blooded characters who are 'naughty but
nice' present the greatest acting opportuni-
ties. I want parts which offer possibilities
for contrast and shading.

"With the advent of talking pictures the
screen is coming much closer to the theater
in the kind of stories and type of char-
acters which meet with the greatest suc-
cess. In the earliest days of the films, action
was the all-important thing — a series of
animated pictures. Their plot and counter-
plot became the vital issue. Next person-
alities were developed into stars and the
public would go to see its favorites whether
the story was good or bad so long as a
big name with distinctive individuality was
flashed in lights. This personality worship
soon introduced type acting. One made

a success as an emotional actress, a vamp,
a western type, a flapper or a fashion ex-
ponent and soon realism was sacrificed for
made-to-order vehicles to fit each person-
ality. All heroes were noble, all adven-
turesses wicked, all villains decp-dyed-in-
the-wool bad men, and all heavies were
heavy. The good were rewarded, the bad
punished and the ending inevitably happy.

"Thank heavens, all those proscribed
formulas are relegated to the past. The
human quality is asserting itself more and
more in dialog films, both in point of char-
acterization and the logical and artistic
development of the stories. Since the
screen has found its tongue, stereotyped
pantomime puppets become unconvincing,
sometimes even ridiculous. That is another
reason why I have broken away from my
former placid roles and am endeavoring to
portray life as it is lived in the flesh, not
in strips of negative. I want each of my
interpretations to remind my audiences of
someone they've actually known, someone
who is a pulsating mixture of faults and
virtues, foibles and follies, spiritual and
of-the-earth-earthy qualities.

"That's why I loved playing Lady Hamil-
ton in 'The Divine Lady.' The daughter
of a cook and a blacksmith, who became
a great lady, was neither all bad nor all
good. She was weak and willing at times
but also, she could rise to great heights
on occasion. It was the tremendous human
quality about her which appealed to me and
the gradual development of her character
through her colorful and dramatic love
affairs which went into the making of
history.

"In 'Outcast' I again departed from my
erstwhile goody-good roles by playing a girl
of the streets, a social derelict, who fights
against circumstances and environment and
not only lifts herself from beyond the pale
but through an all-compelling love regen-
erates the man of her choice as well.

"I chose Maxwell Anderson's Pulitzer
prize play, 'Saturday's Children,' because
the story was fundamentally a chapter out
of everyday life. I had the role of a $40-
a-week working girl who gives up her eco-
nomic independence to please her husband
but soon finds she is not domestic by tem-
perament and that sweeping floors and

washing dishes are not conducive to the
realization of girlhood's roseate dreams of
love. It was a simple, intimate story of
almost brutal realism with an originality
of viewpoint in dealing with the unromantic
realities of marriage which reflected the
problems in thousands of homes of the
present-day middle classes.

"Then in 'Prisoners,' as a waitress, I
slipped down another round in the social
ladder by going to jail as a thief. Five
years ago no star would have dared to por-
tray a thief unless she stole to put her little
brother through college or save her father
from prison, but Riza resorted to theft to
make herself more attractive in the eyes of
the man she loved. She was far from al-
together bad, just terribly human, and she
was quite willing to pay the price of her
wrong-doing by voluntarily giving herself
up to the police in preference to a sordid
way out offered by a man who had figured
in her past life.

" 'Lilies of the Field,' my initial all-
talking picture, deals with a group of those
proverbial flowers of femininity who neither
toil nor spin, except when it comes to spin-
ning fairy tales to extract money from their
wealthy admirers of the male persuasion.
As Mildred Har\er, unjustly divorced by
her husband on the false grounds of a
frame-up case, and deprived of the custody
of her little daughter, I join this group of
show girls. At first, I struggle to live
worthily for the sake of my child but
through lonesomeness, temptation and en-
vironment I succumb finally to the atten-
tions of a persistent lover and accept his
patronage outside the bonds of matrimony.
Then comes the struggle for self respect.
It is a swift-paced tale of orchids and orgies,
temptations and tears, conflict and contrast
which offers me an opportunity for consid-
erably more abandon than my accustomed
roles of former days."

The new Corinne Griffith has stooped
from princesses to paupers, from countesses
to cabaret girls, from fine raiment to ging-
ham aprons and ballet skirts, but she has
stooped to conquer. Like all true aristo-
crats she is a democrat at heart and like
all true artists she is not satisfied to stand
still but must seek new pastures.

Coming Back with the Play-back

come to America to be Americanized. As
an Irishman by birth and American by
adoption I'm mighty proud of us all, you
know!"

In his new picture Moore plays a police-
man again, in a night club romance. The
new story is a drama of night life with
Moore as a New York policeman on a
Broadway beat, and Miss Sweet as a night
club butterfly whom he marries.

Years have touched Moore lightly — in
fact, they seem to have receded from him
like water from a duck's back. He looks
younger than he did when he played "Can-
avan." He thanks athletics for this.

"I get up at six every morning, and
Trixie (his pet wire-haired terrier) and I
take a long hike. I play handball a lot
at the Athletic Club, too. If a fellow keeps
in physical shape he's a cinch. Physical
well being is what's keeping a lot of us
older players on the screen — Lon Chaney,

Continued from page 66

myself and a few more. Not that I'm what
you'd call old — you see I was quite a kid
when I went into pictures; but I've been
in 'em quite a while."

Tom is in his forties; the early ones, at
that. He looks no more than thirty.

"Gosh!" he grinned. "It seems a long
time when I look back at it, but it's really
not so long. This business is so young
yet that a veteran can be almost a kid. It
seems only yesterday that they used to put
a little tin plate with the studio trademark
on it in the corner of every set before they
shot the scene — the Pathe rooster, the Es-
sanay Indian, and so on. The other day
I went to see an MGM picture and heard
the lion head trademark roar from a film
sound track!

"I had a little stage fright, at that, the
first time I waltzed before the microphone,
and Miss Sweet says she did, too. Seems
funny for a couple of old timers, doesn't it?
But once you get used to it, I think acting

with speech is really easier than the other
way. You can be so much more natural.
Of course you can speak naturally — on the
stage you have to develop the trick of get-
ting the voice across the footlights. Al-
together you're more at ease and have a
much greater flexibility in this game."

He's particularly interested in the new-
comers, brought by the talking pictures; the
stage people and the incoming youngsters.

"Some of the people I knew on the stage
are out here and it's like an Old Home
Week," says Moore, "and it's great to
watch the new youngsters, starting on the
path we older fellows started on away back
when we deserted the stage for pictures.
It's the same feeling exactly, except that
the stage player today has a little easier
problem — he's at home vocalizing, while
we old timers had to learn to substitute
pantomime and forget the voice altogether,

"But, after all, it's all moving pictures
anyhow!"

for February 1930

117

The Most Daring Book,
Ever Written I

ELINOR
"The Oracle

\\7IHL you marry the man
you love, or will you take
the one you can get?

If a husband stops loving his
wife, or becomes infatuated with
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Will you win the girl you want,
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Should a bride tell her husband
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Will you be able to hold the
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Do you know how to make people like you?

What Do YOU Know
About Love?

DO you know how to win the one you
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GLYN
of Love"

What Every Man and
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-why many marriages

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—the "danger year" of
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— how to Ignite love —

how to keep it naming
— how to rekindle it if

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— why some men and
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— must all men be either
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— how to increase your
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— how to tell if someone

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— things that make a

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headstrong man, or are you the
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affection always? How to attract
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you youthful and fresh? Do you
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tate a man ? Or disgust a woman?
Can you tell when a man really
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In "The Philosophy of Love,"— Elinor
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118

SCREENLAND

"And Nothing But the Truth!" -continued from page 33

Maybe there aren't some swell little digs
tucked away in that innocent looking line
up. Playing "Truths" is a grand way of
getting rid of your inhibitions. You can
imply almost anything and get away with
it — one reason being that after the score's
all added up, no one knows which member
of the party handed him the low ones and
all he can do is suspect.

Take Chaplin's score, for instance.
Charlie stands in high on some counts —
you'd expect him to rate 9 for sense of hu-
mor, he being one of the world's greatest
laugh getters. Intelligence, too, finds him
in clover, as do charm and aesthetic sensi-
bility. But when it comes to good taste —
well, no one ever did say that Mr. Chaplin
exercised discretion as regards his personal
affairs. Also, the famous disdainer of con-
ventions rates but 1 l/g for sincerity, which
ought to prove something.

Now let's look at Swanson — one member
of our movie set who's licensed to send out
crested Christmas cards — and does. La
Marquise makes out nobly with a total
standing of 72% points, which leads the
list by 4%! Gloria's evidently a favorite
in her home town. It's natural enough
that the pale-skinned brunette should lead
in sex appeal, since most of her films are
sex dramas and a good part of her fan
following is male. She also leads in
adaptability. By that we mean, give Gloria
a part and she'll play it!

Now just by way of contrast, take a
slant at George K. Arthur's column, which
totals to a mere 52 and has the distinction
of being at the bottom of the pile. That
green-eyed monster must have been at large
when G.K.'s fate was being decided. The
comic star's strongest suit seems to be
adaptability, for which he rates 7. His
weakest is sincerity. Since Chaplin goes
him even one lower there, it would seem
that to be a good comic you've got to learn
to lie and like it.

To get back to the ladies — we'll try a
blonde for a change — ■ here's Josephine
Dunn, whose aesthetic sensibility doesn't
go over so big, but whose good looks aren't
disputed. Do you agree? And while we're
on the subject of good looks, here's a sur-
prise package. Harry Crocker, who hasn't
been an actor for ages rates highest of the
bunch with nine points to his credit! They'd
better bring him back as a leading man.
Considering that Crocker is a used-to-be-
assistant to Charlie Chaplin, he ought to get
more than 5 for sense of humor. And once
again he upsets our rule by pulling down
all of 9 for sincerity!

Crocker, incidentally, leads in kindliness
and he ties with Lois Wilson for second
highest total score of 68. The Wilson gal's
also a hummer for kindliness. Those honey-

fied roles that Lois has been playing on
the screen, then, didn't take much rehears-
ing. She rates high in sincerity, too, and
also in intelligence, which sounds like a
swell combination. Lois' low points are
sex appeal — fans take notice — and sense of
humor, which Hollywood seems to think
she lacks. If you don't agree let us know.

Which brings us to Eleanor Boardman,
the lady who was responsible for this little
massacre. Low score for Eleanor — that's
poetry — on sense of humor. With only
three points for knowing how to take a
joke, the beautiful Boardman had better
stick to her serious stuff, or so this Holly-
wood family group seems to think. But
when it comes to charm, intelligence and
sincerity — chalk up a great big number nine
on each of the three counts!

With four men and four women playing
this game, we can get a fair slant on where
the Hollywood gals have it over on the
males and vice versa. Let's start with sex
appeal — and of course the femmes have IT.
They rate a total of 25,1/2 points worth,
while the other side counts up to a mere
20. And in good looks the ladies lead
again with iOVz to a losing 20.

Gallivanting grasshoppers! What's this?
Intelligence — 30V!> on the fair side; 28 for
the gents. Beauty plus brains — you just
can't keep 'em down! And what's more,
the gals are more adaptable, show better
taste and are kindlier and more sincere than
the poor, down-trodden males, for whom
we're beginning to feel a sympathetic twinge.

But — when it comes to a sense of humor
we're trespassing on male territory. A
healthy 24% to 20, favor of the gents,
settles that point. Aesthetic sensibility —
whatever they mean by that — is another
long suit for the boys, and they lead again
in charm, which threatens competition for
the good looks-sex appeal combine formed
by the ladies.

Isn't it a

of a game? Don't your

fingers just itch for a pencil, so you can
start slamming some of your pet peeves?
Or maybe you're interested in trying it on
the movie gang. Why not use this same
group and see what sort of a consensus
you and your friends form concerning 'em.
It might be entirely different than the one
the stars themselves have compiled. Let's
hear about it, if so.

And now that that's that — "Truths" isn't
by any means the only way the jaded
satellites of screendom have of banishing
boredom. There's a peach of a racket —
and a very timely one — being worked by
the in-the-knows on unsuspecting talkie
recruits from Broadway. This one calls for
a restaurant setting, and here's the way it's
pulled. Long dwellers in Hollywood — the
crowd that's grown up with the movies —

are used to early rising, breakfasting and
heavy lunching. A gang of such wise guys
will collect for lunch at a swell eating place
and wait until some poor Broadway sucker,
fresh from the hay and only recently
arisen, stumbles in for his sauerkraut juice
— favorite remedy for the morning after.

Said sucker will be seated at the head
of the table and the gang'll dig in. At
the end of a hearty meal — for all except
the unknowing one — the spokesman of the
party will inform him that he's been sitting
in the payer's chair — explaining that it's
a quaint Hollywood custom to have a
special seat for the guy who foots the bill
— and that he therefore must shell out for
the entire company. And at a very recent
luncheon party of that sort, the recruit
forked over forty six bucks for one glass
of sauerkraut juice! Which is pretty steep
even for Hollywood.

A slightly more innocent pastime is the
playing of charades — at which Charlie
Chaplin is acknowledged the leading light.
This little sport has a lot of followers.
Clara Bow, for instance, would be likely
to exclaim-^"No charades! What kind of
a party is this?" Laura La Plante might
get up in the middle of a gathering and.
pointing a finger at Ramon Novarro, say
"School!" At which Ramon has to act out
a two-minute playlet around the word.
Dorothy Mackaill and Marie Dressier are
both whizzes at charading.

One that always goes over big is Sue
Carol's little telephone gag. Sue, it seems,
entertained a youthful ambition to be a
ventriloquist. When she went into the
movies instead, she had to make use of
her talents some way, so she picked on the
neat scheme of calling up her friends, dis-
guising her voice and asking them to "Guess
Who!" After a lot of kidding, cajoling and
coaxing, she usually comes clean.

And then there's the second to none in
popularity, the gastronomical favorite.
That's merely another name for Joe Brown's
spaghetti parties, which consist of Joe's
nursing the noodles while his guests pre-
pare the sauce. Louise Fazenda, a hearty,
meat-eating gal, holds hamburger fests,
which work similarly. And just to make
the diet complete, Est'elle Taylor goes in
for clam bakes, which are swell fun.

For the more intellectually inclined,
there's the music guessing game, introduced
by Marguerite Churchill who's an ac-
complished pianist. This consists in the
hostess, or whoever else rates the job, play-
ing bars of popular pieces and the guests
guessing their names. You'd probably find
Ramon Novarro, Ernest Torrence and other
musical movieites patronizing this species
of relaxation.

Gary Cooper Psycho-analyzed— continued from page 21

time a convincing picture of a poor sap,
bewildered and dazed by his first visit to
New York and his first meeting with a
leading lady, and at another time an equally
convincing picture of a death-daring aviator
in the Great War, whose twinkling eyes
showed that he was wise to himself and
the game.

There is, however, in his single-minded
carrying out of what he sets himself to do
a natural sense of loyalty, which, of course,
would extend to relationships as well as to
actions. He would seem by nature to be

a one-woman man, and a friend whose
friendship could be relied upon implicitly.
Since he is more the thinker, more the in-
trovert, he is relatively less developed on
the sensuous side. One does not think
of him as the essentially romantic type;
he is the opposite of a Valentino. He is,
indeed, a man's man, but he is exceedingly
attractive to those women who prefer
strength and support to the more romantic
and less stable qualities. One doesn't think
of women as becoming infatuated with Gary
Cooper, but rather as loving him with a
deep and abiding affection, a whole-hearted

trust.

I should say on the whole that his place
on the screen is that of all that is true and
strong in the American nature, all that is
derived from the terrific discipline of the
pioneer days and the Indianization which
took place at that time. If Ronald Colman,
for instance, gives us new standards of man-
ners, shows us the gracious strength of the
adventurous Englishman, Gary Cooper
serves to remind us of the stock of our
own soil and of qualities which we would
not willingly lose.

for February 1930

119

What Is Beauty? — Continued from page 34

atmosphere, cast a spell, by means of a
series of illustrations. The artist, too, tells
a story on his canvas, but he has learned
that in addition to interesting subject mat-
ter, a work of art must have intrinsic,
abstract beauty. He has such small space
in which to express himself, that he is of
necessity, selective. Since he can not put
many details in his canvas, he chooses the
two or three essential, salient characteristics
that will distinguish his subject from all
others. He becomes a connoisseur of the
effective and the authentic. But always,
quite apart from its illustrative content,
he tries to give his canvas such decorative,
designed, rhythmic interest that, even
turned upside down, it would have beauty.

And if motion pictures, with their already
remarkable technical development, ever
start to work toward the pictorial ideals
that set the standard in painting, then the
cinema, the world's greatest story telling
medium, may also become an immense art
gallery. For every image thrown on the
screen, beside advancing the plot, could be
a unit of authentic character, or unforget-
table beauty. The story, told as great
painters tell stories, would gain in power
from selective composition; in drama, from
skillfully used lights and massed shadows.
It would be told colorfully, with expert
knowledge of the immense color range of
blacks and whites; and appealingly because,
added to the interest of the narrative,
be the fundamental, universal, simple appeal
made by any revelation of genuine beauty.
The screen could give us pageants of
romance and adventure with the sweep and
splendor of great murals; poetic Whistler
nocturnes and pastorals; rousing seascapes;
character vignettes, mellow as Rembrandts.

When I think of the cinema in terms of
painting, I visualize the huge palette from
which epic screen pictures might be painted.
What could more closely correspond to the
colors and tints a painter needs, than the

beautiful array of screen stars around whom
our motion pictures are made? Each has
some special element of beauty so accen-
tuated that when I think of her, I see the
color that is her symbol.

White — the color that is unique be-
cause it does not resemble any other, and
needs no other to enhance it — inimitable
Mary Pickford. At the other extreme of
the palette, is Ivory Black, as unfathom-
able and secret as its sphinx-like equivalent
— Greta Garbo. Lemon Yellow, the palest
tone in daffodils, is Ann Harding. Chrome
Yellow, most primitive of all colors, start-
ling, elemental — Lupe Velez. For flaming,
dynamic Vermilion, gayest color on the
palette — Clara Bow. Estelle Taylor is the
deepest, softest red that smoulders; and
the fragile, orchid shade called Cobalt
Violet, could only be fastidious Corinne
Griffith. Tranquil, transparent Cobalt
Blue is Billie Dove; while Indigo Blue mys-
terious as Egyptian night skies, speaks of
a girl too seldom seen in pictures, often
badly presented, but whose exotic allure is
sister to Circe and Scheherezade — Eve
Southern. Willow Green, youngest of
colors, is laughing Nancy Carroll; that vivid;
Emerald Green, suggestive of warm sun
on close-cut grass, and of shamrocks —
humorous, gallant Marion Davies. And
there is one star in whom the elements of
beauty and talent are so mingled, that she
must be accorded the royal splendor of
Purple — Gloria Swanson.

There they glow — each the embodiment
of some particular beauty or potentiality.
There is the empty screen. If the two can
be fused, motivated, and composed by an
increased, genuinely creative understanding
of their immense pictorial, as well as dra-
matic, possibilities, the screen will discard
the last of its swaddling clothes, double
its power and appeal, and its productions
could achieve an otherwise unattainable
fine arts quality.

Movies in the Air — Continued from page 8

designed for home entertainment has in
no way affected motion picture attendance.
Therefore, there is no ground on which
to base the fear that the introduction of
television into the home will substantially
reduce attendance at theaters.

"First, the cost of professional tele-
vision entertainment would be prohibitive.

"Secondly, private homes are not built
to house the mechanical devices and ap-
purtenances that will be part of the tele-
vision set-up, any more than today one
can turn the average home into a first-
class motion picture theater. Such home
entertainment will always keep its amateur
standing.

"Questions like this naturally arise when
we are faced with the prospect of revolu-
tionary changes in any line of endeavor.
Yet, does not science, like nature, always
strike a balance? Scientific advancement,
suddenly as it sometimes comes, seldom
destroys the thing it presumably replaces.
Usually new inventions simply make old
ones more useful — more nearly perfect.

The movies have more than a billion
dollars invested in theater buildings alone
across the continent, and the producers
spend two millions a week in making pic-
tures in Hollywood and New York.

Admitting that there is a place in en-

tertainment for all existing mediums and
for others which ate yet undeveloped,
Mr. Paley nevertheless places radio as the
most intimate factor in entertaining this
nation. Concerning it he says:

"Its influence socially, educationally,
politically and commercially is intimate
and profound. But each separate industry
must develop its relation to the others in
the entertainment field. The theater must
utilize radio if it is to reach the greatest
possible audience. Radio must draw from
the theater and concert stage if it is to
avail itself of the finest talent. The mo-
tion picture is alert to the fact that our
technicians and talent must be inter-
changed.

"Paramount has joined forces with the
Columbia Broadcasting System, whose
associated stations, extending from coast
to coast, cover the entire United States
with chain programs.

"One of the most important phases of
the Columbia-Paramount affiliation and one
that shows how their joint facilities can
be put to immediate advantage, is the fact
that Paramount now has a ready outlet for
intimate contact with the home while
Columbia's facilities enable the great stars
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SCREENLAND

The

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Is Publicity Fatal to Happy Marriage in Hollywood?

Continued fro??? page 25

They are not quoted any more. The
Jinx got them!

The most romantic love story of Holly-
wood belongs to Irene and Reginald Denny.
They met in India, where they were travel'
ing with an opera company. A clause in
Irene's contract called for the payment of
five hundred pounds if she should marry.
In Singapore, they were dropped from the
company because she did it. Nothing
daunted, they became a dancing team, in-
vented a version of the Gaby Glide and
danced before Indian royalty at the Rajah's
feast at Mysore.

"We danced in a court of the palace.
There was a great dome over it, and gold
leaf pillars rising from a mosaic floor. A
wonderful clear red predominated and
apple-green rugs were spread where the
visitors sat, a gorgeous group of rajahs in
vivid crude colored silks and jewels,"
glowed Irene. "There was a man in black
with a rope of diamonds about his neck!"

They were paid in rupees, coins as big
as silver dollars, heaped high on trays borne
by native servants.

"Probably it amounted to about three
hundred dollars, but it looked like the
wealth of the Indies!" remembered Irene.

But even remembered romance can't hold
people together.

A 'How To Be Happy Though Married'
story dated not so long ago includes Anna
Q. Nilsson's admission that she and John
Gunnerson were 'ideally happy'; Jackie
Logan's boast that she fell in love with
her husband at first sight and never
wavered; and Adolph Menjou's complacent
statement that his was a perfect union.

Probably the Jinx was listening.

Pola Negri thought she had met her true
mate when she married her prince. She,
too, may separate and find with others that
happiness denied them before.

It was Margaret Livingston who pointed
out that the divorce court yawns for all
who are foolish enough to risk drawing at-
tention to their bliss.

Which may be one reason we seldom
read statements from such well-mated
couples as Colleen Moore and John
McCormick — 'My John,' as Colleen calls
him; Billie Dove and Irwin Willat; Buster
Keaton and Natalie Talmadge; Mary and
Doug; the Conrad Nagels and the John
Barrymores.

Up to within two or three days of her
marriage Dolores Costello insisted that she
'hadn't thought about love.' If she has
given the matter any consideration since
her wedding day, she has kept her ideas
severely to herself.

John Barrymore will make witty state-
ments about women in general.

"I have great sympathy for Josephine.
Being married to Napoleon must have bored
her.

"No doubt Josephine had a new hat for
his home-comings. He probably looked at
her without knowing if it were a hat or

a ham sandwich and said: 'I believe I'll
conquer Gibraltar next.'

"Gibraltar may be a very nice place, but
hearing about it is dull. Other cavaliers
had sense enough to look at the woman
and say: 'Great Scott, what a good-looking
hat!' "

But if you want to know whether there
is a stress laid on becoming bonnets in the
Barrymore family, all you get is a grin.

And then there is the other side.

Vilma Banky confided to me once that
she was going to marry 'a nice, private
man.' Instead, she pledged herself to Rod
La Rocque and the two are now at the
head of Hollywood's list of the happily
wed.

Rod allows himself to be quoted to the
effect that 'being separated is deliberately
throwing away chunks of happiness,' and
Vilma gives out bits of laughing wisdom
on how to keep a husband happy.

"When he has guests, make yoursell
beautiful and stay only a little while," etc

Neil Hamilton and Elsa are sure of theii
happiness because they have weathered both
failure and success. They don't mind tell-
ing how it's done.

The Clive Brooks, the Alan Hales.
Norma Shearer and Irving Thalberg, Eddie
Lowe and Lilyan Tashman, Laura La Plante
and William Seiter, the Harold Lloyds,
Corinne Griffith and Walter Morosco — (the
list is long in spite of those whose names
have been stricken from it) — have not so
far been frightened out of admitting to a
working knowledge of how to capture the
elusive Blue-bird.

"Marriage is a give-and-take affair."
(Clive Brook).

"The credit for the success of any mar-
riage goes to a woman." (Edmund Lowe).

"If there were fewer marriages based on
love-at-first-sight, there'd be less work for
divorce lawyers!" (Corinne Griffith).

"When a quarrel is over it should be
done with forever!" (Alan Hale).

"The success or failure of marriage is
not due to laws passed or systems involved.
It can't be prescribed for in wholesale lots."
(Norma Shearer).

"Marry your opposite!" (Mildred Lloyd).

"Stick to your career and you'll stay
interesting!" (Laura La Plante).

Whether to line up with the "Hey, hey,
look, we're happy!" side, like the Jimmy
Gleasons, or to play safe and dodge the
subject of love and marriage, like Mr. and
Mrs. Richard Barthelmess, is something to
think about twice.

"Happiness is a very precious thing,"
says Joan Crawford Fairbanks, wistfully.
"It was all very well to talk about love
before we were married, but now that we
know how truly wonderful life can be, we
realize that it's not right to babble about it.
It's just for ourselves. Let's talk about
clothes or the stock market or how talking
pictures are made!"

Maybe we'd better! What do you say?

DO S and Dotl'tS— Continued from page 55

-4~

easiest thing to learn. It is vastly more
difficult to know a good story, a real situ-
ation, when you see one. If you learn
plot construction you need not worry about
technique, that will come.

If any girl is thinking of scenario writing
because of an idea that it is an easy way
to make a living — let her drop the am-

bition at once. "Dynamite" is my 38th
picture, and on it as on all the others, I
expended hours of overtime and gallons of
midnight oil. Ideas don't pop up at will,
like the pressed keys of an adding machine.
Mental perspiration, and lots of it, is the
price of the higher remuneration which
comes to scenario writers.

for February 1930

The Stage in Review

Continued from page 95

blood to fiery dream-kisses and starts the
champagne-atoms gurgling in my throat!

"A Wonderful Night" is the Shubert
version of "Die Fledermaus." On the re
volving stage of the Majestic it is three
solid hours of kaleidoscopic eye-and-ear
assault. It is Vienna of seventy years ago
when life in the very streets went on to
the rat-a-tat-tat of champagne corks.

It tells the .story of a man who has got
to go to jail for eight days, doesn't, but
goes to a ball with the warden instead,
while his wife — oh, well — see? But it's the
music that makes this the best musical show
of the season — at least the equal of "Sweet
Adeline."

Gladys Baxter as Mathilda Greenwald,
wife of the gay Max, is a thing of beauty
and has a good footlight voice. Neck-and'
neck with her travels Mary McCoy, a
thriller in a way.

"The Criminal Code"

Here is grim satire — the irony of what
we call justice, the brutal fist of fate that
might flatten any one of us out at any
minute, as the warden of the jail says.
"Things break like that," is Arthur Byron's
first and last word both as the District
Attorney and then as the warden. In this
role Mr. Byron caps his long career with
one of the most convincing bits of acting
seen on Broadway in some seasons.

Robert Graham (played perfectly by
Russell Hardie) has been .sent up for ten
years for killing a man in a mistaken ges-
ture of self-defence. The whole play takes
place in prison and is a conflict between
the criminals' code Thou shalt not squeal!
and the law which says, Thou shalt pay!
Down in the 'cooler,' where Hardie has
been put because he wouldn't squeal, a
thug of a keeper has been murdered by this
boy just as his parole comes to the warden's
desk upstairs. The parole has been obtained
by the warden, who had been compelled
to prosecute him as District Attorney, and
his daughter. Of course Robert has now
got to go to the chair. "Things break like
that," dryly says the warden as the final
curtain falls.

This is not just another crook play, for
no one is really guilty of anything. The
Moloch Circumstance is guilty. Convict it,
if you can!

"Many Waters"

"Nothing ever happened to them" — I've
said it many times of quiet, commonplace
people — well, you know, the kind that al-
ways carry an umbrella, wear rubbers and
just listen. Which merely stamps me as
a jackass every time I say it, for tremen-
dously dramatic and tragic things are hap-
pening to the least of us all the time. But
it takes a fine playwright like Monckton
Hoffe and two fine players like Ernest
Truex and Marda Vanne to reveal it to us.

At the opening of "Many Waters" we
see a wise-cracking, fashionable playwright
and a producer in the latter's London
office discussing the stupid lives of the aver-
age audience. In walk quietly and unob-
trusively elderly Mr. and Mrs. fames Bar-
caldine (Truex and Miss Vanne.) They
want to rent their home in the country
to the producer. Just the type of the
vapid, empty people who go to the theater,
says the playwright.

Well, maybe they are vapid and empty
— but see what happened to the quiet Bar-
caldines in a series of flash-back scenes!
All the trouble in the world: a seduced
daughter — by a husband friend; her death
in child-birth; the bankrupts' court for Bar-

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SCREENLAND
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caldinc. Two lives in which everything has
gone boom except their love. Back to the
producer's office in the last scene, where
the Barcaldines are still sitting quietly listen-
ing to the blather of the playwright.

A superb romantic comedy, superbly
acted, and superbly put on.

"Broken Dishes"

Martin Flavin's latest Broadway success
is laid in a Mid-Western town where any-
thing is likely to happen because out there
everything is as unexpected as sparkling
Burgundy running from a bathroom tap
in a Topeka hotel.

Something remarkable did happen in this
town when old man Bumpstead, who had
been lower than a coalbin cockroach in his
family, got stewed on hard cider one night
while his wife was at a movie, got his

rebellious daughter safely married to a
young fellow that the old woman had just
ordered out of the house, lit a forbidden
cigar in the living room, and when his
wife came home told her to go to the
usual place. Didn't we all laugh! — mainly
because Donald Meek was so incredibly
stupid and flattened out as the husband.

Some of the audience actually cheered
when the Old Worm at last turned on the
Old Tarantula. Every married man in the
audience braced up: there is hope! Yes,
Doctor Munyon was right, they all whis-
pered to one another.

Bette Davis played the daughter who also
defied the Old Tarantula. No brain-work
in this play; but for some good laughs it's
sure fire. And I'd like to see "Broken
Dishes" done into a talkie with Will Rogers.

Have You a Talkie Voice?

Continued jrom page 19

voiced consonants and as in man, is made
with the mouth closed, being nasal. A final
M should finish with the mouth closed as
the opening of the mouth produces an extra
ah which has nothing to do with the con-
sonant M and plays havoc in the recording.

One scarcely realizes that B is voiced,
but if it were not we would say poy in-
stead of boy. P as in pain is absolutely
voiceless and should be pronounced without
an escape of breath.

One of the best ways to improve the
diction is to read aloud, attacking the con-
sonants quickly and firmly. Take a
sentence:

When I go home to her
o o o o.~.

The circles represent obstructions and the
lines, free flow of voice. With a little
practice and care anyone can acquire the
habit of good diction.

But you will need more than even per-
fect diction to qualify for the talkies. If
you want the voice people love to hear
you will need the quality variously known
as resonance. Resonance makes the dif-
ference between a round, full voice and a
thin, raspy one — take your choice. The
'mike' likes best the soft, well modulated
voice, not the forced, strained or squeaky
one. And that spells one thing: resonance.
Briefly, resonance is produced by a process
of reinforcing the tone so that it becomes
richer and fuller. A violin string would
make a very weak tone were it not for the
sound box of the instrument to reinforce
it. The human voice also needs rein-
forcement. Resonance in the voice is due
chiefly to the strength of the diaphragm
which is the floor of the lungs and a very
important muscle used in breathing. It
should be well developed for a good speak-
ing voice. When the diaphragm is weak
in either a young or old person — and it
usually is unless the person has a trained
voice — the result is a toneless voice. Or-
dinary conversation does not develop the
diaphragm sufficiently. Singing does.
Taking a deep breath and controlling the
voice while talking it out will help.

Then again, if the voice is produced
with muscular tension, there will be a
strain and an absence of resonance. Of
course, when a singer sings a big, brilliant
tone, some tension is necessary. But ten-
sion in the wrong place results in a raspy
sound disagreeable to the ear. If you can
talk naturally without undue strain, you
will not become hoarse. This is easier to
say than to do, for even some of the great
ones get acute attacks of stage fright when
confronting the 'mike' for the first time,

and fright causes the muscles of the neck
to tighten. By controlling the voice and
speaking without strain, you will have gone
a long way in acquiring resonance.

Putting personality into the voice is also
one of those things. Of course if you have
no personality to begin with, you cannot
be expected to crowd much of it into the
'mike.' But everyone has a certain amount.
Al Jolson was the first outstanding example
in sound pictures to demonstrate person-
ality, and I have been told that Jolson had
to work mighty hard before he was able
to register. He was so accustomed to the
'feel' of an audience that the dead silence
of the studio almost floored him.

They say Jolson works best when he is
not confined to a set script, when he can
let himself go 'ad lib.' During one of his
first rehearsals he dropped an innocent
enough line. He said. "Come on, ma,
listen to this." She went over to the piano
and he sang while the action continued.
That line was not intended but it sounded
so natural and spontaneous in the play-
back that it was included. In fact, that
line made a fortune for Jolson and history
besides, for with it Jolson found his new
medium.

I have talked about personality in the
voice to many concert and opera singers
who have appeared over the radio, and
they have found the same difficulty. One
noted singer gave me a hint which I will
relay to you just about as she told it to me.

"Somehow at first," she said, "I could
not seem to get any warmth into my voice
at all, try as I might. It seemed cold and
lifeless. I missed the stimulation of an
audience, the consciousness that people
were listening to me. I actually broke out
in cold perspiration during my first number
for I felt that my broadcast would be an
utter failure. Between numbers I pulled
myself together with the thought, 'Here,
this won't do.' And then suddenly it
dawned on me. I had not become inti-
mate with the microphone but had treated
it as a machine. I must treat that little
'mike' as a person, I thought, and sing to
it as such. In reality, it is a person, the
composite person of some millions of lis-
teners. When I did my next number all
the warmth had returned to the voice. I
felt it and I know my audience felt it.
After that the 'mike' became a real entity
to me."

I feel that this singer has summed up
the secret of personality in the voice. It
is simply a matter of projecting the person
via the voice. And if you can do this, all
things may yet be yours!

for February 1930

123

What's the Matter with Women's Clothes?

Continued from page 33

black or tweed mixture. This costume
should depend entirely on its cut for smart-
ness— not on its color.

As to style, it must suit the individual
figure of the wearer. It should be of the
very best material that can possibly be
afforded. If women would only realize how
much better it is to pay ninety dollars for
one dress and wear it every day in the
year instead of purchasing six dresses at
fifteen dollars each, and never feeling really
well dressed, we would see the streets filled
with distinguished women.

Now as to the length of the dress. While
I am a conventionalist, I do not hold with
long, sweeping skirts for morning wear.
Nearly every woman in these days has a
job — a real job which requires her getting
around quickly. The period of barouches,
dappled gray horses and coachmen and
footmen in plum colored livery is past.
The majority of women are hurrying on
and off trams, street cars, busses, elevated
railroads and the underground railroads.
And it isn't possible under these conditions
to adopt the longer skirt gracefully. But
it should be several inches below the knee
cap. Nothing gives such a gauche effect
as a short .skirt riding over the knee.

With the simple morning dress, naturally,
is needed a plain, dark hat — with no
jewelled pin. Plain shoes, stockings ac-
cording to individual taste. A fur neck-
piece, perhaps, but always good fur. If
the weather is warm or the pocket-book
light, a scarf can be used instead. Here
you can give way to your desire for brilliant
coloring. No jewels, absolutely, should be
worn in the morning except a small string
of real pearls. If the pearls cannot be af-
forded— then save up and buy a string of
seed pearls. They are extremely lovely and
not beyond the reach of the average
pocket-book.

Nor must we forget perfumes! Perfume
is permissible at any hour of the day, if
the wearer has an understanding of the
fitness of things. Naturally, in the morn-
ing only the lightest of odors can be used.
Never a heavy nor an exotic perfume.

Perhaps you'll be thinking now that I am
an old fogey. An old man, devoid of all
love for life and color. But I assure you
I am not. I am still in my thirties and
have been a designer in my own name less
than ten years.

It was eighteen years ago that, as a
youth, I crossed over the rough Irish sea
from Ireland to England to become, as I
supposed, a portrait painter. I was mad
— and still am — about color. When my
grandfather died, our estate became en-
tailed, and I landed in London as poor as
Dick Whittington. The only way I had
of making a living was by painting water-
colors, which I sold for a .shilling each.
That earned my tea, bread and butter and
my lodging, with an occasional treat of a
sixpence worth of fish and chips. On the
side I studied, and had the great fortune
to make the acquaintance of Orpen, the
painter. Then I secured a post as fashion
artist and designer for the house of Lady
Duff Gordon, better known as Lucille, in
London. With my daily livelihood thus
taken care of, it looked as though I might
soon have enough money to study painting
seriously, when the first bugles of war
sounded a farewell to my dreams.

I joined up, as a Tommy; later I was
made a second lieutenant; still later, a
captain. A bullet through the forefinger

of my right hand destroyed my nopes of
ever becoming a portrait painter. Shrapnel
in various portions of my body pushed
further away my ambitions for reaching the
top of the artistic world. Many months
were spent in hospitals behind the front
lines. And even the Military Cross didn't
seem much of a compensation for what I
had lost — my dream of becoming a painter.

And still the war went on. As soon
as I was patched up enough I went back
to the front. And here I noticed some-
thing which few seem to have observed.
A large majority of the world thought that
writers, musicians, artists of all kinds, had
no place at the front. That their natures
would unfit them to meet things in the
rough.

I never found this so. In my command,
those who made the best soldiers were the
sensitive ones whose nervous energy kept
them plugging away in spite of all hell
when around them many a phlegmatic
soldier was down and out.

When all the shooting was over I came
back to London. Unemployment was ter-
rible. Men of fine professions walked the
streets in ragged clothes, broken shoes, and
old army overcoats. That was the saddest
aspect of English life in the days of 1918
to 1920.

I always wanted to get into business for
myself. And thanks to the' belief of two
friends who advanced the money, and my
previous experience with the house of
Lucille, I was able to start in business in
Paris. That was ten years ago. Today I
have my headquarters in Paris, and branch
establishments in Biarritz,, Cannes and
Monte Carlo — employing in all sixteen
hundred people. I design and make cos'
tumes and blend and manufacture per-
fumes. Just six months ago, I opened a New
York branch of my perfumery business.

To my establishments come women from
all over the world. I have dressed queens
and princesses, business women, actresses,
home women, opera .singers and movie
stars. And those who achieve a continued
distinction of dress are the ones who under-
stand the absolute necessity of wearing the
proper frock at the proper time and who
understand the necessity of dressing to suit
their own individual style instead of follow-
ing, sheep-like, the current mode.

From my experience with many different
kinds of women I have found that their
afternoon clothes give them the most
trouble. Unless a woman has exquisite
taste when she goes into the realm of the
afternoon dress, she is apt to select too
ornate a model.

For such occasions I should suggest a
silk, satin, georgette or velvet gown. This
time it is not necessary to be so conserva-
tive. The dress can be longer. It can be
of a more subtle cut. Here you can let
your love of color have a little more sway.
Not too much, you undersand. But any
of the pastel shades can be used. Also
a rich red or burgundy or purple. How-
ever, you must be most careful to study
the psychology of afternoon dress, and wear
nothing obvious. You must still depend
upon the cut rather than the color alone
to make this costume a complete success.

The hat may be large or small, to suit
the style of the gown; and this time the
jewelled pin or some other slight decora-
tion may be used. But this must not be
overdone. The shoes, too, may be more
decorative. Of satin, with cut steel

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buckles, patent leather with old French
paste buckles, or any other leather or ma-
terial which suits the individual and the
gown. Naturally if the foot is large one
docs not wish to attract attention to it.
And in this case, the more simple the shoe,
the more well-turned-out you will be. Here
too the perfume may be a trifle heavier,
and more leeway may be allowed in jewels.

And now we come to evening — the high
spot of the whole twenty-four hours! In
the evening you can give way to your
flair for gayety and color, for exotic per-
fume. The skirts of the evening gown
must be definitely long — but not too long
to interfere with dancing. The gown must
be moulded to the figure. There can be
less restraint of line and figure in the
evening than in the day-time. This is the
time when a woman can, in all justice,
permit herself to be her most alluring.
Jewels of all kinds — rings, bracelets, neck-
laces, earrings, and even jewelled bandeaux
are in excellent taste, so long as the jewels
are real and not worn inharmoniously or
in too great profusion.

Taken as a whole, dressing suitably
throughout the day and evening is a great
art. To master the theory of line, the
harmony of color — to conquer the counter-
point of clothes which is the artistic com-
bining of dress, hat, shoes, coat and ac-
cessories, is a study which cannot be briefly
learned. You must teach it to yourself
by years of observing the lines and colors
which best suit you. Once you have
learned them, you should cling to them
as a drowning man clings to a life raft!
For, as I have said before, the reason that
50 many women are badly dressed is be-
cause in addition to wearing the wrong
frock at the wrong time, they follow the
current mode blindly rather than dressing in
a way which will bring out the finest pro-
portions of their faces and figures. When
you have learned to wear the right gown
for the right occasion and to dress in such
a way that your defects are hidden and
your graces enhanced, you can take your
place alongside of Gloria Swanson and Ina
Claire — as one of the world's best dressed

women!

Progressive Film Parties

Continued from page 61

pastime for him.

"You know that ole horse I was on
seemed like he wanted to commit suicide,"
explained Mack. "The rest of the horses
kept to the inside of the road, but mine
simply wouldn't. He kept walking along
on the edge of the precipice. I'd ha' got
off him, but he was so high and broad I
couldn't. I called back to Bill Hart that I
thought my horse was trying to commit
suicide, and he said cheerfully that he
hoped it would — nothing against me, but
he just didn't like that horse — he was a
mean horse."

"Yes," put in Norma Terris, "but did
he tell you about the pink cushions?"

Charlie blushed.

"Well, Charlie brought out two pink
cushions which he put on the saddle of
his horse to ease him up!"

If you've ever seen Charlie Mack, you
know that he is pretty well cushioned as
it is!

Charlie changed the .subject to the kind
of people he was selling lots to up there.

"If they are careless folks, I sell 'em only
a quarter of an acre," he said, "but if I
find they are the sort that cut the grass
and conceal the tin cans, I let 'em have
an acre."

There were all kinds of games, and in
one room the card fiends had all found
each other, as they always do. They were
playing cards no matter what fun was
going on outside.

Irving Berlin happened in and sang a
-song or two for us, and Van and Schenck
put in an appearance. Gregory LaCava,
the director, was among the guests, and
there were Roscoe Arbuckle, Harry Green,
Mr. and Mrs. Bert Wheeler, Frank Mack,
and others.

We met a very beautiful young girl,
named Alice Polk, and discovered she is
the daughter of Dan Polk, of Polk and
Collins, the old vaudeville team. Miss
Polk is going into the movies, and I don't
know what is detaining her. She is making
her home at present with Mr. and Mrs.
Charlie Mack, and Charlie has promised
her a part in his next picture.

Dinner was served at the little tables.
We sat with the Duncan sisters and with
Polly Moran and Lew Cody, and Lew told

one of those wild stories about the old
actor who had to walk to the next town
because he had no car fare, and of how
the manager called out to him from the
train not to be late!

When we had finished dinner our host
told us to get our wraps and come along
to another party. We invited the Duncan
sisters to ride with us and prepared to
follow our leader.

"I'll drive," offered Patsy.

"Oh, I'll drive," said Rosetta Duncan.

"You'll all drive me crazy!" laughed
Vivian, and took the wheel.

Everyone was delighted when we stopped
at Frank Mayo's charming, Spanish stu-
dio apartment, over in Hollywood, and
were enthusiastically greeted by Frank and
his beautiful young wife.

We found Priscilla Dean and her mother
there, with Wheeler Oakman in another
room. Wheeler and Priscilla used to be
married, you know. I don't think they
were in the same room at all during the
evening. Eddie Phillips was there too, and
Niles Welch and his wife, and Lillian Rich,
lately returned from England, and Richard
Tucker and his wife, Mr. and Mrs. Cyril
Chadwick and Preston Duncan and Law-
ford Davidson.

There were fires burning in the living
room and library, so that it was all as
cosy as could be. Mrs. Mayo inaugurated
all sorts of amusing games, including the
time-honored one in which a monitor gives
out a letter and the person quizzed has
to deliver the name of a river, a town and
a fruit before the monitor counts ten.
Guests who drew the Q's and X's had a
hard time.

It was nearly two o'clock when it was
announced that it was time we took our
departure if we meant to find anybody up
over at Mary Lewis's; so we sallied forth
to Brentwood, where Mary Lewis dwells
in a great Spanish house.

Mary was once married to Michel Bohnen,
artist and singer at the Metropolitan Opera
House in New York; but the two lately
separted, with Bohnen taking his hundred
thousand dollars' worth of paintings and
departing.

Miss Lewis, as you know, is herself a
Metropolitan artist. She was formerly a

for February 1930

125

Follies girl, and one can see why Florenz (Mrs. Lloyd Hughes), Lillian Rich, Mrs.

Ziegfeld chose her, since she is very pretty William K. Howard, Edna Murphy, Paul-

and graceful, as well as having a glorious ine Garon, Mrs. Ernest Lubitsch, and a

voice. She is in the west for talking pic- lot of others.

tures, we hear. We told Lila Lee we were so glad that

Our hostess was singing as we came to she had smiled when she walked down the

the door, so we waited outside in order aisle at church as Patsy Ruth's bridesmaid,

not to disturb the concert; but immediately and she said that she had forgotten whether

afterward Miss Lewis herself flung open a bridesmaid was supposed to smile or not,

the door and greeted us in that charming and anyway, a fly had lit on her nose,

way of hers. which made her grin.

We found that Mary had rather dance "Here," she explained, "I have been
to entertain us than to sing, and she did all my life thinking how grand it would
a series of delightful dances, mostly im- be to be a bridesmaid and, at my big mc
provised. We had to tease her to do it, ment, a fly had to spoil it all, and corn-
though, at that. pletely rob me of my dignity."

I'll never forget Georgie Grandee play An elaborate tea was served at little

ing his new 'Merry-Go-Round' song for tables out in the garden, and Mrs. James

her to sing, while she danced to it at the Gleason came in soon after. Somebody

same time. It was wholly fascinating; and asked her if she had had anything to eat,

we feel sure that once Georgie's song is and she said no, but that she would 'go

launched, it is going to get the whole world around and pick up a few crumbs.'

whistling, it is such a hypnotizin', mesmer- After tea, nothing could longer restrain

izin' tune. Charlie Chaplin is greatly in- Patsy Ruth from opening her gifts; and

trigued by it, as we found out that evening, they were brought out to the garden in a

when he came to Mary's party. huge, gilded clothes hamper tied with

Georgie Grandee, you know, is the green ribbons,
vaudeville artist who was the voice of the Darryl Zanuck, as husband of the host-
dummy in "The Great Gabbo," and he ess, was permitted to go up on a balcony
is a pianist as well as singer. overlooking the party, and take moving

Betty Compson was there, and Lew pictures of it, but evidently, even if he

Cody dropped in a few minutes after we is a producer, he didn't have such an awful

arrived, and there were Walter Lang and lot of faith in his ability with the camera,

several other guests. because he announced darkly that he 'hoped

A second supper or a sort of breakfast we should .see them some day.' Finally

was served, after which we bade our host- he declared that he was going to stop

ess 'goodnight,' most reluctantly, but if we photographing Patsy Ruth opening her

had said goodbye a few moments later it gifts, as he was running out of film. "That

would have had to be 'good morning,' as is," he explained, "I'll stop photographing

Patsy pointed out. everything but the nighties!"

After Pat had finished opening her gifts,

"I think that a shower given a girl after a lot of us got bathing suits and went into

her marriage instead of before is perfectly the swimming pool, which has a cute little

grand," remarked Patsy a few days later, sandy beach and a pavilion overlooking the

She has, then, a more discriminating sense water outfitted with gay colored rubber

of the value of her gifts, as well as being pillows on wicker chairs and sofas. In the

able to put her mind on them better." water were some funny rubber beasts, and

That's what Mrs. Darryl Zanuck did for Darryl swimming the big fish with the

Patsy Ruth Miller, who not long ago be- thrashing tail was comical. Lila Lee was

came Mrs. Tay Garnett, wife of the director, one of the swimmers. She held up a life

you know." preserver and he dived through.

Mr. and Mrs. Darryl Zanuck have an Darryl told Lila to mount the fish and

imposing Italian home over in Beverly Hills, he would dive and land behind her, and

and there in the afternoon assigned to the Lila said all right — she didn't care what

party we were greeted by the bride and a happened to her!

lot of her friends. Some of the guests They managed the feat all right, and

were in the drawing room and some were Mervyn Le Roy, who had just arrived for

in the garden at the back, which is sur- his wife, Edna Murphy, said, "Fine! Why

rounded by a high wall, so that a party don't you go into vaudeville, you two —

may picnic on the lawn without being seen and some seals?"

by the neighbors. There are shade trees, pat had gone home, but had sent her

flowers and a fountain, too. car for Patsy and me, as we were to have

We found Lila Lee and Helen Ferguson more tea over at Patsy's house,

aiding our hostess in receiving, — 'so that Patsy Ruth and her husband are living

everyone shall be sure to be thoroughly at the old Miller home, Patsy Ruth's father

greeted,' as Lila Lee put it. declaring it would be just too lonely with

Patsy Ruth was looking radiant in a everybody gone; but during the honeymoon

green afternoon gown, made rather ^ long, weeks he had tactfully withdrawn from the

"I think men like long dresses," de- scene, taking Patsy Ruth's brother back to

dared Patsy Ruth. college following the wedding; and here

"By 'men,' probably meaning her own we found Tay entertaining some friends,

husband," whispered Mrs. Zanuck. Patsy Ruth and her husband aren't the

Alice Day arrived with her mother, and sort who bill and coo much in public, but

indeed there was quite a mothers' meeting Patsy did grin mischievously as she said that

among the guests, mammas including Mrs. she loved crazy people, and had been years

Zanuck's, Helen Ferguson's, Laura La looking for somebody crazy enough to

Plante's and others. They had all known marry her!

Patsy Ruth's mother, and had loved her. Looking over her gifts again, Patey Ruth

Lilyan Tashman arrived, band-boxy trim discovered pockets in one of the night-

as usual, and we also said hello to Pauline gowns.

Starke, Laura La Plante, Bessie Love, Ruth "For mad money, I suppose!" she re-
Roland, Mrs. Al Rockett, Gloria Hope marked.

Watch for next month's insert, an exquisite portrait
of Ann Harding by Rolf Armstrong

Fascinating

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Hard Working Hollywood

Continued from page J) 7

as early as ten in the morning for tennis
or a swim and the last often lingers until
long after midnight. Sometimes there are
twenty, sometimes sixty. A hostess who
is also a working woman, couldn't stand
this weekly strain unless she learned to take
things impersonally.

"I don't let it bother me any more,"
said Betty. "I don't make an appearance
even until four or five in the afternoon.
How can I? I must have some time to
rest. And I don't wait on anyone any
more. If they want to know where the
cigarettes are, or the matches, or the tennis
rackets, I tell them where they can be
found; but that's the limit of my hospital-
ity when I'm doing a picture. You know,
it gets to be too much. You can't burn
the candle at both ends. It shows on the
screen if you do. Exhaustion looks like
dissipation. Circles under your eyes, face
drawn, eyes dull. An actress can't afford
that.

"There is a lot of difference in whether
you are in a happy working environment,
too. You don't mind long hours then.
Particularly if you like acting, and most
of us do. It is only when you are work'
ing under strained conditions and inhar-
monious atmosphere that it tires you out.
I have been fortunate in that. I have
happened to be with people who are con-
genial. If there are difficulties to be over-
come about salary, I have that thrashed
out in the front office before I begin the
picture. Then I can tackle my job with a
clear mind."

Betty said the hardest she ever worked
was in "The Great Gabbo," with boy
friend husband at the megaphone. Jim
Cruze is noted for intensive work but that
wasn't the reason it was fatiguing. "It is
very hard, I think, to work with one of
the family," says Betty. Each is conscious
of the other's moods. Each tries to save
the other and usually succeeds in doing
just the opposite. It's very hard. I never
want to work under Jim's direction again
and I'm sure he feels the same way about
it. But for all that I think he is one of
the very finest directors in the business."
She laughed and added, "And I know he
thinks I'm pretty good, too."

Plenty of other players work as hard
as Betty and even have longer hours, but
they usually have a week between in which
to pull themselves together. Yet, accord-
ing to Bessie Love and by observation, I
have found that it is true of others, a
week or two between pictures doesn't mean
that you can rest. There is the publicity
department after you to take portraits and
literally dozens of off-stage pictures, and
outside business to attend to.

"No player with any sense devotes all
his mind and income to pictures," said
Bessie. "The money earned on the screen
should be put to work in other fields.
Mother has to take care of most of my ac-
tivities because I simply haven't the time,
but we talk them over and I have to do
the deciding.

"For three years," said Bessie, "I have
wanted to learn to play tennis because it
is such fine exercise and I love the sport
anyway. And after each picture I think,
"Well now, I'll be able to start my tennis'!"
Bessie shrieked with laughter over the joke
on herself.

"The next morning I'm at the studio
at nine o'clock, just the same as always —
I never have the luck to get those ten or

eleven o'clock calls —
tumes or something,
weeks since my last

for pictures or cos-
It has been three
picture was finished

and I haven't had a day off yet. The stu-
dio wants me to make personal appearances
and that means rehearsing a new dance.
It's just like vaudeville. I'm very particu-
lar about working up my dances and songs.
I'd much rather do straight dramatic work
in pictures, but just now the craze is for
music and I never could see the point of
doing anything in a picture if you couldn't
do it with some conviction. I study hard
in between times so that I won't look like
a dub when I do my stuff."

Bessie said "The Broadway Melody"
kept her stepping more than any other
picture so far. "It was my first talkie
and Metro's first sound picture, and there
were many things we had to feel our way
through. For example, the sound depart-
ment said we couldn't speak above a cer-
tain volume, and we couldn't dance, and
we couldn't do heavy dramatic scenes be-
cause the sound of the voice would put
the 'mike' out of commission, and there
were a lot of other 'don'ts.' 'Oh, yeah?'
said Harry Beaumont. 'Weil, we are
going to do a lot of shouting and stomp-
ing about — in fact, we are just going to
raise the roof, so you fellows had better
find out what it is you have to do to make
the recording possible.' "

It is such things that stimulate new in-
ventions. Everyone has a tendency toward
laziness. Having done a fine bit of work
they are apt to say, "Oh, it's good enough."
But it isn't — and if it has any value at all
it has to be refined until it is capable of
practical use. Thomas A. Edison said the
world would not have had the use of the
telephone for years before it did have, had
it not been for a deaf man. The deaf
man was himself. When he listened over
Alexander Graham Bell's device he could
not hear the words distinctly. He knew
that until the overtone had been developed
in the instrument, sufficiently for a deaf
person to hear, it would not be of prac-
tical use to anyone. So he worked on a
device that clarified the wire and recorded
the overtone in the human voice. He
sold that device to Bell.

Even today the engineers are saying of
the talking pictures, "They're good enough,"
and the players and directors are saying,
"They're not!" They ought to record the
voice truly. If a person has a good speak-
ing voice there is no reason why it should
not be just as good on the talking screen.
In the first days of hectic voice tests,
dozens of players that have since made a
sensation, were let out as being 'no good'
for the new regime. Will Ahearn pointed
out another thing that has to be remedied,
and that is something that will retard the
dialog so that it won't be covered by a
burst of laughter from the audience. On
the stage the actor can slow up, fill in the
period by a bit of business, and speak the
following line after the laughter has sub-
sided. This can't be gauged when making
a talking picture, for different audiences
laugh at different things. A line that will
go big one night will hardly get a ripple
the next. One of the first things a
comedian has to do is to find out where
the laughs are and put them over. On
the screen if he fills in by a bit of busi-
ness, or a pause, and the audience didn't
happen to get that point, the tempo of the
piece will be destroyed and the scene go

for February 1930

127

flat. On the other hand, if there is no
pause the following lines will be lost and
the sense of the scene gone. So an engi-
neer will have to work out the problem —
and they are now putting their minds to it,
I heard recently.

During "The Broadway Melody," Bessie
worked sometimes until six or six thirty.
That was a long day, because to be made
up and at the studio by nine, she had to
get up at six thirty. But to stop at six
thirty was still early enough to have the
last scene good. Then she had her dinner
at the studio and practiced her dancing
for an hour or an hour and a half. Then
she looked at the rushes, because it helped
her with her mistakes. Seeing herself she
knew what not to do next time. During
the taking of that picture she ate her din-
ner at home not more than three times
and never got home before ten thirty.
Sometimes it was later. Gowns had to be
fitted at the studio, hair had to be sham-
pooed there. Bessie always manicures her
nails herself and this she would 'do while
her hair was drying. All outside business
had to be taken care of by her mother or
wait until the 'rest' between pictures.

You know that Bessie is engaged to Wil-
liam Hawks and she is as happy as a clam
at high tide. She said it was wonderful
to be in love — everything seems funny.
You can laugh at things with real amuse-
ment that fretted you to death before.
The whole world seems a merry place and
its merriment is reflected in Bessie's happy
face and sparkling eyes these days.

"My friends want to give me showers
but I keep telling them to wait until I
know what I am going to do. If I take
this personal appearance tour I will be
gone in two weeks and if I don't I will
start another picture. In the meantime, I
have to work on my dancing and singing
so that I will be ready no matter what
happens."

Taking a vacation is as much an art
as knowing how to do effective work, Ed-
mund Lowe declares. Eddie is one of the
hardest and most conscientious workers in
the field. Nothing to do with a studio
bores Eddie. His mind is constantly alert
for new ideas; at work on new gags for
his picture. He indulges his love for music
and literature and art because he knows
that deeper knowledge of these things will
help him in his screen work. A narrow-
minded actor is a short-lived actor, and
an unhappy one at that. Any life that is
cramped is unhappy. But particularly has
an actor no excuse for a cramped life. How
can he play the part of a musician, for
example, or a man who loves music, if he
himself has no understanding of, or sym-
pathy with music? A man doesn't have
to be a murderer to play one convincingly,
but he does have to know something of
psychology and the workings of a mur-
derer's mind to get the scene over. That
is perhaps why insanity is so very diffi-
cult to portray on the stage or screen.
Few actors can make insanity seem real.
An actor may work himself up to an emo-
tional pitch of understanding how a man
could, under certain conditions, murder, or
steal, but to become insane — that is so
purely mental that it steps far out of the
emotional stage and is harder to portray,
except by a finely sensitive mind.

"An actor's life is a hard life, if he takes
it seriously," Edmund Lowe told me.
"Aside from the long studio hours there
are things outside that must be done if
he wants to keep fit. For instance, when
I am working this is a normal day for me.
I get up at six, drive to the Hollywood
Athletic Club and play squash, then have

a .swim and a rub down, breakfast there
and get to the studio in time to be made
up at nine. Then whenever I stop work,
five or six or seven, depending upon
whether we are lucky or not, I go back
to the club for a quick swim and a few
minutes in the steam room and rush home
for dinner. There are lines to be learned
these days and nine o'clock finds me in
bed where I study for perhaps an hour
and then to sleep. Lilyan (Lilyan Tash-
man, his wife) and I try to make as few
social engagements as possible when we are
working, but it sometimes happens that an
opening must be attended, or a dinner."
Mr. Lowe referred to the spectacular pic-
ture openings which most of the stars
attend. "When that happens, my suit is
brought to me at the Club and I dress
and go from there. Often we have to
work at night, but I always try to get to
the Club for the evening swim. I grab
a bite to eat there and am back on the
set in time. Sometimes we work until mid-
night or after and are expected to be on
the job again at ten the next morning.
That takes energy. If a man neglects to
keep himself in trim, the grind will soon
wear him down.

"All sorts of minor things, not necessary
to an ordinary business man, are absolute
essentials to an actor if he wants to keep
pace with the business. For example, I
have a good head of hair, but all hair, no
matter how thick it is, acquires a certain
lifelessness if the scalp isn't stimulated.
And that lifelessness shows on the screen.
Once a week I have a scalp treatment to
avoid this danger. Three times a week
my secretary comes to the studio and we
go over the fan mail, during the luncheon
hour or at odd moments on the set. Those
things take time."

He told me, too, about a time when he
had accepted a dinner engagement at Lionel
Barrymore's during the making of "The
Cock-Eyed World." When he found they
were to work half the night he tried to
get out of it. Lionel told him to come
as he was. "But I'm made up for a dead
man and I'm in my pajamas," said Eddie.
"What of it?" Lionel told him. "Come
anyway!"

Now Eddie has an indomitable sense of
comedy and going to a formal dinner in
pajamas and looking as though he had one
foot in the grave, gave him something of
a kick. To be sure most of the guests
were fellow actors, but one or two had
a hard time to swallow their food when
their eyes rested upon the pallid features
of the 'departing' guest.

I happened to be at the studio when
Rosetta and Vivian Duncan were doing
the last scene of their picture, "It's a
Great Life." It was also the heaviest scene
they had to do — their opera number. It
was to be done in color and because the
only color camera on the lot was in use
on an all-color picture during the week,
Sunday was the only day the scene could
be taken. Something went wrong with the
lights and camera too, and the number
which was scheduled for morning was post-
poned until afternoon while the girls made
retakes of the pneumonia scene, as Rosetta
called it. When you see the picture you
will know what she meant.

I arrived on the set at four just as they
were finishing. Then they began dressing
for the opera scene. The wardrobe de-
partment had not followed Rosetta's in-
structions about the sword belt and she had
to use her ragged one with the new cos-
tume. No one in the outfit could see why
she wanted the sword belt the way she had
been accustomed to wearing it anyway.

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But the comedy of the entire scene would
be lost unless she could manage her sword
easily. Well, that argument being over,
Vivian dressed both their wigs and they
started rehearsing. Not for themselves, but
for the electricians and sound and camera
departments, so that all technical points
would be right.

At eight o'clock they were still rehears'
ing, with not a bite of food since noon,
and under such terrible lights that the
girls came off the set dripping with perspi'
ration after each rehearsal. Three times
while I was there Vivian had to dress the
wigs on account of it. Vivian loves to
dress hair and always fixes both her own
and her sister's. When I left they were
still at it, but I couldn't help hoping that
something would happen so the scene
couldn't be taken that night. The girls
were dead tired and their voices showed it.
Vivian had been ill for a week just a few
days before with a misbehaving appendix.
Rosetta was hollow-eyed and she declared
she didn't feel at all funny. "And that's
a fine fix for a comedienne to be in," she
grinned.

You should try to catch an opera singer
standing such hours. When Johanna
Gadski had a concert she wouldn't speak
a word during the whole day, would rest
and diet for hours before she stepped on
the stage. Melba, Tetrazinni, all of them
refused to move about on the stage more
than absolutely necessary. And here these
girls had to sing operatic arias — in comedy
vein it is true, but still their voices have
to be in good shape — after a hard day's
work before the camera and under the
gruelling lights. It takes stamina to be a
screen star.

A day or two afterwards I met Vivian
and asked her whether they got the scene.
"No, we didn't. At ten thirty I burst
into tears when I heard the playback of
the first take. My voice sounded so tired,
and Rosetta's was too. It broke my heart
to have the thing go out that way when
I know how much better I can sing. Mr.
Thalberg is in a rush to get the picture
assembled and off to New York and we
can't have the color camera until next
Sunday, so we are just going to cut the
scene out. If there is time we may do
it again after the preview."

So that was that!

James Gleason thinks the long hours in
the studio are all wrong and a detriment
to the business of acting.

"The producers run off a scene that has
been taken at midnight and it looks all
right to them. But if they saw the same
scene had it been taken in the morning,
they would appreciate the difference.
Most of the pictures that have been knock-
outs have been intelligently made. The
players have not been worked eighteen
hours at a stretch. Sometimes it doesn't
matter whether a player looks tired or not,
but in love scenes and in scenes where
he is supposed to put over a business deal,
for example, by sheer personality and vi-
tality, it lacks convictions when the lad is
weary-eyed and listless.

"We were trying to make 'Oh, Yeah?'
on record time over at Pathe. Bob

Armstrong and I worked 108 hours in a
seven day week, were actually in the stu-
dio that many hours. That left sixty hours.
Divided into seven, that left about eight
and a half hours to commute to and from
the studio, which if you stretched the speed
limit a little, you could make in half an
hour each way. Say you ate your dinner
in an hour; that left forty six hours. Take
an hour each day off for bathing, shaving
and exercising, that leaves on the very
least margin, about five and a half hours
for sleep in the twenty four. That's not
enough. Oh, once in awhile it's all right,
but not day in and day out. The health
of many players has failed under it. Take
little Joan Bennett. She has been trying
ever since we started this picture to shake
a cold and she can't do it."

I went with Joan to her dressing room
while she had a glass of orange juice.
"I've lost seven pounds," she said smiling,
"and I'm taking eggs and milk and orange
juice to build myself up. I think I'll get
rid of this cold if I do that. For months
I've been working so hard I just am tired
out. Yet I adore pictures and would be
miserable if I weren't working. There is
no satisfying us, is there?"

During "Bull Dog Drummond" the com-
pany worked until ten and eleven every
night. "Bull Dog Drummond" was fol-
lowed in quick succession for Joan by
"Disraeli," "The Mississippi Gambler" and
now "Puttin' on the Ritz," with Harry
Richman. There were three weeks between
"The Gambler" and the Richman picture
in which Joan should have taken a rest,
but she had to move.

"I moved from the Chateau Elysee to
a house. It's better for the baby," said
Joan, looking like a baby herself in a
fluffy chiffon gown of pale blue. She is
still in her teens, it seems ridiculous for
her to have a baby old enough to walk.
"There was furniture to buy and draperies
to select and all the rest of the things to
see about when you furnish a house. It's
a lot of fun and a change, too, but hardly
a rest when one is as thoroughly tired
as I was.

"I know people must think I'm terribly
rude. I refuse all invitations and don't
entertain at all. My friends who are pic-
ture people understand, but the others
don't. They try to, but they just can't.
It is a crazy business, isn't it?" she asked
smiling.

It is. But what a whale of a lot of fun!
Not one out of ten would get out of it
after they have become successful, and a
very small percentage quit from actual
choice. But you can't deny that it takes
more than the average amount of energy
just from the standpoint of endurance if
from nothing else, and also it takes courage
and persistence. Just as in everything else
the one who works the hardest gets there.
As Bessie Love said of Irving Thalberg,
"Why, he's always working. The first
here in the morning and the last at night.
If you want to get anywhere in any busi-
ness you have to give it everything you've
got and then some."

And history proves that Bessie is right.

"My Pal Hal" — Continued from page 21

A year or so later Hal was playing on
the Pacific coast. He went to Alaska with
a little musical show and, returning with
it to Seattle, the company went to Japan.

"The Japanese were the best audience I
have ever had," Hal told me. "They
laughed at everything, even when I was

trying to be serious."

Upon his return to the United States,
Skelly joined the Barnum and Bailey cir-
cus as 'Tumbling Harold Skelly,' one of
his duties was to make a spring-board
leap over the backs of four elephants.

The act, a spectacular one, went well

for February 1930

until the afternoon that Mabel, the last
elephant in the row, raised her trunk just
as Hal was soaring through the air across
her spine. He did no more elephant leap'
ing.

His next venture was vaudeville, an
eastern tour that took him to New York.
From that time on Hal Skelly's rise was
rapid.

His first Broadway appearance was in
the "So Long, Letty" company with Char-
lotte Greenwood. Other successes followed
and soon Hal Skelly was a Broadway figure
with a fine box-office name. His part in
"Burlesque" peaked his career up to the
time he came to Hollywood:

Since then we have watched Hal Skelly
climb to new heights.

When the editor of Screenland asked
me to write this little story, Hal was work-
ing at the studio in a picture called "Be-
hind The Make-Up." He had been work-
ing hard, having just finished the leading
part in "Men Are Like That," which is
from the play "The Show Off"; and be-
fore that a difficult part in "Woman Trap."

I went out to Stage Fourteen, on the
set where Hal, William Powell, and Fay
Wray were working under the direction
of Robert Milton.

I came on the set right in the middle
of a scene. What happened was typical
of Hal.

Immediately he saw me standing behind
the cameras he stoped his action and his

lines and called: "Hello, baby! How's little
Bonnie today? Wait a second, will you,
while I finish my chores? Then we'll break
an egg together."

It made no difference to him that the
scene had been interrupted. The others
didn't mind, either. Somehow you expect
such things of Hal.

It was during "Woman Trap," and the
filming of the most dramatic scene in the
picture, that I heard this about him:

He and Evelyn Brent and Chester Morris
were rehearsing the big climax where Hal,
a detective captain, comes into a room at
Miss Brent's bidding to find there his young
brother, Chester Morris, whom he discovers
to be a murderer for whom the entire
police department has been searching.

All was ready for Skelly's dramatic
entrance. His cue was given. The door
opened and Hal came in — riding a bicycle!

Miss Brent told me later it all was so
ludicrous, and so unexpected, that she
almost had hysterics.

But when it came time to take the scene
Hal seriously went to work and it was one
of the finest in the picture.

Hal Skelly, in spite of his lovable, boy-
ish nature, and his insatiable appetite for
jokes, is a sincere and earnest workman;
not only an able actor but a great one.

That I know personally from having
shared scenes with him in "The Dance of
Life."

I like him a lot!

Paul — that's all — Continued from page 59

War. As I weighed almost three hundred
pounds in those days my warring consisted
of leading a Navy band.

"After that was over, I started broke
again. With no money to pay real musi-
cians, I recruited my original jazz band
from clean, ambitious young high-school
lads. We studied hard, worked hard to-
gether, and after playing in various Cali-
fornia hotels and cafes, we attracted the
attention of John Hernan. He was a suc-
cessful hotel man and it was this good
friend who personally guaranteed our
salaries to the Alexandria Hotel in Los
Angeles. We had to make good.

"How dear are those old days to me,
when I see the familiar faces about me in
Hollywood. Charlie Chaplin, Mabel Nor-
mand and Lew Cody, Mickey Neilan, Bill
Hart, Doug and Mary, Harold Lloyd, the
Talmadge girls, Dick Barthelmess and so
many more. And Wally Reid— how well
do I remember when Wally loved to play
the drums, and occasionally the saxophone,
in my orchestra.

"Jazz had never been orchestrated be-
fore, you know. People not only liked our
dance music, but I found they were becom-
ing interested in our trick of jazzing the
classics. We had a peculiar treatment in
those days, for rhythm and color to the
masterpieces. Eventually we won the inter-
est of the East, and soon we were brought
on to play. Guess everybody knows the
rest. Our next stopping-off place was
Ziegfeld's Follies and the Palais Royal, and
from there we rambled on to fame and
fortune in New York and Europe. Jazz
had become king."

Things that Paul Whiteman doesn't tell
are even more interesting.

How he refused to play for a multi-
millionaire's entertainment until apologies
had been extended his band boys for being
treated like servants. That never happened
again.

How he hob-nobbed with the Prince cf

Wales whose patronage aided him in sweep-
ing England, and later Europe, into the lap
of jazz.

How he finally forced even highbrow
musical_ critics to pay tribute to his genius
by giving an all-jazz concert in the sacred
confines of Aeolian Hall, New York, five
years ago. He faced the possible jibes and
rebukes of the musical conservatives, he
risked not only failure, but a subsequent
loss of popularity. Ridicule is never sur-
vived. But Whiteman believed that jazz
was beginning a new movement in the
world's art of music, and he wanted it to
be recognized as such. He took a big
gamble, and he won.

Despite the fact that Whiteman is being
paid an astounding wage by Universal, he
is far more concerned with getting over in
this new racket than he is over the money.
After all, he has been making a young
fortune every year for the past six, on his
records, radio concerts, stage performances
and band tours. Money is nothing new
to him.

To digress, he has received a $250,000
cash guarantee on this Revue, ten thousand
a week for his orchestra, and he will get
forty percent of the net receipts on the
picture. His band boys are well paid,
ranging from $200 to $500 a week apiece.
As there are some thirty-five in the band,
you can figure out what Whiteman has to
earn to pay off his boys every week, and
show a profit. While we're on high finance,
I might add that the jazz king also gets
$8000 a week for playing a one-hour con-
cert every Tuesday evening over Columbia
radio chain. The gentlemen bountiful in
this radio hook-up are the makers of a well
known brand of cigarettes. So you can
see, Whiteman can earn plenty of shekels
without relying upon a success in pictures.

But, is he working at it? Well, the
studio staff vow and declare that Paul
Whiteman can ask more questions about
how and why than anybody they ever met.

129

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130

SCREENLAND

WE BUILD,

WE DO NOT DESTROY !

A MAGAZINE — any publication, for that
matter — is a public trust.
C[ It owes a duty to its readers.

C[ Its editorial policy, its fashion of discharging
that duty to its readers, eventually determines
whether it will build itself into an institution or
fall by the wayside.

€[ This policy of which we speak usually reflects
the publisher's character. The editor gives voice
to the publisher's policy. If that policy is distaste'

truth. Poor sportsmanship!

C[ In observing the editorial policies of the movie'
magazines that are struggling in these mud-puddles,
we wonder how their publishers and editors and
writers would feel if a glaring searchlight were
suddenly thrown upon the "dark secrets" of their
own lives or what kind of a taste would be left
in the mouths of their families and friends, were
their faults or frailties — or perhaps some indiscre-
tion — bared to the world when the honeysuckles
begin twining on their little tombstones,
ful, a self-respecting editor with ability generally ^ wdl? to make ourselVes clear, Screenland does

will find a publisher possessing more decent prin
ciples.

C[ Then again, magazines as a rule are aimed at a
certain class of readers.

not and will not indulge in that sort of an edi-
torial policy.

C[ There are too many interesting and human
things happening and this is the type of news that

C[ Screenland happens to believe that the great fills its pages

majority of people prefer decency rather than sor- ^ h WQuld rather bml(j itsdf intQ an institution

didness, wholesomeness rather than sensationalism. whose policies are admired and respected by its

Taken by and large, human beings are all pretty reacjers
much the same, whether they be motion picture

stars, writers, portrait artists, everyday business ((That is Screenland's idea of discharging its

folks, society girls or men and women who serve public trust.

useful purposes in stores, offices or factories. d[ When it cannot build, it will not destroy.

C[ They are all moved by the same human impulses, C[ It will not defame the living nor scandalize the

experience the same pleasures and surfer the same dead,
tragedies of life, each

in his own way.

C[ But because motion
picture artists occupy
the spot-light on their
stage of life; because
millions of eyes con-
stantly watch their
performances on the
silver screen, the scan-
dal-monger type of
movie magazines select
these artist-entertain-
ers as fit targets for
so-called "exposures1"'
of alleged "inside se-
crets" and a lot of
piffle and twaddle that
is either twisted, gar-
bled, discolored and
exaggerated or wholly
without foundation in

Rudy Vallee posing for Rolf Armstrong in his New
York studio, for the portrait insert of Rudy which
appears in this issue.

C[ Its readers, we be-
lieve, have too much
class and character —
they belong to the
great majority, who
would rather judge
their living stage and
screen favorites by
their artistic accom-
plishments and their
finer personal quali-
ties, and who would
like to remember those
players who have
passed into the great
beyond, by the mark
they made in their
artistic portrayals, and
for their good deeds
done while here on
this earth.

The Publishers

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for March 19 30

JOHN FORD'S

"MEN
WITHOUT
WOMEN

An Even Greater

TRIUMPH

Sixteen men are caught in a disabled
submarine. Faced with inevitable death,
all their talk and thoughts center on
the eternal subject— women. The amours
of a thousand nights flash across mem-
ory's mirror. Then in the supreme, cli-
mactic moment, when one man must die
to save the rest — woman is revealed as
the motivating force that sends the
hero to his sacrificial death.

But not a woman appears in the cast!
This is a picture of men and their vary-
ing reactions to the elemental urge of
the Universe, persisting even in the
face of death itself!

"MEN WITHOUT WOMEN"-witk-
out a doubt John Ford's finest achieve-
ment—will be remembered as one of
the greatest pictures the screen has
ever known. Don't miss this

MOVIETONE

AGAIN
THE HONORS
GO TO

For the second time in two years, Fox has been award-
ed the coveted Photoplay Gold Medal for the finest
motion picture of the year. This is the first time any
producer has ever won this award twice in succession.

Awarded on the basis of an actual poll of its readers, Photoplay's
Gold Medal is literally a symbol of the approval of a most important
and critical portion of the great motion picture loving public.

Last year this significant award for the most distinguished picture of
the year was won by Frank Borzage's Fox production, " 7th Heaven".

And now another Fox picture — John Ford's outstanding artistic
achievement, "Four Sons"— has received the award.

Although the winning of the Gold Medal for two successive years
is an unprecedented achievement, the Fox organization is not resting
on its laurels. The obligation to live up to the standard set in the past
will continue to be its inspiration to still finer achievement in the
future. Expect great things of Fox!

JOHN FORD

Director of this year's Gold Medal win-
ner "Four Sons". He will also be long
remembered for his direction of "The
Iron Horse", "The Black Watch" and
"Salute".

FRANK BORZAGE

Director of "7th Heaven" and "Humor-
esque", first Photoplay Gold Medal
winner— not to overlook "Street Angel",
"They Had to See Paris", and John
McCormack's first singing and talking
romance, now in production.

4 FEB NiO

Delight Evans, Editor

March , 19 3 0 /

THIS MONTH'S PROGRAM:

Cover — Evelyn Brent. By Rolf Armstrong
Sound News. By Evelyn Ballarine .... 6
Movies in the Air. By Julia Shawell ... 8
Confessions of the Fans. Letters from Readers 10

Honor Page — Gary Cooper 14

This Is Procress! A Drawing by C. D. Batchelor 16

Editorial. By Delight Evans 17

Hollywood, I Love You. J. P. McEvoy.

By Wanda Valle 18

And Now They Get in Your Hair.

By Sydney Valentine 20

Chevalier's Secret. By Rosa Reilly .... 22
Color Makes the Form Go Round.

By Jerome Beatty 24

"My Buddy." Charles 'Buddy' Rogers.

By Nancy Carroll 26

Joan Crawford Psycho-Analyzed.

By James Oppenheim 28

Getting Into Character. By Helen Ludlam 30
What Eve Learned from the Stage.

By Esther Ralston . . . 32

BuSHELLS OF Love AND Kisses. Anthony Bushell

and Zelma 0'K[eal. By Betty Boone ... 34
The Stars Select their Own Favorites.

Portraits r .; . . A: . '.' . • • 35'50
Bill Boyd Doubles Back. Willimn Boyd.

By Keith Richards 51

Hollywood, Home of the Arts.

By Rob Wagner 52

Betty Compson's Gift 54

The Battle of the Boy Friends.

By Herbert Cruikshank 56

On Location with "Sergeant Grischa."

By Helen Ludlam 58

When the Stars Step Out.

By Grace Kingsley 60

Details of Beauty. Screenland's Beauty Depart-
ment. By Anne Van Alstyne 62

Trailing "Trader Horn." By John W. McClain 64
Ann Harding — an insert. By Rolf Armstrong
The Most Beautiful Still of the Month . 67
Hollywood Heart Interest. Hancy Carroll

and Jean Arthur. Portraits 68

Charles Ruggles — A Portrait 70

Helen Morgan — A Portrait 71

Thelma Todd — A Portrait 72

Lois Wilson — A Portrait 73

Dorothy Jordan — A Portrait 74

Regis Toomey — A Portrait 75

David Rollins — A Portrait 76

Marguerite Churchill — A Portrait ... 77

Leila Hyams — ■ A Portrait 78

Warner Baxter — A Portrait 79

Loretta Had a Little Lamb. Loretta Young.

Portraits 80

Marion Davies- — A Portrait 81

The Girl with Seven Voices. Marion Davies.

By Ralph Wheeler 83

Reviews of the Best Pictures.

By Delight Evans 84

Critical Comment on Current Films ... 86

Revuettes of Other Pictures 88

In New York. By Anne Bye 90

The Stage in Review. By Benjamin De Casseres 92

Come Into the Kitchen with Fay Wray.

By Fay Wray 94

Hot from Hollywood. K[ews and Gossip . . 96

The Best Lines of the Month 102

Ask Me. By Miss Vee Dee 103

Let's Go to the Opera! By the Publishers . .130

Published monthly by Scrccnland Magazine, Inc. / pendencies, Cuba and Mexico; $3.00 in Canada;

-it Executive and Editorial offices: 49 West 45th Street, foreign, $3.50. Entered as second-class matter IVT^

VOL. Ncw, \°rk City. William Galland, President; November 30, 1923, at the Post Office at New York. 1MO.

— Joseph M. Hopkins, Vice-President; C B. Mantel, .T v , , . , w . , ,„„ .... r

Secretary. Frank J. Carroll, Art Director. Yearly N- Y- undcr the Act of March 3, 18,9. Addi- ^

Member Audit Bureau of Circulations

for March 1930 5

'•Oiiwaril, onward swords against the foe!
Forward, forward the lily banners go!"

DENNIS KING

THE VAGABOND KING

WITH

JEANETTE MacDONALD

Warner Oland and O. P. Heggse and cast of 1000. Ludwig Berger
Production. From "If I Were King" hy Justin Huntley McCarthy and

IT lives again! — the thundering throb of "Song
of the Vagabonds," in the glorious golden voice
of Dennis King, star of Paramount's all-color
musical romance, "The Vagabond King"! Once
the greatest triumph of the Broadway stage, now
the supreme triumph of the talking, singing screen
— Paramount's New Show World. *I Blazing with
gorgeous Technicolor throughout . . • vibrant
with stirring melodies . . . packed with thrills and
adventure, excitement, romance! <I With Broad-
way's favorite romantic stars, Dennis King and
Jeanette MacDonald in the leading roles, and a
great cast. The New Show World of Paramount at
its most brilliant height! <J And only Paramount,
with matchless resources and unrivaled man-
power, could unfold before your eyes this glittering
panorama of song, color and romance in all the
blazing glory of the original, the greatest of all
musical romances! <H Don't miss the outstanding
eye-and-ear treat of the year. Ask your Theatre
Manager now when he is plan-
ning to show "The Vagabond
King". "If it's a Paramount Pic-
ture it's the best show in town!"

"TheVagabondKing"byWilliamH,Post,BrianHookerandRudolphFriml.

Cparamount

TBAOE H MAfl

(pictures

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ltvcords sent on fn*e trial. Write for information and
free Self Test. No obligation.

THE PRONUNCIPHONE INSTITUTE
3601 Michigan Ave., Dept. 6323, Chicago

50UND ^7\EWS

Evelyn
Ballarine

Forecasting the Picture Program

The most interesting bit of news cir-
culating around is that George
Bernard Shaw's play "The Devil's
Disciple" has been purchased by
Paramount for Dennis King, with Ernst
Lubitsch to direct. This is interesting be-
cause in the past Mr. Shaw has refused
to allow his plays to be made into pic-
tures. Apparently the talkies did the trick.
We sincerely hope that Mr. Shaw and Par-
amount go through with the plans and
produce "The Devil's Disciple" and that
it won't be just another idle rumor.

Lillian Gish is said to be headed for
Europe for a conference with Eugene
O'Neill. She may do "Strange Interlude"
as her next talkie, or perhaps it will be
an original screen story written especially
for her. The screen is going highbrow at a
rapid rate.

John Gilbert's next starring vehicle will
be Ernest Hemingway's novel of the war,
"Farewell to Arms," considered one of the
best books of the year. It is highly pos-
sible that this may turn out to be the talkie
"Big Parade."

Frances Dade has been selected as the
feminine lead opposite Ronald Colman in
"Raffles. "' Of course, you've never heard
of her — but you will. She is the newest
screen Cinderella. She is only eighteen
years old and has only played extra parts
in pictures. Her screen test was successful
and now Miss Dade is starting on the road
to screen success. Bon Voyage!

Players have to be linguists as well as
good actors these days. Claudette Colbert
was selected for the feminine lead opposite
Maurice Chevalier in "The Big Pond" be-
cause she can speak French. There's a nice
fat role waiting for a character actress who
can speak both Italian and English fluently,
for George Bancroft's next, "Ladies Love
Brutes." Most of the stars are studying
foreign languages. Lois Moran speaks
several, and she'll be given a chance to
prove it in her next talkie. Charles Farrell
and Janet Gaynor are taking Spanish les-
sons. The same applies to Stan Laurel and
Oliver Hardy. They are making Spanish
versions of all their very funny comedies.
Victor McLaglen is studying French. An-
tonio Moreno's accent proved valuable to
him. He plays a French-Canadian, and a
villain, in "The Girl Who Wasn't Wanted,"
with George O'Brien and Helen Chandler.

Seven foreign nationalities, a whole
League of Nations, are presented in "One

Mad Kiss." Don Jose Mojica, the star,
is Mexican; Mona Maris, leading lady, is
a native of Argentine; Tom Patricola is of
Italian birth, Antonio Moreno was born in
Spain; Marcel Silver, director, is a native
of France; Frank Merlin, stage director;
was born in Ireland; and Alexander Kahle,
cameraman, was born in Prussia. And yet
it has been said that the talkies were elim-
inating foreigners!

The vogue for westerns continues. The
newest cowboy of the screen is none other
than William Haines — and not one of the
drug-store variety either. He's going to
be a real out-door he-man in his next. Par-
amount is making "The Border Legion"
with Richard Arlen, Fay Wray and Fred
Kohler. Gary Cooper is to make "The
Texan" as his next. This will serve as a
companion vehicle to "The Virginian."

Sue Carol captured one of the most
sought-after roles of this season — the lead
in "The Golden Calf." And for two good
reasons — according to Director Millard
Webb, the measurements of Sue's legs are
nearly pertect.

Mitchell Lewis is one talkie player who
doesn't have to worry about memori;ing
his lines. He plays a deaf mute in Rod
La Rocque's next. "Strictly Business."

Lila Lee is a close runner-up to Betty
Compson for talkie roles. No sooner do
these girls complete a film for one studio
than they are rushed into another for
another company. Warner Brothers have
cornered both of them for "His Woman"
with Monte Blue and Jack Mulhall.

William Powell holds the record for
having played in the most mystery dramas.
He was Philo Vance in several of the screen
versions of S. S. Van Dine's novels. His
next is the lead in Rupert Hughes' mys-
tery novel, "Ladies Man."

Bernice Claire and Alexander Gray are
completing their third co-starring picture,
"Song of the Flame." "No, No, Nanette"
and "Spring is Here" are the others.

Joe Cook is the latest Broadwayite to
desert the bright lights for the western
front. "Rain or Shine," his stage success,
will be his first contribution to the talkies.

Here's something to cheer about — Milton
Sills is fully recovered from his nervous
break-down and is looking for a suitable
story for his come-back.

And Rin-Tin-Tin has made his last
barkie — he is retiring from the screen.

for March 19 30

^jesterdaif a speechless shadow-

£/6 day a vivid, living person-
thanks to

VITAPHON

Until you've heard him in General Crack" you
can but guess at the full force of the flaming per-
sonality that is the real John Barrymore.
Not figuratively, but literally, John Barrymore
"comes to life" in "General Crack".
For here for the first time, Vitaphone restores the
pent-up power of the thrilling voice that made
him the star of stars of the speaking stage . . . And
resplendent scenes in COLOR show you what he
really looks like as he storms recklessly into the
vortex of cyclonic romance and adventure, break-
ing heads and hearts and sweeping monarchs from
their thrones to suit a gypsy whim!
This tense and virile love story from George
Preedy's famous novel, has been dressed by Warner
Bros, in extravagantly sumptuous trappings to
celebrate this greatest of all Vitaphone events.

THE STAR, of STARS of the SPEAKING STAGE:

GENER4L CRACK

HIS first TALKING PICTURE!

1BR0S.

Vitaphone*' is the registered trademark of
The Vitaphone Corporation. Color
scenes by the Technicolor Process.

"General Crack" is
another example of the
treats that await you
every week at theatres
that feature Vitaphone
pictures, produced

exclusively by
WARNER BROS, and
FIRST NATIONAL

SCREENLAND

MOVIES

the AIR

When Screen and Broadcasting
Studios Get Together

By Julia Shawell

RECENT consideration of plans for the
establishment of a government radio
university in Washington at an esti-
mated cost of $10,000,000 has an important
bearing not only upon the radio industry
but upon the movies so far as the im-
provement and advancement of the talkies
are concerned. It affects everybody and
every company in both industries. It has
a direct bearing on the financial futures
of Adolph Zukor, Joseph Schenck, Sam
Goldwyn and the Warners. It affects the
careers of Clara Bow, Billy Haines, Buddy
Rogers, Greta Garbo and all the rest. It
has an influence on the directorial efforts
of Lubitsch, D'Arrast, Milestone, Vidor,
Crosland and all the other megaphone
wielders. It is one of the most important
steps taken since radio and the movies
learned they were related and actually de-
pendent upon one another.

While the plans have been temporarily
shelved on the advice of commercial
leaders who were called to the conference
at the capital, the object has not been aban-
doned. The construction of a radio uni-
versity has been postponed because the
heads of the big radio groups throughout
the country insisted that the industry has
not sufficiently progressed to warrant any
government outlay of such proportions at
this time. Their idea is to to keep experi-
mentation in the hands of private organi-
zations and groups or to leave the
educational phases to institutions of gen-
eral learning.

Such an idea has its good and bad fea-
tures. No doubt the remuneration possible
in private exploitation is an incentive
which any governmental benevolent move
might not have. And yet the control of
scientific development and research in the
hands of a few big companies has its
dangers also.

The general public idea of a radio uni-
versity is an institution for gray-haired
scientists to act as professors of young
men who are desirous of becoming gray-
haired scientists as quickly as the years
will permit, and where terribly involved
problems, mysterious and impossible to the
layman, are studied. That, as they say
on the Hollywood lots, is just an order
of bologna! Such a school would cer-
tainly take an altruistic attitude on tech-
nical research now going on under the
financial guidance of companies controlling
radio patents, and therefore controlling
movie equipment.

But there would also be a less detached
and more practical purpose for such a
school. It would tend to improve the me-
chanics of voice recording and transmission
so that foreign sounds in projection would
be eliminated, so that feminine voices
would record with more personality, so
that camera movement would not be so

stilted to meet the microphone require-
ments. It would advance the whole busi-
ness of vocalized picture making. It would
train men as talkie directors and would
educate technicians so that they would
use to full advantage such inventions and
experiments as have been made and are
now owned by the electric and radio
companies.

The present trouble is that the mechan-
ical equipment for the talkies has been
developed in advance of its use. Experts
familiar with the equipment know nothing
of camera technique and the veterans of
the silent days are just learning what to
do with the new appliances on their sets.

When M. H. Aylesworth, president of
the National Broadcasting Company, was
asked for his opinion he voted against the
idea of a radio college at this time on the
ground that radio education had not ad-
vanced to any degree which would call
for a government appropriation for such
a purpose. Aylesworth represented the
most powerful interests in the field. The
N.B.C. through its connections with the
American Telephone and Telegraph Com-
pany, with the Radio Corporation of Amer-
ica and with the General Electric Company
has been the biggest factor in developing
every branch of the industry. He, more
than any other man, was in a position to
know conditions at this time. And yet,
neither Secretary Wilbur nor any other
government official could expect Mr.
Aylesworth to approve of any public, gen-
eral scheme which might interfere with

H elen Kane is a radio favorite as
well as a screen star. Her inim-
itable songs delight all audiences.

the private experimental pursuits now
going on within the companies associated
with his great broadcast chain.

Warren H. Pierce, educational director
of the Columbia chain, suggests the cre-
ation of a division of education by radio
in the office of education at the Interior
Department.

When talkies came into the films, the
movie industry was a baby crawling on
its hands and knees to another alien in-
dustry which it had considered its arch
enemy. It had to go to radio not only
for its mechanical equipment which made
talkies possible but it had to draw from
the same field all its technicians. Talkies
are not in the third year of their consist-
ent commercial existence and yet great
developments made for their improve-
ment have come out of the laboratories of
those electric companies associated with
the radio groups.

Men who had grown up with the movies
were novices in a new field. The most
important directors were apprentices in the
voice-recording rooms. Talented actresses
didn't know the little tricks which song-
plugging females had accumulated in the
broadcast studios and which brought out
the voice appeal. The film executives were
dealing with a new force about which they
knew nothing except its tremendous com-
mercial possibilities. In the first few
months of making talkies in Hollywood,
the radio men brought on from the re-
search laboratories of the east were the
tin gods. A sixty-dollar a week radio
operator who got no consideration in his
own field was a personage in the flicker
studios where even his limited knowledge
gave him the edge on brainy men who were
new at dealing with microphones.

That was the period for the establish-
ment of classes and schools. I remember
one day being taken through Fox Movie-
tone City out in California. Architec-
turally and mechanically it is a fine ac-
complishment. I was impressed by the
amazing speed with which Fox and the
other companies had corralled the new
medium.

But I had seen my first broadcast studio
before I was sixteen and had closely fol-
lowed the growth of broadcasting ever
since, so that technical appliances which
were a marvel to these celluloid moguls
were an old story to me. If they had
been with me on the roof of the old
Westinghouse building in Newark when
WJZ was the only eastern station and
when we had to crowd into little cubby
holes on the roof to speak into crude
mechanism which transmitted voices over
wireless waves, they would have known
the money, brains and time which had
gone into the improving of radio trans-
mission and sound recording.

for March 1930

Here it comes! -The bk f,

national anthem . . . *b™ *n&de

musical romance r„ Srr,a*h ea 6>r T

«»iice records ; . tQat ■*H>0'»
Broadway ... B ds us OQ ^tfe^ «

't^lory-andmore^M40^ °«
stage production? 0,,s

AUn,queround-tae.
Bernice Claire and 4| ^a,,
convulsing comedyiv r *a<,</ef ^
LilvanTaslunan,^0^^ ^>
field-studded witb tl^'er,

tuous song-and-dan
filmed, in full COiQ*°e**~ "

%'tra^/

"Vitaphone" is the registered trade-
mark of The Vitaphone Corporation,
Color scenes by Technicolor

APf10NE PICTURE

SCREENLAND

CONFESSIONS
of the FANS

FIRST PRIZE LETTER
$20.00

Movies have a definite place in the lives
of my husband and myself. Along with
the other items of our budget are listed
two shows a week. We believe this to be
as necessary an item as any of the others.

If my husband has had a day of busi'
ness worries, we choose a gay, laughing
picture. If something is being featured of
a more dramatic type and both of us are
feeling fit, we go to that. Again, we choose
a picture because of the fine music — what-
ever fits our mood. If my husband likes
a player and I do not, we compromise by
going as his taste dictates on one occasion
and as mine the next. Always, we 'doll
up' a bit and feel that it's our evening
out. When we come home, we discuss the
picture, its good points and its defects.

Movies fill a part in our lives. We have
no home because my husband's business
requires us to move often; so, like seeking
old friends, we hunt our movie favorites.
They play the parts and we look on —
but there is a kinship between us. Their
emotions are ours. They triumph and fail
and begin again as we do.

Mrs. Leslie Johnson,

General Delivery,
Louisville, Kentucky.

SECOND PRIZE LETTER
$15.00

"There's so much good in the worst of us
And so much bad in the best of us
That it doesn't behoove any of us
To speak ill of the rest of us."
The behaviorist says we are no better
than the good we do, but we all have a
sneaking idea that we are much better than
the bad we do. This touch of nature
makes movie fans kin. We differ about
plays and players, of course, for we at'
tribute to others our own qualities and
adore in others our own ideals.

Quite recently I was criticized by a dear
soul who had her doubts about a girl who
spends time and money going to shows
when she might be learning something use-
ful. Movie fans, however, are not troubled
by doubts, inhibitions or suppressions.
They live all their potentialities — scale the
heights with heroes and lovers, plumb the
depths with villains and fools, and learn
that goodness is loving'kindness; that hap-
piness doesn't happen, it's created; that
morality is a matter of common sense, and
freedom the power to choose.

Dorothy Dickson,
514 South Seaward Avenue,

Ventura, Calif.

THIRD PRIZE LETTER
$10.00

The writers in this department express
from many and varied viewpoints their
reactions to the talkie pictures of today.

This is YOUR department, to
which you are invited to con-
tribute your opinions of pictures
and players. For the cleverest
and most constructive letters, not
exceeding 200 words in length, we
offer four prizes. First prize,
$20.00; second prize, $15.00; third
prize, $10.00; fourth prize, $5.00.
Next best letters will also be
printed. Contest closes March
10, 1930. Address Fans' Depart-
ment, SCREENLAND MAGAZINE, 49
West 45t/i Street, New York City.

The Editor

But perhaps no one can really appreciate
them as one who has spent several years
in a state of semi-invalidism.

To have the best part of one's youth
snatched away and replaced with a long
dreary procession of sanitariums and health
treatments; to be always fighting down a
restless spirit that strains impatiently at the
bonds of physical ailments; to want with
all one's heart life with its beauty and
adventure — to have everything, seemingly,
taken from one! Yet, on very special and
gala occasions I can and do, go out to a
movie and, for a few hours, forget.

Oh, glamorous people of the screen, I

Garbo is a star about whom the
fans never tire of talking — and
writing. Here is Greta in a scene
from her first speakie, "Anna
Christie."

love you all! You bring us with your gay
laughter the things we might have lost. You
bring life to us when, perchance, we could
never go to meet it.

Kathryn J. Chisman,

Canastota, N. Y.

R.D. 4.

FOURTH PRIZE LETTER
$5.00

Foreign lands, foreign skies, and all that
savors of the exotic hold a peculiar fasci-
nation for all. There is in each of us, to
a greater or lesser extent, the longing to
set sail on strange seas and an unsatiable
desire to learn about this world of ours.
As Emerson so fittingly said, "Every ship
is a romantic object except that we sail
in." We crave the new, the varied.

Motion pictures have brought to us the
people, the scenes of faraway lands. To
those who eke out their living in noisy
factories, who cannot afford to visit other
places, who, at the end of a day amid whir-
ring machines that gradually sap their vi-
tality are too weary to improve their minds
by reading, pictures are a blessing.

Instead of dry text books we glance at
the silver screen and there is depicted for
us great historical events.

Besides being of great historical and edu-
cational value, pictures bring a relaxation
that is invaluable. All our moods can be
satisfied, there are tears and laughter for
all.

Educationally, historically, morally —
what a god-send!

Marian Virginia McFetridge,

Box 579,
Eustis, Florida.

'Beyond Our Ken'

I am particularly interested in pictures
which have been adapted from the world's
great books. And as I have traveled over
the world a great deal, I take great in-
terest in a picture which has a distant field,
or is based on some romantic or historical
event.

When I read and later saw "The Divine
Lady" my mind recalled the vivid blue of
the Mediterranean, the lure of its ships.
The characters were portrayed true to life
and one's imagination was carried beyond
the present into the great beyond.

When I saw Tolstoy's "Resurrection" I
thought of those trails in Siberia, with vast
prairies of snow stretching far, where I
had been for twelve months. And I thought
that nothing was more beautiful than
"White Shadows in the South Seas," once
a paradise to me.

When I saw these pictures I lived over
again happy years of the past for, as Rud-
yard Kipling writes:

"When you hear the East* a-calling
You won't ever heed nothing else."

To read about these things, to see the
scenes portrayed is wonderful; but when we

for March 1930

^Fountain of Youth

is Mirth

PONCE de LEON made an old man of him-
self searching restlessly for the Fountain of
Youth. He might have stayed young and
happy many years more, in his own sunny
Spain, if he had only learned to laugh.

Mack Sennett is a wiser and a happier man.
He recognized that Laughter is the Fountain
of Youth, and he has tapped this golden

spring for an endless stream of mirth that
will help to keep you young.

Have you seen and heard Sennett's latest talk-
ing comedies — "Clancy at the Bat," "The New
Halfback," "Uppercut O'Brien "and "Scotch"?
In these and in Educational' 's many other
talking comedies you'll find a real Fountain
of Youth, as near as your favorite theatre.

MACK SEMNETT

TALKING COMEDIES

These Jack White Pro-
ductions mix speed and
thrills with laughs.

MERMAID
TALKING COMEDIES

TUXEDO
TALKING COMEDIES

JACK WHITE
TALKING COMEDIES

You'll find your fav-
orite stars, too, in
Educalional's Talking

LLOYD HAMILTON
TALKING COMEDIES

LUPINO LANE
TALKING COMEDIES

EDUCATIONAL FILM EXCHANGES, Inc.

E. W. HAMMONS, President

Executive Offices:

1501 Broadway, New York, N. Y.

SCREENLAND

have actually seen the scenes we are indeed
'canricd beyond our ken.'

Herbert Warner,
2139 W. 111th St.,
Morgan Park, Chicago, 111.

A Tribute to "Disraeli"

Of the more serious type of picture seen
this year, "Disraeli" is outstanding. "Hal-
lelujah" I believe, would come next. George
Arliss as DisraeU was perfect. Never have
I heard the English language so liquidly
and perfectly spoken. His acting too, was
beyond criticism. He was at once clever,
brilliant and witty; then with dazzling
quickness he was a commanding, imperialist
Prime Minister whom one hastened to obey.
Mrs. Arliss as Lady Beaconfield was as
lovely as she could possibly be — and the
juvenile roles — if one may call them that,
were portrayed to perfection.

Pictures after the type of "Disraeli" with
historical background and a plot that con-
cerns nations and men of importance, make
an ideal subject. And when such great
actors as Arliss portray the parts, the re-
sult is something for producers to brag
about!

Edward H. Connors Jr..

Rumford. R. I.

Wants Foreign Stars Silent

Because of talking pictures we have lost
one of the greatest actors who ever lived
— Emil Jannings; and a very great actress,
Pola Negri.

Pictures, more rightly called classics.
"The Way of All Flesh," "The Patriot,"
"Forbidden Paradise," "La Boheme," "The
Scarlet Letter" have given way to bits of
nonsense like "Three Week Ends." "Wild
Party" and "Broadway Babies."

Please, Mr. Producers, give us silent pic-
tures like "A Woman of Affairs," "Where
East is East," "Dream of Love" and "West
of Zanzibar." They are more glamorous
and colorful than any talkie of their kind

Irene Rich's loyal following had
the pleasure of seeing her in per.
son on her recent vaudeville tour.
Now she's hack in pictures.

George Arliss' distinguished in-
terpretation of "Disraeli" has
made that film one of the most
popular pictures ever released.

could ever be.

Give us Greta Garbo, Lupe Velez, Do-
lores Del Rio, Vilma Banky and Nils
Asther silent. They are all fascinating —
but I shudder to think of their speaking
English. And please bring back our Pola
and Emil Jannings.

Ruth Whitman,
2102 Grape St.,
Abilene, Texas.

For Irene Rich

The other day a group of my sorority
sisters were discussing the new fashions
which mark a reaction against flapperism.
and a change in the whole attitude and
manner of the modern girl. As we are all
movie fans, someone asked, "What movie
star best expresses the new, more feminine
tendency in women?" Immediately some-
one answered, "Irene Rich"; and someone
else said "Right!"

To this group, Irene Rich represents the
ideal modern woman. We are heartily
sick of the hard, ill-mannered, pseudo-so-
phisticated young person, and turn with
keen appreciation to the sweetness, gracious-
ness and charm of Irene Rich.

We were so fortunate as to see her in
vaudeville, and the rest of the audience
seemed as impressed with her personality
as we were. One heard, 'Isn't she beauti-
ful?" as Irene entered; and 'Charming' as
the curtain fell.

Her ability as an actress has been un-
questioned for so long that it is trite to
mention it. so we hail her only as the love-
liest person on stage or screen, and the
embodiment of the new mode.

Claire Ferguson.
218-19 139 Ave.,
Springfield Gardens. N. Y.

Good Work, Norma

While seeing "The Last of Mrs. Cheyney"
I became interested in the conversation of
two young girls who sat near me.

Said one: "Norma Shearer is my favorite
screen star." The other agreed: "Yes, she
is beautiful."

"It isn't that," said the first girl. "It's
because she is so well-bred. She speaks
so beautifully, she has so much dignity. I
like to study her and try to be more like
her."

I wanted to say "Good work, Norma!
A star who can rouse an ideal in a young
girl to be well-bred is doing something
worthwhile."

Their next comment concerned a hand-
some male star. "I just adored him," said
the first girl, "until I heard that he was
cruel to his wife." "Perhaps it was not
true," ventured the other.

"Maybe not," said the first girl, "but
anyhow it made Harry look good to me!"

Inwardly, I gave a whoop of glee — and
every young chap who, like myself, has
to compete with screen heroes will under-
stand why!

A. Mair,
2444 Marion Avenue.

New York City.

A Worthwhile Gift

Much has been written in praise of the
talkie but one virtue remains unsung.

For weeks, stimulated by enticing bits
of advanced news I have awaited the ar-
rival of a new picture featuring my favor-
ite actor or actress. Finally, it is no longer
advance, but current news. The show i^
opening! I am on hand early and then,
kind, long-suffering friends, the utter joy
of giving my whole attention to the en-
joyment of the picture without even once
during the entire evening having to stifle
a desire to murder some person or per-
sons who read in a loud voice each sub-
title from the opening scene to the final
clinch. This, in my opinion, is the most
worthwhile gift of the talkies!

Eleanor F. Brandy,
2712 Oak Street.

Baltimore, Md.

Norma Shearer, always a favorite,
has won new friends through her
outstanding performances in talk-
ing pictures.

for March 1930

The Qreat Voice of the
Metropolitan Opera Now Yours

aivrence

TIBBETT

The Metropolitan Opera House, New
York, where beauty, wealth and fame
gather to pay tribute to the world's
greatest voices.

THE

SONG

with

Catherine Dale Owen

Stan Laurel
Oliver Hardy

Directed by

Lionel Barrymore

Music by
Herbert Stothart

and

Franz Lehar

The Greatest Operetta Ever Produced

AGAIN Metro-Goldwyn-Mayer proves its leadership by being
i the first to present an operatic genius of such outstanding
reputation as Lawrence Tibbett in a full length motion picture
production. Now you can hear in your favorite theatre the same
glorious baritone that has thrilled thousands at the Metropoli-
tan Opera House — that has carried his fame around the world!

And what a magnificent picture Lionel Barrymore, the director,
has built around Tibbett as the singing, fighting, carousing Ban-
dit Chief! Follow this fascinating story of wild, barbaric passion
that knows no restraint — that defies convention— that gets what
it wants whether it be revenge, loot or love!

See also Laurel & Hardy, the funniest team on the screen today,
as a couple of singing bandits! And what a help to the Chief
they turn out to be!

ENTIRE PRODUCTION EN TECHNICOLOR

MEYrtO-GOLDWYN-MAYER

'More Stars Than There Are in Heaven"

SCREENLANI)

screenland
Honor Page

Above: Gary as he
looks when he isn't
working in a west-
ern. He is a quiet,
shy, genuinely
modest young man.
This Honor Page
will probably em-
barrass him pain-
fully.

Right: western
hero, new style.
Cooper does not
cluck to his horse
nor hold lengthy
conversations with
'Old Pardner.' Yet
he learned to ride
as soon as he could
walk and his horse
is to him what golf
is to other actors
— and maybe more.

Gary Cooper is a
real, not a synthetic
W esterner. He wel-
comed the opportun-
ity in "The Vir-
ginian" to make the
clean country his
family helped to
build live again. And
he did a good job.

for March 19 3 0

That steely look in Gary's eyes
signifies that he has run into
a bad hombre on the screen,
like Tram pas in "The Vir-
ginian," and means business.

Just after the battle, when Gary
has finished off his man and is
looking around jor more rustlers
to wipe out of the oh, so golden
west.

When you see a Cooper close-
up wearing this expression, it's
time for you to duck — that is,
if you have anything at all on
your conscience.

Howdy, Gary!
Ride Up and
Get Your Re-
ward for Your
Work in "The
Virginian":
the Long and
Lusty A p-
plause of All
who have Seen
the Film

You Have
Helped Revive
the Western,'
Most Ameri-
can of all Mo-
tion Picture
Entertain-
ment. And for
This, Young
Man, We
Thank You

SCREENLAND

c&his <]s ^Progress:

DRAWN BY C. D. BATCHELOR

for March 19 30

HAT, no more love
scenes?

It may happen.:
The Hollywood wise

men, with their ears to the ground
listening for audience reactions,
have heard us snickering! You
and your friends and I and mine
have been behaving in an unseemly
manner when the love scenes flash
on the screen. You giggle, we
hoot, you titter, we guffaw. The
more ardent the celluloid lovers,
the more hilarious you become. A
certain handsome and fiery young
star, who formerly called forth
only romantic sighs, in his first
talking picture inspired downright
ridicule. The audience couldn't
stand the audible "I love you's." It had to laugh.
Embarrassed or bored, disgusted or merely amused
— who knows? But the result was the same —
laughter, the death warrant of the matinee idol. This
star is now casting about for a good, virile story in
which the love interest will be conspicuously absent.

sertation on
is the mysts
if you wan
so, I can oi
SCREENLAN)
Chicago :

l([ Love scenes were the silent drama's big moments.
Gilbert and Garbo, Colman and Banky, reigned
supreme. Ecstatic audiences stayed through pic
tures twice just to revel in those burning close-ups.
Came the speakies; and the dawn of a great awak-
ening. The very first audible amorous episode
brought snickers which deepened into unrefined
howls of mirth as the scenes grew warmer. Until,
the other day, the audience I sat with acted as if
the emotional Don Juanings of the famous male star
were Chaplin kicks. They laughed, and I laughed
with them. The talkies truly are sounding the
death knell of the too-romantic movies.

|(C What to do? Well, orders have been issued at
the studios to soft-pedal the hot scenes. Unless
they are of the frankly humorous calibre of "The
Cock-Eyed World" or "Hot for Paris." Novarro,
formerly pensively tender, brings buoyancy and
careless kidding to his love making in "Devil May
Care." McLaglen kids a girl even as he kisses her.
There is no beating about the rose bush for Ban-
croft. Colman is none too serious even with Ann
Harding in "Condemned." Barthelmess, almost

alone among the romantic lads of
the screen, seems to be surviving
the anti-amorous movement. His
sweet nothings whispered to a fair
heroine are still well received and
believed.

CCBut the trend is distinctly in
the direction of realism. There is
even a picture called "Men With-
j, out Women" which lives up to
I its title. Talkies leave little to
the imagination, you see. They
have robbed love scenes of their
mystery, hence of their fascination.
We wrote our own dialogue for
the Gilbert-Garbo kisses. Now
we have to look at and listen to
a deliberate and diagrammed dis-
the technique of the love scene. Gone
ry, the mood, the enchantment. And
a further explanation of why this is
:er none better than this sent in by a
) reader, Miss Eleanor Clark, of
"hose talkies love scenes make us self-
conscious! It's like being in the same room with
a couple who are madly in love with each other
and cannot restrain their feelings. Silent love scenes
are beautiful. We don't need the talkies to tell
us what they are saying. But don't put beautiful
love scenes in front of us unless the lovers are silent,
because we're going to laugh for lack of a better
way to express our embarrassment. We can't help
it. We're too human!"

<CYour laughter at comedy talkies costs the motion
picture industry approximately $100,000 every
year. This is the story: about 5,000,000 feet of
film is used to permit audiences to laugh at the
funny business perpetrated on the screen. Silent
footage must follow the wise cracks or gags offered
by the talkie actors in order that you and I will
not drown out the players' voices as they proceed
with the dialogue. The boys and girls up there
on the screen pause politely while we laugh; then,
timed by experts, go on with the show until slowed
up by the next laugh. They call these pauses in
the dialogue laugh gaps.' The time out for
laughter occasioned by love scenes doesn't count.

D. E.

SCREENLAND

Hollywood

Stotcall

Read J. P. McEvoy's impressions of 'Holly-
wood, the sun-kissed madhouse,' as he
affectionately calls it.

Editor's Note: — I want you to meet J. P. McEvoy. He is one
of the most amusing men in America. He wrote "The Potters"
and we chuckled. He dashed off "Show Girl" and we howled.
His latest is "Show Girl in Hollywood" — crammed with chuckles,
howls, and gasps. McEvoy has authored two plays, five revues,
three books to say nothing — he doesn't — of greeting cards and
short stories. He has wiry black hair, a swell smile, and a
penchant for being photographed in black shirts.

A Theme Song— Sung

By J. P. McEvoy

( An interview by Wanda Valle )

0\v Til tell you all about Hollywood," he said,
so I sat very still and let him tell me.

"You should go to Hollywood just as you
would go to a circus. It isn't that they do
what they do so well, it's that they do it at all.

"It is not a naughty place. There is no night life unless
you call having a sandwich at Henry's and then getting
yourself weighed afterwards nocturnal whoopee. Therj
are parties, of course, where you always meet the same
people who, if you handle your cards just right, can be
coaxed into talking about pictures.

"The days are full of sun — oh, there is so much sun!
You begin feeling dusty when you get off the train at
Pasadena and you don't get over it until you are five
hundred miles east of Kansas.

"One of the most disconcerting things about Hollywood
is the way they move the scenery around. The palm
trees are pulled up like onions and set down any old place.
One morning you go by a vacant lot and when you come
back in the evening birds are building nests in the cocoa-
nuts — some of them have three or four little birds out
on the limb teaching them how to fly. Climate is the
answer.

"Pretty girls? It's a man's paradise. When I came back
east I dropped in on a rehearsal of a Broadway show and
it looked like an Elks' carnival in comparison.

"I don't know why men of a certain age should yearn
for the South Seas. I prescribe Hollywood for them. Is
there anything wrong in that? Sue me!

"Who did I like out there? Clara Bow, Lupe Velez,

Alice White, the lucky girl
who created Dixie Dugan in
McEvoy's "Show Girl."

McEVOY
ON HOLLYWOOD:

"It's a man's paradise. When I
came back east I dropped in on a
rehearsal of a Broadway show and
it looked like an Elks' carnival in
comparison.

"There is no night life unless you
call having a sandwich at Henry's
and then getting yourself weighed
afterwards nocturnal whoopee.

"Last night I had a terrible
nightmare. I dreamed I was back
there!"

Leading attractions of Holly-
wood: Renee Adoree, Renee
Adoree, Renee Adoree.

for March 19 3 0

9 JPovE £Kou

Let "Show Girl's" Literary
Daddy Conduct You on a
Tour of Hectic Hollywood —
Meet the Stars— Look and Learn

Gay's Lion Farm — I don't know why Lupe Velez; reminds
me of that — Eric Von Stroheim, Janet Gaynor — and you
really couldn't imagine two people who look less alike than
Von Stroheim and Janet Gaynor — Renee Adoree, Renee
Adoree and Renee Adoree — I'm sorry. When I get
started like that I can't stop. Oh, yes, Bessie Love — and
nice, too; and, of course, Alice White.

"Let me tell you about Alice White. When I met her
she was in tears. She was getting ready to be Dixie Dugan
in 'Show Girl.' Every half hour a day they were having
a conference over whether she should be blonde or
brunette. So they would say, 'Let's see how you look
blonde.' So she would have to dash upstairs and dye
her hair. By that time they were having another con'
ference and deciding that she should be brunette so she
had to dash upstairs and change it back again.

"Right after lunch some one had a bright idea. Why
not a red-headed Dixie Dugan? Well, Alice is nothing
if not obliging so she dashed upstairs and came back in
a little while with red hair. By this time most of it had
fallen out. That's when I met her — she was in tears.

" 'If I keep this up,' she said, 'I won't have any hair.'
'I wouldn't like you like that,' I (Continued on page 123)

"I like Eric Von Stro-
heim and Janet Gay-
nor," says McEvoy.
"And you really
couldn't imagine two
people who look less
alike than Von Stro-
heim and Janet
Gaynor!"

"Who did I like
out there? Clara
Bow, Lupe Velez,
Gay's Lion Farm —
/ don't know why
Lupe V el e z re-
minds me of that."

"Oh, yes — and Bessie Love.
Bessie Love is nice, too." Miss
Love, above, smiles her ap-
preciation.

Making a scene for "Show Girl in Hollywood," First National's picturization
of McEvoy' s latest book, which continues the adventures of Dixie Dugan.
Alice White, the star, is being directed by Mervyn Le Roy.

SCREENLAND

And now They Get

If You Can't Find Your Favorite on the Set, Look
Room. The Sound-Conscious Stars arc Taking the

By Sydney

Bessie Love helps Jimmy McKay, cutter, look over
50,000 feet of talkie film shot for the baseball scenes
in "Take It Big," Bessie's latest picture with Van
and Schenck. Talkies made Bessie and now she
wants to know bozo talkies are made.

cc^^p^iMES have changed, " the assistant
director told me as we puffed noon-
I day cigarettes in the sunny corner
right around from the boot-black
stand at the studio.

"How come?1'' I asked.

"It's these actors," he said, waving an arm
in the general direction of scores of players,
roaming to or from the studio commissary.
"A year ago you never saw one of them
around the studio when they weren't work'
ing and now they get in your hair!"

All of which classified the assistant director
as a very accurate observer. This is exactly
what has happened to Hollywood.

For nearly twenty years it was the fash-
ionable thing for a screen actor to know as
little about technical details as possible.
When they had time off you rarely saw them
on the 'lot,' unless it was for a conference on
a new contract. If some one in their organ-
ization invented a marvelous new camera
effect, they knew about it only when they
saw it on the screen.

It was the way of Hollywood. It was not fashionable
to take an interest in the technical work of another depart-
ment, unless, of course, you had become tired of acting
and wished to become a director. Then sound films came
along, and overnight the situation changed.

Without warning, previously blase players became as
ingeniously eager for knowledge outside acting, per se, as
the youngest and most callow of college freshmen.

It became very evident to all actors that they were in
for a period of stiff competition; a period during which
only the fittest would survive. Stars, therefore, once seen
only on their sets or in their dressing rooms, suddenly
blossomed all over the lot. Call boys grew used to search-
ing for John Gilbert in the laboratory; Greta Garbo in
the experiment room.

Get us straight. We do not wish to leave the impression
that actors were careless about the technical side of their
work in the days of the silent picture. Not at all; only
matters of photography and lighting had become well
explored, and the various machinery developed had been
brought to a fool-proof stage. Ramon Novarro, Joan
Crawford, all the stars had grown used to trusting camera-
men and directors with whom they had worked for years.

And then this talking thing upset the apple cart.

A lot of new and keen-eyed young men invaded the
cinema lots with a tlock of unintelligible new words like

Anita Page and Benny Rubin are a self-appointed reception
committee to welcome Lew Fields and Joe Weber to the
studio and initiate them into the mysteries of the talking
picture camera.

for March 1930

Your Hair

in the Laboratory, the Prop Shop, or the Monitor
Talkies Apart to Find Out What Makes Them Click

Valentine

'gamma,1 't.u.,' 'high frequency,' et al.

Nice boys, these sound men; but they were strangers to
the stars, who began to hesitate about trusting their artistic
future to their hands.

And so, today, you see more stars and featured players,
stage and screen, around a lot on an off day, than when
production is at its height.

They are everywhere, in all the sound rooms, the prop
shop, the electrical department, the music department, the
laboratory.

Scores of them are attending lectures one night each
week on 'sound reproduction,' and laboriously inscribe in
collegiate notebooks erudite stuff about 'acoustic coeffi-
cients,' 'reverberation time,' 'light valves,' 'photo electric
cells,' 'articulation units,' etc.

And don't you think for a minute this is confined to
the screen actor.

The stage player is digging in just as hard. He, too,
didn't bother his head about technical details in the
theater. But he does now, plenty!

Norma Shearer, under the tutelage of her brother,
Douglas, chief sound engineer of the Metro- Goldwyn-
Mayer studio, is said to have grown fully conversant with
all the pet names of the complicated apparatus used in
making sound photoplays. Not only is she well versed
in the nomenclature of the machinery, but she also knows

Norma Shearer examines a recording of her voice
made by her brother, Douglas Shearer, chief sound
engineer at the Metro studios. The disc is of soft
wax upon which the voice is directly recorded through
electric impulses.

Jack Mulhall learned about talkies by snooping. He can
usually be found between scenes hanging around the sound-
proof camera booth gathering more technical knowledge about

the audibles.

to what use each of the pieces are put, and
this gives her great confidence when working
before the 'mike.'

Any day now the studio executives expect
young Johnny Mack Brown, who has the
lead with Joan Crawford in the musical
Western, "Montana," to become a sound
engineer. From the very beginning this young
leading man has shown a deep interest in
the mechanics of the new art. He knows
enough about the recording apparatus to be
of use in helping to repair it whenever it
breaks down. Because of this only one sound
engineer was taken along on the recent loca-
tion trip from which the "Montana" company
has just returned. Mai St. Clair, the director,
figured that Brown could help out with the
sound recording work in case of trouble. And
he could. He's a constant visitor to the vari-
ous monitor rooms, and is reported to have
an excellent judgment as regards tone and
tonal qualities.

Needless to say, Greta Garbo, whose vib-
rant personality is so (Continued on page 122)

Maurice Goldberg

THAT CHEVALIER SMILE

A new portrait of Maurice Chevalier, who has been the idol of the
European music halls for years. But what is it the man possesses
which has won the heart of America? In the story on the opposite
page Rosa Reilly defines his charm and analyzes his appeal.

for March 19 30

Chevaliers
Secret

What is the Real Reason
for Maurice's Hold on his
Audiences? Read the Answer

Rosa Reilly

What is it about Maurice Chevalier that has
conquered the heart of America?
He isn't handsome like Ramon Novarro.
He isn't insinuating like Chester Morris.
He hasn't the reserve of Ronald Colman.
Nor the heartiness of George Bancroft.
And yet, since the opening of his second picture, 'The
Love Parade," he seems to be in danger of becoming more
popular than any male movie star in the world!

Of course, all of you who go abroad now and then have
seen Chevalier. He has been the idol of the Paris music
halls for years. London loves him. Also Vienna, Berlin,
and Bucharest. He can walk out on the stage with his
shiny straw hat tilted on one side of his head, sing a little
song — quite a naughty little song, by the way — do a little
dance, smile — and the continental world is at his feet.
Nobody cares why he is such a big hit. They only know
they love him.

But being a beloved stage star in Europe and a big
screen hit in America, are two different things, Maurice,
as we have seen so many times when famous foreign
actors have been brought over
— and sent home.

Therefore, along with fifty
million other American
women, I couldn't rest until
I had discovered what Cheval-
ier's secret was. I wanted to
pin down his charm on paper.
So I hopped into a taxi-cab,
and rolled over the bridge to
the Paramount Studio in Long
Island City, where, at present,
the great Gallic star is making
a third talking picture, "The
Big Pond."

It was in the dining room
of the studio that I had my
first personal contact with
Chevalier. He was sitting at
a little table, eating a Swiss
cheese sandwich and drinking
cup after cup of black coffee,
maybe to take the place of the
vin ordinaire which every gal-
lant Frenchman drinks with
his meals.

He was dressed in full eve-
ning clothes, long tails and all.
His eyes were shining just as

Claudette Colbert is Chevalier's leading woman
in "The Big Pond," his third talking picture.
For this lovely little American-French actress
Maurice predicts a glamourous future on screen
and stage.

if he had discovered some new, irresistible and slightly
devilish secret. His smooth light brown hair was so alive
with vitality that it refused to stay slicked down as he
evidently wanted it, and he kept patting it back into place
with a long, strong, sun-burned hand.

His shirt front, collar and cuffs were yellow instead of
white. No, that's not a quaint old French custom. He
wore yellow because it develops a whiter white than plain
white — if you get what I mean — in the finished film.

I hadn't spoken with Chevalier two minutes before I
knew his secret. But before I tell you what I think is
his secret, let him tell you what he thinks it is!

"How can I answer zat question — w'at my secret iss?"
Chevalier answered with the whole-hearted laugh which
shows all his superb white teeth. I cannot hope to put
down for you his accent. It is inimitable.

"My singing is not so wonderful," he went on. "My
dancing — it would not upset the world. The answer to
my success, well, the answer is so simple I am ashamed
to say it — I just try to make my audience happy. That's
it," he slapped his knee and laughed again — "to make and

keep my audience happy.

"Perhaps, if I go back a bit
you will understand better,
hein?"

His voice rose on that last
phrase as caressingly as if it
had been a love word. That
is part of his secret. Every
word he speaks, every gesture
he makes, seems made for you
alone. The shine of his hair,
the sparkle of his eyes, the
healthy glow of his cheeks
probably come from exercise
and plenty of sleep, but when
you look at him, talk to him,
you think it is because you
are the one woman in the
world as far as he is con-
cerned.

And it is sincere with him.
He is not play acting. What
he is doing at the moment is
the only thing in the world
to him. He concentrates!

Chevalier went on to speak
of his early life, how he was
born in the Menilmontant
quartier (Com. on page 117)

SCREENLAND

(70L0R Makes the

Color is changing the Contour of Hollywood, Form-
Curves on Costumes and — oh, well, Read this Story

Walter Pidgeon, a mere star, in the act of looking a
gift horse in the mouth — that is, examining part of
the delicate mechanism of the technicolor camera
which will photograph him so handsomely for
"Bride of the Regiment."

1IKE bees in a haystack, socked by a boy with a stick,
Hollywood is buzzing furiously and flying frantically
. in all directions.

Color has done it.
The motion picture business grew steadily and con-
servatively for thirty years, making no more fuss than a
healthy oak tree. Then — as they used to say in the titles
— then suddenly out of a thundercloud came shrieking
women, raging men, panic, riot, seething maelstrom,
sleepless nights . . . Sound!

And just when Old Lady Movies had the sound thing
all put to bed and the house straightened up, and settled
herself for a peaceful evening —
Zowie! A bomb went off in the
cellar. It was Color.

So now she's a jumpy old lady.
Every time somebody says "Boo!"
she yells for help. She doesn't
know what's going to get her if
she doesn't watch out! Maybe
it's wide film and big screen,

maybe it's third dimension, or television.

But riejht now, Hollywood is most concerned about
Color.

After seeing "The Vagabond King," entirely in techni'
color, Jesse L. Lasky predicted that within two years all
motion pictures will be in color. Dr. Herbert T. Kalmus,
president of the Technicolor company, upon his recent
return from Europe, where he started work on labora-
tories to furnish color to European producers, announced
that more than 100 feature pictures in technicolor will be
showing in the United States in 1930.

New technicolor cameras and laboratories are being
built as fast as men's hands can work, but the demand is

so great that the cameras
never sleep — working on
one picture in the day-
time and another at
I*1/* -i

night.

\ *v>' The coming of Sound

taught Hollywood many
a lesson. One of the
most important, and the
one which saved the
lives of the old guard
■ — stars, directors and

Color costume experts
can cut the curves and
make a star slender, or
let them run wide and
add fifty pounds. The
drawing is of a costume
designed for Marilyn
Miller to wear in "Sally."

for March 19 30

Form Go

Fitting the Stars by Painting
and Figure it Out for Yourself

writers — just as the band of bloodthirsty Experts From The
Legitimate Stage were about to be allowed to swarm into
Hollywood and put on a swell massacre, one of the most
important discoveries was that the boys and girls who had
been making good silent pictures could jolly well adapt
themselves to sound.

In spite of what the supposedly learned and far-seeing
editorial writers said about 'Sound Sings Death Knell of
Movie Star,1 the stars and directors who were rated AAAl
in the silents, with few exceptions, plugged right along and
continued to top the crowd in making talkies.

So when Color came to town, instead of firing all the
faithful and replacing them with carloads of color experts
from New

krome Beatty

York, the smart
producers said
to the hired
hands: "Boys
and girls, were
now going to
make pictures
in technicolor.
Find out what
it's all about
and do your

Miss Miller wearing the
gown which has long
lines to emphasize her
slender figure. Gowns
now are made up with
the same skill as faces.
Color is used to create
an illusion of the third
dimension.

Colleen Moore's slim figure needed roundness for
her role in "Footlights and Fools"; and techni-
color, with painted costumes, gave it to her.

stuff."

At first, as was to be expected, they made mistakes here
and there. They used the trial and error method and
sometimes the effects of make-up and costumes and fabrics
and lights were not all that they expected. At first they
overlighted their sets, and actors boiled in the heat, be-
cause they were afraid they might lose their colors and
figured that too much light was better than too little.

Their constant help in trouble, the only genuine color
expert, was Mrs. Natalie M. Kalmus, wife of the president
of the Technicolor company, who had grown up with the
process and who could pick the right color as accurately
as a typewriting champion picks out the letter V on his
keyboard. Mrs. Kalmus couldn't be everywhere, in the
eighteen hours she worked every day, but she was almost
everywhere, and she showed the way to natural
color on the screen.

It took years to develop perfect black and white
make-up, settings and lighting. Now the actors,
directors and cameramen have had to upset all their
rules, for color. To their everlasting credit let it
be said that in a year they (Continued on page 123)

SCREENLANI)

A Screenland Scoop,
of the Carroll - Rogers
Interviews the

By Nancy

anry Carroll is doing a series of in-
terviews for Screenland. She started
zcith Hal Skelly and now Buddy
Rogers is her 'victim.'

I HAVE a brother named Tommy. He is red-haired,
a little freckled, full of fun, and obsessed with the
idea that he must get as many laughs from life as
possible. I feel that I am closer to my brother
Tommy than to an)' other member of my family and
naturally I love them all.

When we were children on Tenth Avenue in New

him, I liked Buddy Rogers. Of all the young fellows in
Hollywood he is the most lovable, the most genuine, the
most friendly and the most unspoiled.

Perhaps I had better not say 'the most.' I have many
friends in Hollywood. I wouldn't wound any of them,
in case my opinion matters enough to count either way.
I'll say that he is 'one of the most.' No one can take
offense at that!

If I were the mother of an eighteen-year-old
daughter; a mother who wanted her daughter
to have the advantages of the best of every-
thing, I'd wish her no greater luck than to have
Buddy for her boy friend.

What a good time they'd have!
Buddy Rogers is the sort of boy who makes
the ideal companion. With a group of older
men he is perfectly at ease, and they like to
have him around. He would be charming at
home on those afternoons when his mother had
a group of women friends about her. And he'd
be equally great company for young sister and
young brother and his gang.

I imagine when Buddy Rogers goes back to
his home in Olanthe, Kansas, that he goes down
to the vacant lot behind the depot and plays

Buddy, in his uniform for "Young Eagles," is
telling Nancy some facts of (his) life. The
interview occurred in the studio lunch-room.

Buddy promises to tell the truth, the whole
truth, and nothing hut the truth to Nancy,
made up for her role in "Honey."

York it was Tommy and I who always played
together. We and the other boys in 'the gang.1
We played baseball, football, follow-the-leader,
marbles during the marble season, flew kites
during the kite season, had shows and a few
fights.

" I know boys pretty well.

That is why, from the very first time I met

for March 19 3 0

BUDDY"

Here the Better Half
Co-starring Couple
Other Half

Carroll

Charles 'Buddy' Rogers, the willing
victim, is Nancy's favorite film boy-
friend. Buddy says that playing oppo-
site Miss Carroll is a pleasure.

ball with the kids. And at night he goes to the party
at Mary Smith's house and enters wholeheartedly into
those games that small-town young folk play at social
occasions.

The point is, Fm trying to tell you that Buddy Rogers,
to me, represents the best of American young manhood.
And when I say that I know that I risk making him ap-
pear a rather artificial, too-good-to-be-true
young fellow.

But let me tell you about the last time I saw
Buddy.

I had a free morning from the studios, where
recently they have kept me pretty busy with
"Honey," and started out for a long drive
through the open country.

I chose the Ventura highway out over
Cahuenga Pass, through the San Fernando Val-
ley over the hills north of Hollywood; a drive I
always like to take. It is out in the ranch
country, you know, where there are a lot of
chickens, and fruit groves, and not too many
hot-dog stands at the roadside.

I drove out for thirty miles or more and
suddenly became interested in some airplanes
that I could hear and see flying away over to

my left.

I get a thrill out of watching 'planes, especially when
they are doing the tricks that these were doing, and so
I turned down a side road and soon came to the flying
field above which the planes were maneuvering.

The war was being fought all over again!

Without realising it I had arrived at the 'private' airport

Nancy warns Buddy that everything he says
will be held against him before taking down
her notes.

That must have been a good one! Read this
interview and find out what it's all about.

where Buddy's new picture, "Young Eagles,"
is being filmed.

Paramount had had to build a special flying
field for this picture, you know, because it
would have been too dangerous to use one of
the commercial airports nearer Los Angeles.'
Buddy and the boys who are with him in the
picture are doing all (Continued on page 126)

Ruth Harriet Louise

Joan Crawford has been a lone-wolf with nothing to help her
bat pluck, hard work, and an ambition that broke down every
door that was slammed in her face. Genuine success and
development such as hers come from seizing and even making
opportunity ; and from hard work and suffering.

SCREENLAND

James Oppenheim

HOW comes it that the young woman
who once said that she used men
as stepping stones to success — a
hard-boiled statement — now ap-
pears in the realms of sweetness and light?
Cynics might say, and have said, in print,
that Joan Crawford, having married into the
Royal House of Hollywood, has assumed the
role of a Princess and a Pickfair; that it is
something like a million dollars left by a rich
uncle to a wage-slave who must immediately
change his standards of living, his circle of
acquaintances, his environment, and put on
the dog.

Screen land has sent a questionnaire to
Miss Crawford and received a full answer.
Cynics, again might say that the answer
needn't be taken too seriously; and indeed,
few of us, even if we are as honest as we can
be, know much about ourselves. Most people
don't even know what they look like physi-
cally. They gaze into the mirror and see
themselves either a bit debased or a bit glori-
fied, and not at all the way 'others see them.'
When a woman feels blue she thinks, 'I look
a fright;' and when exultant, 'Wow! I
guess I'm an eyeful!' Much depends on the
mood and the temperament.

Joan Crawford, as we know, has reason to
be proud of herself. In typical American
fashion, the Ford-Edison-Lincoln way, she has
been a lone-wolf with nothing to help her
but pluck, hard work, and an ambition that
broke down every door that was slammed in
her face. She was poor and a nobody; she
is today one of the remarkable actresses of
the screen, a star among the top-notchers.

Anyone who has watched her has seen a
steady deepening of character and power. The
somewhat hard whirligig and chorine has
changed from picture to picture, revealing
ever a new fire in her art, a more genuine
emotion, a truer character. So we may dis-
miss the cynic's attitude at once. All the
help in the world, all the 'stepping stones,'
won't change a sow's ear into a silk purse.
Genuine success and development such as hers
come mainly from seizing, and even making
opportunity; and from hard work and a great
deal of suffering.

Her character appears in her answers to
the questionnaire, but whether her self-knowl-
edge is deep I do not know. For she sets
herself down as more of an introvert (dreamer
and in-dwelling type) than an extravert
(doer.) She gives herself 34 points as an in-

for March 1930

AW FORD

Psycho -Analyzed

A Remarkable Revelation of the True
Character of the Little Hey-Hey Girl
Who Became a Great Star

trovert as against 26 as an extravert. I believe that her
answers are honest, but I also believe that she is a mixed-
type, more extraverted than introverted. At least, she has
always seemed so to the naked eye, and one of her answers
runs:

I am naturally active and find a delight in doing things.

That doesn't sound very much like an introvert, a per-
son who withdraws into herself, who is poorly adapted to
life, who finds more pleasure in her inner life than in
activity. To clinch the point, compare her to Greta Garbo,
who is more introverted than extraverted.

However, the reader may judge from some of the answers.

Ruth Harriet Louise

She was poor and a nobody; she is today one of
the remarkable actresses of the screen, a star
among the top notchers, and the wife of a royal
prince of screenland, Douglas Fairbanks Jr.

Joan as she looked when she first came into pic-
tures from the Broadway musical stage. Anyone
who has watched her has seen a steady deepening
of character and power.

Here they are:

I am quite self-conscious.
I am very shy.

I hate to be conspicuous in public.

I day-dream only a little; sulk only a little; and I
am not very good as a mixer.

I have deep moods, sometimes prolonged for hours
and even for days.

I like to be alone most of the time.

I am absolutely a one-man wife.

I am very idealistic.

I have a deep feeling of inferiority before most others.
I forget myself easily when I talk, work or play
I am a poor actor in public.

I am very practical, realistic and have much common
sense.

I do not like many people; but am naturally af-
fectionate and loving.

I am poor at putting myself over with others.

I am a go-getter, with my (Continued on page 125)

Getting

SCREEN LAND

into

How the Stars 'Work Up'
Atmosphere — a Vital
Factor in Picture Making

IT has been said before, but there is no harm in re-
peating it, sinec it's true, that those who go to see
motion pictures haven't the slightest idea of the dif-
ficulties involved in making them. How can you
who sit placidly out there in a darkened theater in a
comfortable seat, or maybe it isn't comfortable but any-
way there you are, how can you realize the tremendous
effort connected with the making of every picture on the
part of every one working on it, from the director down
to the lowliest grip?

Even the actors, who most people think have such frolic-
some lives, are put through rigorous training to fit them
for some of their parts. Often the research is extremely
interesting, as for instance Dolores Del Rio's trip to the
gypsy camp that happened to be stationed in the woods
near Glendale just before she made "Revenge." The king
of all the gypsies in California invited the Mexican star
to be his guest for luncheon. She sat at his table next to
his seven wives and tasted their wine. Their manners
and customs were unique; particularly are the methods
employed by the women to attract their men primitive
in the extreme.

Bebe Daniels, one of the most conscientious stars,
took lessons so that she could play the guitar for
local color in "Loves Comes Along." Bud Tollman
is her teacher.

Dolores Del Rio, Edmund Lowe and George Fitzmaurice between scenes
of "The Bad One." The Latin star, always eager to inject atmosphere
into her pictures, works hard to create it.

The seven royal wives are seated
at table in this order: the first
wife at the king's right, the second
at his left, the third at the first
wife's right, the fourth at the sec-
ond wife's left and so on. They
have a great deal of jewelry but
they prize golden coins and coral
above precious stones which they
will have none of. They have
strings and strings of golden coins
as necklaces and bracelets and
belts. They like beads and crystals,
too. They tie their wardrobe in
a calico or canvas bag and that is
the limit of their fastidiousness.

Dolores asked the wives what
they did to amuse themselves.
They sing or play stringed instru-
ments or tambourines and they
dance, and that is all they do for
recreation — yet it is enough to
make them happy. They hit the
open road whenever they get bored
with a place and some of them
have traveled all over the world.
There were about a hundred gyp-
sies in this camp.

Short hair is a terrible disgrace.
If a girl defies the tribal conven-

for March 1 9 3 0

Character

Ruth Chatterton, with Dorothy Arzner directing,
has 'gone Austrian' for "Sarah and Son." Miss
Chatterton brushed up her German for the dialogue
in her role of a Viennese girl.

Helen Ludlam

has prevailed upon Paramount to let him do more of these
outdoor stories he loves. He has just finished "Only The
Brave," and in preparation for it he visited North and South
Carolina, going through the public buildings, driving past
the old homes, being entertained in a few of them and
steeping himself in the Southern life and traditions. Of
course he stopped off to see Lupe who was doing a picture
in Florida, but that was just a detour on his way to
Texas to bob around that state picking up clothes and
props in unlikely places from ranchers and cattlemen who
had never seen a motion picture.

He used to sit for hours listening to the cowboy songs,
absorbing words and music and the lilt in this way, and
yet when it appeared on the screen you heard only a
verse or two.

I asked Ruth Chatterton how she ever managed to give
such a convincing performance of "Madame X" in the
scenes where the lady 'went native?'

"Well, I don't know that I did give an accurate pic-
ture," she said slowly. "Willard Mack told me how the
absinthe fiends in Paris act. They sit staring at one spot
for a terrible length of time. (Continued on page 128)

tions in any way her hair is cut
short and she is banished from the
tribe. Edwin Carevve used this bit
of information which he wove into
a sequence of the picture, you will
remember. The gypsies taught
Dolores their dances and some of
their songs. They also showed her
how they dressed, with a do?en
petticoats and brightly colored ma-
terial for their gowns. The first
wife took Dolores to her 'room'
and opened a chest containing her
wedding gown. Only the royal
wives boast a chest.

None of the graces and subtle-
ties for the gypsies when they woo!
Thin girls are out of luck. You
must fatten up if you want a
gypsy husband. All the king's
wives, says Dolores, were very fat.

When Gary Cooper trained for
"The Virginian" he found a
friend, Anderson Lawler, a writer
from the south, and just let Andy's
Virginia accent thoroughly soak
into his mind. The cattle country
Gary knows well, so the ranch life
held no terrors for Gary. Since
the success of "The Virginian" he

Gary Cooper and his friend Anderson Lawler, a writer from the south,
who helped Gary acquire the Virginian accent which gives real local
color to the title role of "The Virginian."

32 SCREENLAND

What I've Learned
from the Stage

"I Knew if I Didn't Make Good, There Would Be No Re-Takes,"
Says Lovely Screen Star Now Trouping in Vaudeville

By Esther Ralston

MOVIE star yesterday. A 'hoofer1 today. To-
morrow what?

That's the question Eve kept asking myself
since two months ago when I started on my

vaudeville tour.

You'll be seeing me in my new picture, "The Mighty,"
which was the last one I made. After that film was
finished I felt there was but one thing for me to do —
to go on the stage. Here talkies have come along and
introduced a new medium, a new technique — and most of
all, new faces. If I wanted to hold my place on the screen,
and I do want so intensely to hold it, I want it more
than anything in life, I felt the thing for me to do
was to go out and get some actual stage experience. So
that the fans who made possible all these years of silent

pictures might not be disappointed. So that I could try
to live up to their highest hopes of mc. And believe it
when I say, it's only these fans who have kept me going
the last three months. For this has been the hardest,
most searing experience in my life.

Of course, I come from trouping parents. I was a
child actress until I was fourteen years old. But I have
been in pictures for eleven years. And I had forgotten
— if I ever knew — just what the stage demands of a
person.

The world is filled with people who have difficult jobs.
Taking in washing is hard. Working as a shop girl, stand-
ing on your feet all day, is no bed of roses. Digging
ditches, scrubbing floors, sitting at a typewriter — they're
tough, too. But of all the professions in the world, the

Esther's dance, the
'Boardwalk,' capti-
vates her vaude-

S h e is young,
blonde, beautiful —
the e pi to me of
graceful charm.

for March 1930

stage is the hardest!
Why?

Because you have no sec-
ond chance.

You go into a theater.
You stand before a 'cold'
audience. You have a cer-
tain amount of time, some-
times five minutes, sometimes
two hours, to warm up that
audience. To make them
stop 'sitting on their hands1
as troupers say. You've got
to do your stuff now. YouVe
got to make those two hun-
dred or two thousand people
love you now. If you flop
and they go out of the
theater not liking your work,
you're done. You can never
reach them again. A dead
audience is like a dead love
— it can never be regained.
It may be regretted, wept
over, but it can never be re-
gained!

I used to think movies
were difficult. They were.
But I have to laugh now.
Movies are paradise in com-
parison with stage work.

In case you think I'm ex'
aggerating, I'll show you the
difference. When I started

on this tour, I sprained my ankle. It was just before I of dollars were being lost
appeared in Chicago. The show had to go on. So three But the producers were k
times a day for twenty-three minutes solid, I had to go even ahead of their profits

One of the most popular beauties in pictures,
Esther Ralston left the screen for vaudeville to
gain actual stage experience. But she'll be back.

out on the stage and try to
entertain the audience. More
than half of those twenty-
three minutes was spent in
dancing on that ankle. When
the curtain went down I
used to be carried to my
dressing room almost faint-
ing from the pain in my
twisted foot. But I had to
go on!

But let me tell you what
would have happened if I
had been playing in the
movies. Or rather what
actually did happen. When
we were making "Old Iron-
sides," I strained my ankle
— the same one. Immedi-
ately I was carried to a beau-
tiful hotel up on the hill in
Catalina Island and put to
bed. A doctor was called.
A specialist was radioed for
and sent to me from the
mainland in an airplane.
A day and a night nurse
came. A masseuse. Flow-
ers. Telegrams. Letters.
Candy. Fruit.

Day after day I lay on a
chaise lounge, looking out
over the blue Pacific. I
hadn't a worry. Thousands
by my holding up production,
ind enough to put my health
(Continued on page 118)

More steps of Esther's
dance — steps, stamps,
and cakewalk struts.

SCREENLAND

BUSHELLS of Love and Kisses

Tony and his Wife, Zelma O'Neal from the Stage,
are Just One Happy Little Hollywood Family

Betty Boone

WHEN Tony is
home from the
trenches in the
evening and a
certain Hollwood golf course
is suddenly discovered by
Zclma to be low in visibility
— that is the proper time to
interview the Bushells.

If you go in the afternoon
up the winding Hollywood
hill where the Bushell's Eng-
lish cottage hangs to a steep
slope, you will find only
Paddy, the Irish terrier, and
Hettie, the maid.

With dusk, the English cot-
tage comes to life.

After working all day in
khaki and leather as one of
the young English soldiers in
"Journey's End," the film ver-
sion of the famous English
play, Anthony Bushell is al-
ways glad to get back into

civilian clothes for the evening and to be himself.

"What do you think, Ducky? Fm to have my head
shaved tomorrow. The director says so. Beastly shame
for you to have to look at a bald
head for a while. Do you think
you shall mind much?"

From six feet up in the air,
young Bushell looked down to ap-
proximately five feet, the location
of his wife's blue eyes.

"Bushy, I should loathe it, of
course. But you know Fd still
adore you if you had only three
short hairs on the top of your head
and no hope of more!"

A declaration of this kind is al-
ways the cue for a breathless
period of cooing and hair ruffling,
during which time the inter-
viewer, recalling that they have
just celebrated their first wedding
anniversary and have never yet
had time to go off for their honey-
moon, concentrates on the rail-
way posters which Bushell brought
from London and had framed for
the living room walls.

"We're going to England on
our honeymoon in the early
spring," said Tony. "It will be
the first time we have really got

A young Englishman and his American wife:
the Anthony Bushells. She is soon to make
her screen debut in the musical comedy,
"Follow Thru."

Zelma and Tony planning their trip to
England, where they will visit the
Bushell family near London for two
months.

away — just the two of us. Wc
always seem to be in such
mobs of people."

Bushell must remain away
from the United States for
two months, in accordance
with the United States im-
migration laws, so the honey-
moon trip was the logical
solution.

Zelma, who is known to the
musical comedy stage as Zelma
O'Neal, will meet her mother-
and-father-in-laws for the first
time. They reside on an estate
a short distance outside of
London.

"Fm scared to death," con-
fided Zelma. "But Tony tells
me they will love me after
they get used to my American
ways. I guess I will be rather
startling to them at first."

Anthony Bushell and Zelma
O'Neal met for the first time
a little more than a year ago. Zelma was playing the
'Varsity Drag Girl' role in "Good News" and went to
London with the comany.

"I saw Zelma in the musical
comedy in New York," said
Bushell. "I had come to America
after playing nine months in
London with Robert Armstrong
and James Gleason in 'Is Zat So!'
It was so jolly much fun knowing
Gleason and Armstrong that I
determined to meet some more
Americans."

Zelma gave one of her oopity
oop do-de-do'do cries that made
her famous as the collegian in
"Good News" and had something
to say on this subject herself :

"Tony told me once that Ameri-
can girls always attracted him more
than English ones. He said an
English girl was so husky from
playing hockey and other rough
games that she always gave the
impression she would be able to
knock you down as easily as shake
hands with you. So you can see
that Tony's falling in love with
me was not my victory. Being
American did the trick!"

"Now, (Continued on page 114)

STARS

Select
Their Own

Favorites

EVERYONE who goes to the
movies has a favorite star. And
the stars themselves are no excep-
tion. On this and the following
pages, you will find the players'
own selection of their film favorites.
Dolores Del Rio, above, selects
Greta Garbo because she is subtle,
mysterious, compelling, and allur-
ing. Garbo makes you feel, says
Dolores, that she is the character
she is playing.

Clarence Sinclair Bull

CHARLES 'BUDDY'
ROGERS selects Mary
Pickford for his favorite star
because she has always been
his ideal. And Mary selected
Buddy to play opposite her in
"My Best Girl." Remember?

Gene Robert Richee

DOROTHY MAC-
KAILL selects Ron-
ald Colman, her fellow-
countryman, because, she
says, he is mysterious,
Quixotic, and his bored
manner quickens interest
in all women.

Preston Duncan

CORINNE GRIFFITH, right,
selects Gloria Swanson be-
cause she thinks her superb in
everything she does, comedy or
tragedy. And, adds Corinne,
Gloria is extremely clever to have
handled her first talkie, "The
Trespasser," so well, after study-
ing singing such a short time.

Chidnoff

Russell Ball

CLARA Bow, left, the red-
haired whirlwind, selects
Norma Shearer, above, as her
favorite screen star. Why? "Be-
cause," says the tempestuous
Clara, "Norma Shearer is so
elegant."

Gene Robert Richee

TWO famous profiles. One selects
the other as his favorite. Edmund
Lowe, below, picks John Barrymore
because of John's finished acting and
the subtle manner in which he puts
over his humorous scenes.

NOW, Richard! With all the
beautiful stars of the screen to
select from you have to pick out
Benny Rubin. "But," retorts Richard,
"Benny makes me laugh." Above, Mr.
Dix. Left, need we add, Mr. Rubin

RICHARD ARLEN selects Bebe
Daniels because of the fine spirit she
puts into all her work. A tribute from one
distinguished player to another. Dick has
played opposite Bebe and knows.

THE gentleman with the profile is for-
tunate. He has been selected by one of
the most beautiful ladies of the screen as her
favorite. Billie Dove honors Basil Rathbone
because he is a finished actor.

Chidnofi

THE demure little girl at the left is a
real movie fan. She adored Norma
Talmadge on the screen long before she
ever dreamed of being an actress herself.
Habit is strong, and now that Sue Carol
is a Hollywood star she can't seem to like
anyone better than her original idol,
Norma Talmadge.

Preston Duncan

Russell Ball

OLIVE BORDEN, right, selects Betty
Compson because of "The Barker."
Olive was to have played in that picture
herself; so she went to see Betty's perform-
ance with a very critical eye. It was the
first time she had ever seen Betty and she
thought her work so remarkable that she
became a Compson fan.

Elmer Fryer

idnojf

ESTELLE TAYLOR, left,
says: "I find Lupe
Velez my favorite if you're
speaking of personality and
spontaneity; although Mar-
ion Davies is our best come-
dienne." Estelle and Lupe
worked together in "Where
East is East" and have been
mutual admirers ever since.

THE gentleman from
Germany is smiling with
pleasure because Richard
Barthelmess, right, has se-
lected him. Dick picks Emil
Jannings because of his
forcefulness and original
technique.

Kenneth

LILLIAN GISH is selected by
Monte Blue because, besides be-
ing in his opinion the Duse of the
screen, she is a conscientious worker.
Even when she played in silent pic-
tures Lillian rehearsed her roles as a
stage actor would.

WELL, well! Lovely little Joan
Bennett declares that Joseph
Schildkraut is positively her favorite
screen player. Why? Because, says
Joan, Mr. Schildkraut is so suave, so
polished. Joan and Joseph played to-
gether in "The Mississippi Gambler."

Preston Duncan

LICE WHIT
selects Georg
Arliss! Here is her
reason: "He is a su-
perb actor. He is the
epitome of what a
screen actor should
not look like, and yet
he has infinite grace
and power of imper-
sonation."

for March 19 30

Bill Boyd Doubles Back

The Success Story of a Screen Star
By Keith Richards

BILL Boyd is a sentimental cuss.
You've got to call this big
fellow Bill. If you said
'William' he wouldn't know
who you were talking to. But that
is beside the point, which is that Bill
is a sentimental cuss.

We were driving along the beauti'
ful California highway in Bill's ex-
pensive sports touring car en route
to San Diego. About three miles
north of Santa Ana we stopped along
the roadside at one of those character-
istic barbecue and cold drink dispens-
aries. Bill dug into his wallet and
extracted a fifty dollar bill — the
smallest he had and which the road-
side quencher of thirsts could not
change.

"Got any money, Mose?" Bill
drawled to his darker than dark
chauffeur.

Mose squirmed around, dug in one
pocket after another and finally
drew forth some change.

"Ah got thirty-fT cents, Mister
Bill," said Mose, handing over the
wealth.

Bill took the money, jingled it in his
and then laughed.

"Thirty-five cents," he repeated reflectively
we, Mose?"

" 'Bout three miles this side of Santa Ana, Mister Bill."

"Where does that road back there lead to?" asked the
star, who now collects a weekly salary well up in four
figures.

"That goes to Orange, Mister Bill — it's 'bout a mile."

Bill reflected again. "That's funny." He jingled the
coins in his hand. "Thirty-five cents and — Orange. It's
just about twelve years ago that I landed in Orange with
exactly thirty-five cents in my pocket. I was on my way

William Boyd, th
of fate and the

hand thoughtfully
"Where are

to San Diego then, too, but I had to
get off the train because I hadn't the
money to go any farther. Funny
what tricks fate and a few years can
play in a man's life. Twelve years
ago, thirty-five cents — today this — "
he indicated the shiny car. "And
both times going to San Diego. The
funny part of it is that we're no surer
of getting there in this than I was
with the thirty-five cents! Turn
around, Mose. Let's go over to
Orange. I want to see the darned
old place. I haven't been there
since.1' Bill gave the thirty-five cents
to the cold drink man and we were
off, 'doubling' back over Bill Boyd's
first California trail.

It was a trail full of memories to
Bill — memories of lean days, heart-
aches, hopes that seemed long delayed
in their fulfillment; the trail of an or-
phaned youth of fifteen leading him
courageously to a mere existence, a
trail that never even faintly suggested
the eventuality of world fame and
financial security, not to say wealth.
We entered the little town of Orange. It was moving
serenely about its business. New buildings here and there
were the evident signs of Cali- (Continued on page 1 16)

e fair-haired boy
Pathe studios.

Above, Bill at the gate of his new Bev-
erly Hills home. He has grown some
since the day the somewhat historic
photograph at the left was taken. This
snap-shot was made in Cambridge, Ohio,
when Bill was eleven, and reveals just
how the future film star spent his sum-
mer vacations. He's the gallant driver.

SCREENLAND

Hollywood

The daily doings of "Krazy Kat" are now con-
ceived at the Hal Roach Studio, where George
Herriman keeps his drawing hoard in the office
of his old newspaper pal, H.M. 'Beanie' Walker.

he Athens of America!" "The Cultural Center
of the Western World!'1 Thus yip the Cham-
bers of Commerce of Los Angeles and Hollywood.
But the joke is that there is some truth in the
boosting boast.

Most people think of Movieland simply as a colony of
actors, directors and cameramen, little realising that for
every star in the celluloid firmament there are perhaps
fifty court functionaries to put her or him there.

Nor are these courtiers merely the artisans of motion
pictures. Many of them are artists as great in their own
works as the stars are in theirs. In some cases these
artists draw even bigger salaries than the film favorites
they are helping to put over.

The fact is, the cinema presents the greatest marriage
of the arts and sciences the world has ever seen. When
you attend a super-production like "Rio Rita" you wit-
ness the syndicated efforts of perhaps forty or fifty great
artists and scientists who are responsible for the success
of the picture.

It is only natural that you should cast your credits to
Bcbe Daniels, John Boles and others of the cast. They
are the visible artists of the production. But how about
the men and women who make their performance possible
— those invisible and inglorious Miltons whose multi-
tudinous names appear upon that boresome title list? It
is of them I am singing in this little piece.

One day while going through the United Artists Studio,
Doug Fairbanks took me into a little room where an old
man wTas at work on costume designs for "The Iron Mask.1'
"Monsieur Leloir, Bob; one of the world's greatest
authorities cn costume."

All Roads Lead Repre-
sentatives of Every Art
to the Film Capital

Stephen Vincent Denet, author of "John Brown's
Body," is writing dialogue for D. W. Griffith's
"Abraham Lincoln."

Left: Zelda Sears, noted
playwright, now writing
screen stories.

Below: Charles Wake-
field Cadmau, the com-
poser, is Movie toning.

Maurice
doubt the name means
nothing to you, but to
me — heavens! I began to
purr all over. Twenty-
five years before when I
was an illustrator on the

for March 1930

Home of

Rob Wagner

Art

Mahonri Young, famous sculptor, with some
of the plaques he has designed for the Fox
Film Studio.

Right: Broadway's
George Middleton, a Hol-
lywood convert.

Below: Ben Ames Wil-
liams, another popular
writer 'gone movie.'

Encyclopaedia Britannica
in London, Maurice Leloir,
chevalier of the Legion
d'Honneur and president
of this, that and every'
thing artistic in France,
was considered the great'

Not a relic of the Spanish Inquisition, but a
finger machine, used by Dmitri Tiomkin, the
pianist-composer, to limber up his digits.
Tiomkin is com posing screen songs now.

est authority on costume in Europe. His illustrations in
the de luxe edition of Alexander Dumas were already a
classic. And here he was, an old man brought to America
to design authoritative costumes for Doug Fairbanks'
"Three Musketeers."

That's why Movieland is in reality becoming one of the
great cultural centers of the world. Not only are famous
actors and actresses continually flocking to its gates, but
the supreme artists of all the collateral arts that are build-
ing the cinema into the greatest art of all.

You are all more or less familiar with the great writers
who have come here, beginning with the 'eminent authors'
imported by Sam Goldwyn some years ago — Rex Beach,
Elinor Glyn, Sir Gilbert Parker, Mary Roberts Rinehart
and Rupert Hughes. Since then there has been a perfect
stream of them — Hergesheimer, Cobb, William J. Locke —
I can't begin to name them. Only yesterday I met Kathleen
Norria and Eugene P. Lyle, and I have a telegram this
morning that Homer Croy is on his way.

And the painters and sculptors. Fox has Mahonri
Young sculping for them. Willy Pogany came all the way
from Hungary to design sets for "The Devil Dancer,"
William Cameron Menkes was imported to Movieland to
do "Taming of the Shrew," "Bulldog Drummond" and
"Condemned." Dan Sayre Groesbeck's costume sketches
for "The Volga Boatman" were so wonderful that C. B.
De Mille actually cast his types from the drawings. Carl
Oscar Borg was employed to paint gorgeous canvasses from'
which the sets of "The Black Pirate" were made.

Among the great dance impresarios we have lured to
Movieland are Marion Morgan, famous for her Morgan
Dancers, Theodore Kosloff, one (Continued on page 121)

SCREENLAND

Watch the camera! Try and do it with
Hetty behind it. Betty is reversing the order
of things and is photographing yon instead
of being photographed herself.

Betty

Betty Compson, one of the
Most Photographed Girls in
the World, Chose a Camera
for Her Gift Contest. Write
the Best Letter and It's Yours.
All Ready? Camera! Let's Go!

Beautiful Betty wanted to
give through her contest
a gift which could be en-
joyed by every member
of the family. Man, boy,
girl, or grandmother, every
reader is eligible to enter
the Compson contest;
and may the best letter-
writer win.

Betty Compson holding the gift Kodak
camera. It is a folding camera with
a black leather case to hold it. The
pictures are post-card size, "hYz by
5U. And the camera also takes pic-
tures of moving objects. Write the
best letter, that is, the clearest and
most sincere, and the camera is yours.

for March 1930

GOMPSON'S

Betty Compson is 'camera-con-
scious'— just a minute, don't mis-
understand. We mean that Miss
Compson spends most of her time
before the camera so isn't it only natural
that when she offers a gift she chooses a cam-
era? Anyway, it was Betty's own idea and
a splendid one, too, we think. It is an
Eastman Kodak. Along with the camera
are five rolls of film and a black leather
photograph album which Betty autographed
to the winner of this contest as follows:
"With the sincere good wishes of Betty
Compson." Miss Compson also had a spe-
cially taken snap of herself and has pasted
it in the first page of the album — a personal
touch. The winner will thus start his
new album in the right direction; and if
all the other entries are as attractive as
the snapshot of Betty, the album will be
Exhibit A in any family group.

Betty Compson with the black leather photograph
album which she has autographed to the winner
of this contest.

Betty Compson is one of the most popular talkie
actresses in pictures. Betty is the same Betty that she
was two years ago. She was just as good an actress
then as she is now, yet right now her stock is higher
than ever. Why is this? It is puzzling Betty. There-
fore, she asks you to answer her questions as sincerely
and clearly as possible. Here's the question: Why
do you like Betty Compson in talking pictures better
than in silent films?

ADDRESS:— BETTY COMPSON
Scree nl and Contest Department
49 West 45th Street
New York City

Contest closes March 10, 1930

Betty Compson with the camera in its leather
case all ready to go to the winner.

S GREENLAND

m Battle of the

The Laughing Lads or the
Bold, Bad Men -Who'll Win?

IN delving for truth as in digging for — well, say — clams it doesn't do
to be guided solely by surface indications. Your true dclver is never
satisfied to accept things at face value, but uninfluenced by superficialities,
probes deep into the heart of the subject, there to unearth the actual
esoteric significances. Thus a recent gesture from Messer Buddy Rogers
immediately prompted psycho-analytical investigation on the part of Screen-
land's little group of delvers after hidden meanings.

Buddy, as you know, was recently dubbed 'The Darling of the Debs.'
The word 'dubbed' being used in its ancient feudal, or chivalric sense, as
'I dub thee knight,1 and not in the more modern phrasing, as, for instance,
'aw, go jump in the lake, you big dub.'

But (and now we approach the crux of the matter) Buddy, with apparently
commendable modesty, immediately eschewed the title. 'Eschewed' being
another old English custom not in any way to be confused with that histrionic
habit 'eschewing the scenery.'

Now, to the casual observer, the mere looker-on-in-
Venice, so to speak, the Bud declining the dubbing of
'The Darling of the Debs' may have appeared mere youth-
ful impetuosity, naivete, insouciance. For, after all, what
are titles in life's Springtime? But to the thinkers of
the inner circle, the Rogers gesture, like that of Shanghai,
was fraught with dire import.

Not that the action lacks support in precedent. One
may cite the stand taken by Lew Cody when he was
yclept 'The Buttei'fly Man,' or per contra, the embrace-
ment by Eric Von Stroheim of fame in the phrase, 'The
Man You Love to Hate to Love to Hate to Love to . . .'
And you have no idea how difficult it is to stop when you

The shy and slight-
ly wistful Charlie
Tarrell. Like him?

Left: Ramon, pride
of the Novarros
and very many
feminine admirers.

Below: a smile to
twist your heart —
if you like Johnny
Mack Brown.

They call Buddy Rogers 'The
Darling of the Debs' but he
doesn't let the title worry him.

for March 1930

Boy

Friends

Herbert Cruikshank

It's like the proverb about 'He Who Laughs Last, Lj
And you, too, may be the life of the party in ten

ughs
easy

Richard Dix and
pipe. He smokes
and the girls dream.

Screen hero, new
style: the inimi-
table, and very
fresh Jack Oakie.

Below: Charles
Bickford, who ap-
peals to Greta
Garbo, and other
ladies, in "Anna
Christie."

get started.
Laughs . .
lessons.

But the cause celebre of 'The Darling of the Debs' is far more significant.
The truth of the matter is — and mentally italicize this — Buddy Rogers declined
the title because he \nows that it is false! He is not 'The Darling of the
Debs!'. He may be 'The Darling of the Girls Who Have Been Out For
Three Seasons, Poor Things.' And he may be the 'The Darling of the Epworth
League,' or 'The Ladies' Christian Union,' or 'The Follies' or 'The Eccentric
Firemen's Association.' But he is not 'The Darling of the Debs!'. And he
knows it!

Some may claim that the causes for this are directly traceable to the evils
of the Machine Age, the failure of the United Cigar Stores to issue green
coupons, Harry Richman's love life and liquor leaks in Congressional luggage.
But such contention is sheerest sophistry.

Admitted that in other times, under a Democratic ad'
ministration, for instance, Buddy, in all honesty and humil-
ity, might have signed his fan mail 'The Darling of the
Debs.' Yet it does not follow that in this era, when busi-
ness is so sound you can hear it crash, the same thing holds
true.

The deb of today is not the deb of yesterday. In fact,
today's deb is tomorrow's mother. And careless though
this may seem, the true gentleman will lift his hat in the
elevator — or elevate his hat in the lift — depending, of
course, upon whether he is in New York or London.

And here again we approach the crux of the matter.
Which, if nothing else, proves (Continued on page 108)

T her e's something
about M. Chevalier
that makes us wish we
had kept up with our
French.

Chester Morris is usually in
wrong with screen cops but al-
ways in right with the ladies.

Chester Morris as he appears in the title role of
"The Case of Sergeant Grischa." He has that
Barrymore look.

What a lot of traveling you can do if you are
in the movies. In the space of twelve hours
you can get from Japan to Russia; from Lon-
don to Montana, and the atmosphere of each
locality is so faithfully reproduced it would fool a native.
Of course some companies are more careful than others
and some directors more particular than the rest, but if
you go on a location for a picture directed by Herbert
Brenon you are certain to find yourself in authentic
atmosphere.

I was invited to inspect a Polish prison camp transplanted
by movie magic to the new fifty-acre RKO ranch in the
valley about forty miles from Hollywood. As we entered
the ranch there stretched a snow-covered forest and a
group of gloomy buildings which I had little difficulty in
recognising as a prison. There was also a cathedral, and
a few little cottages spread about — all supposed to be miles
and miles away from each other.

Betty Compson was selling apples and chestnuts to a
group of soldiers outside the inner court of the prison.
She had heard that Grischa was imprisoned there and as his
arrest had been partially through some fault of hers she
had taken this means of entering the prison to see if there
was anything she could do about getting him out. It is
not only the gentlemen who risk their lives for love!
Trouble and anxiety had turned the golden locks of the
heroine a snowy white. Betty looked so ravishing I couldn't
help telling her that she need never fear old age if it sits
as gently upon her as that white wig.

Chester Morris dropped into a chair beside me while
Betty's scene was going on. If you have plenty of time
it is amusing to try to carry on a conversation during the
taking of a sound picture. You just begin to warm to
your subject when the director shouts, "Quiet, everybody!1''

SCREENLAND

Location

with

"Sergeant
Grischa"

Bringing a Famous
Book to the Screen

By Helen Ludlam

The bell rings, the motors start, the scene begins and there
you are suspended in mid-sentence for two or three min-
utes. Imagine a salesman trying to get anywhere under
such circumstances!

Chester's head had been shaved for the picture, and the
effect was decidedly Barrymore-esque. He told me how
negative he had been when Brenon sent for him to talk
over the possibility of his playing Grischa. "I just hated
to go. I had heard how hard Herbert was to get along
with — how exacting — how temperamental and given to
brain storms. When I got to the studio and we had talked
for awhile he told me he had Alibi' in his mind and
couldn't get it out. He didn't see how the man who played
Alibi' could play Grischa and asked me whether I could
say or do anything that would get the type out of his
mind. 'No\ I said, 'I don't think I can.' Herbert looked
at me and thought a minute. 'Shaving your head might
make the difference,'' he decided.

"So for no reason that I can figure out unless it was
my subconscious mind directing me, I went over to the
barber shop on the lot and had my head shaved as clean
as a whistle. Sue (Mrs. Chester Morris) met me in the
studio commissar)' for lunch and when I told her what
I was going to do she begged me to forget it. My nega-
tive state of mind had communicated itself to her and she

for March 19 3 0

was sure the part
wasn't for me and that
I would be unhappy in
the engagement.

"I felt the same way,
but in spite of it I went
right over to the bar-
ber and off came the
hair. Funny the way
things happen.

"The lady who was
working on the screen
story was present dur-
ing my next interview
with Herbert. After
taking one look at me
her nose went a mile
in the air. I could see
that I was 'out' as a
type for Grischa as far
as she was concerned.
All I wanted to do was
to romp home and end
the interview. If there
is anything I cannot
stand it is to be some

place where I am not wanted. But Herbert was pacing
up and down by that time and then he began telling the
story to me and characterizing Grischa. Before he was half
through I was crazy to do the part.
Of course Herbert is wonderful.
He'd put enthusiasm into a puppet
because he is a dynamo himself.
'Mr. Brenon,' I said, 'y°u ve got t0
let me play Grischa because — 'and
then I paced around in my turn
telling him just what I thought
Grischa ought to do here and there
and what have you. We ended
with an enthusiastic handshake and

Right: A love scene from the war
picture. Russia or Hollywood, the
technique is the same.

Chester Morris, Helen Ludlam, Screenland's location
editor, Betty Compson, leading (and only) lady in "Grischa"
and Herbert Brenon, director, with a background of
military extras.

A pretty 'peasant' rides to work in
her own town car — Betty Compson.

a pair of grins never
recorded by a still
camera.

'And after work-
ing with Herbert every
day and part of almost
every night for five
weeks I can't see where
people get the idea
that Brenon is temper-
amental or hard to get
along with. He wants
things right and kicks
until he is satisfied, but
he is not unreasonable.
People on his staff have
been with him for years
— they wouldn't be if
he was as black as he's
painted. And our ex-
perience has been a
revelation to me.
When we come down
on a blue Monday, he
is full of energy and
pep and ideas and be'
fore we know it we have snapped out of our gloom and
rise to the occasion just because we can't help ourselves."
I began to sympathi-e with the prop men because of the
way the apples were disappearing
out of Betty's basket. "Oh, the
apples are easy," said Bill Billings
who has handled properties for
Brenon these three years. "Come
over here and I'll show you the
things that turn a prop man gray
before his time," and he trotted me
off to a truck loaded with iron
bound cabinets. One was filled with
drawers, each drawer containing
plenty of grief as Bill put it. "If
you think that insert drawer didn't
keep me awake nights you're guess-
ing all (Continued on page 124)

Below: A location luncheon in the
prop wagon for Director Brenon,
Chester Morris and Max Ree, art
director.

60 SCREENLAND

When the stars

There's as Much
Variety in Film
Parties as in Motion
Picture Plots

Charlie Chaplin is always the life of the party.
His burlesque of grand opera is the high-light
of the evening.

ESSIE Love is an odd little person in the midst of
all the hectic romanticism of Hollywood," re-
marked Patsy, fingering an invitation she had
just received from Blanche Sweet, who was
giving Bessie and William Hawks a party — they'll be mar-
ried by the time this is printed — and who was also
honoring her grandmother's birthday.
"How so?" I asked, "how is Bessie odd?"
"Oh, she didn't become engaged a lot of times before
she finally made up her mind, as so many of the girls do,"
answered Patsy. "She waited until she was quite sure
whom she wanted to wed. And then, though she had a
lot of chances to marry picture sheiks, she decided on a
quiet, if brilliant-minded, writer."

"But when's the party?" I asked. "It's sure to be

Blanche Sweet, who has been Bessie
Love's best friend since Biograph
days, gave a party for Bessie and her
husband, William Hawks, which was
attended by most of the smart stars
in Hollywood.

interesting, since Blanche and Bessie have been friends
ever since the old Griffith days. Both are true-souled girls,
and they've seen each other through a lot of troublous
times."

The party, we found, was to be held at the picturesque
Chateau Elysee, where dwell so many of the picture stars.

We found the lights glimmering from all the windows
of the place, from behind the tall trees, as though the
whole Chateau were celebrating.

We were early, but we discovered some of the most
interesting guests already arrived, including Dorothy Ber-
nard, who, you remember, used to be a Fox star, her hus-
band, Russell Van Buren, and her pretty nineteen-year-old
daughter, who is studying dancing, and who may later go
on the stage, her mother says. Mr. Van Buren is a stage
actor and director who has lately been drafted for pic-
ture direction. Dorothy looked lovely and very young,
though she told us how she used to try to take care of
Blanche at the studio when Blanche started work as a
mere child, and how Blanche in a measure resented it,
being independent and feeling that she could take care of
herself.

Then entered Blanche's grandmother, Mrs. Alexander,
a lively, lovely little gray-haired lady, who had the rare
ability to make everybody around her happy, and who
had the air of knowing that life was just all a joke and
being quite willing to let you in on it. Consequently
everybody swarmed about her chair, and she was quite
the belle.

The guests were supposed to assemble in the pretty little
private drawing room of the Chateau, but there were so
many of them that they overflowed into the halls and into
another private drawing room.

for March 1930

HEP OUT

John McCormack is a decided acqui-
sition to the social life of the screen
colony. Here is the tenor with Matt-
reen O'Sullivan and Tommy Clifford,
who appear with him in his first
picture.

"Just literally everybody is here!" ex-
claimed Patsy, glancing about. "And I
must see who is in the other rooms."

She reported that she had met Bebe
Daniels, Ben Lyon was working and
couldn't come— Carmel Myers and her
husband, Ralph Blum, Sid Grauman and
his mother, Jack Mulhall and his wife,
Leonora Bushman, daughter of Francis
X. Bushman, and a lovely young girl,
sweetly unsophisticated; Johnny Hines,
May McAvoy and her husband, Maurice
Cleary, Edmund Goulding, Ruth Taylor, Mrs. Billy Sun-
day, Jr., and her fiance, Wallace Davis; Bobby Agnew —
both Bobby and May McAvoy were a bit self-conscious —
Al Cohn and his wife, Mabel Taliaferro and her husband,
Robert Ober, Carol Lombard, Walter Hagen, golf cham-
pion, Jeanie Macpherson and her mother, Mr. and Mrs.
Clarence Badger, Sally Phipps, Julanne Johnson, Jerry
Miley, Mr. and Mrs. Larry Weingarten, Lawrence Gray
and his wife, Mervyn LeRoy and Edna Murphy, Lila Lee
and John Farrow, Clarence Brown, Catherine Dale Owen,
Paul Bern, and others.

We chatted with Dorothy Bernard, who said that she
had greatly enjoyed her work as assistant editor of Harper's
Bazaar. She told us that Dustin Farnum's wife, Winifred
Kingston, was in town, looking for a house. It seems that
they had sold their beautiful old home, and that Dusty,
had not left a very big fortune, due to the fact, largely,
that he was always helping somebody who asked him for
money.

Bebe Daniels looked lovely in a pale pink, long dress,

At Jean Hersholt's 'Margin Party.' Look for Pat O'Malley,
Raymond McKee, Marguerite Courtot, Kenneth Thompson,
Donald Crisp, Jane Novak, Anders Randolf.

and Bessie Love was exquisite in white. Bessie said that
having this party made her engagement seem awfully real
and sort of official.

Dorothy Dalton was there with her husband, Arthur
Hammerstein. She is looking forward with interest, she
said, to her picture work. She said she couldn't possibly
find her way about Hollywood, it is so changed. She looks
very pretty and exactly as young as she did in the old days,
partly due, of course, to never having allowed herself to
grow fat.

Fay Compton came with Betty Compson, and Betty told
us that her Oxford admirer had gone to Russia on some
sort of study mission from his college.

Harold Lloyd brought his lovely little wife, Mildred.

"Altogether it's a regular old-home week, isn't it?" ob-
served Patsy.

Dinner was served in the large dining room, and it
was with pleasure I found myself next to Mr. Van Buren,
who is a charming talker, and who has a fresh enthusiasm
about pictures. (Continued on page 110)

SCREENLAND

Constance Bennett be-
lieves that a dainty
evening gown loses its
effect if it does not
reveal smooth, white
arms. Note that Con-
stance lives up to her
belief, and the effect
is far from lost.

^DETAILS of BEAUTY

Pointing Out that Perfection of Detail
May Create an Illusion of Loveliness

By Anne Van Alstyne

No one ever quite forgets a beautiful woman.
Prettiness may be but skin deep but real beauty
lies deeper. A pretty woman may be merely
a nonentity but a beautiful woman never is,
because she has discovered that beauty is individuality —
a personality that is the perfection of detail.

The little things count, and in
many ways. For instance, hair that
is less then perfectly groomed is
enough to ruin the appearance of
the loveliest hat that ever came out
of Paris. The imported frock of
costly material with one hook awry
is less pleasing than the simple frock
that is made at home and stays to-

gether properly. Rouge that streaks the cheek, powder
that leaves off where the neck begins, a sleeveless frock
disclosing rough, discolored elbows, a red, shiny nose that
we powder when we think of it and let it go at that —
set us down as careless or poorly groomed.

Looking about, one often is led to believe that few
women realise that the world views
us from the side and back quite as
often as from a direct front view.
We face our mirror and decide that
we look pretty well, and take no
thought as to how we look from
any other viewpoint.

Don't make the mistake of be-
lieving that you have no time to

The vogue for off-the-face hats brought
also a vogue for smooth foreheads and
bright, sparkling eyes. Greta Garbo
■ left), Laura La Plante (above), and
Lila Lee (right), are among the girls
who take great pains that foreheads
and eyes shall be well groomed.

for March 19 3 0

Josephine Dunn (left),
discloses white, shapely
arms with elbows as soft
and smooth as anyone
could desire. Josephine
realizes that a woman's
arms are only as pretty
as her elbows, and em-
phasizes their care.

Hedda Hopper contends
that well-cared-for hands
and well-groomed nails
are important items in
the quest for perfection
of detail. And Hedda
practices what she
preaches, as this por-
trait (right), will testify.

waste on keeping yourself well-groomed. Rather, convince
yourself that your time is wasted indeed if you do not
spend a little of it in achieving and holding charm.
Surely, in a day when you waste more or less time on
things of lesser importance you can find half an hour to
devote to small details of beautifying.

I talked recently to a beauty specialist, famous the world
over. She believes that every girl may be beautiful in her
own individual way if she will specialise on her good
points and make the most of them. The features demand-
ing attention more than others just now, said the specialist,
are the eyes and forehead. And looking around a bit,
Fm convinced that she is right.

For years, women pulled their nats down over their
faces — one eye peeping out, the other almost completely
hidden. Foreheads were invisible. If the hat did not
cover them, the hair did. No special care was given them.
Then came the new off-the-face hats and what they reveal,
girls, is not always so good. Fore-
heads lined and none too white;
lines under the eyes; a withered
look about the eye- lids; the eyes not
nearly so bright and sparkling as
eyes should be.

What to do? Well, for one
thing, you must give your forehead
and the space under and over the

eyes the same amount of care and grooming that you give
the rest of your face. When ready to cleanse your face,
don't just pin your hair back out of the way; tie a towel
firmly over it as the operator in the beauty parlor does
before she begins a treatment, so you can work out to
the very edges of the hair. After the face cleansing, put
a generous amount of good cream on the forehead, under
and over the eyes.

With the first two fingers or each hand, beginning at
the center of the forehead just over the nose and working
outward toward the temples, gently smooth the cream well
in. Begin again, a little higher up on the forehead and
repeat the process until you have covered the entire fore-
head. Then, using the tips of the second fingers and
working outward with little firm circular movements, go
over the entire forehead at least ten times.

Then, using the second finger of each hand, beginning
over the eyes at the bridge of the nose (the eyes closed)

work gently over the lid to the cor-
ners of the eyes. Press firmly on
the crow's feet if they are begin-
ning to form, then pat gently under
the eyes to the nose. Repeat ten
times. This treatment must be
gentle, as the tissues under the eyes
are very delicate.

When you (Com. on page 112)

A famous beauty specialist states that
the features demanding most atten-
tion now are the eyes and forehead.
Fay Wray (left), Norma Shearer
(above), and Gloria Swanson (right),
agree. One has only to look at them
to know that they give these features
special care.

SCREENLAND

The "Trader Horn" camp at Panymur. Group
includes W. S. Van Dyke, Edwina Booth, Harry
Carey, Duncan Renaldo, John W. McClain.

Trailing

"Trader

Horn"

Above: The natives
see themselves as
others see them when
they look at the day's
'rushes' at the impro-
vised jungle movie
theater.

Center: The company
looks over the hippo
which Harry Carey
shot.

Left: Harry Carey as
Trader Horn with
Olive Golden, The
Missionary in the pic-
ture and the Missus
(Harry's) out of the
picture.

N our estimate of the present crop of budding
screen stars let's pause long enough to lift the
millinery to Edwina Booth, one of the gamest
little gamblers that ever laid a dime on the black
square.

During the six months I spent with the "Trader
Horn" company on location in East Africa where W.
S. Van Dyke directed a sound version of the old
philosopher's novel, I saw one of the most dramatic
situations unfolded before my eyes that it will prob-
ably ever be my good fortune to witness.

Harry Carey, who plays Trader Horn, and Duncan
Renaldo, who plays his buddy from Peru, are husky
brutes, comparatively. They might be expected to
stand some chance tussling with African ele-
phants, or taking the meat practically out of
the mouth of the Nubian lion— which they did.
But our flower-like wraith of a leading lady,
Edwina Booth, was slated for the same dangers.
Not only that, but she marched the men into
these situations. 'Ladies First,' with a venge-
ance.

Here was a little blonde kid who came four-
teen thousand miles from California to the
middle of Africa, wagering her health, her
good looks, her entire future, in fact, on the
single long shot that her success in the pic-
ture— if she pulled through — would reward her
with the fame and fortune that we all want.
It wasn't a big Belasco production either, with
press agents, advertising and ballyhoo. Nobody
ever talked about it at all. We all knew that
it was going on in front of us and she knew

for March 1930

Three barbers — no waiting! Edwina Booth helps
give a hair cut. That's local color in the
background.

A Movie Company
Pioneers in Darkest
Africa for Authentic
Native Atmosphere

By John W. McClain

that we knew. It didn't call for words.

All the talking had been done in Hollywood. When
Edwina took the part she was told that it meant
great personal risk. Van Dyke told her — as only
Van Dyke can — that there would be no room for
temperament, for coddling or for anything, in fact,
except hard work and plenty of it. She took the
job with her eyes open and we had to hand it to
her for the way she played the game.

It was May 1, 1929, when we all landed at Mom-
basa, the front door to East Africa — that fantastic
little adjunct of the Bronx Zoo situated plumb under
the equator on the East Coast. There were about
thirty of us: Van Dyke, Edwina Booth, Harry Carey,
Duncan Renaldo and the cameraman and
technicians that go to make up a studio produc-
tion company. In the hold of the ship was
more than one hundred tons of equipment —
hundreds of items we had been told to leave
at home, things that 'could never be moved into
the heart of the continent.' The weather was
sibling. Nobody seemed to be very much
interested in what we were doing. Natives
were asleep in the shade. Lizards were crawl-
ing up the white walls of the customs ware-
houses on the pier.

Two days of hard work were required to
get everything onto the little woodburning train
that runs three hundred and fifty miles inland
to Nairobi, our temporary headquarters. It
takes eighteen hours to make the trip, up-grade
all the way, for Naibori is a mile above sea
level. You pass through native villages through

Above: Members of
the company prepare
a crocodile set for
action at Mitrchison
Falls.

Center: Edwina Booth
in her out-door dress-
ing room in the wilds
of A frica.

Right: Elinor Glyn
hasn't a corner on
leopard skins — it's an
old African costume.
Harry Albiez, prop-
erty man, sews 'em
up on his Singer.

SCREENLAND

vast herds of wild game:
zebra, giraffe and ostrich.

During the night a fine
red dust creeps in under
the windows, through the
ventilators and covers
everything. In the morn-
ing at breakfast, Edwina
appeared in a spotless wash
dress, wearing a cork hel-
met, and smiling. The rest
of us were dirty and our
eyes were bloodshot from
the dust and soot. My re-
peated efforts to get towels
and soap from the porter
had produced everything
from a new blanket to a
gin sling. Edwina had ap-
parently worked a miracle.

In Mairobi we paused
long enough to repack our

equipment, and to establish a laboratory for developing
our rushes. Then we organized a regular safari, hired one
hundred natives, five hunters and started for the bush.
From Nairobi to Jinja, on Lake Victoria, there is a branch
of the railroad. From there we went by motor to Kam-
pala. At that point it became apparent that civilization
was leaving us in the wake. Edwina left her trunk in
the hotel and jumped into khaki pants, flannel shirt and
felt taria, that was to be everything but her negligee for
the next six months. And somehow it was rather be-
coming.

Along about May 15, we waved goodbye to the hotel
keeper and pushed off toward the Congo. We were
traveling in nineteen motor lories and six passenger cars.
Our nine-ton electric generator truck brought up the rear.
We were carrying more equipment by at least fifty tons
than any safari that had entered that part of Africa.
There were twenty kleig lights, forty tents, beds, chairs
an iceless refrigerator, a wireless set, and enough food-
stuffs, ammunition, films, and canned goods to last three
months. At every bridge we had to stop and build a
reinforcement under it before we could drive the generator
truck over. Sometimes this took hours. We were eating
on the march, living on canned food and crackers most of
the time. At night we pitched a few tents and slept
until dawn unless the
mosquitoes were too
thick. All over the
roads there were
tracks of everything
from elephants to
leopards.

One day we arrived
at Lake Albert, in
Uganda, on the bor-
der of the Belgian
Congo. There we
left our cars and
loaded our personal
kit on a river boat
the size of a tug.
There was a white
man stationed there
who looked after the
shipping on the Lake.
His name was Buck-
ler. When he saw
Edwina he said, "You

This spot was home for the "Trader Horn" ex-
pedition for many weeks, at Murchison Falls,
Uganda, on the banks of the Victoria Nile.

Edwina Booth as Nina T. and Harry Carey as Trader Horn
in an African setting for a scene in the screen version of the
old philosopher's novel.

can't take her where you're
going. It is reeking with
sleeping sickness and fever.
She can't stand it."

Before Van Dyke could
answer, Edwina stepped up
to the man.

"Have you ever tried to
cross Fifth Avenue at
Forty-second street during
the rush hour, Mr. Buck-
ler?" she asked. "Well, I
have, and I guess I can
stand this country!"

She didn't talk much the
rest of the day but she was
all right when we got off
the steamer at Panyamur
next morning. That was
the first location — a wil-
derness on the West side
of Lake Albert. Flat, tall-
grass plains running down to the water's edge, with the
land rising a mile or so from the lake and climbing grad-
ually into the purple hills of the Congo. The water
smooth and oily, simmering in the heat of a tropical sun
and the monotonous hum of insects hanging over the whole
scene like the purr of a distant airplane.

I looked for Edwina. She was trying to talk to some
natives who had come down to meet us. They were
laughing and making signs and she was looking up words
in her Swahili handbook.

We shot the first sequence of the picture there, scenes
showing the arrival of Little Peru in Africa and his intro-
duction to Trader Horn. We defied all the rules of Africa
during those first days, working all day in the sun, through
the worst heat of the day at noon and far into the dusk.
The generator was stationed off-shore on a tender and the
juice was run ashore in cables. It looked like a losing bet
for Edwina some of those times when we sat in the scorch-
ing sun, waiting for the clouds to drift into the background.
Times when you could have baked a potato under your
hat and when nobody spoke and everybody just sat.

Harry Carey, brave in the costume of the 'tough cus-
tomer' of the early times, was driving herds of shackled
natives that staggered under burdens of ivory tusks until
they fell. It was easy for him to look grim. Renaldo

arrived with slaves
carrying guitars, lug-
gage, and a bath tub,
and faced the sarcas-
tic scrutiny of Trader
Horn. It was easy
for Renaldo to look
uncomfortable, as
these two sweated
through the opening
scenes.

At night the mos-
quitoes were pretty
bad. We had nets over
our beds, but dur-
ing dinner and right
afterwards there was
nothing to do about
it. Some of the boys
went down with fever
after a couple of
weeks. Van Dyke
(Cent, on page 120)

Every Day is Valen-
tine's Day inHolly-
wood. For What
are Motion Pic-
tures Without
Love Scenes?

Hollywood

News note: Nancy
Carroll is stepping out
with St. Valentine.
But can he keep up
• with her?

Nancy again. No
matter what
havoc she causes
among audiences
you can never say
she's a heartless
girl.

Practically guaranteed to give anyone
a little harmless heart trouble: Jean
Arthur.

Jfeart interest

All photograph* of Nancy
Carroll by Otto Dyar.
Photographs of Jean
Arthur by Gene Robert
Richee.

Nancy Carroll is show-
ing off one of her enor-
mous collection of hearts.
"No trouble at all," says
Nancy. "There are lots
more where this came
from."

Cupid, a little an-
noyed at such com-
petition, sends a dart
in Nancy's direction.

We don't know much about art, Jean
but we know what we like, and you
qualify.

EVERY time you have seen Charles Ruggles
on the screen he has been impersonating a
gentleman who has partaken not wisely, but too
well, of good cheer. Personally, Charlie looks
like this; and he never touches the stuff!

HELEN MORGAN, perched on a piano, is
a tousled-haired, pleasantly plump young
woman specializing in sentimental ballads —
until she begins to sing. Then the magic of a
husky voice transforms her into a great artiste.

Ruth Harriet Louise

THELMA TODD was once a school teacher.
Now she is very busy explaining the rudi-
ments of Hal Roach comedy to screen audiences.
Blonde, Junoesque, and beautiful, Thelma seems
to have inherited the mantle of Phyllis Haver.

Elmer Fryer

IT was more or less overlooked for a time
that Lois Wilson entered pictures by the
beauty contest route. But since Lois has been
playing witty heroines instead of sweet saps, her
friends have been reminded of her good looks.

Ruth Harriet Louise

THERE is a new girl in town visiting from
the South, by way of Broadway. Her name
is Dorothy Jordan, and everyone has been so
nice to her she reckons she'll stay. This deci-
sion meets with the approval of all.

Otto Dyar

THE voice, with the smile, wins. It's a sure-
fire combination. Regis Toomey qualified
in "Alibi," and now he is greatly in demand,
having made a favorable impression upon the
discerning millions who go to movies.

WHEN an actor is hailed by his nickname,
it means only one thing: his future is
assured. He is no longer a remote figure on
the screen, but a very good friend. David
Rollins is known to the world as Davey.

/^\F all the Broadway leading ladies who
have come to Hollywood, Marguerite
Churchill is perhaps the most wistful and re-
served. Yet she has already, in her quiet, well-
bred way, carved a special niche for herself.

SHE has been a trouper ever since she can
remember, having toddled on the stage
with her father and mother at the tender age
of two. And she still loves her work. Ladies
and gentlemen of the audience: Leila Hyams.

GIVE Warner Baxter any part, and he'll
play it, to hearty applause. Cisco Kid or
suave business man, Warner is always convinc-
ing. He is agreeable and versatile. "Such Men
are Dangerous" — that's his next feature.

LORETTA HAD A LITTLE LAMB

Miss Young Plays Shepherdess.
Lucky Little Lamb!

All photographs by
Elmer Fryer.

SCREEN ingenues have posed amid wood-
land scenery before; but somehow, until
Loretta Young came along, we never took it
very seriously. Now — well, look around you!

Clarence Sinclair Bull

THE gay nineties will be the next setting
for Marion Davies' whimsical talents. The
star is now working on a musical movie with
the quaint atmosphere of Floradora days.

for March 1930

For her role of
Dulcy in "Not So
Dumb" M art on
uses a new voice.

Impersonating Che-
valier her intona-
tion is something
else again.

The Girl

with

SEVEN
VOICES

Marion Davies
Demonstrates
Vocal Versatility

By Ralph Wheeler

here are too many tears in real
life. I want to make people
laugh!"

Thus, with characteristic sim-
plicity, did Marion Davies explain her
snubbing of serious roles for hoydenish
farce and broad comedy.

While other actresses of less pulchritude and accomplish-
ment are yearning to do 'big things,' dripping drama,
(pronounced dray-mah), or Shakespeare, at the very least,
Marion is figuring out new impressionistic burlesques,
stunts, of any kind aimed to bring a laugh.

Marion does a little home work
on her dancing steps and ac-
cents. She has as many voices
in her repertoire as Paul Muni
has faces!

Marion's voice has
a throb and a sob
when she imitates
Bernhardt.

As the 'lieutenant
in "Marianne"
Miss Davies is still
different.

Her first talking picture feature,
"Marianne," has given her fans a treat
and shown them what to expect of her
in vocal as well as physical character
delineation. '"Dulcy," now titled "Not
So Dumb," her next, is amusing and
frankly fun.

"I don't know a thing about this
'are-you-theah' manner of pronuncia-
tion I hear so much about in talkies,"
she said. "I talk the way I think my
characters would speak, not the way
some elocution teacher thinks the
English language is spoken.

"I try to be myself. An English
accent doesn't go with my Irish face.
I was born in Brooklyn, and if you've
ever been across the bridge you know
how 'certainly' is pronounced there.

"I feel that the average person in a
motion picture audience resents too
meticulous enunciation. They don't
know people in real life who talk that
way and at once sense an artificiality
about the characters. If the part calls
for Bowery lingo, then the lines should
be read that way. If the role is one
of drawing room aristocracy, then
bring on your dipthongs and whatnots.

"To my mind, it is important in
comedy characterisations, especially, to
fit your voice to the part. I am very
much afraid a constant repetition of
the same voice in every picture will
make the public 'voice weary,' just as
they would get tired of seeing a star
wear the same clothes for every part
she played. I can hear them saying, 'Gosh do we have
to hear that woman again?1

"When I played 'Marianne' I spoke very little French.
I realised that those lines which were spoken entirely in
French must be perfectly delivered, since many people in
the audience would pick flaws. (Continued on page 113)

SCREENLAND

Reviews

Joe E. Brown, Marilyn Miller, and Alexander
Gray in the spectacular "Sally"

Ramon Novarro and Dorothy Jordan in a tender
moment from "Devil May Care"

THIS is the ne plus ultra of screen musical entertain-
ment. (Don't mind me; I'm just showing off. "Sally
is such a Cartier production it has given me an ac-
cent.) Marilyn Miller, aristocrat of Broadway musical
comedy, goes Hollywood at last, and she makes it look like
Park Avenue in a minute. Marilyn makes some of our native

blondes seem just a little er crude and uncouth and she

is generally bad news to our girls who have been getting by
with their Charlestons and tiny trebles; she shows them up
and there's nothing left for them to do now but take singing
and dancing lessons. Miss Miller has a fine voice, a beautiful
smile, and the sprightliest and shapeliest dancing legs on
the screen. As 'Sally,' the little waitress who captivates the
millionaire boy, and no wonder, she is always a vision, and
the technicolor cameras take full advantage of her charms.
"Sally" is an eyeful in every respect. The garden party is
the biggest and most lavish screen set since the fall of Baby-
lon in "Intolerance." Alexander Gray 'plays opposite.'

Devil May Care

RAMON NOVARRO'S first singing picture is a lovely
lace Valentine. It is thoroughly charming and not
in the least important. But who cares? Here's
Ramon, as a dashing young defender of Napoleon's
interests, masquerading as a footman and managing to in-
gratiate himself with Dorothy Jordan and all the ladies in
the audience at one and the same time. Novarro is a de-
lightful comedian; he is light and engaging but never coy.
The Voice, like most over-heralded things, fails to live up
to expectations; but don't let that worry you. It's a good
enough voice and Ramon really could get along with a worse
one. The opening scenes of this Napoleonic romance are
fine and stirring. Unfortunately the film fails to keep this
pace. It lags and limps when it should go marching on.
But when Novarro is around, and he usually is, there's
nothing the matter with "Devil May Care." Dorothy Jordan
as the little royalist who is finally won over to Ramon's
cause, is a real find. She has a naive charm.

No, No, Nanette

'No, No, Nanette," the sparkling musical comedy,
boasts a real all-star cast

IF you think you are just a little fed up with these endless
musical comedy movies, see this one before you swear
off. It proves that what s wrong with m.c. movies is com-
edy that is, not enough comedy. "No, No, Nanette'*

is first of all funny. The musical comedy is just a back-
ground. And the genuine comedy makes you so hilarious
you don't mind the elaborate chorus numbers, the persistent
tap dancers, and the theme songs sung by Alexander Gray.
But then you might like Mr. Gray in any case. He is
modest, presentable, and the owner of a good voice. His
co-star, Bernice Claire, is a little beauty who is ravishing
even when she sings. When she discards that musical comedy
smile and learns movie technique she will be a real wow.
Lucien Littlefield as a good-book publisher who keeps pretty
ladies in good humor; Louise Fazenda as his doting wife;
Lilyan Tashman as a whispering friend and Bert Roach as her
husband; and particularly Zasu Pitts as a long-suffering maid
of all work, are uproariously funny.

for March 1930

Best Picture:

Screenland's Critic Selects the
Six Most Important Films
of the Month

This Thing Called Love

THIS lovely young thing called Constance Bennett re-
turns to the screen. Boy, get out the banners and
the red carpet and the key the great big, gold one
to the city. For Constance, today, is more glamor-
ous than ever. She went away an appealing little girl. She

comes back a sophisticated woman with Paris clothes and

faintly haughty continental manners. There's no one quite
like her in pictures. She has poise that matches Swanson's.
And her picture is a fitting frame for her talents. She plays
a modern young woman who hires herself out to Edmund
Lowe as a perfect wife. In other words, she can give him
everything but love, baby. Of course he wants that, too,
even though Miss Bennett points out that the examples of
married life they see about them are none too encouraging.
Zasu Pitts as a disappointed matron contributes another one
of her matchless characterizations. But Mr. Lowe refuses to
be depressed and even without the aid of 'Captain Flagg' he
is victorious. This Mr. Lowe is an expert farceur.

^■SEALiOFjJ

CLASSIC

The Virginian

old
for

A CLASSIC of the American theater, this grand
play by Owen Wister and Kirk La Shelle ran
seasons on the 'legitimate.' Now that the movies
have become the real legitimate theater, "The Vir-
ginian" will probably run forever. It has all the qualities
that make for popular appeal. It's the greatest 'western'
ever written, a real epic of the days when America was in
the making. Of course Gary Cooper is the one and only
boy to play the title role on the screen. This tall, rangy lad
makes a perfect picture as the brave foreman whose sense
of duty prevails over his friendship for 'Steve' and his love
for the little Vermont school ma'am. Richard Arlen is a
picturesque and lovable 'Steve.' Two ladies beside me left
the theater when he passed out of the picture. Mary Brian
is a lovely heroine. Walter Huston makes 'Trampas' as
ornery as Wister wrote him. The suspense of the final scenes
is positively gripping. But for me, the big moment comes
when Gary says, "If you call me that, smile!"

The Sky Hawk

Ti
i

|HE war picture that is different,' should be the billing
for this film. You may think you have had just about
enough of these epic struggles; but see "The Sky
Hawk" and you will marvel at the ingenuity of the
Hollywood boys who can actually turn out another war pic-
ture that will not remind you of all the others since "The
Big Parade." It is worth your while if only for the tremendous
thrill of the air battle between a Zeppelin and a lone plane
over London. The suspense of the air raid and the hero's
daring will keep you on the edge of your seat, tearing your
program to bits, or you're awfully, awfully callous. I think
you will find "The Sky Hawk" an entertainment tonic. It
is all-English, with 'a chap called Bardell' performing this
heroic aerial feat by way of reinstating himself in the eyes
of the world which has accused him of cowardice. John
Garrick, the young Englishman who plays the lead, is inter-
esting and always sincere in a role that must have been a
continual temptation to swank around in.

Constance Bennett, Edmund Lowe, Carmelita
Geraghty in "This Thing Called Love"

Gary Cooper in the title role and Richard Arlen
as 'Steve' in "The Virginian"

Helen Chandler and John Garrick in the exciting
war drama, "The Sky Hawk"

SCREENLAND

Critical Comment

The Laughing Lady

A SMART motion picture. Smart in its stars and its
settings and story; and smart in the pace it main-
tains throughout. Ruth Chatterton plays the title
role, that of a charming and gallant lady innocently
compromised and hence cast off by her worthless husband.
Dragged into the divorce court she is pilloried by her hus-
band's brilliant lawyer and loses the custody of her child.

Chin up, she laughs while she plans a neat revenge. Her

victim is the lawyer, who is not clever enough to withstand
woman's wiles. But she has fallen in love with him, and he
with her; so revenge is sacrificed to a happy ending. Clive
Brook is superb as the lawyer, while the exquisite Miss
Chatterton scintillates as the Laughing Lady. The two most
poised and polished players on the screen, they make a
perfect team. May they meet soon again I

Hot For Paris

DID you like "The Cock-Eyed World)" Don't be
silly. According to the box-office receipts, every-
body liked "The Cock-Eyed World." Then see "Hot
for Paris," which is more of the same. Victor
McLaglen plays a sea-farm* man on shore leave with his
Swedish pal, El Brendel, in that dear Paree. There they
encounter Fifi Dorsay, yes, the same Fifi who made Paris
so pleasant for Will Rogers; and she shows Vic and El the
sights. Raoul Walsh directed, so you know what to expect.
It's all Rabelaisian in the Hollywood fashion, with broad
laughs, plenty of gestures, French-American dialogue, and
generally snappy action. McLaglen plays his usual bluff and
rough character; but it is Fifi's own little show. Her antics
are so disarming that even grandmother will content herself
with a gentle "Tut-tutl The French are a great peoplel

The Girl From Woolworth's

ARE you like me? Are you one of those people who's
been worrying about the fate of Alice White? Well,
there's no need to worry. No matter what job
Alice holds in the first reel of the picture, the odds
are twenty to one that she'll emerge a cabaret cutie before
the fourth reel rolls around. And that, my children, is just
what happens again in this latest opus which I have nick-
named 'an epic of the five-and-ten.' Oh, it's all right with
me! I'm not whimpering! For Alice continues to improve
with the song-and-dance talkies, and even if she sells sheet
music in Woolwort' '3 and falls for a subway guard, who am
I to complain so long as there is a theme song with jazz
variations and legtacular surroundings. Charles Delaney
is the poor but honest New Yorker, and Wheeler Oakman
is the menace as the cabaret producer.

The Mighty

THAT man's man, George Bancroft, seemed to be keep-
ing a large percentage of women interested when I
saw "The Mighty." The fact is, George, the big bad
boy of the movies, interests both men and women be-
cause they feel he is real, not synthetic. As far as I'm con-
cerned, I'd rather see George in celluloid than most matinee
idols in the flesh. He makes me believe him no matter
what he does, even when, as in this picture, he plays a crook
drafted into the war who emerges a Major, a gentleman,
and a hero. When he seemed to be about to return to his
old wild life, torn between love and duty, and two beautiful
blondes, Esther Ralston and Dorothy Revier, I wasn't wor-
ried. I could just sit back and let George do it. Whatever
the outcome, it would be interesting. Bancroft films, like
Garbo's, are just vehicles, and why not?

for March 1 93 0

on Current Films

Seven Keys to Baldpate

RICHARD DIX'S first picture for RKO is good enter-
tainment. But it is neither new nor startling, and
affords Dix no fresh start. The George M. Cohan
play has been picturized before; and those who saw
the first screen version will have no difficulty in doping out
the plot well in advance. A mildly amusing farce, it has
been well mounted, directed, and cast; but why not give
Richard Dix a brand-new, original story to work in, just
for a treat? And then see what he'll do with it. He has
played in so many revivals he must feel like Billy Sunday.
As the young author who goes to Baldpate Inn in the dead
of winter to write in solitude, only to have his privacy in-
vaded by political crooks and beautiful ladies, Dix does all
he can to invest the proceedings with sincerity and zest.
Joseph Allen of the original cast is a riot.

The Shannons of Broadway

1UCILLE WEBSTER and Jimmy Gleason are two of the
most lovable human beings who ever held an audience
in the hollow of their hands. They are home-spun and
real, so that every type of theater-goer, from Broadway
to the tank-towns, reacts identically to their humor.
Jimmy and Lucille wrote and starred in "The Shannons of
Broadway" and had a long run in the big town. And now
they have translated their play into pictures and it will prob-
ably keep right on running. Not that this talkie is remark-
able. It isn't. It's simply a stage play too literally transcribed
into screen scenes. But the innate worth of the piece is there,
and nothing can hide it. As the vaudeville couple who
clean up in real estate and return to the stage in a big
act, Lucille and Jimmy are always believable. Mary Philbin
and John Breeden are also present.

Pointed Heels

~W" UST a little bit of everything for everybody. Musical
numbers? Here they are. Comedy? Yes. Drama?
I Certainly. Technicolor revue? Right over there. Add
William Powell, Fay Wray, Helen Kane, Phillips Holmes,
and Sheets Gallagher, and you'll have to like something about
"Pointed Heels." I liked Powell's nonchalant stalking of
Fay and his final gentlemanly sacrifice; Helen's boopa-doops;
Fay's acting, and Phil's profile. But particularly Helen.
This girl is just a natural. She is a real comedienne and
doesn't have to depend upon her singing from now on. Fay,
the miniature Gloria Swanson, is lovely. The story? Oh,
there are several. Domestic drama by Fay and Phil. Back-
stage comedy by Helen and Skeet. Handsome millionaire
menace by Mr. Powell, who turns out to be a sheep in wolf's
clothing. What will you have? It's all here.

Dynamite

THE glorifier of the American bath-tub took no chances
with his first talking picture. He put everything in
it. After the first four or five reels I pinched myself
and rubbed my eyes and said: "It isn't true; I don't
believe it." But it seemed I was wrong. The astonishing
scenes of "Dynamite" went on and on, from the wedding
of a beautiful society girl to a condemned murderer, through
a characteristic Cecil DeMille party in high-life, to a climax
in a mine that beggars description. And over it all is the
smooth and unctuous Cecil DeMille polish, and through it all
there is the decided charm of Kay Johnson and the rugged
honesty of Charles Bickford and the sex appeal of soft-
voiced Julia Faye, and the suavity of Conrad Nagel. Direc-
tor DeMille is a magician. He makes you see things that
aren't there.

SCREENLAND

REVUETTES of

Halfway To Heaven

Tiger Rose

An all-star cast including Rin-Tin-Tin make Wil-
lard Mack's play a good movie melodrama of the
old school. Lupe Velez draws Lenore Ulrica
stage role and she vamps and romps her way
through the scenes with her usual sparkle. Monte
Blue, H. B. Warner, Grant Withers, and Gaston
Glass combine to make "Tiger Rose" a flappers'
holiday; its been a long time since so many lika-
ble leading men played in one picture. Tully
Marshall and Bull Montana attend strictly to their
business of supplying characterization. "Tiger
Rose' 'dates'; its canoe race through the rapids
may not be taken altogether seriously; but the
luminous cast does its best to make up for such
old-fashioned devices. Lupe's lustre alone is worth
the price of admission to "Tiger Rose."

Oh, Yeah!

Buddy Rogers' best picture in some time, though not al-
together due to Buddy. He is overshadowed by the menace
of Paul Lukas and the appeal of Jean Arthur as the girl.
It's a carnival story with Buddy, Jean and Paul doing a
trapeze act that has its thrills. The star is a little too noble.
Jean Arthur is, as always, just right.

This comedy with James Gleason and Robert Armstrong
is disappointing. There is too much dialogue and not
enough acting. Remember, boys, this is the moving picture
business. Gleason wrote the dialogue as well as co-starred
and he knows his wise-cracks; but the film could and should
have been better. Zasu Pitts is grand as a waitress.

Hunting Tigers In India

Elephants, tigers, and everything. If you like these natu-
ral actors, see Commander George M. Dyott's record of his
hunt. It is interesting though not too exciting. The gun
and camera sportsmen seek rhino, deer, and elephant; and
to top it off, there's the bagging of three tigers. No story;
just a little lesson in natural history.

Blaze O' Glory

The height of hokum. With the exception of an excel-
lent performance by Henry Walthall, and the personable
presence of Betty Compson, this melodrama is hardly worth
your time. Eddie Dowling uses the late war as background
for his repertoire of sentimental songs. Frankie Darro fans
will find their boy wonder very much among those present.

f or March 1 9 30 89

OTHER PICTURES

The Marriage Playground

A great family picture, this filmization of Edith
Wharton's "The Children" has the fine full flavor
of the novel and all the qualities of the best screen
technique as wall. Lothar Mendes has directed
with good taste and spirit, a rare combination,
this story of the girl who brings up her younger
brothers and sisters because her fashionable folks
are too busy. Mary Brian as the girl is a revela-
tion. She has lost none of her girlish appeal,
while her work has steadily grown in depth and
power. 1 can't imagine any audience failing to
appreciate and sympathize with The Children, es-
pecially Philippe De Lacey. Sartorial shows by
Kay Francis and Lilyan Tashman, love interest
by Fredric March, nice man and good actor.

His First Command

Bill Boyd fans, and they are loyal and lusty, will like
their star in this fast-moving story of a private who wise-
cracks his way to a commission and the commandant's
daughter. Boyd plays a Bill Haines role to agreeable affect,
and Dorothy Sebastian is pert and pretty opposite him. A
good movie with not too much regard for army regulations.

Hell's Heroes

A drama of the brand best known as 'gripping,' this pic-
ture will get you. From a Peter B. Kyne story, it is virile,
unadorned, and always absorbing. Three desert rats, Charles
Bickford, Fred Kohler, Raymond Hatton, become human
beings when fhey adopt a baby. Sounds saccharine, but isn't.
Good acting, authentic desert stuff, and real punch.

South Sea Rose

Lenore Ulric is a splendid actress and she is proving it
in her talkies. The well-known Ulric personal charm is not
so potent on the screen and Lenore must be judged solely
on her merits as a trouper. She is one of the best, and as
a South Sea Rose transplanted to New England she rises
above an indifferent story, aided by Charles Bickford.

Dance Hall

Vina Delmar's short story makes a fairly entertaining
talker. The scene is a 'taxi' dance hall with Olive Borden
as the hostess and Arthur Lake as a shipping clerk smitten
by her charms. Olive and Arthur are individually good,
but not together. Miss Borden is too reserved for Arthur's
ingenuous boyishness. Joseph Cawthorne is really funny.

SCREENLAND

Above: Marie Saxon, musical comedy
queen, brings her beauty to the sound
films in "The Broadway Hoofer."

Right: Eleanor Doardman, who came
to Manhattan for a vacation with her
husband, the director, King Vidor.

Below. Mary Duncan may return to
the stage if she finds a play to her
liking. No more vamp roles, she says.

IN NEW

The Playground of
the Picture Stars

Tait till Eddie sees the bill for these. Hell
get a shock!"

Lilyan Tashman was speaking of the four
dozen giant chrysanthemums her husband,
Edmund Lowe, had telegraphed her from the coast.

"He's forgetting," she continued, "that chrysanthemums
cost real money in New York. Here you can't get a
carload for a street-car token like you can in Hollywood."

Miss Tashman, who has just finished playing the role
of the mother of a large and varied family in "The Mar-
riage Playground," from Edith Wharton's novel, "The

Children," is, as she says, "having a gala
celebration in New York just to get a
rest from The Children."

Lil has a new bob that I've been try-
ing to copy. Her wheat-colored hair is
cut long — about to the shoulders. Parted in the middle
down front and back. The back is then waved up into ten
curls which are pinned into place at the nape of her neck,
five on each side of the back part.

Lilyan stepped out while she was in our town — she
bought a chinchilla coat. Wait until Eddie gets the bill
for that; he'll forget the chrysanthemums!

It's the most beautiful fur coat I ever saw. Long and
full and soft as a dove's breast. It's the kind of coat
every woman dreams of and one out of five million
achieves.

"I thought I hadn't any clothes thrills left to get,"
Tashman concluded. "Yes, I did. For I've had about
everything in the clothes line there is. But when I put
that chinchilla coat on my back, I said, 'Lil, enjoy your-
self. For here's your greatest thrill in the second decade
of the twentieth century.' "

"They're always trying to make a vamp out of me,"
wailed Mary Duncan, "just because I played Poppy, the
half-caste girl in 'Shanghai Gesture.' "

Mary was on the stage in New York for several years
before Mr. William Fox corralled her for Hollywood
movies. Now she's back in town for a visit — the first time
in many months, having just completed "City Girl."

"I love New York. I love the theaters here. Talkies
are great — terribly interesting in which to work. But

for March 19 30

Fairchild Aerial Surveys Inc., N. Y. C

YORK

By Anne Bye

there's something about the New York
theater that doesn't exist for me any
place else. I adore the people out in
Hollywood. I adore the climate, too.
But," and her pretty little nose sniffed
the frosty air from upper Fifth Avenue, which filtered in
through the open sitting room window, "when I'm away
from this New York o2,one, I'm plain miserable, for I
reckon this is — just my town!"

Mary Duncan is a lady. Not one of these personages
varnished up by an astute publicity department for special
occasions, but the real quality. She breathes a spirit and
exudes an essence that can never be manufactured, no
matter how subtly an artist may try.

Yes, you guessed it. She was born in Virginia. And
she has a voice that is as lovely as Jane Cowl's. It is
sweet, smooth and musky, like old green chartreuse that
has rested many years undisturbed in a cool, quiet cellar.

Mary has had rather a bad break in pictures. They
don't seem able to find a story for this unusual girl's
personality.

"I don't know whether I'll make a picture next or do a
play," Mary explained. "Sam Harris has a little thing
here that he thinks is interesting. And I may take it,
if it's not a vamp role. I'm through with vamps forever.
I've rolled my eyes and swaggered my hips for the last
time — I hope!"

"Marriage agrees with some movie stars. It wrecks
others," said Eleanor Boardman, wife of King Vidor, as
she sat in the drawing room of her suite at the Warwick,

where she and her husband were spending their New
York vacation.

"But don't let's talk about marriage. I have a hunch
when people tell you how happy they are — well, some-
times, they're just talking. Like a boy whistles when he's
walking past a graveyard at night. Real happiness is some-
thing you feel inside. It's a quality so rare that when
you possess it you don't speak about it, for fear even
words will make it vanish."

A few months before Miss Boardman was married, I
interviewed her in Hollywood. (Continued on page 127)

SCREENLAND

The ^TAGE

"Si

Evelyn Laye,
the British,
blonde and
beautiful star
of "Bitter
Sweet."

"Meteor"

IF you've ever read that delectable brochure, "The
Superman in America," you will remember the last
paragraph, no doubt: "American mass-consciousness
remains absolutely untouched by the doctrine of
Superman. It is innately philistine, conservative, without
vision, without imagination, without daring. Its supermen
are Ford, Rockefeller, Edison, Coolidge."

When Mr. Behrman wrote "Meteor," the Guild's new
play, he must have had this paragraph from "The Super-

The New Plays Before the

By Benjamin

man in America" in mind, for his Raphael Lord is a
caricature of a genius. He is a superman a la New York,
model 1929. He is a hard-boiled Babbitt who believes
that money will make him the superior of mankind, start-
ing, as he does, in youth with a basis of egotistic brag-
godocio and Jack London-Jim Tully social blasphemies.

We see this papier-mache creation first hanging around
a New England university town and later in New York
as a monumental telephone bawler in the Street who is
'gifted with second-sight,'' a lame theatrical device to inject
some miracle-monkey
shines into a brutal vul-
garian. The play, never-
theless, is worth seeing,
for Mr. Behrman, no
doubt, intended just this,
and he succeeds admir-
ably. If he didn't intend
this, then I'm dumber (or
brighter) than he is.

Alfred Lunt's portrayal
of Lord was snappy, jolt-
ing and convincing. It is
certain that he under-
stands clairvoyance. His
manner of registering it
was perfect. Lynn Fon-
tanne is seen as first his
sweetheart and then his
wife. For a terrific he-
man-Boy Scout super-
special talkie, I
recommend
"Meteor" to the
producers.

"Bitter
Sweet"

Noel Coward
is the department
store of Popular
Art. He'll sell
you anything ; a
play in which the
nerves and emo-
tions rant like
Henry Hull; a
sketch in which
a London bus or
Nero is the hero;
an opera in

William Gaxton and some of his assistants who make
"Fifty Million Frenchmen" a grand musical show, one
of the very best on Broadway.

Leslie Howard, su-
perbly suave in
"Berkeley Square.'

/ or M ar ch 1 9 3 0 93

/ n

Camera Gets Them

De Casseres

which he will write the music, crochet the
plot and cast the parts. I wonder does he
play the oboe, paint a la Gaugin or Van
Gogh; can he whittle out a model of a twenty
first century skyscraper; can he write an essay
on the Mona Lisa or the Metaphysical Thing?

Til bet he can, for Noel is sometimes a
talented, although a totally unoriginal, Pro-
teus, as I noted in his latest diversion, "Bitter
Sweet/'' an old-fashioned but sweetly somno-

I E W

Lynn Fontanne and Alfred hunt, the bright shin-
ing stars of the Theater Guild, in the Guild's new
play by Behrtnan, "Meteor."

Jacob Ben- Ami, Josephine Hutchinson, and Merle Mad-
dern in Eva I^e Gallienne's splendid production of
Chekhov's "The Sea Gull."

lent entertainment that I cordially recommend if the mur-
der-holes and sex-sties of Broadway have begun to pall
on you and you want to be rocked away with caramel-
sundae music and the really gorgeous voice of Evelyn Laye
into the Belgrave Square of 1875 and the Vienna of 1880,
when the beer and the spine-dissolving waltzes ran neck
and neck with nose-slitting duels.

The story is rather yawningly pretty. We open in
London with a jazz-band. Dolly Chamberlain is going
to run away with its Lopez. The grandmother, the Mar*
chioness of Shayne, played by Miss Laye, limps on the
scene and tells the audience in a series of flash-backs what
happened to her when she made off with a singer yeahs
and yeahs and yeahs before. It is quite romantic, dramatic,
and even thrillingly murderous at the end of the second
act, when an Austrian window-dressed soldier kills grand-
ma's fiddle-leader. All this has such an effect on Dolly
that — well, believe it or not — she gives up her Lopez. I
rather liked it, not being ashamed to be sentimental when
I feel like' it — and the night that I saw it I felt like a nine-
teen-year-old bridegroom in Wichita.

"The Sea-Gull"

All the critics are unanimous. All of us said in chorus,
and we continue to say it: "The Sea-Gull,1 by Anton
Chekov, is the only great play in New York."

Others, like "Rope's End," "The Criminal Code," and
"Many Waters," are good, fine, or powerful; but "The
Sea-Gull" contains the elements that are not of today,
yesterday or tomorrow, but are for the human race in all
times because it shows us — with what art! — something that
happens to every boy and girl born of woman on this
planet; the moth of Time and how it nibbles holes in
your ideals and dreams till there is nothing left but a
rag, a bone and a hank of hair.

Again, "The Sea-Gull," as put (Continued on page 119)

SCREENLAND

Gome into the Kitchen

By Fay Wray

The charming Miss Wray loves to 'meddle about'
the kitchen and cook — there's no pretense about
it, either.

When you hear a woman pretend that she has
no interest in cooking, make up your mind
that it's just a pose. True, there are excep-
tions. But most of us love to stir up a cake
or whisk together a pudding, or create a salad that's a
culinary triumph and an artistic delight. This is particu-
larly true when one has a family and friends who appre-
ciate one's efforts!

Planning and supervising formal dinners and luncheons
are among my favorite indoor sports. If I had more time
I know I would do more of what my cook calls 'meddling
about the kitchen' when one of these dinners is in process
of creation.

For a dinner of twelve people I usually serve a fruit
or seafood cocktail or canapes, a clear soup, a fish course,
a roast with vegetables, a simple salad and a frozen dessert.

For an informal luncheon of eight, I like to serve con-
somme or fruit cup, lamb chops or Jarvis stuffed peppers,
salad and a light pudding.

Recently, I served a company of sixteen with the follow-
ing menu. I hope it will help you in planning a party.

It is far from being an elaborate menu; but then we are
not ostentatious at our house; and besides, I feel sure any
guest prefers a sensible, well- cooked dinner.

FAY WRAY'S

ST. VALENTINE'S PUDDING

Drain 1 can pineapple; to syrup add % cup
sugar, 5 slices chopped pineapple, 1 cup cold water.
Bring slowly to boiling point, remove to back of
range, let stand one hour; strain through cheese-
cloth. There should be 2 cups of syrup. Soak 3
tablespoons gelatine in 3 tablespoons cold water,
add to hot syrup. Add ~/s cup Sauterne wine and
pinch of salt; color with fruit red. Place heart-
shaped mold in pan containing ice water, pour in
mixture to V-i inch in depth. When firm place
smaller mold (in ice water) on jelly, leaving space
of uniform width. Add jelly mixture gradually
and cool. When firm remove small mold and fill
space with chilled mixture. Filling: Beat 1 cup
cream until stiff, add % cup pineapple cubes, Vi
cup marroons and Vz cup walnut meats broken in
pieces, % lb. marshmallows cut in strips. 2 table-
spoons powdered sugar, % teaspoon vanilla. Let
stand one hour and remove to serving dish.

The kitchen, one of Fay's preferred locations,
as well. Note the gaily framed windows and

for March 1930

with

Fay Wray

Fay Wray Can Cook As Well as
She Can Act and Likes to Prove It

FAVORITE RECIPES

JARVIS STUFFED PEPPERS

Cut stem ends from 6 green peppers, remove
seeds, parboil 3 minutes in boiling water to which
has been added Vs teaspoon soda. Heat % can
tomatoes, let simmer 20 minutes, rub through sieve
and continue simmering until there is % cup
tomato puree. Add xk cup hot boiled rice, let
stand until rice has absorbed tomato. Then add
1 sweetbread parboiled and cut in small cubes.
Season with % teaspoon salt, % teaspoon paprika,
fill peppers with mixture, place in pan, sprinkle
with buttered bread crumbs and brown in oven.
Place on circles of sauteed bread and pour sauce
around. Littleton Sauce: Mix 1 teaspoon flour and
1 teaspoon mustard; when thoroughly blended add
1 tablespoon melted butter, 1 tablespoon vinegar,
% cup boiling water, the beaten yolks of 3 eggs.
Cook in double boiler until mixture thickens. Add
% teaspoon salt and a few grains of cayenne. Be-
fore serving, add 1 tablespoon current jelly.

furnishes a becoming background and is convenient
the convenient arrangement of table and stove.

A lemon grater, eggs, and something stirred in
a bowl. Our guess is nice, thick lemon meringue
pie. What's yours?

Blue Points on Half Shells
Mock Turtle Soup
Fillet of Haddock with White Sauce
Saddle of Lamb, Estragnon Sauce
Waffled- Potatoes
Hearts of Artichokes with Hollandaise Sauce
Cucumber Baskets
St. Valentine's Pudding
Coffee and Cheese

When giving a dinner it is of first importance that
everything shall run smoothly. This ensures comfort and
peace of mind to both hostess and guests. Next in im-
portance are food and decorations. I believe that dinners
should be picturesque affairs with spotless linens, colorful
glassware, flowers and candlelight as a fitting background.

China, glassware and linens need not be costly to be
effective. Many fascinating combinations of color may
be created with quite inexpensive equipment. Yellow
china and amber glassware is an attractive combination,
especially if a centerpiece of yellow roses and lavender
larkspur completes the color scheme. Another effect,
unique and beautiful, can be {Continued on page 108)

SCREENLAND

HOT

News and Gossip
about Stars and
their Pictures

Dorothy McMahon
says, "Sh-sh-sh!
Don' t whisper
these studio se-
crets." We won't,
Dorothy — we'll just
print them.

HAS Richard Dix 'fallen1 at last? — is a question
being asked in Hollywood. It is reported that
he is engaged to Maxine Glass, a University of
Southern California girl, and that they will be
married in a few months. Richard's signed statement, is,
"I have nothing to say." The rumor started with the
'news' that Richard had given Miss Glass a ring. But

was it a solitaire or one of those telephone rings?

& & ^

Hot-off-the-griddle portraits of Dolores Del Rio and
Edmund Lowe, who are being co-starred in "The Bad
One," just about burnt this correspondent's fingers to the
bone. Eddie has had more fun thinking up gags and bright
sayings to put in the mouth of Jerry, the sailor, than any
he has had for a long time. Even Sergeant Quirt is tame
in his love-making compared to Jerry, -we had been told;
and when we saw Eddie clasp Dolores to his breast we
were almost convinced.

The combination of Del Rio and Lowe was hot and
cold news for several weeks. This column carried the
reason several months ago that the apparently insurmount-
able difficulty boiled itself down to proper credit for the
Fox star. Naturally United Artists wanted to put Dolores'
name above anybody's, but they also were convinced that
Edmund Lowe was the only man in pictures who could
give that type of robustness peculiar to "The Cock-Eyed

World" and "Old Arizona" brand of he-man. It was
only a case, they thought, of paying enough and wearing
down Eddie's objection. But Eddie doesn't have to make
concessions to anybody these days. The intermediaries of
the two stars had come to a deadlock and it looked as
though the game was all off. Then one morning Eddie
met Dolores in church and they talked it over. Dolores
was perfectly agreeable to the idea of sharing her dearly
won stellar honors fifty-fifty and so that was settled.

sfc sfc 9

Mary Carr, beloved mother in "Over the Hill," is coming
back. She has a swell part in "Second Wife" — something
to do with mothering Lila Lee.

# #

Sue Carol and Nick Stuart pulled a fast one on Holly-
wood, sure enough. They announced that their engage-
ment was all off and they weren't lying either. It was
all off because they were married! None except a few
close friends of the couple knew anything about it, and
all advised the bride and groom to keep mum about the
wedding, fearing it would hurt their popularity on the
screen. But they made the mistake of registering to-
gether when they went to San Diego to see a football
game and Speed Kendall, one of our snappiest reporters,
found it out and decided there was something to it. He
sleuthed around until he found all Sue's family names and

for March 1930

from Hollywood

Extra girls in Venetian costume and coiffures for
"Bride of the Regiment." This is what comes of
having unbobbed hair.

Nick's too, then traced the marriage licenses for a year
back and discovered that the couple had been married six
months. Their press representative said he never was so
relieved in his life as the day the story broke. Every
once in a while someone would burst into his office with a
scandal story about Nick's laundry being delivered at Sue's
Los Feliz; home, when everyone knew that Nick lived in
Pasadena; and Nick answering the telephone at one and
two in the morning, and Nick's shaving cream discovered
in Sue's make-up and so on.

The only ones who weren't terribly surprised were the
studio habitues. They thought Sue and Nick were pretty
chummy for two young people who had decided to call
off their romance.

Now the only romance that keeps Hollywood awake
nights is Clara Bow's with
Harry Richman. Well, it
may be on or it may be off;
but Clara has been frisking
about her Beverly Hills
estate as full of life and fun
as a puppy and Harry Rich-
man spent half an hour on
the telephone, long distance
and local, trying to locate a
few pounds of fresh cherries
for her. The night he left
for the east he dined with
Clara at her home and left
just in time to make the
train — so what do you make
of that?

Clara told this correspond-
ent months ago, just after
the engagement was an-
nounced, that she didn't
really know whether she
would marry Harry or not.
"I can't see any point in mar-

James Hall rehearses his songs for "Let's Go
Native" — but his small sisters, June and Francis, and
brother Buddy show no enthusiasm.

Right about! This was in days of old when gowns
were actually long and quaint and coiffures were
really coiffures.

rying anyone unless he is really congenial and we can
give each other mutual happiness and companionship.
Harry seems to be the one — at least he is so far. I'm
not going to marry until I'm sure, and I'm not going
to marry if it develops into a one-sided affair. If one
of us ceases, to find pleasure in the other's company, then
there isn't a bit of sense going on with it — so I really don't
know yet."

* * *

It is a well-known fact in Hollywood that many of the
stars travel about with no money in their pockets. Lupe
Velez's little nose went up an inch or two when she
looked into the purse of a writer. There was a hetero-
geneous collection of keys for house and car, pencils,
tablets for notes, some money, clips, etc. — rather like a
small boy's pocket, except for the absence of string and

a top. "Lupe's purse — per-
fume, a compact, a hand-
kerchief — that's all!" she
said. When she goes home
there is always someone to
let her in and when she goes
shopping she signs a blank
check for the amount of the
purchase. " You would trust
Lupe, wouldn't you?" she
asks with big serious eyes,
and that's all there is to it.

But sometimes these tri-
fling inadequacies in one's
funds prove embarrassing.
Pat Miller and her brand
new husband, Tay Garnett,
stepped out in fur coats and
a Lincoln driven by a chauf-
feur. Tay stopped at a cor-
ner drug store for a package
of cigarettes. He came back
to the car looking rather
sheepish. "Pat, I haven't a

SCREEN LAND

cent; will you give me a quarter?" Pat scrabbled through
her bag and found herself in the same spot. "Lend me a
quarter, will you, Joe?" he asked their chauffeur — but he
hadn't any money either! "Well, we're a fine trio to be
starting out for San Francisco," Tay laughed.

A little newsboy had been taking in all this swank with-
out the price in cash of a package of cigarettes with a good
deal of amusement — then he recognized Patsy Ruth Miller.
He burst into a war whoop — "Gee, Patsy," he cried.
"That sure is tough!"

* * *

For four or five years now, you have been admiring
pictures of Metro-Goldwyn players in the pages of your
favorite screen magazine through the lens of their girl
portrait artist, Ruth Harriet Louise. But you won't see
them after those already taken have passed out of cir-
culation— at least not of Metro stars. Ruth decided that
it was time to take a vacation; and although she is very
grateful for the opportunity Metro gave her she feels she
has outgrown her position there and also she is tired and
wants a rest. So she quit
her job entirely. After
two months, during which
time she will go to New
York and possibly to
Europe — if she can make
up her mind to leave her
husband, Leigh Jason, the
director, that long — she
will decide whether to go
in business for herself or
accept one of two very at-
tractive offers from other
studios.

& ❖ *

Hedda Hopper, who is
playing a very sophisti-
cated part as only Hedda
can, in "Such Men Are
Dangerous," starring
Warner Baxter, told me
about a visit she paid Col-
leen Moore in the hospital
after Colleen had had her
appendix out. "My

"Spring is here," barks Inez Court-
ney's terrier pup. He's heard her
sing it so often, he knows it by heart.

Bessie Love, William Hawks and bridal party. Left to right: Norma
Shearer, Irene Mayer, Bebe Daniels, A thole Shearer, William Hawks,
Bessie Love, Blanche Sweet, Carmel Meyers, and Edith Mayer.

Don Jose Mojica, famous tenor, and his
mother. Just wait until this flaming recruit
from Old Mexico makes his screen appear-
ance in "One Mad Kiss."

dear!" bubbled the lively Hedda, "Colleen
actually had her grandmother put out of the
hospital!" "Whatever for?" we asked aghast.
"Why, she kept telling Colleen one funny
story after another and got her laughing so
that she had to hold her sides to keep from
breaking the stitches! 'Take that woman out
of here — she'll be the death of me!' she cried.
And half an hour afterwards the phone rang
and her grandmother's voice began, 'Darling,
I just thought of another one!' 'Don't! Don't!'
gasped Colleen, beginning to laugh
again. 'I can't bear it!' and bang went
the phone."

* * %

Fern Andra, the American girl who
married a German Baron, is stepping
into pictures again. She is doing "The
Lotus Lady," and Lucien Prival, finally
relieved of "Hell's Angels," is free to
play the villain in the piece.

4s 4s 4*

It is said that Catherine Dale Owen,
who is playing opposite Warner Bax-
ter, is engaged to Prince Youcca Trou-
betskoy, the actor son of the novelist
Amelie Reeves. Well, it's been denied,
too, but they look pretty well together.
Both are tall, both very fair, and both

extremely handsome.

4> ; 's|s . $

Everyone is glad to hear that Alma
Rubens is well again. She is one of
the most talented and one of the most
beautiful players on the screen and all
her friends and admirers hope the

for March 1930

Charles Morton and his mother, Mrs. Frank
Morton, former vaudeville star and one of
the first to play the saxophone on any stage.

future will hold many picture contracts for
her. Ricardo Cortes, who has loyally stood
by his wife even to the extent of refusing
attractive offers so that he could be at her side
at a moment's notice if she needed him, now
feels that he can go back to work and has
signed with Metro-Goldwyn for "Montana,"
starring Joan Crawford.

* * *

Discussion as to what type of Spanish to
use is causing the utmost excitement among
the newspapermen of all Latin-speak-
ing countries. Spanish is the largest
foreign release America has and it is
just one more of the troubling things
talking pictures have brought into our
lives. Signed statements from Dolores
Del Rio, Lupe Velez, and Ramon No-
varro are said to state that the Cas-
tilian accent, which is the purest
Spanish and used by the aristocracy,
should be used for classical pictures;
other films, the three stars feel, should
be made in straight Spanish without
an accent.

For the benefit of those who may
not have heard of the origin of the
Castilian tongue, it is said that a King
of Spain once lisped. The courtiers
made fun of him, and he, hearing of
their ridicule, became so angry that he
issued an order to the effect that Span-
ish as he spoke it should be used from
then on. Of course if you didn't it
meant that you would lose your head,
so the Spanish grandees got busy and

practiced up on the new lingo.

$ % 5f!

"The Lady in Ermine" has been completed on the First
National lot. During its production Walter Pidgeon and
Vivienne Segal were doing rather a lengthy scene under
the blading color lights. To keep their hair from drying
out most players give it a final rub with oil just before
going on the set. All of a sudden a column of smoke
rose from the back of Walter's head. Vivienne's eyes al-
most started out of their sockets but she is too good a
trouper to stop a scene no matter if the sky fell. Merci-
fully for them both, Director Dillon saw what was hap-
pening and yelled "Cut!"

"All I could think of was, 'Now the boy mustn't burst
into flames'," Vivienne laughed.

Maybe that will give you an idea of how hot the lights
are.

* ❖ ^

Edward Everett Horton bought several acres of land
about forty or fifty miles from Hollywood in San Fran-
cisco Valley so that when
he went home of an eve-
ning he could forget pic-
tures and the theater.
He had just recovered
from the difficulties in-
volved in landscaping and
decorating, when RKO
bought forty acres for
their ranch right up
against Eddie's eucalyptus
hedge!

"And I'll bet the first
crack out of the box RKO
does a war picture,"
laughed Richard Arlen
when he heard it. They
did, too — "The Case of
Sergeant Grischa," al-
though, fortunately, this
picture has no battle
scenes. But oh, how
Eddie burns!

Plans for the third

Mrs. George Butler Griffin, Bebe
Daniels' grandmother — very proud of
Bebe and trying hard not to show it.

The "Spring is Here" company at a special table in studio dining room.
Note Lawrence Gray, Natalie Moorhead, Louise Fazenda, Ford Sterling,
Bernice Claire, Alexander Gray, Inez Courtney and Frank Albertson.

100

SCREENLAND

Both girls'

Harry Lauder has just told one of his famous
jokes. Note the smiling faces of Mary Brian,
Gary Cooper and Phillips Holmes.

"What Price Glory" series are rumbling
around in the minds of those who are im-
mediately concerned with the birth pangs of
these marine classics. They do say that this
third picture will top the other two in good
old he-man stuff. Certainly the title which
came to us through a reliable source promises
much. It is "Broadminded!"

The night before Vivian and Rosetta Dun-
can departed for Chicago and their vaudeville
tour the phone rang in Rosetta's Santa
Monica home where the excitement was
thickest.

"Hold the line for London, England," the
operator told Vivian who answered the phone,
secretaries were ill so they had everything to do them-
selves. "Oh, yeah?" said Vivian flippantly, thinking it
was one of their wise-cracking friends from Hollywood,
"who wants us? The Prince of Wales?" and banged up the
receiver. In a few minutes it rang again. "Hold the line
for London, England," the operator repeated. "Say," said
Rosetta frantic at the interruption. "Tell the Queen we're
busy, will you? And tell that wise-cracking guy in Holly-
wood to stop bothering us." And they let the phone ring
after that without answering it.

In about half an hour Vivian wanted to call a number.
"You can't use the wire for outgoing calls," said the
operator in her impersonal voice, "it's being held for Lon-
don, England." And then the girls decided the call was on
the up and up. It turned out to be a theater manager in
London where their first talking picture is running. He
just wanted to offer congratulations and say that their show
was 'standing them up.'

sfc =fc

"Queen Kelly" will be Gloria Swanson's next worry. In
fact it is her present worry. Rehearsals and conferences on
the story have kept her working overtime for weeks. There
is plenty of fine work in the picture but how to dig it out
is the problem. All of a sudden everyone went haywire on
the thing and work on it was called off for a few days or
weeks, depending upon the temper of those concerned.

To add to Gloria's anxiety her little adopted
son Joseph, aged six, had to be operated upon.
He hadn't much use for the physicians and said
to his mother the day after the operation, "Just

look, mother, what those doctors did to me!"

* * *

There is a good deal of interest in "Sara and
Son" on the Paramount lot because, for the first
time in film history, production of it is given
over almost entirely to women. The only two
important jobs in the outfit handled by men are
held by Charles Lang, chief cameraman, and
Earl Hansen, sound technician.

B. P. Schulberg, production head, declared
women ought to know more about the mysteries
of mother love than men, so he was going to
make this a woman's production. Ruth Chatter-
ton is the star; Zoe Akins, author of the stage

play "Declasse" and
others, wrote the screen
story; and Dorothy
Arzner, whose fine
work everyone knows,
is the director.

Now, girls, this is
your picture. See how

you like it.

* * *

During Gloria Swan-
son's recent trip to
London she appeared
for the opening of her
picture. "The Tres-
passer." Even out here
where openings and
stars are an everyday
affair the crowds have
to be roped off and
policemen handle the
job. But in London

A sister act, but different. Dorothy
Jordan and her sister Mary, a college
student with no acting aspirations.

"Inspirational, maybe, but not so good as an
accompanist," says Alexander Gray; but goes right
on with his song rehearsal.

for March 19 30

101

where personal appearances of American
favorites are few and far between the throng
was unbelievable. At seven thirty there were
twenty five policemen in front of the New
Galley Theater and by eight they called for re-
inforcements. When Gloria arrived there were
seventy-five bobbies on the job herding back
five thousand people.

The crowd in the theater wouldn't let the
picture go on until Gloria appeared before them
on the stage where she was given a deafening
ovation.

Afterwards her press representative tried to
get her out of the theater without being crushed,
but the mob by that time was frantic. They
were like battering rams and the police squad
protecting her stood an even chance of being
trampled under foot — to say nothing of what
would happen to Glo-
ria. What they finally
did was to form two
columns with their
arms about each other's
shoulder's from the
door to her car and
with the populace
pushing them until
they ground their heels
into the pavement to
keep standing, pro-
vided a narrow hall-
way through which
Gloria stumbled. Her
driver was an English
boy and he knew his
brakes. His engine
was running and the
moment he heard the
door slam he started
off in low gear, en-

A boy's best pal is his mother, par-
ticularly when she lights his cigarette
as Jack Oakie's mother is doing.

Portrait of a poor little girl who wanted to go
to Europe. Lois Moran had her trunks all packed
and then had to go back to work.

A new trick for Trixie Fraganza — the micro-
phone. "On the Set" Buster Keaton's first
talkie, will be her first, too.

gineering his way through the crowd like a
snow plow,. Anyway, it seems that London
likes Gloria pretty well.

The first thing Edwina Booth, the plucky
little leading lady in "Trader Horn" did when
she got home was to collapse. A year in the
jungle isn't as easy as it sounds and in spite
of inocculations and all the things the doctors
tell us are sure-fire protections, Edwina got
a collection of jungle ailments that she could
have done very nicely without. Everyone in
the troop said she was the bravest and pluck-
iest girl they ever heard of and a good sport
as well. She held up through the long jour-
ney back to Hollywood, meeting new people, smiling, being
photographed, being gracious — all the things an actress is
supposed to do while on duty. But when the last of the
pictures had been taken at the Los Angeles station Edwina
sank into the arms of her parents utterly exhausted. She
didn't have to pretend any more — that was all over. She
was home. Her mother put her to bed and that's where
she is at this writing three weeks after her return.

"But I wouldn't have missed it for anything. I'll be all

right soon — just tired," she tells everyone who visits her.

* * *

Because of his success in "Alibi," Chester Morris is a
very much paged young man around these parts. Following
his "Case of Sergeant Grischa" which he was loaned to
RKO to do, he will again be with his friend and director
Roland West. Mr. West has about decided on "Love in
Chicago" and Chester was sold on it, too, until protests
from a few whom they have taken into their confidence,
and whose judgment they respect, have checked their en-
thusiasm. The part which Chester would play is very un-
sympathetic and even grotesque, and they think it would
not be good for him to appear in it just now. In the
meantime Chester is game; he says it's a fine acting part,

and after all that's what appeals to a real actor.

* * *

And now Greta Garbo is to do "Romance!" Doris Keane
played the heroine of the Edward Sheldon play in New
York and for years in London. She made a silent picture of
it, too, but it is a yarn that will always be timely.

102

SCREENLAND

^he <$est J^ines

of the Month

From

"This Thing Called Love":

Colling (Edmund Lowe): "I'm your hus-
band."

Ann (Constance Bennett): "So I judged
from your manner!"

From

"The Virginian":

The Virginian: "These boys scare me when
I think of their ways."

Cowboy: "It's bein' engaged scares you.
Marriage restores your courage."

From

"Pointed Heels":

Lora (Fay Wray) : "He's leaving tonight —
for Europe."

Dot (Helen Kane): "Europe — that's in Eng-
land, isn't it?"

From
"Sally":

Marcia (Nora Lane): "A waitress! Why,
Blair, you couldn't marry a waitress."

Blair (Alexander Gray) : "Well, I don't know
— with the servant problem what it is, it might
not be such a bad idea."

From
"Devil-Mav
Care":

Armand (Ramon
Novarro) : "But I'm
not thinking about
marriage yet."

Gaston (Clifford
Bruce) : "No man
ever thinks about mar-
riage. It just happens.
I was married for sev-
eral years before I
realized what had hap-
pened. It was too late
to do anything about
it then."

Clifford Bruce as the genial and
efficient butler and man of the world
in "Devil May Care."

Ramon Novarro as the hero mas-
querading as a footman in the
same entertaining film.

for March 19 30

103

ASK ME

An Answer Depart-
ment of Information
about Screen Plays
and Players

Miss Vee Dee

Corinne Griffith is a favorite of Screenland's Ask Me depart-
ment; and Screenland is a favorite of Miss Griffith's. You'll
notice she has been reading it on a vacation afternoon at her
Malibti Beach house.

Vi-Bl from Oa\ville, Ont. So you
like Vilma Banky. Who doesn't?
Vilma's latest picture is "Sun
Kissed." Vilma was born Janu-
ary 9, 1903, in Budapest, Hungary. She
has golden hair, blue-gray eyes, is 5 feet
6 inches tall and weighs 125 pounds.
Ronald Colman's new picture is "Con-
demned." Ronald was born February 9,
1891, at Richmond, Surrey, England.
You can reach him at Samuel Goldwyn
Productions, 7210 Santa Monica Blvd.,
Hollywood, Cal.

C. D. P. of "hlew Yor\. First time you've
written but don't let it be your last. Bring
your sense of humor and drop in any time.
Kathlyn Williams is Mrs. Charles Eyton
in private life. She was born in Butte,
Mont., is 5 feet 5 inches tall and has
blonde hair and blue-gray eyes. She ap-
pears in "The Single Standard" with Garbo.
You might address Miss Williams at Metro-
Goldwyn and mark the envelope : Please
Forward.

Mabel H. of Los Angeles. Well put in
an S. O. S. for Pat O'Brien. More than
one player has been found through my
department so here we go and may the best
man win. Pat made a picture with Barbara
Worth and Ranger, the dog star, for FBO
Studios, now known as the RKO Studios,
780 Gower St., Hollywood, Cal.

L. L. S. of Irwin, Pa. Give the kiddies
a big hand while they are with us in films
for they grow up and soon pass out of
the picture. Jackie Coogan is 14 years
old, Davey Lee is 4 and Philippe de Lacy
is 12. He was born July 25, 1917, at
Nancy, France. He played with Joyce
Coad in "The Magic Garden." Mickey
Bennett won new admirers with his fine
work in "The Dummy," an all-talking pic
ture. The tom-tom boy's name was not
given in the cast of "The Devil Dancer."

E. E. W. of Chicago. How do you like

your answers, with or without sound? I'm
running a little low on the silent editions
but okay on the big noise. Conrad Nagel
was born March 16, 1897, at Keokuk, Iowa.
He is is 6 feet tall, weighs 160 pounds and
has blond hair and blue eyes. He is mar-
ried and has a daughter Ruth Margaret.
His latest picture is "The Second Wife."

Luc\y S. of Broc\ton, Mass. If you
read every word of my department you
often get a piece of my mind, but you'll
never get a peek at my countenance.
Blanche Mehaffey plays with Hoot Gibson
in "Smilin' Guns." Kathryn McGuire was
in "Lilac Time" with Colleen Moore and
Gary Cooper. Carmelita Geraghty was in
"Paris Bound," a Pathe release. Marguerite
de la Motte was in "The Iron Mask" with
Douglas Fairbanks. Agnes Ayres played
with Jack Holt in "The Donovan Affair."
Lila Lee was with Richard Barthelmess in
"Drag." Virginia Brown Faire appeared in
"Untamed Justice."

Alyce of 'N.ashua, H. Praise is sweet
to my ears so cut in any time you like —
you'd be surprised how much sweet stuff
I can stand. Write to Mary Astor for a
photograph at Fox Studios, 1401 No.
Western Ave., Hollywood, Cal. Mary is
the wife of Kenneth Hawks. She was born
May 3, 1906. Marian Nixon was married
on Aug. 11 to Edward Hillman of Chicago.

Daisy F. of Barham, Kent, England. I
don't think you are silly to want to get into
picture work. That's the day and night
dream of many of the world's prettiest girls.
Sorry I can't help you. Ronald Colman,
Clive Brook, Walter Byron, Reginald
Denny and Charlie Chaplin all came from
England, Dorothy Mackaill was born in
Hull, England. Norma Shearer and Mary
Pickford were born in Canada.

Willa and Theresa, Scott City, Kans.
No, dears, I have never acted in the movies

— but don't hold that against me. You
like my name, do you? Goody, goody!
So do I. Mary Louise Lohman is the wife
of George Lewis. You can write to George
at Universal Studios, Universal City, Cal.

Madolyn of Monrovia, Md. Wouldn't
that make a peach of a theme-song? You
can reach Nils Asther at Metro-Goldwyn-
Mayer Studios, Culver City, Cal. He played
in "The Single Standard" with Greta
Garbo. Dorothy Sebastian, John Mack
Brown, Robert Castle, Joel McRea, Lane
Chandler, Mahlon Hamilton, Kathlyn Wil-
liams, Katherine Irving, Bess Flowers and
Youcca Troubetzkoy. My stars, what a
cast!

Harriet D. of Philadelphia. No issue
complete without a word from the city of
Brotherly Love; am I right? Lupe Velez
was born July 18, 1910, in San Luis Potosi,
Mexico. She has black hair, brown eyes,
is 5 feet 5 inches tall and weighs 115
pounds. Her name is Marie Villalabos.
She has one brother and three sisters. Rod
La Rocque was born Nov. 30, 1896, in
Chicago, 111. He has black hair, brown
eyes, is 6 feet 3 inches tall and weighs 181
pounds. That is his real name. Address
Lupe at United Artists Studios, 1041 No.
Formosa Ave., Hollywood, Cal. Rod at
RKO Studios.

Bobby from Wisconsin. Do I answer
letters as short as yours? A short neat
question like that deserves the world's ap'
plause. Here we go! Joan Crawford was
born in San Antonio, Texas, on March 2 3,
1908. She has brown hair, blue eyes, is
5 feet 4 inches tall and weighs 110 pounds.
She was a dancer in Shubert's "Passing
Show" and the "Winter Garden" in New
York before signing with Metro-Goldwyn-
Mayer for "Pretty Ladies" in 1925.

Given E. of Seattle, Wash. If I omit any
important names in the following catalog

104

SCREENLAN D

please notify by radio or post-card. Among
the screen players who arc 5 feet 7 inches
tall arc: Alice Joyce, Gwcn Lcc, Anna Q.
Nilsson, Hcdda Hopper, Jctta Goudal,
Louise Dresser, Hclcnc Chadwick and Betty
Blythc. Those who arc 5 feet 6 inches tall
are: Eleanor Boardman, Greta Garbo,
Phyllis Haver, Myrna Loy, Zasu Pitts,
Irene Rich, Alice Terry, and Claire
Windsor who is 5 feet 6Vs inches tall.

Virginia M. C. of X- T. City. When
there are hundreds of letters awaiting their
turn to sprint into print in Screenland, I
can't possibly get a reply in the next month's
issue. Audrey Ferris was born Aug. 30,
1909, in Detroit, Mich. She has auburn
hair and brown eyes. Dolores Costello
Barrymore was born in 1906 in Brooklyn,
N. Y. Clive Brook was 38 on June 1,
1929.

Lois S. from Seattle, Wash. What are
you trying to do, kid me along or having
a funny poke at my column? No, Madame
Schumann-Heink is not the mother of
Walter Byron and Rod La Rocque uses his
own teeth in his pictures. Anything else?

Anna C. of Broo\lyn. You never miss
Screenland — be that as it may, it's a
swell magazine to have around and no home
should be without it; I hope I won't have
to mention that again. Roland Drew can
be reached in care of Edwin Carewe Pro-
ductions, Tec-Art Studios, Hollywood, Cal.
Roland's real name is Walter Goss. He
was born in Elmhurst, L. I., in 1903. He
is 6 feet tall, weighs 165 pounds and has
black hair and dark gray eyes. He is not
married.

E. A. from Philippine Islands. I'm al-
ways glad to oblige a fan from Manila.
Philippe de Lacy was born July 25, 1917,
in Nancy, France. He . has light brown
curly hair and blue-gray eyes. Jackie
Coogan has been on a vaudeville tour with
his father in Europe and the U. S. A. for

Here he is — Conrad Nagel, a lead-
ing romantic actor of the screen
especially since the speakies have
come to stay.

several months and hasn't been on contract
to any film company since he made "The
Bugle Call" and "Buttons." Dolores Del
Rio's latest release is "Evangeline" with
Roland Drew.

Curly Loc\s from Hoquiam. Wash. You
say you think nothing of asking my help;
well, sometimes I don't think so much of
it myself. Billie Dove is the wife of Irvin
Willat, the director. Dolores Costello's
husband is John Barrymore. The late Fred
Thompson was the husband of Frances
Marion, the famous scenario writer. Clara
Bow and Gary Cooper are single and I
dearly hate to tell you that John Gilbert
is married. His marriage to Ina Claire,
the Broadway stage favorite took place in
Las Vegas, Nevada, in June. Both went
back to their studios after the ceremony:
John to resume work in "Redemption" and
Mrs. Gilbert to work at the Pathe Studios,
in "The Awful Truth," her first talkie.

Helen C. of Shreveport, La. Are there
any beautiful stars that can act too? Some-
one would ask that. Although my remarks
are notorious as well as educational, to tell
what I think about that, would be spreading
myself a bit too far. Your favorite, Evelyn
Brent, is the wife of Harry Edwards, a
director. They were married Nov. 14,
1928. Evelyn uses her own name in films.
She has brown hair and eyes, is 5 feet 4
inches tall and weighs 112 pounds. Her
next picture will be "Slightly Scarlet," with
Clive Brook. Evelyn was loaned by Para-
mount to Universal for "Broadway."

High School Miss from San Francisco.
You think I'd make a good title writer, do
you? There's an idea! Did I hear any
applause or words to that effect? I'm
sorry I haven't the address of George
Meeker, the blond son in "Four Sons."
But we have a nice .selection of other
blonde stars that I can recommend: Rudy
Vallee. Ralph Forbes, James Murray, Tim
McCoy, Churchill Ross, Big Boy Williams
and Bobby Vernon, the comedian. Take
your choice.

Sally of Petos\ey, Mich. Has a girl
with a tiny waist, long eyelashes and not
in the least bit good looking, any chance
in the movies or on the stage? I'm a swell
Answer Lady but that's one question 1
stumble on and fail to come up. Person-
ality is the big gift that brings down the
house and a fat contract — and if you have
it and can hold the interest of the direc-
tors, even though you're not a banker's
daughter, your future is ahead of you.
William Boyd's latest pictures are "The
Leatherneck" with Alan Hale, Robert Arm-
strong and Diane Ellis, and "His First Com-
mand" with Dorothy Sebastian.

Billy Haines Fan. Milwaukee. You had
the grand inspiration when you asked my
age — that settles the question long in my
mind: shall I be a movie star or the world's
best story tellei? Figure that out if you
can. Yonr favorite, William Haines, was
born Jan. 1, 1900. He received his edu-
cation at Staunton Military Academy, Va.
"Alias Jimmy Valentine" was his first talk-
ing film. In "The Duke Steps Out" he
played with Joan Crawford; in "A Man's
Man," Josephine Dunn was his leading lady.
Johnny Hines was born July 25, 1897, at
Golden, Colo. He has black hair, brown
eyes, is 5 feet 10 inches tall and weighs
160 pounds.

English Annie from Monrovia, Cal.
You'd be surprised how sorry I am that I've

not mentioned several of the Irish lads and
lassies that appear on the screen. Can
my memory be failing? No, don't answer
me! Among our wearers of the green are
George O'Brien, Tom O'Brien, Danny
O'Shea, Paddy O'Flynn, James Murray,
John Quillan, Eddie Quillan. Charles De-
laney, Owen, Tom and Matt Moore. Some
of Charlie Dclaney's latest films are "Home
James," "Show Girl," "Do Your Duty,"
"The Air Circus" and "Broadway Babies."

Boo from Wau\egan, III. You can't
scare me, not while I'm conscious. Next
to Screenland, you like the movies and
dancing — and me, did you say? Mary
Brian and Charles Rogers played in "Var-
sity," the film with a college background.
Alice White's latest releases are, "Hot
Stuff" with William Bakewell, "Naughty
Baby" with Jack Mulhall and "Broadway
Babies" — an all-talkcr. You can write to
Eddie Nugent at Metro-Goldwyn-Mayer
Studios, Culver City, Cal. Matty Kemp
was born in New York City on September
10. 1907. He has brown hair and eyes,
is 5 feet 10Va inches tall and weighs 162
pounds. "Linda." Mrs. Wallace Reid's
production and directed by her, includes
the following players in its cast: Helen
Foster, Warner Baxter, Noah Beery, Kate
Price and Mitchell Lewis. Address Arthur
Lake at RKO Studios, 780 Gower St., Hol-
lywood, Calif.

Louise M. W. of Lakeside, Conn. You
may ask any question you like about the
Hollywood stars. I can't say I'll answer
all of them but a noble effort will be put
forth. How's that? George K. Arthur
was born April 27, 1899, at Aberdeen,
Scotland. Johnny Arthur was born in
Scottdale, Pa. He had the comedy role with
Louise Fazenda in "The Desert Song."

Helena from Xeedham, Mass. I have
never seen Mary Pickford when her beauti-
ful hair was not curly, on or off the screen.
You can't believe everything you see and

Mary Pickford, first and always a
favorite, has returned from her
trip around the world and is work-
ing on her new picture.

for March 1930

105

at makes a gi

LLURING?

CLARA BOW, the girl whose Beauty and Personality have made her
TVorld~Famousy explains how any girl can he Captivating

"/"T"*HERE'S one thing that stands out
X above all others in making a girl
really alluring," says Clara Bow, the scin-
tillating little Paramount star whose vivid
beauty and personality have won her
world-fame in motion pictures. "It's lovely
skin. You may have marvelously appealing
eyes — and a lot of charm — and a beautiful
figure. But just notice the way people
cluster around a girl who has lovely skin!

"I got my first chance in the movies
partly, at least, because of what my
father calls my ' baby-smooth' skin. You
see, motion picture
directors found out
long ago that unless
a girl has marvelous
skin she can never
make millions of
hearts beat faster
when she appears in
a close-up.

"Several years ago,
some of us began
using Lux Toilet
Soap, and were en-
It wasn't long before

Nancy Carroll has
lovely skin.

thusiastic about it.

almost every important actress in Holly-
wood was using it."

9 out of 10
Screen Stars use it

"Take Nancy Carroll, for instance," Clara
Bow continues. "She keeps her fair skin
delectable as an apple blossom with Lux
Toilet Soap. And Mary Brian. Jean
Arthur, too, keeps her skin -lovely with
Lux Toilet Soap.

"In fact, nearly every girl I know in
Hollywood uses this soap. And aren't
we glad we have, kept our skin in good
condition — the talkies have even more
close-ups than silent pictures.

"When I get letters from girls all over
the country — saying
nice things about my
skin — I long to
answer every one of
them, and tell these
girls that they can
keep their skin just

Jean Arthur always
uses Lux Toilet Soap.

Photo by 0. Dyar, Hollywood

Clara Bow says: "People cluster around the girl with lovely skin! . . . Lux Toilet Soap

as smooth as we screen stars do — by
using Lux Toilet Soap."

There are now 521 important actresses
in Hollywood, including all stars. Of
these, 511 use Lux Toilet Soap. More-
over, all the great film studios have made
it the official soap for
I their dressing rooms.
I So essential is it that
\ every girl in motion
pictures, from the
world-famous star
1 down to the newest

"extra," shall have the very loveliest skin!

Lux Toilet Soap, as you know, is made
by just the same method as the finest
toilet soaps of France.

If you aren't one of the millions of girls
and women who are already devoted to
this daintily fragrant white soap, do try
it — today. It will keep your skin as
charmingly fresh and smooth as it keeps
the beautiful screen stars'!

Use Lux Toilet Soap for the bath, too
— and for the shampoo. It lathers ever
so generously, even in the hardest water!

Mary Brian's skin
shows flawless in a
close-up.

Lux Toilet Soap

Luxury such as you have founa1 only in fine -1 |
French soaps at 50^ and % 1 .00 the cake . . NOW IKJ^

106

Engaged? Well, Sally Eilers is
Hoot Gibson's favorite leading
lady, anyway.

not quite all you hear but if Mary's wavy
hair is a permanent, then I'm no detective.
The theme song for "Saturday's Children,"
featuring Corinne Griffith, is "I Still Believe
in You."

Jeanette of Houston, Tex. You might
call me extemporaneous because I make up
as I go along, but I've been called worse
things than that by my loving friends.
Marceline Day appeared in "The Wild
Party" with Clara Bow; in "Trent's Last
Case" with Raymond Griffith, and in "The
One Woman Idea" with Rod La Rocque.
Lois Moran's new picture is "Mammy"
with Al Jolson. No, indeed, those two
popular girls, Marceline and Lois, have not
deserted the screen. Where ever did you
get that quaint idea?

A Devoted Fan from Indianapolis. My
department always puts you in a good
humor, does it? Now you've got me
laughing, too. I haven't the name of the
boy who played the tom-toms in "The
Devil Dancer" with Gilda Gray and Clive
Brook. Barbara Kent is 21 years old.
Larry Kent was 29 on September 15, 1929.
Clive Brook is 38. James Murray, 28.
His latest film was "The Shanghai Lady."
Donald Keith plays in "Just Off Broad-
way," a Chesterfield release; in "Should a
Girl Marry?" a Rayart film, and in "The
Lone Wolf's Daughter," a Columbia pic-
ture.

Sara H. of Charlotte, N.. C. I'm never
too busy to give you a few minutes of my
valuable time. You'll find me the perma-
nent answer to the fan's prayer. Anna
May Wong is on the stage in London just
now. Madge Bellamy's last release was
"Fugitives" with Don Terry. She played
in "Mother Knows Best" with Louise Dres-
ser and Barry Norton. Phyllis Haver was
married in May to William Seeman and
will make New York City her home in the
future. No more flickers for Phyllis, so
she says. But she may change her mind.
You can write to Warren Burke at the
Fox Studios, 1401 No. Western Ave.,
Hollywood, Cal. Mary Pickford and

Douglas Fairbanks have been married about

8 years.

Franl{y ]. of Winchester, Ind. Youll
never get anywhere if you let things slide
— unless you're a trombone player. Sunny
McKeen, or Snookums as we know him in
"The Newlywcds," is a wee Scotch-Iri^h
laddie. He began his career in films before
he was 18 months old. I believe he is
now about 3. Gilda Gray is 31 years old.
Pola Negri doesn't give her birthday.
Harry Langdon has signed with Hal Roach
for a sizzling film comedy called "Red
Hot."

H. J. of Los Angeles, Cal. Where have
I been all your life up to now? Right here,
all wrapped up in my work. That's my
type! You want to see Thomas Meighan
in more pictures. Hi, Tommy, how about
it? In the "The Argyle Case" he talks.
He was born in Pittsburgh, Pa. He is
6 feet 1 inch tall, weighs 180 pounds
and has dark hair and blue eyes. He has
been married for years to Frances Ring,
a former stage star. They have no children.
He was on the stage for several years
before going into pictures: with David
Warfield in "The Return of Peter Grimm,"
in "The College Widow" which had a
long run in England, and many other plays.
He won merited recognition in his first
screen appearance in "The Fighting Hope."
"The Miracle Man" put him over with the
fans.

A Larry Kent Fan from Kansas City.
Who said a modern girl's hope chest might
as well be called her tulle box? Be that
as it may, a girl can loose her composure
but never her compact. Larry Kent was
on the stage two years before we saw him
in pictures. His real name is Henri Trum-
bull. He was born on September 15, 1900,
on shipboard two days out of Liverpool,
England. His hair is brown and his eyes
are gray; weight 155 pounds; and he is
5 feet 1 1 inches tall. Not married.

J. P. B. of Kentuc\y. Would you believe
it, but there are a few things that I do
not know? Try me again and I may sur-
prise you with untold information.
"Freckles," Jean Stratton Porter's story,
was filmed by the old Lasky Company and
was released in June, 1917. I do not know
the age of Jean Stratton.

Helen of Troy. Another friend of the
ether. If my fan mail keeps on piling up
I'll have to take to the air — Station V.D.
announcing. Nils Asther uses his own
name in pictures. His first films in the
U.S. were "Topsy and Eva" with the Dun-
can sisters, and "Sorrell and Son" with
H. B. Warner. Nils was born in Malmo,
Sweden, on January 17, 1901. He is 6
feet tall, weighs 170 pounds and has dark
brown hair and hazel eyes. Not married.
He is making pictures at the Metro-Gold-
wyn-Mayer Studios at Culver City, Cal.

Lonesome from Springfield, III. You
think of me as a little wavy-haired, blue-
eyed girl, built on the usual blonde lines.
Where in New York did you see me? If
you had given your address, I would have
sent you a personal demonstration of my
knowledge of film players. Several of your
inquiries are answered elsewhere in this
department. I believe a letter to Ralph
Forbes will reach him addressed just Holly-
wood, Cal. Richard Arlen's next film is
"Flesh of Eve." Write to him at Para-

SCREENLAND

mount Studios, 5451 Marathon St., Holly-
wood, Cal. Doug Jr. is not Mary Pick-
ford's son. She has no children. Doug
is the son of the senior Mr. Fairbanks by
his first marriage to Beth Sully.

Candy from Denver, Colo. How I hate
to take it from you, you spendthrift. Gwen
Lee is 5 feet 6V2 inches tall. Martha Sleeper
is 5 feet 4 inches. Dorothy Sebastian is 5
feet 3 inches. Louise Brooks is 5 feet 2
inches. June Collyer is 5 feet 5 inches and
Sue Carol is 5 feet 2 inches. (Just a
moment, please; I had to come up for air!)
Now again, here we go! Edna Marion is
5 feet 1 inch. Bess Flowers is 5 feet 8
inches. Vondell Darr is 52 inches tall.
Jean Darling is 47 inches. Mary Ann
Jackson is 42 inches and Jane La Verne
is 47V!> inches.

Conrad T^agel Admirer, Los Angeles.
Your favorite, Conrad Nagel, is one of the
high-lights of the motion picture industry;
and since the talkies are here to stay, Con-
rad is more popular than ever. His pic-
tures of 1927 were, "Heaven on Earth,"
"Slightly Used," "Quality Street," "Girl
from Chicago," "If I Were Single," and
"London After Midnight." Conrad was
born in Keokuk, Iowa, on March 16, 1897.
He is 6 feet tall, weighs 160 pounds and
has blond hair and blue eyes. He is rrar-
ried and has a young daughter, Ruth
Helms Nagel.

Miss'sippi's 'Lectric Fan. You're return-
ing every month until you get an aswer to
all your questions — that's the spirit! Where
can you get "The Hollywood Blues?" I'll
bite, is it contagious? Better inquire of the
nearest music shop or your favorite drug-
gist. No, Don Reed who paints pretty
girl covers, isn't the Donald Reed of film
fame. Donald's real name is Ernesto Avila
Guillen. He was born July 23, 1902, in
Mexico City. He appeared with Billie Dove
in "The Night Watch" and with Sally
O'Neil and Lilyan Tashman in "Hard-
boiled." Address him at First National
(Continued on page 129)

Stanley Smith, the new juvenile
with the voice, has been scoring
in the soundies.

for March 19 30

107

"Every complexion needs soap and
water. But some soaps are harm-
ful. They injure the texture of
the skin. They contain too much
free alkali . . . caustic soda . . .
similar irritants. That is ivhy I
advise my clients: 'Never use any
soap except Palmolive. ' "

16 Rue Daunou, Paris

" If soap irritates your skin

you are using the wrong kind "

says EMILE MASSE

whose beauty shop, in Paris, is known throughout the continent

Palmolive is pure. It is made
entirely of palm and olive
oils, known for generations as
nature's greatest beautifiers.

THE beauty specialists cannot work on an
irritated skin," says Emile Masse, of Paris.
Every woman should aid her beauty expert by
using Palmolive. Its vegetable oil content is
safe, soothing, non-irritating." Monsieur Masse,
famous Parisian beauty specialist, explains— in
those words— why 18,900 of his celebrated col-
leagues recommend Palmolive Soap. They want
their clients to use a soap that definitely helps
the expert in keeping complexions lovely. And
Palmolive is their universal choice.

Why the skin needs soap and water

The pores must be thoroughly yet gently
cleansed twice every day, to keep the skin from
looking drawn, muddy, coarse, uncared for.

Palm and olive oils, as combined in Palmolive
Soap, provide a penetrating, healing cleanliness
that is the very foundation of facial beauty.

A corner of Monsieur Masse's salon
on The Rue Daunou, in Paris

Since the days of Cleopatra these two famous
cosmetic oils have been used as beautifiers.
Nothing has ever supplanted them. "This soap,"
says Masse, "combines deep cleansing with
the cosmetic effects of palm and olive oils."

Palmolive's color is the natural color of olive
and palm oils. The natural odor of these oils
makes unnecessary the addition of heavy per-
fume. It contains no other fats whatever. .. just
nature's own cosmetic oils.

Consult your beauty expert

Visit your beauty expert regularly, to be well
groomed in every beauty detail. And cooperate
with your expert by using Palmolive Soap daily
in this simple treatment advocated by more
than 18,900 famous beauticians:

Massage a smooth lather of Palmolive gently
into the skin for about 2 minutes. Then rinse
it off with warm water, graduating to cold. That's
all. But be sure you do it regularly night and
morning— as Monsieur Masse and the other fa-
mous experts advise.

P.S. And use Palm-
olive for the bath, too.
It costs no more than
ordinary soaps, you
know.

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108

SCREENLAND

Come Into the Kitchen with Fay Wray — continued / rom page 95

achieved with dark Burgundy glassware
and gayly colored Mexican china.

The smart organdie tablecloth used over
a sateen base is another idea in table adorn-
ment that can be easily copied by the handy
housewife. Recently, I completed a lunch'
con set for myself. It is of lavender
organdie bound with washable ribbon the
same shade; the sateen base is pink. With
this covering I use glasses of dark lavender,
a centerpiece of pink roses and small green
hothouse grapes. The grapes are draped
over the sides of the bowl and are allowed
to trail over the cloth. The usual two pairs

of candlesticks, with pink candles are used.

The winter months offer unlimited
opportunity to use the varied colorings of
fruit and leaves for table decorations.
Pomegranates, Concord grapes, apples and
avocados combine colorfully for a center-
piece.

Because I am a working woman. I must
leave the actual cooking of these dinners
to my cook, but if an emergency arises,
I can throw a long-sleeved apron over my
party dress and not only cook my dinner
but serve it. For this accomplishment I
can thank my mother who wisely believed

that a thorough knowledge of all branches
of home-making is quite as important as
French or music.

Aside from luncheons and dinners,
buffet suppers have become very popular
in Hollywood and gives the hostess wide
scope for a delightful informal entertain-
ing. The long table with its bright chafing
dishes, colorful bowls of frozen salads and
molds of aspic offers an appetizing and
picturesque array.

By the way. my recipe for stuffed pep-
pers creates a delightful hot dish for the
buffet supper. Try it. I know you'll like it.

The Battle of the Boy Friends- Continued fro??? page

that we have held our own for seven para
graphs, for we approached dat ol' davil
crux in paragraph three and here we are
way down to paragraph ten without having
lost a bit of our approach.

You see, after all, it resolves itself into
a problem in Elementary Biology. Which,
when understood, is very elementary in-
deed, as Mr. Holmes has frequently ob-
served to Dr. Watson. So now you have
it.

Well, then, if Buddy Rogers isn't 'The
Darling of the Debs,' pray who (or whom)
is? And that's a very fair question, too.
In the circumstances we expected it, and
you're going to be fooled if you think we
haven't the answer because we've looked it
up in the back of the book. The real 'Dar-
ling of the Debs' is quite probably Louis
Wolheim!

Perhaps you will say that we can't prove
that he is. Then we'll say that you can't
prove he isn't. Which is our idea of
a snappy come-back, and leaves things in
status quo ante belli, which means that we
each get a Mexican stand-off. However,
let's consider the evidence.

Knowing no debutantes as we do, ex-
haustive xylophone experiments made
throughout the country indicate clearly (a)
that every deb has a dozen darlings; (b)
that the trend both in urba and in rura
is away from faithful adolescence and to'
ward fickle, but fascinating maturity upon
the screen. And in fancy, so in fact. ,

It would seem as though the debbies,
having been used as subjects for the amor-
ous experimentations of sophomoric youth,
and sensing the gaucheries of inexperience,
have come to sympathize with the sister
ingenues of the screen to an agonizing
extent. And so when a Maurice Chevalier,
whose kisses fly true to the mark instead of
ending on nose-tip or ear-lobe, enters the
lists of love, the debs give hoo-rahs and a

tiger-
Show me the deb with soul so dead

who never to herself hath said: "Gee-golly.

how I wish my date was with the hero of

'The Love Parade' rather than with that

Harvard frosh with his load-o'-hay coat!"

So Maurice, in his second picture is re-
sponsible for more acute cardiac palpitation
among the debs than a whole mountain-full
of Lakes. Arthur is a nice kid, and doubt-
less causes the feminine alumni of T5-'25
inclusive to have its moments and its com-
plexes. But the debs will take a 'Chewy'
in preferance to any body of water.

Richard Dix squawked when a recent
billing described him as 'a favorite for over
a generation,' or something of the sort. But
Rich was wrong. What was meant is that
he is the favorite of the younger generation
and the rising generation. For, on or off,
Dix can spot the school-boys three pins to
a frame and bowl over more debs than a
house-ful of Halls. Even though Jimmy
has the edge on him in matrimonial and
fiance-al accomplishments.

The trend toward rampant masculinity
is obvious in the increased adulation offered
at the shrine of Victor McLaglen. In
amorous screen competition with, say, Con-
rad— the verdict of the debs is "Nay, Nay,
Nagel." Which may signify a return to
the lusty love and gusty laughter of the
open spacious days of great Elizabeth.

Even the zephyr-soft Southern whisper-
ings of Johnny Mack Brown fail to quicken
the systole and diastole of the debbies'
hearts as does Charles Bickford's rough
love piracy. Perhaps this betrays merely a
masochistic tendency developed early in life
— consciousness through parental error in
spoiling the child by sparing the rod. But
whatever the cause, a biff from Bickford
occasions greater vicarious kick than a labial
smack from Johnny Mack.

The fuzzy, apple-cheeked youngsters have
been replaced by the sombre, smouldering
suavity of the Bill Powells. Who, with
their city slicker ways, may not do right
by our Nell at any minute. And won't
that be fun! Yes. indeedy it will. But
those old kill-joys, the censors, will keep it
all for themselves, so the Bill Powell ex-
periences in life will have to be real rather
than cinematic, which isn't nearly so stimu-
lating, nor polite either.

Even Gary Cooper, the slim-hipped spur-
and-saddle man, fails to be as devastatingly

diverting to the debbies as he is to
'Whupez Lupez' — or Whoopee Loopee, let
us at least be consistent in our spelling.
The sinister touch, that certain something,
isn t quite — well, you know what you mean.
Of course it's comforting to visualize a
lover who will rescue you from the wolves,
or make the redskins bite the dust. But
the debbies of these days aren't much
scared of a flock, herd, passel or pack of
Rin-Tin-Tins. And since the departure of
the cigar store Indians, the old West has
lost much of its menace, as it has of its
allure.

Picture instead the dauntless deeds of a
Chester Morris. Slick haired and sleek,
he's just as quick on the draws as Bill Hart
and his paint hoss combined. Chester'll
save you, too. From the rival gangsters —
or the cops — whatever your inclination. But
the debbies know that when Chester saves
'em they don't stay saved. He has an
Ulterior Motive, and gosh how they love
it!

Match them up, note for note, and the
tenor voice of Novarro singing a pagan
love lyric, won't fire so many feminine
fancies as the wide-smiling Jack Oakie with
his bawling Alma Mammy. The nights of
love-lorn sighing have been replaced by
davvnings devoted to symbolic ritual at the
temple of the jazz diety 'Hey-Hey.' No
longer is a lion among the ladies a very
dreadful thing, but rather a consummation
devoutly to be wished. And instead of
fleeing to sanctuary before the onslaught,
the debs remain to giggle and to twist Leo
Lothario's tail.

And, after all, the debs are right in
their selections. They always are right. Else
we might not be here to tell them so.
The Oakies. Hustons, McLaglens, Wol-
heims, Bickfords. Chevaliers and the rest
are far more interesting than the too good
young men. The hyacinthean youth is not
exciting. The good are frequently good
for nothing, and it is a woman's privilege
and perogative to pay, and pay and pay.
Which may or may not give you an idea
why Buddy Rogers is not 'The Darling of
the Debs' — Quad Erat Demonstrandum.

THE SEVEN CHRISTMAS GIFTS HAVE BEEN AWARDED AS FOLLOWS

George Bancroft's dog to:

Helene Carter,
1438 Park Avenue,
Indianapolis, Indiana.

Al Jolson's portable phonograph and records to:

Mrs. Arlic E. Farmer,
301 North Oliver Street,
Elberton, Georgia.

Greta Garbo's boudoir set to:
Miss Zelma Boyd,
2019 North 6th Street,
Waco, Texas.

Harold Lloyd's wrist watch to:

Burgoync Ipsley,
P. O. Box 383,
Bay Point, California.

Biliie Dove's negligee to:

Josephine Parker,
126 West 78th Street,
New York City.

John McConnack's records to:

Mr. Larry B. Laurence,
275 Roehampton Avenue,
Toronto, Canada.

Evelyn Brent's fur coat to:

Alice McGrath,
33 Vine Street,

East Providence, Rhode Island.

for March 1930

What
type or girl
iried

109

. // I

is glon

today?

Joan Crawford
Metro-Goldwyri' Mayer

In dieting for the fashionable figure, be sure your diet is well balanced with a regular supply of roughage

On the street, out for a stroll — the
most stylish and chic women are the
pictures of health. There is confidence
in their carriage, grace in their move-
ments. Yes, there is the suggestion of
slimness about them, but one would
never think of calling them thin.
"Rounded slimness" — that describes
them. They set the fashions.

Today it is fashionable to be healthy.
Never was there a more sensible fashion.
For with health comes true beauty and
true happiness.

Nothing is more important to health
than wise eating. The gay parties with
their soft, sweet foods; the numerous
days of "dieting to reduce" ; the quickly
eaten meals of today — are nearly all
lacking in roughage — one important element
that means so much.

Without adequate bulk or roughage in
the diet, improper elimination usually occurs.
It, more than any other one thing, is respon-
sible for lack of health, for premature aging,
for the backaches, listlessness and other
common ills that take away the
joy of living.

Yet this trouble is so easy
to relieve — and prevent. One
delightful food product is
guaranteed. It is Kellogg's
All-Bran.

You can eat it in many
delicious ways. As a cereal,
eat it with milk, with fruits
or honey. In orange or other
fruit juices. Sprinkled over
salads — in soups — or cooked
in bread, muffins, etc.

pills or
health?

Kellogg's All-Bran contains an abundance
of iron, the blood builder. It gives color
to the complexion, makes lips red and eyes
sparkle. It is a health essential !

Isn't this much better than taking
drugs that may undermine the
Avoid habit -forming cathartics
that do not provide permanent
relief!

Make Kellogg's All-Bran a
part of your daily diet. It is
the safest and best way to be
sure of getting the correct
amount of roughage to keep
healthy. Kellogg's All-Bran
is a vital addition to any reduc-
ing diet. Thousands of physi-
cians know its benefit and
recommend it to their patients
for diet and health. Made by
Kellogg in Battle Creek.

BELIEVES CONSTIPATION

KELLOGO COMPANY

BATTLE CHEEH.MICM tONOOr.,CAM.

SEND FOR THE BOOKLET

"■JCee£> Healthy While You
Are Dieting to Reduce"

It contains helpful and sane counsel. Women
who admire beauty and fitness and who want to
keep figures slim and fashionable will find the sug-
gested menus and table of foods for dieting inval-
uable. It is free upon request.

Kellogg Company

Dept. SC-j, Battle Creek Mich.

Please send me a free copy of your booklet
"Keep Healthy While You Are Dieting to Reduce."

J<[ame —
Address-

110 SCREENLAND

When the Stars Step Out— continued from page 6i

After dinner wc adjourned to the draw-
ing rooms, where wc found most interesting
entertainment.

"One can't keep up with this party,"
whispered Patsy. "I want to hear Bcbe
sing, and she is in the other drawing room."

Over there we went, and listened to Bcbe
sing some "Rio Rita" numbers in a voice
which we decided had It — that something
that means much more than volume or
even quality to a voice. Bebe looks lovely
when she sings, too, which means a lot
when one thinks of watching her in musical
films.

We were chatting when suddenly we
heard somebody playing the piano most
beautifully. We looked up and got the
surprise of our lives. Mrs. Grauman, Sid's
mother, was the performer!

"I know all about her life," said Patsy,
"and I don't know how she ever managed
to keep up her music like that. She had
several children when she was a young
wife, and they lived for years in a Nevada
mining town. That was long before
Sid ever thought of becoming a show-
man. She told me about making a pair
of pants for Sid out of his father's so that
he could attend his first party. Hardship
was her portion for many years, and it is
simply marvelous how she managed to
keep up her music. One can see, though,
where Sid gets his artistic proclivities."

We all wished Bessie and Mr. Hawks
lots of happiness, and Bessie glowed
sweetly at our good wishes.

Charlie Chaplin can always make a
party go, and when it is Charlie plus Mary
Lewis, the grand opera singer who has
come west for pictures, well, the party is
sure to be a success, even if it were given
by less charming people than William
Thorner, the musician, and his wife.

We had been listening to Mary's concert,
and despite the fact that she had sung the
whole evening, she was as full of life and
vitality as ever. She was a Follies girl,
once, you know, and still keeps the old
charming, radiant, rollicking spirit.

We met her at the Thorners' beautiful
home, where we found a number of picture
people as well as musicians assembled.

Charlie Chaplin and Mary are great
friends. The two began some amusing
fooling, and pretty soon everybody was
gathered about the piano listening and
watching them.

Charlie did a funny hula for us, and
then a wild song of the jungle, while Mary
Lewis made a drum of the top of the
piano, keeping syncopated time for him.

Then Mary sang rag-time joyously, after
which Charlie Chaplin gave the funniest
burlesque in the world of grand opera done
in Italian and Spanish, imitating even those
languages.

Then Charlie and Mary sang together,
after which they put on a dance that was
a riot.

Betty Compson and Alice Lake came to
the party together, both looking radiantly
lovely. Georgie Grandee was their escort.
Georgie has written a wonderful little com-
position called Merry-Go-Round, that you
simply can't get out of your head, once
you have heard it. He played it, and Mary
sang and danced to it.

When Mary had entered, she had said,
gaily, that she was sure she smelled cabbage
cooking, and she was glad, because she
loved cabbage and was hungry, of course
not having eaten before her concert, and

when supper was served, Mary ate of her
beloved cabbage and was happy.

Nina Quartaro, more beautiful than ever
if possible, was one of the guests, and we
gathered that Charlie Chaplin had brought
her.

"Ever hear of a Margin Party?" in-
quired Patsy. "It means," she went on.
"a party given to, by and for losers on the
stock market. Well. Jean Hersholt is giv-
ing one, and we're invited. Everybody is
wearing old clothes."

"That'll be easy," I admitted.

Jean and Mrs. Hersholt met us with
smiling hospitality . at their door, Jean
dressed as a Danish farmer and Mrs. Hersh-
olt in a red evening dress. We upbraided
our hostess for wearing an evening gown,
but she explained laughingly.

"Don't worry, it's only cheesecloth. You
see I'm a poor dance hall girl, trying to get
along since Jean lost all his money playing
the stock market."

A whole row of guests in the dining
room confronted us, wearing signs bearing
the words, 'We Sold Short.' They were clad
in all sorts of hard luck outfits, and it was
very amusing.

Al St. John wore an old dress suit
several sizes too large for him, apparently
clothed in fine style; but later, at supper,
when he got warm, he took off the coat,
revealing the fact that he wasn't wearing
any shirt at all, only a shirt front.

At supper Al's place card read, "If you
had saved money on alimony, you could
now be giving John Rockefeller a run for
his money."

Jane Novak, looking prettier and younger
than ever, by the way, was there wearing
a simple little dimity dress. Donald Crisp
wore an old sports sweater with his dress
suit and high hat. Edward Sloman, the
director, wore a dress coat, but only
athlete's running shorts below! Marion
Douglas wore a ragged dress. Raymond
McKee wore rags, Robert Edeson was a
strolling musician with an accordeon,
Edmund Bresse came dressed in an old
Robin Hood costume, as though that was
all that was left of his wardrobe, Edward
Davis wore a lot of jewelry from the five
and ten cent store, stating all his diamond
studs and rings were at the pawnbroker's,
Pat O'Malley was in shabby sports clothes,
and there were other funny costumes galore.

Supper was served in the whoopee room
at long tables, on red table-cloths, but one
must say that the food bore no evidences
that the family was broke, nor did the fact
that several servants waited on us bear out
any idea of lack of prosperity. As a matter
of fact, I think that Hersholt was one of
the stars who had been canny enough not
to lose any money in the late stock market
slump.

On the blackboard, with its funny stock
quotations, was the sign, 'This stock can
make you rich if you can wait, but who
can wait so long?'

There were stock selling orders also, in
usual form, and down in one corner under
words, 'Orders filled as follows,' was writ-
ten in ink, 'Don't take much stock in it.'

Long loaves of French bread were served,
and Donald Crisp wrapped his up solemnly
in his big red napkin, saying he was going
to take it home with him!

Edward Davis was toastmaster. He said,
"Until you folks get rough, I'm going to
let you do as you please."

"Does Pat O'Malley's singing come under

that head?" inquired Edmund Brecse.

Every once in a while, somebody would
call out "Skaal," which is Danish for wish-
ing you good health and prosperity, or
something of that happy nature, and then
everybody would have to answer, over his
cup of steaming coffee, "Skaal!"

Every time a speaker started to be serious,
Edmund Brecse put a spoke in his wheel by
some amusing remark. When Sydney
Olcott started to speak, and said, "I'm
going to tell you about when I was a
young man," Brecse answered with a loud
snore.

Robert Edeson started, "If you want to

hear the other actor " glaring in mock

wrath at Edmund Breese. and then going
on — "I personally am glad for these losses
on the stock market; they have sent a lot

of men back to their wives " and so on;

and Margaret Courtot, who has been hap-
pily married for some years to Raymond
McKee, merely rose and took a bow when
called on.

"Call on any lady you like to make a
speech," said Davis.

"We like "em all," sang out Pat O'Malley.

Mrs. Davis rose and said. "I really have
something to say," and told how, when she
and her husband had been flat broke once,
Jean Hersholt had helped them out. And
then everybody sang, For He's a Jolly Good
FeUow!

After dinner the whoopee room was
cleared, and the Hawaiian orchestra came
in and played for us to dance.

Which we did, until three in the morn-
ing, when a breakfast of hot cakes and
sausage was served.

And so to bed — as Pepys' diary used to
say — after an invigorating ride in the cool
morning air.

"If there were going to be only John
and the janitor there," I said, "I'd be
there if I had an invitation."

I meant the big party to which Patsy and
I were invited, where John McCormack
was to be guest of honor.

Winfield Sheehan and Sol Wurtzel were
giving the party in honor of the great
Irish tenor, who is starring in a Fox picture.

The guest of honor sat at the center
place at one of the long tables, and his
wife and daughter sat one on either side
of him. He was a long way away from
us until after dinner — but I'm ahead of
my story.

All the Fox stars were there except Will
Rogers. We missed him very much, but
he was away somewhere on a flying trip.

Janet Gaynor was there with her hus-
band, having just arrived from Honolulu
?.nd her honeymoon; and there were Fifi
D'Orsay, Mary Duncan, Eddie Lowe and
Lilyan Tashman, Victor McLaglen and his
wife. John Ford and Mrs. Ford, David
Butler and his wife, Warner Baxter and
his wife. Charlie Farrell, El Brendel and
Mrs. Brendel. William Collier, Norma
Terriss. Jose Mojica, Louise Dresser and
Jack Gardner. Lee Tracy, Mary Astor and
Howard Hawks, Walter Catlett, Count de
Segurola. Tom Patncola, Lois Moran,
Frankie Richardson, and scores of others.

After dinner. William Collier was called
on to preside as toastmaster. He spoke of
the guest of honor as John, and then turned
and said," "Do you mind if I call you
John?"

"Yes, I do," the singer kidded.
"Well. I have to save footage," Collier
retorted.

McCormack arose to speak, charming his

for March 19 30

111

hearers as he always does, with his per-
sonality as well as his voice.

He said that when he spoke to Winnie
Sheehan about his salary, telling him how
much he wanted, Sheehan said to him,
after thinking a minute: "John, I think
we should merge. We Irishmen must
stand together, all two of us!" And then
McCormack continued:

"And surely there never has been such
an exodus of any class of people as there
has been of musicians and singers, since
Moses led the Knights of Columbus out
of Egypt!"

There were a million dollars' worth of
entertainers present, of course, among the
Fox stars.

Fifi D'Orsay just gathered us all in with
her first wink and wiggle, radiating her
wonderful charm, so that you cannot, hon-
estly say whether she sings well or not.

Lovely little Yvonne Peletier, who has
just signed a long contract with Fox, was
there, and performed one of her amazing
pantomime dances. Charles Judels, sang
an amusing song dedicated to McCormack,
entitled Ta\e Good Care of Yourself, Tour
Voice Belongs to Fox.

We had hoped that McCormack would
sing, but he didn't; but Jose Mojica sang
in that beautiful, mellow voice of his, Tom
Patricola danced, and Walter Catlett,
Frankie Richardson, and others entertained.

When the chance came, we went over
to chat with John McCormack, who held
court at one end of the room. We told
him we had hoped he would sing, and he
remarked with that ingenuous twinkle which
is always winning friends, "Well, I hoped
so, too, but Mr. Wurtzel told me I had
better wait until it was somebody else's
party."

He told us about having a voice test —
imagine!

"I suppose," confided Patsy, "that if the
Angel Cabriel was hired to blow his horn
in a picture, they'd have to give him a test
first!"

At any rate McCormack said, a little
wistfully, we imagined:

"When I sang one of me wee little notes
at the end, the mixer seemed to think I
was getting weak or something; anyhow
when I heard it in the playback he had
given that final note an awful blast!"

"So now," said Patsy, "both the camera-
man and the mixer can make or break you!"

Dorothy Dalton, a film favorite of
not so long ago is returning to the
screen in "Bride 66." Her hus-
band, Arthur Hammerstein, is
producing it.

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112

SCREENLAND

Details of Beauty — Continued from page 63

have finished, squeeze a square of cheese-
cloth from -ice water, drench in witch hazel,
or an astringent, place over the forehead
and eyes, lie down and relax for ten or
more minutes and you'll he surprised at the
smoothness of your forehead and the clear
brightness of your eyes. About three such
treatments every week and you can wear
the smart new hats with the assurance that
you are looking your very best.

Well-trained eyebrows and lashes are im-
portant details. Of course, you would
like to have the long, curling lashes and
slender arched brows of your best loved
movie star. I know you would, because
you have told me so — at least some of you
have. But, even as you and I, the movie
stars must train and cultivate these acces-
sories to beauty; few people are actually
born with them.

Length and beauty of the lashes depend
largely upon the eyelids. And the health
of the eyelids depends upon the health of
the eyes. The greatest enemy of the beauty
of the eyes is strain, so the greatest friend
is rest. Incidentally, I hope you have not
forgotten what I wrote you a few months
ago about eye remedies, treatments, and
exercises for the eyes.

Train your scraggly brows to lines of
beauty. Nourish and encourage thin, fall-
ing lashes with vaseline, castor oil or a good
lash grower. Brush the lashes upward to
encourage them to curl. Use eye make-up
with discretion, especially in daytime and
with off-the-face hats. The least hint of
artificiality will be appallingly apparent.

So much for eyes and foreheads. What
about their nearest neighbor, the nose? It
has been said that if Cleopatra's nose had
been one-half an inch longer the entire his-
tory of the world would have been changed.
That's how important a nose may be. Since
Cleopatra's day the beauty of a nose has
depended not only on its delicate forma-
tion but also upon its ability to measure
up to a certain standard for noses in another
even more important direction. It must be
smooth and white and it must not shine.
A nose may be 'tip-tilted like a flower,' but
its beauty is lacking in effect if it's not
white and free from shine.

Two reasons for an unlovely nose are
poor circulation and faulty digestion. If
your nose is not what it should be, adopt
the beauty diet I offered you last month,
exercise as often and as adequately as pos-
sible and you will not only improve the
appearance of your nose but will render
your general health an invaluable service.

These are the general methods of remov-
ing the offending shine and redness, but
while they are gradually being remedied
the shiny nose will still be with you. Use
powder, of course, the powder that suits
your skin whether it be heavy or light and
fluffy, but don't wear it adhering to your
nose in huge flakes which are vastly un-
becoming. Smooth a little cream into your
nose, wipe it off and powder carefully and
keep it powdered. Go to any length rather
than to let it shine. A catchy advertising
phrase read "For the want of some powder
a man was lost"; but what is more import-
ant to women nowadays — because of the
failure to connect with a powder puff at
the psychological moment — jobs may be
lost, social or business contacts may go for
naught.

From noses to elbows is rather a jump.
But, what about them? I haven't time or
space to discuss arms this month, but I do
want to remind you that no matter how

dainty and becoming your evening gown
may be, if it discloses rough, bony elbows
with loose wrinkled, discolored skin the
effect is entirely spoiled.

Realize that your arms are only as pretty
as your elbows and, if necessary, set to
work upon them. They are so much exposed
and so much rubbed that dirt and dust is
grimed into them and the amount of scrub-
bing necessary to keep them clean dries
them out so that they become chapped and
pick up more grime than they did before.
Scrub the elbows daily with warm water
and a bleaching soap or any soap with
water into which you have sprinkled a few
drops of peroxide. Rinse and dry well,
apply a generous amount of cold cream
and massage it well into the skin. Wipe
off, rinse in cold water, rub in a bit more
cream and dust with powder. Repeat this
treatment daily and your elbows will become
as soft and smooth-looking as you could
desire.

Well-cared-for hands aid perfection of
detail. At this season, at least in cold
climates, your hands are likely to become
red, rough and chapped. This may be
avoided if you are careful to use a soothing
lotion or cream after each hand cleansing
during the day, a special application before
you go out in cold, wind or sun and at
night before retiring. If you're home dur-
ing the day, keep a bottle or jar of hand
beautifier where you can't help seeing it
when you wash your hands. If you go to
business, keep a small jar in your desk.
If you're flitting about from one place to
another, keep a tiny tube or jar in your
handbag.

There's no excuse nowadays, with all the
easy-to-use manicure aids at our disposal,
for not having well-groomed nails. Every
girl has a thorough manicure once a week,
but the nails require attention every day.

Keep a few implements conveniently at
hand and give your nails attention as often
as necessary.

Careful attention should be given to such
small details as shaping and polishing the
nails. Don't use a highly colored polish;
a polish that gives the nails a natural color
is in best taste, with only a slight gloss.
Shape your nails to suit your fingers. If
your fingers are long and slender, shape
your nails to follow the outline of your
finger tips, slightly longer in the center.
If your fingers are short, or too-blunt, point
the nails a little more and file rather closely
at the sides but not too close.

I have told you before about using make-
up to suit your coloring and the texture of
your skin. There are so many intriguing
shades of powder or rouge or lipstick it
seems that manufacturers must put them
out merely because they want to sell more
things. But that is not true. I believe
that the heads of this beauty business are
really sincere, and are aiming more surely
at real beauty. They found after many
years that just two shades of powder and
one shade of rouge spelled disaster to many
women because it upset the natural color
scheme for fascinating in-between types such
as the ash blonde, the woman with dark
hair and blue eyes, the gypsy type of
brunette, and so on.

Manufacturers learned, when they really
put their minds to it, that too dark a
powder on a fair skin robbed it of trans-
parency, and that too light a powder gave
a look of artificiality. So they began to
study natural skin tones and to shade their
products, rouges as well as powders, to
match all types of coloring.

So there's no reason, girls, for going
wrong in details of make-up. Blondes
should choose, as a rule, one of the powders
marked 'natural' for daytime use, and from

Tea for one on the Malibu sands. Marilyn Miller, stage and screen
star tells herself, "Two lumps and lemon, please."

for March 1930

the pale peach tones for evening. The i-n-
betweens may choose rachel, cream, and
peach. The brunettes, a darker or medium
rachel, and deep peach. As a rule, the
red'haired girl needs a lighter powder, flesh
or 'natural.' Powders fine in quality and
light in weight blend more naturally into
the average skin. And when you apply
your powder, don't rub it in. Stroke it on
lightly or fluff it on.

At this season of the year you can help
to perfect details of beauty by using a pro'
tective make-up. A rough wind-burned
skin and chapped lips are anything but
attractive. A soft cream smoothed into the
skin and wiped carefully off will protect
the skin from the ravages of wind and
weather. A paste rouge is less drying than
a dry rouge, and it goes on well over the
cream foundation. A soft colorless lipstick
will keep the lips from chapping, and a
bit of paste rouge may be used over it.

Choose your rouge as you do your pow-
der by matching your natural color. Rouge,
used wisely, can whisk a dull face into
vivid charm. To use rouge is not to paint
your face — it's a gallant gesture, a helping
hand under nature's tired elbow to help her
over a bad place. It's an important detail
of your toilet, if used wisely and well.

A good general rule to follow is: for
blondes, light raspberry, pale orange, or
rose; for darker blondes, medium reds, the
yellow reds, such as tangerine; for brunettes
a very little vivid red.

Then, there's the uninspiring subject of su-
perfluous hair — the fuzz that nobody wants.
This is a real beauty problem, as you know,
but in this day of sleeveless frocks and
sheer hose it is no time to be patient with
the despised fuzz — off it must come.

Some girls solve the problem temporarily

113

by shaving. But this stimulates hair growth
and removes the hair on a level with the
skin surface so they grow again very
quickly. A good depilatory is more effect-
ive, quicker and easier to use, and the
makers are gradually improving them so that
they keep the hair off longer than they
used to. Moreover, the hair does not re-
turn thicker and coarser, and in many cases,
the growth gradually becomes less. A
depilatory, as with all toilet preparations,
must be used strictly according to directions
to attain best results.

Most women hesitate to use a depilatory
on the face, particularly if the skin is dry
and sensitive, and resort to the electric
needle. This is all right if you know of a
really reliable electrolician. But even the
most skilled operators miss many times,
and the operation is both painful and ex-
pensive

A great many women use successfully a
depilatory on the body but depend entirely
upon a bleach to deaden and lighten super-
fluous hair on the face. This does at least
partially solve the problem, as the growth
becomes lighter in color, weaker in sub-
stance, and far less noticeable.

Another detail of good grooming that
should not be neglected is the use of a
good deodorant. In most cases, excessive
perspiration can be remedied locally with-
out harm. There are certain causes which
lead to this condition and may need special
attention. But usually, the unpleasantness
and discomfort attending this state may be
greatly alleviated by the use of a deodorant.

Do you want to know more about details
of beauty? Write to me. I will be glad
to help you in any way I can. Please
enclose stamped, self-addressed envelope
with your letter.

The Girl With Seven Voices

Continued from page 83

It was just as important that the girl speak
perfect French in the opening scenes as it
was for her not to speak good English in
the subsequent action.

"I had a French instructor translate the
French portion of the dialog into English
so I understood the sense and story value
of the lines. Then I learned the French
from him, learned to speak the lines in an
entire scene without very much idea of
quite what they meant, other than the
general trend of the conversation.

"Learning to speak part English and part
French was more difficult because the
natural tendency was to use more English
than French. I picked up most of the
inflections and intonations from the children
who worked with us in the picture. They
had only been over from France a few
months and spoke very little English.

"After the picture was all finished and I
saw it, I felt panicky. Suppose audiences,
not knowing me or having heard me speak
before, thought I really spoke broken
English? I ran the picture for some friends
at my home one night and while I was
getting ready to retire, my maid told me
that the servants wanted to know if it
really was I who did the talking! They said
it didn't sound like myself. Of course it
didn't, wasn't intended to. But that gave
me another fear. Would people think I
had a voice double?

"The night the picture had its world
premiere in Los Angeles I was on pins and
needles. I was so nervous about it I was
one of the first to arrive at the theater
which — if I may poke fun at myself — is not
my usual reputation. In the first reel the

sound track went out of synchronization;
a little later it jumped and was lost for a
few feet, right in the middle of an import-
ant scene. I tore my handkerchief to shreds
and then started to cry.

"While I was crying I heard a tremend-
ous laugh. Everything was going fine and
the audience hadn't paid any attention to
the slight mishaps. They went on laughing
and I perked up. It was all right, after all!
We made it for laughs and that was what
the audience was getting out of it.

"Now Dulcy, you know, is a sort of
ga-ga busybody and I have a new voice
for her. I copied it after a Dulcy I know
in real life. In every picture I make I
hope to develop a different vocal person-
ality. Difficult? Oh, I suppose so; but it's
fun and when I cease to enjoy making pic-
tures then I'll cease to make them at all."

Marion's frankness is devastating and
rather appalling. She wears no cloak of
pretense. As soon as you meet her you
are completely disarmed by a smile that
engulfs the whole world and all that's in
it.

You will find her between scenes playing
bridge with a property man, an assistant
director and perhaps an extra player. People
are people to her. She knows every person
working on the set and they all know her.
There is no tension in a Davies company.
Instead, there is music, gaiety, clowning and'
good humor.

"Just a lot of laughs!" says Marion.

And that seems her life axiom: laugh
today and be merry, for tomorrow you may
cry.

8v&ryon& admires
smooth, fair Skin

Passersby, as well as those who
know you, pay admiring tribute
to your complexion-beauty when
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Cream!

Dip your fingers into the cool,
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Then, day by day, as you con-
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cream, your skin responds by be-
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every woman so desires.

Plough's Cold Cream is available
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COLD CREAM

Look for the Black and White Circle on the Package

NEW YORK MEM PH

/AN FRANO/TO

114

SCREENLAND

Bushells of Love and Kisses — continued from page 34

Ducky — " Zelma was at Tony's feet on
the floor, weary from a stiff game of golf
with her sister, Bernice, that afternoon.
So Tony didn't have to go far to assure
her that she was entirely wrong on the in-
ception of his love for her.

Friends of the young Englishman had
urged him to see two shows while he was
in New York. One was "The Trial of
Mary Dugan." The other was "Good
News."

"I wanted terribly to meet that little
girl who was billed as Zelma O'Neal. I
knew no one to introduce us. I went back
to England that summer without so much
as speaking a word to her. Then I read
in the papers that she was coming to Lon-
don with the musical show. A friend of
mine knew some one in the cast. I ar-
ranged to meet her. We were engaged
before the week was out."

"And if you can imagine it," said Zelma,
crossing one tanned leg over the other,
pushing away a recalcitrant red lock, and
making a dive for a bunch of brown wool
which was the Irish pup, "I looked at that
chap when he was introduced and thought
— 'Nice boy, but too good looking.' And
p\un\, dismissed him from my mind. Just
like that."

The fact that Anthony Bushell did not
remain long dismissed from Zelma O'Neal's
mind is indicated by the whirlwind court-
ship.

Bushell followed Zelma to New York
after he had finished his run in London
in Channing Pollock's "The Enemy."
They were married a short time later in
St. Nicholas' on Fifth Avenue.

Hugh Sinclair, the chap who introduced
them, was best man. Inez Courtney was
the bride's attendant.

"The day of our wedding, Zelma was
in the midst of rehearsals and I was play-

Joyce Contpton began her screen
career as a blonde. Now she is
a red-head, but just as alluring
as ever.

ing a matinee and evening performance."
Bushell appeared in Somerset Maugham's
"The Sacred Flame" at the time. "For a
week after, we were so busy that we only
had snatches of time together."

They both like Hollywood. Zelma says
it is a grand place to raise children. She
means it, too. The little hoyden-girl of
"Good News" who makes audiences roar
with the way she picks up her feet and
lays them down again and the brilliant
comedienne of that other musical comedy,
"Follow Thru," is definitely a home-loving
person with a longing for a brood of her
own.

Zelma's a good business woman, too. A
film studio had been negotiating for her
appearance in a talkie short.

"I held out for twice as much as they
offered my manager. Got it, too," she
said.

A telephone call necessitated Zelma s
getting to her feet. She grunted and
groaned. Her nightly work in "Follow
Thru" at a Los Angeles theater means a
terrific expenditure of muscle energy. And
then there is the daily afternoon game of
golf.

"Tony taught me how to play and we're
still friends. Can you imagine it!"

Zelma returned from the telephone with
news of a vaudeville offer.

"Don't think I'll do it. Can't leave you,
Tony, and Bernice — and Paddy."

The two sisters have been almost insep-
arable since those struggling days in Chi-
cago when they 'plugged' songs in a little
music store and attracted their first oppor-
tunity to do a sister act in vaudeville.

Work often takes them to opposite ends
of the country. But they always come
'homing' when an engagement is finished.
Bernice is blonde while Zelma is auburn-
haired; madonna-eyed while Zelma has the
eyes of a sprite; tall and slender while
Zelma has the sturdiness of a little-girl
build; dreamy while Zelma is vociferously
business-minded.

Zelma O'Neal takes a commonsense at-
titude toward her own background of mini-
mized opportunities and hardships. At the
same time she glows with the reports of
Tony's boyhood and education in England.

This Anthony Bushell, who won instan-
taneous recognition for his work on the
talking screen with George Arliss in "Dis-
raeli," is a member of a distinguished British
family which dates back to 1200. He is
the eldest of three living sons. Anthony's
older brother was killed four years ago in
an Afghanistan campaign. He was a lieu-
tenant in the Indian army.

Anthony was born in Westerham, Kent
County, England. He was educated at
Magdalen College School and won a schol-
arship in English History to Oxford. A
brilliant student in his elementary grades,
great expectations were held by his parents
for Tony's college career.

"Sports always interested him. After
he entered Oxford, studying went into the
background and he began to give all his
time to sports," explained Zelma.

Bushell was captain of cricket and head
of the school for two years at Magdalen.
In Hertford College, Oxford, he won the
novice's boxing cup in the middleweights
and also won some prominence as a fencer.

"Tony was a great one at this in college."
And Zelma's brown arms began a back-
ward-forward motion, her legs straight out
on the rug and her bow mouth pursed as
though fortifying herself. "Whatdoyou

Kathryn McGuire, a charming
graduate of the Mack Sennett
seminary for young Hollywood
ladies, has been playing in a Hoot
Gibson western.

callitdarling?"

"Ducky's trying to say I was stroke of
my college eight," enlightened Bushell.

"A rower — that's what he was."

When Tony was 21 he left Oxford. His
parents were deeply disappointed. It was
understood that Anthony was to study for
the clergy and his announcement that he
was going on the stage was a shock to
the family.

"It was not that they were opposed to
the theater," declared Bushell. "Not that
at all. They did think it was preposterous
that I should hope to make a success in
work about which I knew nothing at all.
However, Mother and Father were very
fair and sensible about the whole thing.
They said if I wanted to give up college
and go on the stage I would do so with
the understanding I was to be entirely on
my own financially."

A short time later, a tall blond young
man answered to the name of Anthony
Bushell when student roles were assigned
at the Royal Academy of Dramatic Arts in
London. This is the organization founded
by Sir Herbert Tree.

"I learned hardly anything there. Sir
Gerald du Maurier saw me in a student
performance and I was given a part with
Gladys Cooper in 'Diplomacy' at the
Adolphi Theater."

Miss Cooper re-engaged him for her next
two productions, "Peter Pan" and Pinero's
"Iris."

Feeling he needed further experience,
Bushell left London and played on the road
for two years.

"When I came back to London I heard
that James Gleason was using some English
players for his comedy, 'Is Zat So.' I had
an introduction to Mr. Gleason and battled
my way through the crowd waiting outside
his office. Jimmy Gleason took a look at
me and said — 'Too tall." Robert Armstrong
took a look and said — 'Too young."

"I started to turn away. Then I became
so infuriated at the thought of having
battled the mob for nothing that I turned

for March 1 930

115

back to Gleason and said: 'Do you really
think so?' "

Apparently Gleason liked the spirit of
the young Englishman. He asked him to
read some of the lines from the comedy.

"All right, kid, you win the part,"
Gleason told him.

The experience of working with Ameri-
cans and enjoying American humor was
such a revelation that Bushell said he could
hardly wait to get to America and have
more of it.

"The English are inclined to be very
serious about their careers. The atmosphere
of joking that I find in American theaters
and film studios was an amazing thing to
me. You Americans work hard but your
gorgeous sense of humor keeps you well
balanced."

After his outstanding work in "Disraeli,"
Bushell was given the Juvenile lead in "The
Flirting Widow," First National's film ver-
sion of the stage play, "Green Stockings."

Zelma O'Neal made pictures — comedies —
years ago. Now she has been signed by
Paramount for the screen version of "Follow
Thru."

"Then Tony and I will have a real home
life for the first time in our marriage. As
it is now, he is having lunch while I am
waking up for breakfast. When F am in
the midst of lunch, he is dinner-ing. We're
going to change all that, aren't we, Tony?"

"Righto, Ducky."

This is another point where a sensitive
interviewer finds the railway posters again
an engrossing subject for study. If the
time permits — and it usually does — he will
find the view from any of the eight long
windows in the high ceilinged living room
very worthwhile. They look over Holly-
wood, which represents studio and theater
to the Bushells. And that, in turn, means
that any moment now, one or the other will
be called away for footlight or Kleig light
make-up.

"Forgive us, we see each other so seldom,
and we keep thinking of all those years
before we knew each other!"

These are the Bushells — career-ambitious,
both of them; deeply in love, both of them.
They .stand in Hollywood as a vivid ex-
ample of the way young opposites have a
habit of attracting — and holding — each
other.

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SCREENLAND

Bill Boyd Doubles Back — Continued from page 31

fornia's steady progress. Bill told his
chauffeur, the ever faithful Mose. to turn
left, then right, now two blocks ahead.

"Well. I'll he darned!" exclaimed Bill,
"it's gone."

"What's gone?"

"The place."

"What place?"

"Why, the grocery store where I got my
first California job," Bill explained. "See
that big red brick building? It used to
stand there. Gosh, I never enjoyed a job
so much in my life."

Then we heard the story of a fifteen year
old lad. almost penniless, cast among
strangers to work out his own existence.

"This was a week before Christmas,"
said Bill. "Perhaps I should have been
grateful, because it was undoubtedly the
holiday rush that enabled me to get a job
right away as a clerk in that grocery store.
The fact that it was a grocery store was
the only reason why my healthy young ap-
petite did not entirely overwhelm me. With
food on every hand I doubt that any fif-
teen year old is going to starve.

"When the boss saw me raiding the
cracker barrel he sensed my financial embar-
rassment and voluntarily advanced me a
week's salary. He certainly was a good
guy. So on Christmas Eve I was able to
sit at a counter and gorge myself with
turkey instead of prunes and raw carrots.
But, somehow, my appetite was gone.

"I walked along one street after another.
Through the windows I could see families
gathered about Christmas trees. Happiness
seemed to be everywhere. I'm afraid I
thought I was the only lonesome and heart-
sick person in the world. See that little
hotel over near the railroad station? I
took a room there. I can remember creep-
ing into it and crying myself to sleep."

Incidentally, Bill's first job in Orange
was not the first time he was in the
grocery business. He drew a battered old
snapshot from his pocket as proof of another
time, when he was twelve. It showed him,
a tow-headed kid, sitting majestically at the
reins of a rickety delivery wagon bearing
the blurred inscription, 'Siegfried & Lawyer,
Groceries, 1051 Wheeling Avenue, Cam-
bridge, Ohio." Turning over the picture
we saw inscribed in youthful handwriting
the name 'Lawrence Boyd,' which was the
first indication we had had that Bill's real
name is Lawrence.

But Christmas comes only once a year,
and with the usual rush over in Orange,
Bill found himself without a job. As we
rolled out of the little town, en route to
San Diego in the star's big car, he un-
folded for me a few of the subsequent
events in his life. An orange packing
house offered the next opportunity for
work. This lasted through the season. Then
the oil fields for several months and a
jaunt to Flagstaff, Arizona, where he swung
a double-edged axe as a lumber jack. After
this came an offer as an automobile sales-
man and Bill took it. All this varied ac-
tivity covered a period of several years.

Then came the war. In June, 1927, Bill
enlisted, but he was discharged in August
because of an athletic heart, developed in
his high school days in Tulsa, Oklahoma.
Although Bill was born in Cambridge.
Ohio, he passed most of his youth in Tulsa,
until a friend of his dead father gave him
a hundred dollars and he started west.

Barred from active service Bill took a
job running the Post Exchange at March
Field, the aviation training school at River-

side, California. Later he was to make
part of one of his most successful pictures,
"The Flying Fool," at that very field.

At intervals friends had told Bill that
he 'would screen well.' Although he
scoffed at the idea, its repetition naturally
made some impression and finally, in 1919,
in the absence of a job, it took definite
root.

It was while Bill was en route to Los
Angeles, again in quest of the elusive job.
He met Bryant Washburn on the train and
again the subject of the screen came to haunt
him. Washburn saw possibilities in Boyd.
Bill saw only a big laugh in the suggestion.
All he wanted was a job — any kind of a
job. So far as becoming an actor — well,
that was too ridiculous even to consider.

But somehow the job did not present it-
self. The panic was on. The Boyd bank-
roll was reduced to silver and very little of
that. What was that Bryant Washburn
said about acting? Well, there might be
something to it at that. There's no harm
in trying. So Bill Boyd presented himself
at the Paramount Studios and proceeded to
talk himself past the man at the gate, who
turned out later to be the father of Alan
Hale, with whom Bill played later in several
of his biggest screen hits.

Assuming what he believed to be an air
of importance, Bill tackled the next man he
saw.

"Where is Mr. De Mille's office — Mr.
C. B. De Mille's" he demanded. Being
directed to the director-producer's very
private sanctum, Bill found the door open
and walked into the presence of C. B.
unannounced.

"Well?" queried the director.

"Well," ventured Bill, "I want a job in
the movies."

Impressed with the man's gall if nothing
else, C. B. inquired if he had ever don''
any acting.

"Never," admitted Bill.

"Well, I don't see " began De Mille.

Bill started out the door.

"All right — if you don't give me a job
I'll work for somebody else."

"Wait a minute," said C. B. "That's the
way I like to hear a man talk. You seem
to mean business."

And William Boyd got his first part in
a picture called "Love Insurance," starring
Bryant Washburn, who was indirectly
responsible for the screen career of the
Pathe star.

To Bill it seemed that the dark clouds
surrounding his life since childhood were
about to part and let a little sunshine
through. Temporarily that was true, but he
was soon to know the heartache and priva-
tions of Hollywood's army of extras. The
battle for survival was on again as Holly-
wood knows it. For more* than a year
things did not go so well. Occasional roles
helped to keep the square Boyd jaw up in
the air. "Why Change Your Wife,"
"Bobbed Hair," "Forty Winks," "Feet of
Clay" and "The Golden Bed" offered some
opportunity and, more important, some
funds.

Then came C. B. De Mille again in the
guise of a gurdian angel. What he offered
was the lead in the "The Volga Boatman!"
This picture made Boyd a star, won him
success, fame and the security of a long-
term contract.

Among the pictures that followed were
"Her Man O'War," "Eve's Leaves," "The
Last Frontier," "Jim, the Conqueror," "The

for March J 930

117

Yankee Clipper." "The King of Kings."
"Two Arabian Knights." "Dress Parade,"
"The Flying Fool," "Skyscraper," "The
Leatherneck," "Power," "The Cop," "His
First Command." and Boyd's latest one,
"Officer O'Brien."

"Yes, sir," affirmed Bill, as we sped on
along the smooth California highway, "a
lot of things have happened since the first
time I tried to reach San Diego and got
sidetracked in that little grocery store. And
I think that every bit of it did me a lot of
good, even if it was a little inconvenient at
the time."

We were passing the famous old mission
at San Juan Capistrano. Bill called my
attention to it.

"There's a reminder of real fortitude and
courage," he said. "Think of the problems
that those men faced three hundred years
ago when they opened up this beautiful
country out here for the development of
civilization. How insignificant our own lit-
tle troubles appear when we think of
theirs."

It was another side of the droll, good-
natured Bill Boyd — a serious, thoughtful
side. We sped on for many miles in silence.

Chevalier's Secret- Continued from page 23

of Paris. How his early days were passed
in extreme sordidness and poverty. He
spoke of all the low dives he had danced
and sung in — dives where cab drivers and
ladies of the evening, those who had fallen
to the bottom of the world, congregated
for one last drink of absinthe to buoy them
up to face another day in which there never
could be anything new.

From cafe after cafe he was fired. For
a long time he sang at the Casino des
Tourelles for the sum of two dollars and
fifty cents a week.

He even lost that job. And walked the
streets for months until he found a spot
in the Fourmi Music Hall, but this time
his compensation was only one dollar a
week.

From Fourmi he toured the provinces,
later playing such larger cities as Rheims
and Marseilles. Finally he achieved Paris,
the Eldorado music hall. And then, the
Folies Bergere as partner to the talented
Mistinguette, and made a distinguished
success.

Then came the war. At the first call,
Chevalier dropped his grease paint and
shouldered a gun. But he didn't drop his
songs and his laughter until one day a
shrapnel burst in his trench, and Chevalier
fell on his face in the mud. When he re-
covered consciousness he found himself in
a German ambulance with an ugly wound
in his shoulder. Twenty-six months in the
German prison at Magdeburg followed.
Then Armistice, back to Paris again with
the croix de guerre on his breast, a wound
stripe on his sleeve, a hole in his pocket and
a cough in his chest. Nor was that the
worst. He had his whole career to build
over again. He had lost confidence in him-
self. Besides, it was harder to make people
laugh in those days after the war. They
had forgotten how.

But he staged a tremendous come-back.
Once again he played at the Folies Bergere.
Once again as partner to Mistinguette.
Then came an enormous success in London
and in Buenos Aires. And finally New
York.

"When I arrived in America," Chevalier
said, "I did not want to make my way
singing naughty songs. Songs which we
say in France have a double entendre.
That is, two meanings: a nice one; and a
not very nice one. I did not want to sing
what you — what you call bar-room ballads.
I wanted your people to love me.

"Always back in my head there was a
role I have wanted to play. Always, all
my life I have wanted to play — now, don't
laugh — a romantic part. Yes, to play a
romantic prince. Maybe you think that
silly. But maybe not, if you recall my first
beginnings — the poverty of Paris tenement
life where one eats and sleeps little, works
much and plays none at all.

"So when 'The Love Parade' was sug-

gested for me I was happy — for here was
a story in which I could play a romantic
role but yet a story that handled life as
it really is. The story doesn't end with
the marriage, with the Queen and Prince
living happily ever after. It shows the
little troubles that are bound to come up
in every marriage; little troubles which cast
big shadows and sometimes mean separa-
tion and lasting unhappiness. unless we use
the only sure cure for everything — laughter.
There can never be lasting tragedy in any
home where there is much laughter.

"But yet, I haven't told you the answer
to my success. I don't know what it is,
unless it is that I have taken all I have
learned in those years in the music halls.
Taken all those little tricks — how to put
my little song over, how to put my little
dance over — then tie them up with all the
happiness I feel. Not that mushy, running-
over kind of happiness. But the grown-up
kind.

"I tell you how it is. I feel as if I had
seen all the bad in the world — and yet,
the world, she looks fine to me!"

What Chevalier says about his secret is
true. His eyes have looked a long time
on the dark side of life but they have never
grown weary. You are not with him more
than two minutes before you realize he is
the Happiness Boy himself. He absolutely
exudes laughter and excludes gloom.

He has more sex appeal than any movie
star I have ever seen. There is a fragrant,
illicit quality about him which immediately
starts a woman wondering if here is not
the perfect lover. For he impresses you as
being a sympathetic, understanding discreet
man of the world. You realize that here
is a man of the world who has somehow
managed to retain a magical belief in ro-
mance. He makes you feel that despite
the things he has seen — and he knows his
world unquestionably — he still has the
capacity of experiencing a real romantic,
glamourous, but withal sophisticated passion.
And he makes you feel that you are going
to be the object of it!

He gives you the feeling that he is about
to lead you through a door — like the door
in 'Alice in Wonderland.' A door through
which you will enter into a different life.
A life where you will experience spicy,
delicious pleasures forbidden by a humdrum
world.

The secret of Maurice Chevalier's charm,
to my mind, is this: Every woman who
sees him on the screen or the stage will
think to herself: "Of course, I am de-
voted to John. He has been a good hus-
band to me for six years. And I would
never do anything to cause him pain. But,
if I ever should indulge in a flirtation — if
I ever should be so foolish and so reckless
— the one man in all the world I would
pick out to be so foolish with would be
Maurice Chevalier!"

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SCREENLAND

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THE STARS' COMPANY

P. 0. BOX 425 HOLLYWOOD, CALIFORNIA

THE STAGE IN REVIEW
By Benjamin De Casseres
considers the new plays which may
later become pictures.
Don's miss this Department.

What Yve Learned from the Stage

Continued from page 33

When I got better and came back to
location, what attention I had! My
maid, my secretary, my masseuse, my
hairdresser, my manicurist — they were all
pulling for mc. The director, Jimmy Cruze,
was wonderful. The prop boys stood about
holding chairs for me on the chance that
I might become fatigued. A 'stand-in'
girl stood while lights and other technicali-
ties were being arranged. Everything was
cased for me. Not only because I had a
bad ankle. But everything is eased for
every movie star who has reached the top.

I know now that I didn't really under-
stand how lucky I had been. For in Chi-
cago, when I started my act, I had only
myself to depend upon. There was no
director to smile encouragingly at me. No
off-stage music to get my courage up.
There was a cold audience, certain stage
props, and the little act I had to offer.
A little act which I had rehearsed for days
and weeks, into which I had put my heart.
But a little act, which, after all, was up
against strong competition. The competi-
tion of troupers who had spent all their
lives studying their specialties, studying new
ways of pleasing their audiences.

Just before my act went on, a marvelous
team of adagio dancers preceded me. I
had watched the woman staring at me very
disconcertingly. I knew what she was
thinking: "Here I've been working all my
life and I am a master of my art. I go
out on the stage, turn myself inside out,
and what do I get? A couple hundred
dollars a week. And along comes this gold
and white person with a little act, and pulls
down thousands."

It was terrible to have to work against
a thought like that. But I could understand
how that woman felt. And all that week
I made it my business to be nice to those
adagio dancers. I wanted them to know
that I knew and cared what they were up
against. I tried very hard. By the end
of the week we were friends. And no-
body seemed happier than they when I
received flowers or when an audience wel-
comed me with applause. When you give
the best you've got — a real trouper will
hand it to you.

But that first performance I didn't realize
that. I didn't realize anything. I only
knew I was standing in the wings with my
heart beating a tattoo in my breast that
could be heard, it seemed to me, as far
back as the last row in the balcony. I
only knew I had to follow a wonderful
team of dancers and make good. Not to-
morrow, next week, or next year. But in
the next few moments. And I knew if I
didn't make good, there would be no re
ta\es!

In movies and real life we always have
a chance to do our stuff over again if it
isn't right. If a washerwoman finds a shirt
still dirty, she can wash it over. If a
typist smears her page or spills a bottle of
ink over it, she can always re-type it. If
a movie star doesn't get quite in the mood,
there can always be retakes. But on the
stage you have but one little string in your
bow. You have to do your stuff to the
limit of your capability and to the limit of
your endurance. If you go over, all well
and good. You return to your dressing
room, drink a glass of water, dust some
powder into your shoes, renew your make-
up— and then go back and conquer another
audience all over again. You do that three

times a day, and in some places four times
on Saturdays and Sundays.

In the movies, one good performance and
you have it there encased in celluloid for
the rest of your life. Your hair can get
gray, your teeth can fall out. You can get
old. crippled or broken. But that per-
formance can still be shown in Japan,
Russia, Tasmania, Antartica. However, on
the stage, you have to renew your illusion
at every single performance.

As I stood in the wings considering all
these things before my first performance, I
got the most awful case of stage fright I
had ever had. My knees turned to water.
My stomach did a good imitation of an ex-
press elevator in the Woolworth Building.
Drops of perspiration stood out on my fore-
head. I heard my cue, the opening bars
of my dance music. I couldn't move.

Then like an arc of light the thought
came to me: 'Maybe out there in that audi-
ence there's somebody who has seen you
as Mrs. Darling in "Peter Pan." Or in
"Old Ironsides." Or in "The Case of
Lena Smith." Maybe there's somebody
out there who loves you. Not just be-
cause you're Esther Ralston, a movie star,
but because you're a human being who has
tried to please and bring them fun and ro-
mance for eleven movie years.'

So I made my entrance, broke into my
dance the 'Boardwalk.'

Could I remember it? Yes, the routine
was coming back to me. Hop on left foot,
slap right foot down twice in front. Hop
on right foot, slap toe down twice in back.
Hop on right foot and kick left foot for-
ward; hop on right foot and kick left foot
backward. Drag right foot in circular slide
around to back. Then stamp right foot,
stamp left foot and stamp right foot again.

Like a soldier memorizing the manual
of arms, my mind worked, propelling my
feet. Could I keep it up? Dear Lord,
what was the next step? Kick right foot
in back of left knee, kick right foot in
front of left knee, slide to right, twirl on
toes once around to left and kick left foot
high. Kick right foot out in front — each
foot three times, do a stamp, slap your
thigh — point right foot, point left foot —
finish with a cakewalk strut.

Applause! People were smiling. En-
core! I had done it! Weak and trembling
I went back into my dressing room. I
hadn't been there five minutes before there
came a tap on the door. And there stood
Amelia Foote. a little Chicago school teacher.

This little school teacher had been a
steady fan of mine for five years. She
had written me faithfully every couple of
months for five years. Sometimes she'd
write and say: "Esther, I like your hair parted
in the middle. It suits your type better."
Or, "Esther, I liked your last picture, but
that's not the kind of role you ought to
play. We want to keep you sweet." For
five years all her suggestions have been fair,
and constructive. And although I had
never met her or even seen a picture of her.
when the door opened and she came in
and said: "I'm Amelia Foote." I held out
my arms. We cried. Both of us. When
I got a hold on myself a little I heard her
saying over and over, "You're still my
Esther."

That's what keeps me going. Every
town I play, at every performance, there
are always some people in the audience
to whom I am and always will be their

for March 19 30

119

Esther. Because of
constancy I am goin;
learn talkie technique
silent technique. An
coming back to you
the things the stage
to take advantage of
of now; how not to
next week or next yea

their friendship and
to keep on until I
just as I learned the
d when I have, I'm
all again. With all
has taught me: how
the present moment,
think of tomorrow,
r, but of to-day; how

to carry on even when you're sick and dis-
couraged; how for every ounce of energy
you give your audience, they return to you
two tons of appreciation.

Yes, I am coming back to you screen
fans again. I want to make you laugh, to
help dry your tears, to take away the sting
of your sorrows and to try to add a little
to the misty beauty of all your days.

The Stage in Review — continued from page 93

on by Eva LeGalhenne's Civic Repertory
Company, and as directed by Miss LeGalli-
enne herself, is the best acted, the best pro-
duced and the most completely materialized
play of the imagination that I have seen
in New York for years. The Civic Reper-
tory in its beginnings was open to the most
brutal criticism. Today it has ridden down
all its critics. In its production of "The
Sea-Gull" it has made history.

What is "The Sea-Gull" about? It's
about Life — Disillusion. That is all I will
tell you here. For a great play is to be
seen, not word-rolled. As to acting, you
will see Jacob Ben-Ami, as Trtgorm, a
writer, reveal to you the very secret mechan-
ism of the soul of a disillusioned scribbler.
You will never forget his confession to
Josephine Hutchinson, who plays so beauti-
fully the part of l^irui, the sea-gull, who
believed in the romantic love of the male
and got slugged over the head with the
club of Reality in the hands of His Majesty,
the Father of Lies. There are Merle Mad-
dern, Paul Leyssac, Walter Beck, Eva
LeGallienne and others: all perfect in their
parts in a play in which Life parades before
you with an ironic leer.

"Fifty Million Frenchmen"

What have fifty million Frenchmen to
do with this tin-tinnabulatory, slap-bang,
rattling, crackling, gurgling, bombinating,
rataplanish, gingling, jingling, chortling, de-
tonating, Dionysian, cock-tailing, cork-pop-
ping fantasia of Paris? Why, just this:
every American — every son of a Yahoo —
sees fifty million Frenchmen after he has
been an hour in Paris. It's the cocktails
at the Ritz bar, it's the wine in Zelli's or
the good hooch down at the Halls that
performs this feat of ocular thaumaturgy
and transcendental boozy double-sight — or
words to that effect.

Well, this E. Ray Goetz musical comedy,
in which Herbert Fields, Cole Porter, Bel-
Geddes and a raft of other men who know
their business had a finger, just left me
soused with enthusiasm, as you've seen, no
doubt. I got a bigger laughing kick out
of this musical comedy than I have out
of any such concoction since the days when
I first sang Hin\yDin\'ParlayVoo-Madem-
oiselle-from-Armontieres — well, you know
that gayly scabrous air.

If you can find more steam in any come-
dian on our stage than you'll find exploding
out of the seven senses of Bill Gaxton,
'phone me his name (0020 Robins Reef).
And there's beautiful Genevieve Tobin, cer-
tainly a good eye-full. Ah! Bettty Compton
— she'll make you laugh — and blush a
sweet, old-time blush just as grandma used
to put on when General Grant was around.

In a word, if you miss "Fifty Million
Frenchmen" you are not a lover of physical,
mental or belly-gurgling souses!

"Berkeley Square"

You must be born with the ghost-tem-
perament to do the ghost thing convinc-
ingly. The reality of spooks, of a spooky
universe, can only be conveyed to another
by one who has literally seen spooks, whose
nerves and emotions feel the ghostly.

Merely thinking it out won't do. Poe,
Chopin, Lafcadio Hearn, Barrie, Shakes-
peare, Henry James, Strindberg, von Hoff-
mann — these are authentic ghost yarn-
spinners.

Mr. John L. Balderston, the author of
"Berkeley Square," does not belong to the
goose-fleshers to the manner born. But he
has thought out a clever, gripping and en-
tertaining play, which when you take it
apart — (now, you cannot take "Macbeth,"
Strindberg's "Dream-Play," or Barrie's
"Mary Rose" apart; you can only argue
with them to the end of your days) — turns
out to be splendid trick-work plus eagle-eye
on box office.

The story goes back and forth between
Berkeley Square, London, of today and that
of 1784. Peter Standish, an American, in
his ancestral London house has discovered
the secret of living over his love affair of
1784 either in a dream, an alcoholic tran-
substantiation or a psychic, and privately
patented, time-machine a la H. G. Wells:
which of these we are left in doubt about.

Leslie Howard carries the production in
his usual fascinating manner, aided by
Margalo Gilmore as the Lost Lenore. Gil-
bert Miller put this on in his own perfect
way. (I note, by the way, that old-fashioned
sentiment is coming back with long dresses.)
"The Living Corpse"

I traveled down to the Civic Repertory
Theater on Fourteenth street to see how
their new production, "The Living Corpse,"
by Tolstoy, compared with the moving pic-
ture version of the story which was made
in Germany and which I saw in a private
showing last spring but which was never
shown here publicly because of its gloomi-
ness and its censurable angles.

The greatest pictures I have ever seen
(which means pictures I could see two or
three times) are "The Cabinet of Dr. Cali-
gari," "The Patriot," and this German ver-
sion of Tolstoy's "The Living Corpse." In
many respects for pure tragic atmosphere
and overwhelming satire, the Tolstoy pic-
ture was, to me, the greatest of them all.
It far surpasses either the stage version of
John Barrymore or the Civic Repertory's
product.

It is in the picture version that the
hatred of Tolstoy against all social institu-
tions is brought out with the greatest force.
In the play we see the portrait of a platonic
idealist who is soused to the cupola all
the time and who finally makes the world
believe he is dead so that he can bring
about the marriage of his wife with her
platonic lover, two .social stuffed shirts.
When he is discovered and the bigamy
trial is proceeding he ends his milk-soppy
life with a bullet outside of the courtroom.

The Civic's production is rather heavy
and drowsy, with Jacob Ben- Ami unconr
vincing and theatrical as Fedya and Joseph-
ine Hutchinson looking almost ethereally
beautiful as the wife. Egon Brecher as a
drunken 'genius' was very humorous — the
best bit he has yet done.

I shall soon forget Barrymore and Ben-
Ami as Fedya; but the picture I shall never
forget. Score one for the screen!

Girls

Test^uirArlAWliiy

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120

SCREENLAND

WORLD FAMED
HOSPITALITY

of the

LosAnfeles

is graciously
ac\nowledged by

THEIR
IMPERIAL
HIGHNESSES

PRINCE and PRINCESS
ASAKA of JAPAN

Chuichi Ohashi, Japanese
Consul, in writing of the
recent stay of Prince and
Princess Asaka said:

"I ta\e pleasure in con-
veying to you their hearty
gratitude for the courtesy
and hospitality with which
your hotel accommodated
them."

No other hotel in the
world offers more varied
attractions. Superb 27-
pcv acre park, with min-
iature golf course,
."'-' -f! open air plunge and
TjfiiC tennis courts. Rid-

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sports, including
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hole Rancho Golf Club.
Motion picture theatre
and 35 smart shops
within the hotel.
Famous Cocoanut

Grove for dancing

nightly.

Write for
Chefs Coo\ Boo\ of
California Recipes

BEN L. FRANK,
Manager

Trailing ''Trader Horn"

Continued from page 66

got it but wouldn't lie down. He just
walked around, perspiring until his clothes
stuck to him and telling everybody it felt
like a touch of grippe. Edwina wasn't
working in the picture but she came down
to the set every day. Harry Carey was
laughing about the days in Death Valley
when he used to think it was hot.

In three weeks we pushed off for Mur-
chison Falls, up the Victoria Nile. We
loaded the tenders and climbed into the
same boat that took us to Panyamur.

It takes six hours to get up the Falls
from where we were. The Nile flows into
Lake Albert on one side and out on the
other. Unless you know the country very
well it doesn't look like a river at all. In
every direction there is nothing but floating
vegetation and papyrus. The course of the
stream is changing constantly and the pilot
had to take soundings all the way. The
water was alive with hippos and crocodiles,
and there was a large number of brightly
marked tropical birds flying around the
papyrus.

Finally the banks of the river became
firm and the vegetation grew scarcer. The
shore was sandy and there were large trees
and dense growth on both banks. We saw
elephants in one place. When they saw
us they put up their trunks and ran back
into the trees where we couldn't see them.
We were all to learn more about the ways
of elephants later. Renaldo sustained two
broken ribs on an occasion when he shot
an inch too high into a charging elephant's
head. Carey firing through the thicket
brought the elephant down almost on top
of Renaldo. But our first elephants, be-
cause they moved away, did not startle us
much — we were too busy watching the
smacking jaws of crocodiles that scraped
under our boat, and counting the chances
of capsizing on a sportive hippo.

At the Falls we spent a month making
crocodile sequences and a lot of scenic shots.
We were camped in a spot that had been
occupied by few white people in the his-
tory of the world. We had cleared the
camp site of all brush for half a mile around
in the hope of getting rid of the tsetse
fly. In spite of that there were a lot of
them around and the mosquitoes from the
river were abundant. It wasn't the most
inviting spot in Africa.

Edwina broke into the pictures there.
She worked in a monkey skin, barefoot on
the ground which was crawling with jiggers,
and bareheaded under a sun that is capable
of knocking over strong men like tin
soldiers. It was a ten to one bet against
her for that month and we were all won-
dering what Van would do about another
leading woman after Edwina had been sent
home with fever or sunstroke.

One morning we decided to make a
dawn 'shot' five miles down the river in
the heart of the jungle. All the men
started out at 4 o'clock, armed with every-
thing from elephant guns to can openers.
The spot chosen was almost on the river
bank, so Van asked me to take Edwina
down in a row boat, saving her the long
walk through the tall grass and bush,
soaked with dew. A native would stand

at the river bank and signal us ashore,
he said.

We left at five and got down there in
about an hour — it was downstream. Ed-
wina was wearing her abbreviated costume,
barelegged and bare-armed, with a cork
helmet protecting her from the sun. The
country was pretty wild — nothing but ele-
phant grass, low trees and bushes, and all
of them drenched in the early-morning dew.
The native told us that the party was wait-
ing about one hundred yards away.

After fifteen minutes of very tough
going, almost chopping our way through
the clammy foliage, I asked the native
where Van and the boys were. "Sijui.
bwana," he said, grinning. We both knew
enough about the language to know that
that was Ali's quaint way of telling us that
he didn't know. I confronted Edwina
with what must have been a slightly under-
slung face.

"Don't look as though all hope has van-
ished," she told me. "I think we can land
a taxi right up here at the corner."

An hour later, guided by some shots the
boys had fired, we found the location. We
were soaked from head to foot and Ed-
wina's arms and legs were badly sunburned
and scratched, but she was laughing.

When Van told us that he had shot a
buffalo on the way out and when I real-
ized that I had been unarmed it dawned
on me that getting lost was a minor ri-k
compared to the danger of encountering
something like a large snake or a bull
buffalo. There weren't even any large
trees to climb.

While we shot the pictures of the falls,
proper, everybody had to walk two miles
twice a day over a native trail through the
densest part of the jungle. We did this,
Edwina included, every day for a week to
get the best pictures of those beautiful cata-
racts that have yet been made. Once an
elephant dropped a tree across the path
It took a day to clear it away.

The rest of the journey — the long
months among the pygmies at Arebi in the
Congo, shooting rhinos near the White
Nile, making an elephant sequence near
Wando — unfolded like a Jules Verne pipe
dream. Through the entire scene Edwina
remained the same wide-eyed kid that
sailed from New York that day on the He
de France. She was betting against tre-
mendous odds, she knew, but she had her
money on the table. She was calling Fate.
There was no need to worry, then; only
sit back and wait for the show-down.

It's all over now. Edwina is back in her
own country. The fever, the heat, the in-
sects and the canned food are part of a
dream from which she awoke a bit tired,
perhaps, but no less charming. Whether
the reward she played for is worth the risk
she ran is another matter; perhaps the pot
holds nothing but I.O.U's. The world will
know more about that when "Trader
Horn" is released.

Our own guess is that if there is any
fight left in old Mme. Justice she will drop
her scales for a moment and give this little
gal a great big hand.

You have read the psycho-analysis of Joan Crawford in this issue.
Her husband, Douglas Fairbanks Jr., will be the subject of Ja?nes
O ppenheim's penetrating psycho-analytic portrait next month.

for March 2 9 3 0

121

Hollywood, Home of the
Arts

Continued from page 53

of the first of the great Russians, and now
Michel Fokine, perhaps the greatest of all
the foreigners.

Great directors: Richard Boleslavsky,
director of the original Russian Art Thea-
ter in New York, now with Pathe. He
conceived and directed that marvelous dream
ballet in "Paris Bound." Larry Ceballos,
who has done the big show pieces for
Warner Brothers. Frank Reicher, the great
German actor and director. Reicher alter-
nates between acting and directing.

The cream of the literary circle has been
corralled by the west. Sidney Howard is
with Pathe. He is the author of "The
Silver Cord," "Ned McCobb's Daughter^
and "They Knew What They Wanted,"
which will be Vilma Banky's next picture
under the title of "Sun-Kissed."

Salisbury Field is now a staff writer at
Metro-Goldwyn. He is co-author of "Twin
Beds," the creator of 'Child Harold' car-
toons and is well known as a fiction writer.
And Zelda Sears, noted authoress and
playwright, is also under contract to Metro.
Miss Sears has had stage experience so she
can pinch-hit for one of the stars and play
one of the characters which she creates
if necessary.

Ernest Vadja, well-known Hungarian
playwright, is with Paramount. George
Abbott, Bartlett Cormack, and John V. A.
Weaver are other literary Paramount con-
tract holders.

Stephen Vincent Benet, Pulitzer prise
winner and other literary awards, is in
Hollywood writing dialogue for D. W.
Griffith's forthcoming picture based on the
life of Abraham Lincoln. Mr. Benet, as
you probably know, is the author of the
100,000 word poem, "John Brown's Body."

Clare Kummer is writing dialogue for
Fox. Miss Kummer is a successful play-
wright and has also written a number of
songs. Ben Ames Williams, famous writer
of short stories, is also a Fox contract

Robert Armstrong and his wife,
known to the stage as Jeanne
Kent. Bob is the nephew of our
cover artist, Rolf Armstrong.

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THE NEXT ISSUE OF SCREENLAND WILL BE
ON SALE MARCH 1st

122

SCREENLAND

Doug. Fairbanks, Jr.

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holder. Mr. Williams i< writing an orig'
inal screen story for Will Rogers. Among
the other well-known writers who are
sojourning in Hollywood are Gene Markey.
Arthur Richnian. Margaretta Tuttle, Rupert
Hughes and Charles Kenyon.

Among the stage producers who have
left Broadway for the great open spaces is
George M. Cohan. Fling out the banners!
Mr. Cohan has been invited by United
Artists to write for and direct Al Jolson.
Arthur Hammerstein has already started on
his first talkie production. Even Flo Zieg-
fcld has joined Goldwyn as a producer and
will make three Ziegfeld-Goldwyn produc-
tions, the first of which will be Eddie
Cantor in "Whoopee." George Middleton,
famous playwright, is now an associate pro-
ducer at Fox Movietone City.

As for the composers and lyricists, they
are Movieland's New Rich. So thick are
they that it seems sometimes as if half the
headlines in the papers now say: "Song
Writer Sued for Breach of Promise" or
"Song Writer Arrested for Speeding." If

there is any Tin Pan Alley left in New
York the tin must be very poor and the
pans small. Charles Wakefield Cadman,
eminent composer,- who has At Dawning
and From the Land of the S\y-Blue Water,
to his credit, is writing screen songs. The
tuneful music of "Devil May Care" and
"Rogue Song" ar£ his contributions to the
talkie art. Clifford Grey is theme song-ing
it at Metro, too. Jerome Kern, Otto
Harbach, Sigmund Romberg and Oscar
Hammerstein have been engaged by First
National and Warner Brothers to write
original operettas for the screen. They
have signed five-year contracts.

Yes, even the great bandmasters have
gone out Hollywood way — paging Paul
Whitcman, Rudy Vallee and George Olsen!

Thus you see, dear fans, that your film
favorites are not the only artists in Movie-
land. The whole world of Art has sent
out its greatest exponents and if Southern
California is not now the cultural center
of the United States I should like to ask
what place is!

And Now They Get in Your Hair

Continued from page 21

taken up with her own art, has little in-
terest in the work behind the microphone.
And, yet because of her silence, few people
realize how much Greta does know about
sound picture making. Her dramatic train-
ing in Sweden has stood her in good stead
during the making of "Anna Christie" and
from the excellence with which she has
been able to project her voice it may be
judged that the Swedish star knows more
about sound picture making than her
languid manner would lead one to suppose.

Marion Davies' energetic curiosity and
love of life would not let her remain long
in ignorance of what it's all about. She
was among the first to probe the mysteries
of sound. At her hospitable home she has
had her private projection room wired for
sound and often runs the projection ma-
chine herself. This requires a fairly de-
tailed knowledge of the mechanics of the
task.

Anita Page is also 'in the know' so far
as sound and everything connected with
it is concerned. Anita was sent to the
University of Southern California to take
courses in elecution and kindred subjects.
From this it was a natural step for Anita
to begin prowling about the studios on her
off days picking up what knowledge she
could about the apparatus that reproduced
her voice in the theater. During the
making of "The Broadway Melody," she
and Bessie Love were constantly in the
recording chamber and monitor room.

Just as an example, to clinch our point.
I want to oiler a few comments from Robert
Montgomery.

Montgomery is the young star of "Pos-
session" who had been a hit on Broadway
for several years. Coming west under con-
tract, he has made good in the movies.
In his early twenties, Montgomery has a
fresh and vivid outlook on the whole talkie
panorama.

As this is written there is a slight produc-
tion lull at the studios. Montgomery hasn't
worked since the close of Norma Shearer's
"Their Own Desires." about three weeks
ago. But every day he has been at the
studio. I have found him everywhere but
in the window-washing department.

So I asked him what it was all about.

"I'm not the only one," he said. "You'll
find they're all doing it. Perhaps I'm a
little conspicuous because I have been

driving rather heavy. But I'm new from
the theater and I feel there is still a very
great deal about the fundamental bases
of this business that I've got to know
before I can be sure enough of myself to
be certain that I won't make any costly
'bobbles.'

"We actors are invading the sound de-
partments, not because we distrust the tech-
nicians' explanations to us, but in order
to translate these statements into our own
language. Many of these sound men were
trained far from the stage. They know
their own stuff, wonderfully, but sometimes
they have trouble passing it on to a poor
dumb actor.

"So I've just messed around. I've been
up in the monitor rooms by the hour. I
have been allowed to twist those dials my-
self. I know by behind-the-scenes experi-
ence what it means to the recording men
when an actor gets careless with his articu-
lation. I have been in the recording room
and have seen the strain sudden changes of
loudness place upon the delicate photo-
electric cell, or the needle of the disc-
recording machines.

"I have been in the laboratories and I
know how a recording can be affected by
an improper printing for light values of
the sound track from which the dialog is
taken by the reproducing machines.

"It's all been very new, this intensive
search for knowledge about phases of film
production. I never studied so on the
stage: and I understand this scurrying
around is new stuff to the screen people.
But. by golly, it's absolutely necessary.
We're building a new technique, and the
fellow that learns it first gets the gravy."

'The fellow that learns it first gets the
gravy' — that then is the keynote of all
this present breathless search for advanced
talkie knowledge. The wise ones among
the players know that the motion picture
industry, in itself, is a very firmly estab-
lished business. It could hardly be affected
long by even such an industrial revolution
as that brought about by the introduction
of voice to the screen. In other words,
it took this whole change 'in stride.' to
use a race-course phrase. It didn't stop
or falter, and its individual personal com-
ponents have had to keep up to this tempo.

If they are not working, call them at the
studio. They'll be there!

for March 19 3 0

123

Color Makes the Form Go Round

Continued from page 25

have advanced as far in color photography
as they moved in black and white in ten.

By expert use of color, Mrs. Kalmus
points out, the producers are getting the
effect of a third dimension on the screen.
Sometimes by accident, now more often
by design, you see a technicolor sequence
that is truly stereoscopic. The figures
■stand out, round and real. The back-
ground falls away from the figures. A
few more trials, a few more errors, and
every technicolor scene will be like that.

It is a matter of shades and shadows,
tricking your eye into an illusion of round-
ness and depth.

Edward Stevenson, in charge of costum-
ing for First National, has gone far in
painting curves on costumes to give depth.

"Fitting the form, now," he says, "is
only half of the job. We are using color
to create an illusion of the third dimension.
And when we get that effect we are able
to do anything we choose with figures.
We can cut the curves and make a star
slender or we can let them run wide and
add fifty pounds."

No longer can a star wear outside the
studio all the gowns she has used in a
picture. Gowns now are made up with
the same skill as faces and the beautiful
lacy costumes in pastel shades that made
Marilyn Miller stand out, a dainty, slender
figure, in "Sally," would look something
like a camouflaged battleship if worn at
the Biltmore.

Colors in contrast, shading, strength here,
weakness there, handled expertly by the
artists and cameramen give the effect of ac-
tual perspective, and the figure that in
black and white was flat against a back-
ground now stands out as if seen through
a stereoscope.

Colleen Moore's slender figure needed
roundness and more than a hint of volup-
tuousness for "Footlights and Fools," and
technicolor, with painted costumes, gave it
to her.

Shadows and highlights bring various
effects. As dark make-up under a chin
takes age from the throat and streaks on
the cheeks add years — tricks that remodel
the face — so does the designer lay colors
on a gown or stockings or shoes to bring
an appearance of curves or angles or thin-
ness or weight.

Just any fabric won't do, in getting these
effects. Several Eastern mills have pre-
pared special dyes and textures — techni-
color blue, technicolor lavender, etc, they
call them — which perform under lights ex-
actly the job that the designers wish. Some
fabrics die under cross lights, some jump
out at you with shades you never suspected
they had in them.

The job of the color staffs, these days,
is to harness these bucking colors and to
use their eccentricities to the best advantage.
When a color jumps back — that's the one
to use on a background. A color that leaps
forward — put that, of course, in front.
And there you have perspective. It's not

quite as simple as all that, unfortunately,
but that's the general idea.

In "No, No, Nanette," Bernice Claire
needed to be made almost chubby, when she
was the little Dutch dancing girl. Color
added ten pounds and took two inches off
her height.

White girls by the proper use of color
were given Oriental face and figures in
Richard Barthelmess' "Son of the Gods."

The costumer also must make his colors
fit the moods of the story. In Paramount's
"The Vagabond King," warm colors were
used for situations of happiness and with
tragedy came the menace of bright scarlet
and deep black.

The art department must color its sets
to fit into the mood of the scene. Rich
blue and gold are used in "The Vagabond
King" for suggestions of cold majesty, and
somber grays and browns for the gallows
and for the meaner sections of Paris.

The old ideas of make-up are thrown
aside for technicolor. While it wouldn't
do to go to a party, in many instances, in
a gown made up for technicolor, your tech-
nicolor face probably would do rather well.

John Collins, make-up artist for Para-
mount, is one of the pioneers in color
make-up. He has taught the actors to use
mascara and grease paint sparingly, so that
they look like human beings, rather than
dolls.

Some actors with ruddy or dark skins
are able to work entirely without make-up.
George Bancroft and Jack Oakie, for in-
stance. Dennis King requires only a thin
coating of light grease paint, and Jeanette
MacDonald could go right from the studio
stage to the theater and not touch a tint.
Lillian Roth, as the vagabond maid in
"The Vagabond King," needed dark hues,
because of her characterization, as did
Warner Oland, as the villain.

Lawrence Tibbett, in making "The
Rogue Song" for Metro-Goldwyn-Mayer,
found, with Lionel Barrymore, the director,
many opportunities to blend harmony with
color. Spring songs are enhanced by spring
colors. For dramatic songs, somber hues
are used. Color puts the audience into
the proper mood even before the first notes
of the song are heard.

Every department in the studio is ef-
fected by color, just as it was by sound.
Color is making new material available.
For instance, Universal, in its Paul White-
man picture, "The King of Jazz," is to
stage George Gershwin's Rhapsody in Blue,
in blue. It's a job that would fall flat in
black and white.

As the various departments in the stu-
dios learn the knack of color, new effects
are certain to appear in every new tech-
nicolor picture.

Anything is possible in motion pictures.
Perhaps someday a producer may need an
elephant, when no elephant is available, and
his clever color experts will take a camel and
color him up until you can't tell him from
Jumbo. Why not?

Hollywood, I Love You — Continued from page 19

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Continued from page 59

wrong. I had to have personal stationery
printed for each one of the principals who
play military roles. That means getting
the title of each one and their business
translated correctly into Russian and Ger-
man. This death sentence, the proclama-
tion and other legal documents took weeks
of research to get right. Even the Rus-
sians were not sure of the true text of these
official papers. That's not surprising —
how many of us know the text, letter per-
fect, of our Declaration of Independence?
The proclamation had to be printed in three
languages, French, English and Russian,
on the same sheet of paper. After the trans-
lating had been managed, the printing had
to be done in twenty-four hours. There's
only one Russian printer in Los Angeles —
and did I rush him! When he got through
it had to be taken to the French and Eng-
lish printers — whew!"'

I could see the sense of having the proc-
lamation right because a close-up had to be
taken of the text, but for the life of me
I couldn't see why letter-heads mattered.
It seemed to me that any old thing would
do. But Brenon doesn't work that way.

"He steps into a picture just as he
would step into another country. Every-
thing has to be authentic. It helps put
the players into the right frame of mind —
adds to the spirit of make-believe; and
then, too, in a close-up. a camera is apt
to pick up the words if the letter is in
the hands of the player or in an open
file. Can you imagine the shock to an
audience to think an actor is reading a sup-
posedly Russian letter and see 'Roosevelt
Hotel, Hollywood, California' at the top?"

Then Bill began pulling out drawers,
opening trunks and packing cases until my
head whirled. There were, just to mention
a few of the fifty thousand working props
used in the picture, a Russian spoon with
the faces of two ladies carved, one on either
side, symbolizing the two women who in-
fluenced Grischa's life. There were Rus-
sian and German buttons. Russian coins,
four of them gold pieces of different values
up to ten dollars each. Ikons, prayer cards,
Russian playing cards worth $100 a pack,
German playing cards worth almost as much.
A cross of St. George for valor and brav-
ery, an imitation cross of the Blessed Sac-
rament, cigarette cases and Russian. German
and Spanish cigarettes and cigars of all
kinds, about fifty brands in all.

In the prop drawer for foreign smokes
were also to be found chewing tobacco,
German snuff; pipes, the oddest looking
things, and some Italian cigars smoked by
heavy wine drinkers. "One puff of that
and a man not used to it would be under
the table." Bill told me. The Polish pipes
were interesting, all with wind tops on
them to keep the breeze from blowing out
the light or the snow from sifting in.

In the gun box were to be found a pair
of barbed-wire entanglement pliers with in-
sulated handles for cutting charged wire. I
held a nail three inches long which Bill
cut as easily as though it were made of
butter. There were German rifles, car-
bines; a pistol holding twelve cartridges,
very dangerous to use because of the kick;
soldiers' drinking cups, bayonets, all of
them real, all of them having been used
in the war.

Chester had a bayonet duel and just to
be on the safe side Bill produced two bul-
let proof vests for the combatants to wear.

This may give you a sight idea of the

duties of the property man. Almost all
the prominent directors, that is to say,
those assigned to the most responsible pic-
tures, arc very particular as to detail.

Mr. Brenon called lunch and invited me
over to the little open space around a bench
where it was being served. Betty arranged
the quaint Russian costume she wore which
she declared was 'awful.' "However, now
that long skirts have come in I'm in style
at least," she said. Betty loves long skirts
for evening wear because they are so grace-
ful. "I always did want to wear trains
and now I can do it without breaking all
the conventions. But for street wear, short
skirts are the thing. I don't think women
will ever go back to them for daytime use."

Betty thinks women look so much better
with waist lines — she couldn't bear the
straightdown-long-belted style and is glad
to get a change from it.

"Has anyone any salt?" Mr. Brenon
wanted to know. None of us had. "Mr.
Lissner." he called. Ray Lissner has been
his assistant for I don't know how many
years. When Mr. Brenon has a complaint
or a formal statement to make, his assistant
is 'Mr. Lissner," any other time it's 'Ray.'
On this occasion Mr. Lissner was wanted.
"Find out how many people haven't salt
and find out why they haven't. Salt and
pepper should be served in every box. The
studio is paying for the service and it
should be given." Later he saw Betty eat-
ing some apple pie. He had none. "Have
you some pie, Helen?" he asked me. I
had, so had Chester and Herb Moulton,
my escort from the publicity department.
"Mr. Lissner, why haven't I some pie?
Find out how many people haven't pie and
have Bill Billings see to it tomorrow that
every box is the same." The two boys
offered him their pie. "I don't want it," he
said laughing, "but there is nothing that
will spoil the morale of a troupe like poor
or insufficient food. Probably half of those
workmen and soldiers are pieless and if one
has it all should have it."

That's just one of the reasons why Her-

Thelma Todd teaching her dog
new tricks. He might make a
comedian some day, who knows?

for March 1930

125

bert Brenon is so popular with his staff.
The studio declares him to be a very de-
manding person but he gets results and he
sees to it that his staff and all of his
players are well paid and well treated.

Betty didn't have to work in the after-
noon so she hailed what she calls her
location car, a Lincoln, and we walked over
to it with her. It looked pretty swanky,
I thought, to be delegated to the location
class which means hard usage.

Watching her climb into her town car
I thought the Russian costume looked so
incongruous that I asked the 'still' man to
shoot Betty, just for your benefit!

While the next scene was being set I
was conducted over the 'forest' through
which Chester Morris escapes from the
prison. The trees, sixteen hundred of
which were to be dead, had been supplied
by Joe Evergreen, a Japanese whose real
name is Juro Hirai. It was too much for
for the American tongue so, for the seven-
teen years he has been in business he has
been known as Joe Evergreen. He is asked
to supply everything from a pansy to a
pine tree for pictures. He provided New
England shrubbery for one, Fiji Island
jungle stuff for another; the Spanish garden
for "Rio Rita"; the oasis for "Beau Geste";
the apple orchard for "General Crack," and
others.

The 'forest' was covered with 'snow'
which is made of gypsum and unbaked
cornflakes; gypsum on the ground and corn-
flakes for the falling snow, tons of it.
Theie was an enormous arc light used in
the war on the Austrian front. It could
be adjusted about twenty-five feet in height.
Besides flooding the battlefield with light
it provided a guide for airplane landing.
The inscription read 'C. D. Magirus, Aktien
Gesellschaft, Ulm am Donan,' which means
Ulm on the Danube. It was brought over
here by RKO at a cost of eight hundred
dollars, not especially for this picture, but
Grischa is the first film for which it has
been used.

A huge silver balloon floated above the
location to warn airplanes that a sound pic-
ture was being taken and to keep off the
territory. It was hard to keep people on
the ground quiet, though. There were
doz,ens of automobiles and seven touring
busses which transported the soldiers. Work-
men were finishing the cathedral and a
gasoline air compressing engine was being
used to spray paint on the pillars. There
were portable emergency generators and a
lot of other gadgets scattered about. A
huge police alarm was used to warn all

hammering to cease and for everyone to
hold everything. But out in the open it
sounded like a tea bell, Mr. Brenon dc
clared, and after two takes had been ruined
he was frantic.

"We'll have to wait till the trains go
by," came from the sound department. A
whistle about three miles away had blown
during the last take, but Mr. Brenon didn't
mind that. "It's just loud enough for
people to know what it is and it lends
atmosphere to the scene — they have trains
in Russia!" This particular scene where
Chester is arrested was supposed to have
been at a Russian peasant's cottage. "But
something will have to be arranged to insure
quiet," he raged. "Get a siren — get any-
thing that will let everyone on the ranch
know we have started the scene."

"That's going to please Eddie Horton,"
laughed Chester. It seems that Edward
Everett Horton bought some land on Ven-
tura Boulevard to get away from Holly-
wood and pictures. He built a beautiful
home and had the grounds landscaped to
his utter satisfaction and then, with the
whole of San Fernando Valley to choose
from, RKO buys fifty acres of land directly
adjoining the Horton estate!

I asked Major Hans Joby of the 1st
Bavarian Infantry, 3rd battalion, and now
technical man for all German atmosphere
whether the soldier extras ever did any-
thing else in pictures and why they had
chosen pictures after they left the war.

"After four years in the trenches it was
pretty hard for some of the boys to snap
into business and office work," the Major
said. "Pictures were more like what they
had become accustomed to. All these men
have seen service; all are from different
nationalities. They have become known as
soldiers and so they are types and are
rarely called upon to do anything else.
They always work when I have a war pic-
ture; I can depend upon them absolutely."

Major Joby saw service on five fronts
during thirty-six months of the war so he
should know his military maneuvers.

Jean Hersholt, Paul McAllister, Alec B.
Francis and Gustav von Seyfertitz are other
important players in the cast of "The Case
of Sergeant Grischa." The picture has all
the ear marks of being swell entertainment,
so you'd better not miss it. And although
it is a war picture, it is unusual in that
there isn't a battle scene, and not a shot
is fired. It all has to do with the dramatic
moments in the life of Sergeant Grischa
and the girl he loved.

Joan Crawford Psycho-analyzed

Continued from page 29

feet solidly on the earth.

What do you make of it? Don't you
think Miss Crawford is running herself
down a bit, due, possibly, to one of her
moods?

The way I see the picture is this:
Joan Crawford belongs to the extraverted
feeling type of woman, that is, the type
which is sociable, adaptable, with charm,
grace and vivacity, and while feeling is
queen in her, this queen is about equally
served by the two hand-maidens, sensation
and intuition.

The feeling of inferiority is probably
strong, a hang-over from her early days.
But it must have been this feeling in her
poor childhood and youth which awoke
a burning ambition to rise to the top.
Most of those who have succeeded con-

spicuously, started life with a handicap of
inferiority. The uncouth rail-splitter dog-
gedly sets himself to learn to read and
write, to become a good mixer, to become
a lawyer, to become a politician, and finally,
to become President. The feeling of in-
feriority in a person of possibilities is al-
most unbearable; it is a gadfly stinging the
sufferer into overcoming it.

But this feeling makes for introspection,
moodiness and introversion. So I should
say that Joan Crawford is an extravert,
with a generous slice of the introvert mixed
in. And, of course, the hard fight she has
put up has strengthened the extravert.
On the other hand, the introverted side
means depth, and that is why she has grad-
ually deepened and become an unusual
artist. One feels that there is more to

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Now You Can Write for the TALKIES

THE ART OF
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Joan Crawford than she has yet brought
into daylight; she has not reached the zenith
of hci possibilities.

As to the above-mentioned hand-maidens,
she has a markedly sensational side, some-
thing wild and of the dance, something
that craves excitement and also produces it.
Intuition, also marked in her, is another
reason for her success, and has acted as
a balance wheel to the sensational side.
Women who are mainly sensational usually
grow more and more reckless and extrava-
gant in the search for excitement, pleasure,
and all the things of the flesh. Often they
dash themselves to pieces, as did the beauti-
ful Barbara LaMarr.

But intuition, which is a noble thing, the
gift of artists, inventors and those who see
into the troubles of others, may also be
a hard thing. If one is ambitious, it helps
you up. Your intuition sees possibilities.
'That man can help me." 'Now is the time
to strike." 'I must change my conduct to
get by with these people.' Hunches. This
leads to the development of a hard practi-
cality, and this practicality simply won't
allow the sensational side to run too much
amuck. In fact, the sensational side may
even be used as part of the play, to attract
attention, to be the life of the party, to

entertain others, to make oneself liked and
sought after.

That explains, I believe, the contradiction
in the two answers: 'I am very idealistic'
and 'I am very practical." Barbara LaMarr
was far too unconcerned about her own
interests. She gave joy, kindness, help,
pouring out all she had in reckless love
and delight. Joan Crawford has had her
hand on the steering wheel, she has seen
what she wanted and the way to go, and
her career has strengthened and deepened
her both as a woman and an artist.

My own bet is that Joan Crawford has
too much of the real stuff in her to get
side-tracked for long in the realm of sweet-
ness and light. Sweetness she has, but it
is only one of her traits among many.
There's a bit of devil in her, a bit of the
barbaric and wild; good stuff that makes
for power. As the psychologist, Jung, puts
it, anything too pure or refined is too 'thin;'
too one-sided; and therefore lacks greatness.
I take it that the energy, the devilishness,
the I-don't-give-a-hangishness, which, com'
bined with practicality, brought Joan Craw-
ford to stardom and success, will go on
putting in their good work, however much
her new life modifies her nature, and bring
out possibilities that will make her a last-
ing power on the screen.

teMy Buddy — Continued from page 27

sorts of dangerous stunts in the air, and
there is a lot of shooting and bombing
going on all the time. That is why they
got so exclusive.

I parked my car out of range of the
cameras (I could see them over by one of
the big hangars) and walked over to
where Director William Wellman and his
technical crew were at work.

Buddy and three other fliers were in the
air, having a terrifically exciting fight, and
a fast camera plane was scooting around
them in a circle, photographing the action
as they went through it.

One ship, with a big star and circle
painted on the lower part of the wings,
was out-flying, out-racing, out-thrilling all
other ships in the flight. It fascinated me
to watch it.

"In that ship," I thought to myself, "is
some foolhardy stunt flyer who doesn't care
for his life."

Of course it was Buddy Rogers. I know
that you're "way ahead of me.

When he finally dropped to the ground,
making a perfectly grand landing, he
jumped from the cockpit with that gorgeous
smile of his turned on full blast.

"Was that O.K.?" he called, as he ran
up to Director Wellman. "It side-slipped
a lot on that last Immelman turn and I'm
afraid I got out of range of the camera
plane, but the rest of it seemed to be all
right to me."

"It was fair," Wellman replied. "But
we'll do it over again.'

"Right!" said Buddy. "Call me when
you're ready."

He went over to the prop truck to get a
drink of water. I followed him.

"Hello, Nancy," he called, as he caught
sight of mc. "Want a thrill? I'll take you
up for a ride if you'll go. Gee! It's the
first time since 'Wings' that I've had a
chance at a ship and it's great."

He was so excited that his face was fairly
beaming. He spilled water all over his
chin in his haste to drink it quickly. He
wiped it on his sleeve.

"I've come out to interview you for
'Screen land,' " I told him. "I didn't

come out to lose my life. As a matter of
truth, I didn't really come out to inter-
view you. I just happened to be driving
by, stopped out of curiosity, and here you
are. You seem to be pretty much up in the
air. Come on back to the studio lunch
room, where I can be sure you'll calm down
and stay on the ground. You've got to
do an interior scene anyhow — and I've got
to work in 'Honey.' "

Back in the studio lunch room, with both
of us made up to appear in our parts, he
looked as if he'd stay put on his seat for
a few minutes, especially with a healthy
meal to weight him down. Feeling he was
practically at my mercy, I began.

"As an interviewer I ask you: to what
do you attribute your great success?"

"Aw, don't razz me, Nancy," he pro-
tested. "Do you sure enough have to write
an interview? Well, tell 'em that my ideal
girl is one who can roll brown paper
cigarettes with one hand, that my favorite
author is Ring Lardner, that I think talking
pictures are just in their infancy, and that
I'm kind to my mother. Also tell "em
that my favorite actresses are Mary Pick-
ford and Nancy Carroll, that my favorite
director is Bill Wellman, and that Tom
Heflin is my favorite senator. After that
put down what you want."

I tried to make him be serious.

"Please don't make fun of me," I
pleaded. "I really do have to write a story
about you. And I'm just a girl trying to
get along, and the rent's due and I haven't
had anything to eat for three days. No
cake, anyhow."

"We're just in time," Buddy assured me.
and he reached over to the next table and
took a piece of cake belonging to bis
director.

"Here, take this," said Buddy, grandly.
"Wellman doesn't mind. I ate mine. But
I'll share your cake with you."

And so, sitting there talking, we ate it
together.

"But, seriously," said Buddy, munching
his cake, "I never had a better time in my
life than making pictures. You can point
out that in your interview if you want to.

for March 19 20

127

"I thought that I was having all the fun
that anyone possibly could have when I was
in school at Kansas U, playing in the dance
orchestra, going to classes, getting the work
out of the way. And later, when I went
back to work for Dad on the paper in
Olathe, I thought that it was great. But
since I've been in pictures in Hollywood I
know that I will never enjoy anything more.

"In the first place every new picture is
an adventure; a lot of real excitement. Why,
in the last one, 'Half Way To Heaven,'
we had days and days of thrills on the
flying trapeze. And now, in 'Young
Eagles,' why — it's just like being back on
'Wings' again."

It was during the making of "Wings"
that big picture of aerial warfare, that
Buddy Rogers learned to handle a plane.
He does it like a real veteran. I could
see that as I watched him when I first

glimpsed his ship in the air.

That is typical of Buddy. Anything he
does he does well. He has the physical
and the mental equipment to accomplish this.

I don't believe that the general public
realizes Buddy Rogers is a shade more than
six feet tall, and that he weighs one hun-
dred and seventy five pounds. He would
be a likely candidate for any football squad,
and I daresay he'd make considerable of a
name for himself in that sport.

Around the studio where he and I work
few people have more friends than he. You
hear him called 'Buddy' by everybody.
And they are sincere when they tell him
that 'I'm glad to see you,' and they know
he is sincere when he says the same thing
to them.

I like Buddy a lot. But, as I warned you
before, perhaps that is just because I like
boys, particularly my brother Tommy.

In New York — Continued from page 91

She was a frank, brilliant girl, with long,
straight, wild hair and a tomboy manner.
"There are three things I want in life,"
she told me then. "To be married, to have
a baby, and to go to Europe."

Since that time she has received all three
wishes. And happiness agrees with her.
She is much prettier now. She has lost
that gauche quality she had. Her face is
softer, her hair is short and cleverly waved.
Where she used to be merely good to look
at, there is a startling, emotional quality
about her now. You feel here is a woman
who is always on the brink of exciting
events. They may be wonderful. They may
be tragic. But they will always be hap-
penings which will stir up the depths.

"I don't know what picture I'll make
next," Miss Boardman went on. "The film
I enjoyed making most of all was 'The
Crowd.' King directed me and I think it
was the best work I've done. Of course,
the role I would like above everything
would be to play Catherine in Ernest Hem-
ingway's 'Farewell to Arms.' There's a real
woman for you!

"There hasn't been the slightest sug-
gestion of my doing it, but I'm going to
keep on hoping, for" — she laughed in that
deep husky voice of hers which belies her
almost fragile figure — "my wishes have a
way of coming true."

A little gem from the light operas —
that's Marie Saxon, the slim, blonde, song'
and-dance girl who has made her talkie
debut in "The Broadway Hoofer."

Marie is what I would call the bright
musical comedy light in a city full of bright
musical comedy lights. She has made hit
after hit in the Broadway successes of "Bat-
tling Butler," "Merry Merry," "The
Ramblers," "My Girl," and "Up's a
Daisy." Harry Cohn, one of the big
bosses at Columbia Pictures was a friend
of Marie's husband. He met the wife, and
signed her up— with a big contract and a
salary to match.

Miss Saxon is a darling. A remarkably
sincere and well poised hostess, possessing
seemingly an imperishable spirit of gaiety.
Last week she gave a party at her husband's
apartment. He, by the way, is Sid Silver-
man, son of Sime Silverman, owner and
editor of the famous theatrical paper,
Variety. Both father and son swing a
pithy pen. They can say more — and fun-
nier— in less space than almost any scribe
on Broadway.

Sid's apartment, I vow, is only a tiny
bit smaller than the ex-Kaiser's palace at
Potsdam. Enormous rooms and tons of

them. All furnished so livably. Marie's
boudoir quite won my heart. Panelled in
rose petal satin, with a big white bear skin
on the floor, it is a lovely setting for her
beauty.

I think Miss Saxon is to be envied. In
addition to her talkie success, she seems
surrounded with love, warmth, color — a
real home and real folks. And to a trouper,
familiar with one night stands, and hot dog

lunches — that must be Seventh Heaven!

$ $ %

They are certainly saying it with parties
these days in New York. It's been almost
two weeks since I've had to buy my own
afternoon tea. This time it's Joan Bennett
who's passing out the buns.

Joan, just to keep you straight, is the
youngest, tiniest and sweetest Bennett girl.
Constance is the grande dame of the family.
She lived in Paris a long while and is a
distinguished personage. Barbara, the sec-
ond sister, is married to Morton Downey,
the honey-voiced tenor. And Joan — well,
Joan married at seventeen, was a mother at
eighteen, and now, at nineteen, is a free
lance, matrimonially speaking. That is, she
is free to look forward to -a Happy Prince.

There is something terribly wistful about
Joan Bennett. She is reserved and modest.
The other afternoon she was dressed in
black velvet trimmed with ermine, and a
tight little raven hat which rested gently
on her golden hair. She sat huddled in a
big chair with not much to say. But like
a child in a strange world, her eyes roamed
the room as much as to ask: "All you
grown-ups here, are you my friends — or
aren't you?"

Joan, because of her splendid work in
"Three Live Ghosts" and "Bulldog Drum-
mond," is about to be starred in
"Smilin' Through," Norma Talmadge's
silent success of several years ago. An un-
usual honor for one so young whose career
has been so brief.

With Miss Bennett were the three mus-
keteers from the United Artists lot. John
W. Considine, the big executive, with his
pink cheeks and prematurely gray hair;
William Cameron Menzies, the artist, who
has created many of Douglas Fairbanks'
finer sets; and Thornton Freeland, the bril-
liant director of "Three Live Ghosts" and
other films.

Considine is thirty-two; Menzies, thirty-
three; and Freeland, thirty-one. There is
a marvelous spirit of camaraderie between
the trio of them. And they treated Joan
much like three large and worldly brothers
would treat their little sister.

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Arthur Lake is — can you believe it? — aren't we?'' But I like him that way. He's

really as boyish and buoyant as he seems a really nice boy. And he has a disarming

on the screen. He is still unspoiled, and modesty for so fresh and frolicsome a young

when he and his sister Florence came to man. Radio Pictures had just signed him

Manhattan they saw all the sights. "Even to a long'term contract and his trip to

went down to Wall Street and looked it New York was in the nature of a celebra-

over," said Arthur with a grin. "Naive, tion. The best of luck, Arthur!

Getting Into Character — Continued from page 31

Even when they begin to see things they
sit fascinated, hypnotized apparently, their
eyes getting larger and larger with terror
like a bird that is being lured by a snake.
I went about searching for drunkards so
that I might watch what they did. That
isn't as hard as you might think in this
land of sobriety," she smiled. "Of course,
as I had a scene to play I couldn't do just
what the absinthe addicts did but I tried
to give the impression that I was inert and
staring even when my body had to move
across the room. It took some practice
but most of all I tried to get into the
mental state of a person steeped in liquor.

"Just now our house has gone Austrian.
I'm playing a Viennese girl in 'Sarah and
Son' and Ralph (Ralph Forbes) is play-
ing a German boy. We often have to eat
our dinner in costume when there are night
scenes to take and we chatter in German
to brush up our dialogue. I never could
speak German so I have had to study hard
for this picture."

Corinne Griffith went to Europe before
she did "Prisoners," partly for a vacation,
but she traveled all through Hungary study
ing the manners and customs of the people,
taking photographs of houses and inns and
farms she thought would be of value to
the technical department. She talked with
the women and sat in several cheap restau-
rants to watch the waitresses, because that
is what she had to play in "Prisoners."

George O'Brien never had to train
specially for any part he ever played. He
had to brush up on some of them, but as
a boy and the son of San Francisco's
Chief of Police he had opportunities to
learn snatches of everything he has since
been called upon to play on the screen.
For instance, he spent several weeks at the
Eureka logging mills, and that experience
will come in handy in his next picture, as
yet un-named. Years ago the San Francisco
Examiner sent several boys out to see how
riveting was done. George was one of
them. He played football in college, and
learned about ships from the Navy during
the war. He was taught boxing by some
of the crack boxers who visited San Fran-
cisco; and when he did "Is Zat So" it was
merely a matter of brushing up. This was
just after he played "Sunrise," a mystic,
strange, atmospheric sort of part. George
declared all he had to learn how to do
there was to murder, and he drew the line
at practicing up on that accomplishment!
Art is art and all that, but an actor has
to draw the line somewhere. Right after
that, before he had shaken the mystic qual-
ity of "Sunrise" from his mind, George
was scheduled to do "Is Zat So." "I went
out on the road with Leo Houch for ten
days," George told me, "and lived, ate and
slept fight during the whole time. I worked
myself right into the atmosphere of it and
then came back to the studio."

George told me that when Richard Dix
played the carpenter in "The Ten Com-
mandments," Cecil De Mille advised him
to hang around the shop for a few days
to get a line on the professional way to
handle tools. So Richard got himself hired
as a laborer. Twice he was balled out by

the boss — once for neglecting to punch the
time clock and once when he stooped over
too far and the nails fell out of his over-
alls. A good carpenter never lets the nails
fall out of his pockets, it seems.

I heard that in one picture in which he
was required to play a riveter Richard actu-
ally spent a day or two on the job so as
to get the hang of it. And Gloria Swanson
spent three or four days behind the ribbon
counter at Gimbels in New York, riding
to and from the store on the subway which
she had never seen before, just to find out
what it was like to buck the crowd after
a long day on one's feet in a department
store.

But the palm goes to Bebe Daniels for
being the best little research worker that
I have talked to in Hollywood. Bebe's pic-
ture career is long and her parts many, as
you all know. She has always had a passion
for doing things right, "or as right as pos-
sible," she told me the day I visited her in
her beach house. "Even when I was in come-
dies I studied up on everything, costumes
and all. My grandfather left us a wonderful
library — some twenty or thirty thousand
books; it was supposed to be the most com-
plete private collection in California until
the Huntington library topped it. But we
move about so much and none of our
houses are large enough to accomodate
grandfather's books, so they are all in
storage. But I go to the public library
here and if I can buy a book that will
help me I do so, and gradually I have col-
lected a motley assortment myself. Then
if I need instruction on any particular thing
I go to an authority and take instruction
like any school-girl."

Even when Bebe did comedies she was
careful to be accurate. In "She's a Sheik"
she had to use a scimitar and took lessons
on the way to handle it. In "Senorita"
she had to fence; in "The Campus Flirt"
she had to sprint, and trained with Charlie
Paddock. After two and a half month's
training she was able to make the tape in
thirteen and a quarter seconds. In "Take
Me Home" she had to juggle, and that was
the most amusing of all the things she had
to learn. Bebe is a fine swimmer but for
"Swim. Girl. Swim" she practiced the
Australian crawl with Gertrude Ederle who
also appeared in the picture. Gertrude was
Bebe's house guest for several weeks and
the two girls swam every day in the front
yard, which is the ocean. She learned to
drive a speed boat for "The Palm Beach
Girl" and went to the Bowery in New
York on amateur night to get atmosphere
for another picture. She learned the pro-
fessional way to manicure nails for another,
in which she played a manicure girl. When
she did "Sick-A-Bed" .with the late Wally
Reid she had a nurse teach her how to
take a pulse which is seldom done correctly
by a non-professional; how to take blood
pressure, use a stethoscope and take a tem-
perature.

For "Sinners in Heaven" with Richard
Dix she had to play a native girl who
knew nothing of civilization. Bebe was in
New York at that time and went to the
Metropolitan Museum to get the right dope

for March 19 30

on costumes. She told the costume depart'
ment what she wanted but evidently did
not make herself clear for when the cos-
tume followed her to Florida where the pic-
ture was made it was a fairly presentable
batik gown. Bebe didn't like it and didn't
want to wear it. One day she was
stretched out on the beach staring idly at
the palm trees. The shreds hanging from
them gave her an idea. She made herself
a palm leaf gown, sewing it together with
its own shreds. That seemed to be more
like the clothes described in the books she
read. There is a bark in the South Seas that
if pounded hard for an hour or more will
flatten out into yards of material. Both
men and women use it for clothing. The
process has since been described in Robert
Flaherty's "Moana of the South Seas."

Bebe was supposed to be a telephone
operator in "The Crowded Hour" and she
was just a little bit upset by what she had
to do to get atmosphere for this picture.
And then, after all, the sequence was cut
out. She went to the Biltmore Hotel where
she had formerly stopped and told the
manager what she wanted to do. He ar-
ranged for her to be taken on as an operator
and the next morning Bebe reported for
work in a little dark blue serge dress. She
was put in the gallery at first but couldn't
get enough contact with the crowd, so
was transferred to the booths on the main
floor.

Only the expert operators were sent down
from there so the girl on duty thought Bebe
must be good. "Take the board while I add
up these figures, will you?" she asked.
"Sure," said Bebe, praying no calls would
come in. But they did, and how! Bebe
was soon all mixed up and had a shock or
two when transferring lines. The girl looked
at her a few times when things were ob-
viously going hay-wire and decided that
the new girl might be good but she was
sure out of practice. "Here, you add up
this column, and I'll take the board," she
offered, and Bebe abdicated with a sigh
of relief.

The second day two of her friends rec-
ognized her and spoke, but she pretended
not to know them. They knew she was
masquerading for some reason but she let
them think it was just a coincidence that
she looked like Bebe Daniels. One of
them marched over to the flower shop.

129

ordered a dozen orchids and presented them
to her. Then he tried to date her up.
"We are not allowed to mix socially with
the guests," Bebe said primly. "Go on,"
her side partner nudged her as the gentle-
man walked away. "What's the idea of
turning down a millionaire — ■ don't you
know who that is?" "Yes," said Bebe.
"But I didn't want to go out with him."

The third and last day she brought her
co-operator a big box of candy. "I couldn't
buy her anything swanky' explained Bebe,
"because I didn't dare let her suspect who
I was or the experience would have had
no value. It was necessary for me to get
the back-stage chatter, so to speak. But
I did want to give her something for her
kindness to a girl whom she thought was
green and needed some help, and I'll never
forget the reproach in her eyes as she
thanked me. 'You shouldn't spend your
good money on me, kid,' she said. 'It's
awfully sweet of you but you ought not to
do it.' Just before it was time to go
home she asked me whether I lived up
town on the east side. I said I did. 'That's
nice,' she replied, 'Because we can ride
together on the way home.'

"Well, I was floored! I thought I'd never
get out of that because my car always
waited for me and I could see what that
would look like. Sure enough, there it was,
and when my chauffeur saw me he sprang
to open the door. Under my breath I said,
'the front seat. The front seat!' Then I
told my girl friend that the young man
always met me. She took that to mean
that he was my sweetheart and when I told
her that the front seat was wide enough
for three and invited her to ride home with
us she laughed and refused. 'I don't want
to butt in — I know how it is,' she said.
So I clambered up on the front seat with
my cheeks burning and my heart heavy
because I had to deceive a straight-shoot-
ing, fine girl. How she and the bell hop
who thought I was a nice kid and wanted
to date me up must have hated me when
they found out who I was! That was the
only time I ever felt uncomfortable while
gathering atmosphere."

In her latest picture Bebe has to play
a guitar so she promptly started to take
lessons from the best professional she could
find.

j/\.sk, — ■ Continued from page 106

Studios, Burbank, Cal. Clara Bow is 25
years old. Her hair is red and her eyes
are brown and her smile is worth a pretty
penny to the exhibitors.

Marie from San Jose, Cal. After read-
ing my department for two years you have
finally found yourself! All members of
lost and found columns please make a note
of this. Glenn Tryon was born in
Julietta, Idaho, but he doesn't say when.
He has black hair, hazel eyes, is 5 feet
10 inches tall and weighs 165 pounds. He
has appeared on the stage in over 200 plays
and has been in pictures for 5 years. He
is in "Broadway" with Evelyn Brent and
Myrna Kennedy. You can reach Glenn
at Universal Studios, Universal City, Cal.
Jason Robards was born in Hillsdale, Mich.
He has played in "Irish Hearts," "Tracked
by the Police," "The Heart of Maryland,"
"Some Mother's Boy," and "On Trial"
with Bert Lytell, Lois Wilson and little
Vondell Darr. Einar Hanson died June
3, 1927.

Another Dione from Phoenix, Arizona.

Drop in some time and we'll exchange
sympathy and what-not over our names —
but I'm crazy about mine and I'm going
to stick to it. Diane Ellis is the player
you refer to with George O'Brien and
Edmund Lowe in "Is Zat So?" She was
born Dec. 20, 1909, in Los Angeles, Cal.
She is 5 feet 4 inches tall, weighs 106
pounds and has golden hair and blue eyes.
You can write her at Pathe Studios, Culver
City, Cal. Alice Day can be reached at
First National Studios, Burbank, Cal.

Mr.?. T. A. B. of Minneapolis, Minn.
Could I refuse you a slice of information
when you are such a close follower of
Scree nl and? Oh, la-la and the grand
things you say about us! Jean Darling is
the leading lady with 'Our Gang.' She
was born Aug. 23, 1922, in Santa Monica,
Cal. She is 47 inches tall, weighs 46
pounds and has pale yellow hair and deep
blue eyes. She has appeared in 2 5 or
more comedies with 'Our Gang." You can
reach her at Hal Roach Studios, Culver
City, Cal.'

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SCREENLAND

Let's Go to the Opera!

Metropolitan
Opera Houses
Everywhere

IT wasn't so very
long ago when
most people held
the misguided notion
that it was necessary
to be wealthy in order
to become cultured
and refined. But now
that American enter-
prise—artistic produc-
ers and respectable
publishers leading the
way — brings real cul-
ture and refinement
within the reach of all, we
exactly the other way.

Photograph by courtesy
of "Music and Youth."

Pietro Mascagni, famous composer
of "Cavalliera Rusticana," will
compose a modem opera adapted
to sound films.

Great Operas
are Coming to
the Screen

C[ For the great Pietro
Mascagni, Italian com-
poser of "Cavalliera
Rusticana" and other
immortal operas, will
soon begin composing
a modern opera adapt-
ed to sound films.
And surely other great
composers will follow
his example.

learn that it works

G[ We can read the best books and maga-
zines.

G[ We have watched the motion picture in-
dustry pass through the slapstick comedy
stage to the great silent drama, then to the
spectacular talking picture production, now
to the musical show in color, gorgeously
mounted.

C[ Until today, grand opera, regarded as one
of the luxuries of life, has been for the
chosen few. Confined to those who live in a
few of America's biggest cities, breathing
the same air with so-called "society,' seats at
ten dollars per copy — truly it has been for
the chosen few.

([Tomorrow it will be for all who will

choose to see and hear.

G[ What an age, this
age in which we live!
Galli-Curci, Bori, Martinelli, Jeritza, Gigli —
within the reach of all!

C[ Once again Screenland gratefully ac-
knowledges its thanks to its great following
of readers. Another one hundred thousand
added to its circulation in the past twelve
months is indisputable proof of an editorial
leadership which is making it the fastest
growing screen magazine in the world. This
editorial supremacy is due to its readers and
they are the real builders of this increasing
circulation. Striking a little higher note,
Screenland has become a vital force in de-
manding the best pictures for picture patrons
and in bringing the best people to the pic-
tures. And to the best interests of these
discriminating audiences, and constantly
mindful of our public trust, Screenland's
publishers have dedicated: "America's Smart
Screen Magazine."

The Publishers

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America's Smart Screen Magazine

New York— Hollywood
Style War .

You don't Icnow the hall of it

unf//

uouve

seen ner /n

Tech

ecnnicoior

Oh, of course, the shadowy grays of
the old "black-and-white" didn't treat
her so badly!

But you don't know the half of it until
you've seen how Technicolor brings her
to life. The color in her cheeks . . . and
in her eyes. The flash of golden brown
in her hair as it is caught by a playful
beam of sunshine.

Yes! The magic Technicolor camera
sees all these things. It observes life in
its manifold glory of natural color. Then
relives it for you on the screen . . . trans-
ports you into the very picture yourself.
You become a delighted participant in
the happenings of a screenland made
real through the enchantment of color!

Yesterday is an old story in the annals

DOROTHY MACKAILl is more charming than ever in
Technicolor. "Bright Lights" is her latest First National picture.

of the "movies." For yesterday motion pictures were silent.
And . . . yesterday motion pictures were black-and-white.

Today you hear voices, singing, the playing of great
orchestras. Today you see the stars, the costumes, the
settings — in Technicolor.

le C h n I CO I O r // nahral color-

SOME OF THE TECHNICOLOR PRODUCTIONS

BRIDE OF THE REGIMENT, with
Vivienne Segal (First Nationall; CHAS-
ING RAINBOWS, with Bessie love and
Charles KinglMetro-Goldwyn-Mayer)
DIXIANA, with Bebe Daniels (Radiol
HELL'S ANGELS ICaddo Productions!
HOLD EVERYTHING, with Winnie
Lightner and Joe E. Brown (Warner

Bros. I; MAMMY, starring Al Jolson
(Warner Bros.); NO, NO, NANETTE,
with Bernice Claire and Alexander
Gray (First Nationall; PARAMOUNT
ON PARADE, all-star revue (Para-
mount!; PUTTIN' ON THE RITZ, with
Harry Richman (United Artists); SALLY,
starring Marilyn Miller ( First Nationall;

SONG OF THE WEST, with John Boles
and Vivienne Segal (Warner Bros.);
THE VAGABOND KING, starring
Dennis King, with Jeanette Mac-
Donald (Paramount); THE ROGUE
SONG, with Lawrence Tibbett and
Catherine Dale Owen (Metro-
Gold wyn-Mayerl.

for April 19 30

'PJiESEhTTED

r/ iU \ \\V:

\ PHOfOPL:J\y MA&AWIl] J

LOOK FORWARD

TO STILL
GREATER THINGS
FROM FOX

NOW at your FAVORITE MOVIETONE THEATRE
Cameo Kirby One Mad Kiss

The Sky Hawk

It is no accident that Fox has twice in
succession won the Photoplay Maga-
zine Gold Medal. The explanation is simple! Fox has
had the courage to believe that the great American
public appreciates the finest things in film art quite
as much as do the high-brow critics! And with this
faith Fox has produced the finest things in films.
And for the future — the same policy will be carried
out, but on a still greater scale.

Imagine lovely Janet Gaynor in the heart-shaking
role of the girl-wife in LILIOM, the most passion-
ately beautiful stage success of the past ten years.
The most sympathetic part Janet has ever had.

And John McCormack, greatest singer of them
all, in a romantic singing-talking movietone.

Jack London's mighty tale, THE SEA WOLF, ought
to be the high-water mark, so to speak, in sea films.
You remember this hair-raising yarn of stark, raw
passions — the giant sea-captain, with the soul of a
gorilla — the prisoner girl, her lover and the pitiless
sea. Directed by the great John Ford!

Many other great ideas are in production — among
which these deserve special mention at this time:

THE OREGON TRAIL, first important American epic of
the talking screen — based on Francis Parkman's
narrative — directed by Raoul Walsh.

COMMON CLAY, Harvard prize play, by Cleves
Kincaid, directed by Victor Fleming.

SO THIS IS LONDON! with Will Rogers and Jillan
Sandes and a cast of English artists. Staged byHazzard
Short; music by Richard Fall, Viennese composer.

.VIOYI ETOME

April, 1 9 3 0 1

THIS MONTH'S PROGRAM:

Cover — "Marion Davies. Painted from Life by

Rolf Armstrong
Sound News. By Evelyn Ballarine .... 6
Movies in the Air. By Julia Shawell .... 8
Confessions of the Fans. Letters from Readers 10

Honor Page — Greta Garbo 15

Modern Magic. A Drawing by C. D. Batchelor 16

Editorial. By Delight Evans 17

No Real Beauties on the Screen?

As Told by Abel Warshawsky to Rosa Reilly 1 8
"Let Us Alone !" Clara Bow and Harry Richman.

By Gray Strider 20

Solving the Menjou Mystery.

Adolphe Menjou. By Stiles Dickenson . . 22

Greta Garbo. By Marie House 24

Jack Gilbert. By Myrene Wentworth ... 25
Hollywood's 6 Most Beautiful Women.

By Helen Ludlam 26

Why They Laugh at Love Scenes.

By Herbert Cruikshank ....... 28

Hello, Public! By Estelle Taylor 30

A Gift from Mr. and Mrs. Edmund Lowe . 32
Singing in the Desert. Bernice Claire,

Alexander Gray. By Betty Boone ... 34

Special Fashion Section 35-50

Foolish Question Number 898 5,1

Doug, Jr. — A Psycho- Analytical Portrait.

By James Oppenheim . . . . . . . . 52

A New Girl. Lillian Roth. By John Godfrey 54
A New Boy. Stanley Smith.

By Jean Cunningham 55

Coiffures for Occasions. By Sydney Valentine 56
Brainless Beauties Keep Out.

By Cecil B. De Mille 58

On Location with Joan Crawford.

By Helen Ludlam 60

Anita Goes to School. Anita Page.

By Keith Richards ........ 62

More and Better Picture Parties.

By Grace Kingsley 64

Hollywood's Bright Boy. Eddie Quillan.

By Charles Carter 66

Richard Dix — an insert. By John Clarke

The Most Beautiful Still of the Month 67

Margaret Livingston — A Portrait .... 68

Kay Johnson — A Portrait ....... 69

William Powell — A Portrait 70

Marian Nixon — A Portrait 71

Louise Fazenda ■ — A Portrait 72

Zasu Pitts — A Portrait 73

Albertina Rasch Girls — Portrait . . . 74-75

H. B. Warner — A Portrait 76

Myrna Loy — A Portrait 77

Barbara Stanwyck — A Portrait 78

Helen Twelvetrees — A Portrait 79

Vilma Banky — A Portrait 80

Robert Montgomery — A Portrait . . . . 81

Dorothy Mackaill — A Portrait 82

De-Bunking Dorothy. By Edward Harte . . 83
Reviews of the Best Pictures.

By Delight Evans 84

Critical Comment on Current Films ... 86

Revuettes of Other Pictures 88

Have You a Beauty Budget? Screenland's

Beauty Department. By Anne Van Alstyne 90

In New York. By Anne Bye 92

Come to a Barbecue with Ken Maynard.

By Emily Kirk 94

The Stage in Review. By Benjamin De Casseres 96

Hot from Hollywood. K[ews and Gossip . . 98
Their Own Travelogue. Mary and Doug . .104

The Best Lines of the Month 105

Ask Me. By Miss Vee Dee 106

This Is Not An Advertisement.

By the Publishers 130

Vol.
XX

Published monthly by \/ScreenIand Magazine, Inc.
Executive and Editorial offices: 45 West 45th Street,
New York City. William Galland, President;
Joseph M. Hopkins, Vice-President; C. B. Mantel.
Secretary. Frank J. Carroll, Art Director. Manu-
scripts and drawings must be accompanied by return
postage. They will receive careful attention but

Screenland assumes no responsibility for their safety.
Yearly subscriptions $2.50 in the United States, its
dependencies, Cuba and Mexico; $3.00 in Canada;
foreign, $3.50. Entered as second-class matter
November 30, 1923, at the Post Office at New York,
N. Y., under the Act of March 3, 1879. Addi-
tional entry at Dunellen, N. J. Copyright 1930.

No.
6

Member Audit Bureau of Circulations

for April 19 30

ON THE Alii: i'ora-

moonl-l'ttblix Radio Hour, each
Saturday Evening, 10-11 P. JVt.
Kwelern Time over tlio iiation-wiile
Columbia Broadcasting System*

HOW ARE YOU
GOING TO KNOW?

Look at the motion picture ads in any paper.
You're smothered under an avalanche of
adjectives! Drowned in a sea of superlatives!
No wonder it's such a perplexing task for
some people to select their entertainment!
What are you going to believe— how are you
going to know? Only one certain way, and
two words tell it all "Paramount Pictures"
— always good, often great, never a doubt
when you follow the name. "If it's a Para*
mount Picture it's the best show in town"

Paramount Famous Lasky Corp., Adoiph Zukor,Pres»,Paramouiit BIdg.,N.Y. C.

Paramount

DENNIS KING in

"The Vagabond King"

with JEANETTE MACDONALD

Warner Oland, O. P. Heggie and cast of 1000.
Gorgeous All-Technicolor
Musical Romance. Ludwig
Berger Production. From
"If I Were King" by Justin
Huntly McCarthy and
"The Vagabond King" by
Wm. H. Post, Brian Hook-
er and Rudolf Friml.

NANCY CARROLL
in "HONEY"

'Sweetie,"

A Musical Romance sweeter than
with Harry Green, Lillian
Roth, Skeets Gallagher
and Stanley Smith. Direct-
ed by Wesley Ruggles
from the novel and play
"Come out of the Kitchen"
by Alice Duer Miller and
A. E. Thomas.

"PARAMOUNT
ON PARADE"

Grand march of the
greatest stars of screen
and stage — in a laughing,
singing, dancing hit of
hits! Many of the scenes
in Technicolor. The New
Show World on Parade-
practically all of Para-
mount's players in the cast.

GARY COOPER in
Only the Brave

9f>

With Mary Rrian. Story by Keene Thompson,
directed by Frank Tuttle.
The hero and heroine of
"The Virginian" in a fast
moving, thrilling, absorb-
ing adventure - romance
with the old South as the
picturesque setting for the
etory.

SCREENLAND

tQFS EVE

STRAIN

O 1 * ,afc relief

Here's ^£ed by read-
ier eyes str^ iving or

l»g. 6CWrU kerely *V?\

-tV^TonceVynifeel
almost at

frcsH and res daily
abvays de*S a?d

MGRJCAN ACAD6MY
OF DRAMATIC ARTS

Founded 1884 by Franklin H. Sargent

The foremost institution for Dramatic and
Expressional Training. The instruction of the
Academy furnishes the essential preparation for
Directing and Teaching as well as for Acting.

The training is educative and practical, de-
veloping Poise, Personality and Expressional
Power, of value to those in professional life
and to the layman.

SPRING TERM BEGINS APRIL 1st

Catalog describing all Courses from the Secretary
Room 253-D, CARNEGIE HALL, New York

AT LAST! Something New!

Learn Cultured Speech and Cor-
rect Pronunciation Quickly from
phonograph, records. Also increase
your vocabulary this new easy
way. Bo a fluent talker — culti-
vated speech is a social and
business asset of the first impor-
tance. This new "learn by listening"
method hiphly recommended by leading educators.
Itecoxds sent on free trial. Write for information and
free Self Test. No obligation.

THE PRONUNCIPHONE INSTITUTE
3601 Michigan Ave., Dept. 6324, Chicago

Evelyn
Ballarine

Sidelights on Future Films

IT may be that 'crooks can't win' but
crook pictures win the laurels for
screen entertainment. George Ban-
croft started it. He proved to us how-
fascinating underworld characters could be
and now we crave them in large amounts.
First National is producing "Jail Break"
with Conrad Nagel. "His Woman" with
Monte Blue is another gangster picture
coming along. Monte plays a policeman
and Lila Lee plays 'his woman,' of course.
Evelyn Brent, one of the slickest gun girls
in pictures, is making "Framed" for Radio
Pictures. Regis Toomey, of "Alibi" fame,
is featured. Eddie Lowe, who gave us his
interpretation of a suave crook in "Dressed
to Kill," is going bad again in "Born Reck-
less."

Metro-Goldwyn has broken down Lon
Chaney's reserve and aversion for sound
pictures. He has been signed to a five-
year talkie contract. Lon, who is his own
severest critic, was pleased with his talkie
tests. Chaney's decision leaves Charlie
Chaplin standing alone against the talkies.
Chaplin still believes that silence is golden.

Buddy Rogers' next picture is "Safety
in Numbers." But don't be too sure about
his safety with such charmers as Kathryn
Crawford, June Collyer, Josephine Dunn,
Virginia Bruce and Carol Lombard, in the
picture. These girls are as famous for 'get-
ting their men' as the Northwest Mounted.

At last Bebe Daniels and Ben Lyon are
to play in a picture together. Ever since
they announced their engagement Radio
Pictures has wanted to co-star them — but,
believe it or not, until recently Ben has still
been working on "Hell's Angels." "Smooth
as Satin" is the title of the Daniels-Lyon
picture.

And Richard Dix and Lois Wilson are
to play together again in "I Love You."
Lois and Rich were reported engaged many
times. Wonder if this new 'engagement'
means anything?

It looks as if the Bernice Claire-Alex-
ander Gray team will be separated tem-
porarily. Bernice has been borrowed by
United Artists for the feminine lead in
"Love in a Cottage." Irving Berlin has
written the story and the songs. It should
be a nice combination — Bernice's lovely
voice singing Berlin's charming music.

Prize title of the month: "Flame of the
Flesh." And it's for Norma Talmadge's
next, too.

John Barrymore's next picture will be a
talkie version of "The Sea Beast" which
he made silently a few years ago with his
wife, Dolores Costello. The new version
is to be called "Moby Dick" and will have
Joan Bennett in the feminine lead.

It is reported that Douglas Fairbanks will
remake "The Mark of Zorro" as a talker
for his next release.

Bert Lytell is coming back to the screen.
His first picture will be an audible version
of "The Lone Wolf" for Columbia Pic-
tures. He played in the silent film, too.

Those of you who have been asking about
Renee Adoree will be interested to know
that little Renee will be in the next Ramon
Novarro opus, "The Singer of Seville."
Dorothy Jordan, who has already played
in two previous Novarro films, will have the
juvenile lead. This looks like the birth of
a new team.

Norma Shearer's next picture is called
"The Divorcee." Conrad Nagel and Chester
Morris will have important roles. Robert
Leonard will direct.

Evelyn Laye, English actress who made
such a sensational hit on the Manhattan
stage in Ziegfeld's "Bitter Sweet," is going
the way of all stage stars. She's going to
star in sound pictures. A musical comedy
is being written for her by Rudolph Friml
and will be produced by Florenz Ziegfeld
and Samuel Goldwyn.

Jillian Sande, another English beauty and
stage star, has been imported from London
for the feminine lead in Will Rogers' sec-
ond talkie, "So This is London."

Bessie Love, the screen's song and dance
girl, copped one of the prize roles of the
season — she's to play the lead in "Good
News." Stanley Smith, Cliff Edwards and
Gus Shy, of the Broadway production, are
in the cast, too.

Metro-Goldwyn are going to produce
Dickens' "Oliver Twist" with Lionel Barry-
more directing and acting the role of Fagan.
Ruth Chatterton will be 7\[ancy Sy\es and
the part of Bill Sy\es will be acted by
Ernest Torrence. It is reported that little
Davey Lee will play Oliver Twist.

"Dixiana," a forthcoming Bebe Daniels
picture, will be the initial effort in the
field of wide-film, stereoscopic entertain-
ment for RKO. The movies have certainly
made great strides in the past year. First
talking pictures, next all-color and all-talk-
ing, and now third dimension. What next?

for April 19 30

T)o///////.K

Look for these New
Headliners —

Vitaphone Varieties will introduce you
to Ann Pennington, Irene Franklin,
Fred Allen, Bert Lahr, Eddie Buzzell,
Jack Buchanan, Miller & Lyles, and
scores of others, in the "specialties"
that have made them Broadway
sensations.

And Clever Novelties—

Fred Keating, whose feats of comedy
magic are now the talk of New York
— Little Billy, the world's most cele-
brated midget — Bobby Gillette and his
two-man banjo — and Eddie Lambert,
amazing trick pianist.

The Best in Every
Field —

Look forward to jazz by Horace Heidt;
•opera by Martinelli and Charles
Hackett; comedy by vaudeville head-
liners; and short-story sketches with
Blanche Sweet, William Boyd, etc.

"Vitaphone" is the registered trade-
mark of The Vitaphone Corporation.
ColorScenesarebytheTechnicolor Process.

You' RE entitled to two hours of
entertainment at your talking picture theatre.

The feature picture is only about one-half
the show . . . The rest is made up of one-
and two-reel featurettes.

Unless THE WHOLE SHOW /s good, you
get only HALF THE FUN you paid for!
♦ * •

Now for the first time there is a way to
insure full value for your entertainment
money — make sure that the short pictures
on the bill are VITAPHONE VARIETIES.

VITAPHONE VARIETIES is the group name
chosen to designate an entirely new type
of short screen subjects. With this vastly
improved series of miniature screen
masterpieces, Warner Bros, bring to short
features for the first time all the class and

thejunf

dignity of the finest full-length productions.

In VITAPHONE VARIETIES, slapstick is
superseded by renowned stars and acts in
specialties that have made them outstand-
ing attractions in famous Broadway shows...

VITAPHONE VARIETIES are the first short
pictures to introduce original songs written
specially for them by popularcomposers . . .

And VITAPHONE VARIETIES will present
the first series of tabloid musical comedies
ever filmed in Full Natural Color!

Don't miss half the fun . . . Don't hesitate
to ask your theatre manager to show VITA-
PHONE VARIETIES every week ... He will
be glad to know your preference so that he
can more closely accomodate your tastes.

SOMETHING NEW IN TABLOID TALKING PICTURES

VITAPHONE VARIETIES

\ contuse, (c/ull Value, for ^mr£*ttertammjmt cMoneif

SCREENLAND

Erno Rapee, to whom radio gave his first big oppor-
tunity, is supervising all Vitaphone musical activities
in Hollywood. Rapee wrote the first of all the theme
songs, Charmaine.

e^OVIES

in the
c4lR

Motion Pictures and Radio are
Brought Closer Together Finan-
cially and Artistically by the
Evolution of the Theme Song

Julia Shawell

THE evolution of the theme song is
the story of the first commercial link
between radio and the movies. Long before
the talkies were marketable, when the
laboratory geniuses were experimenting
with the equipment which was later to
bring voices with amazing realism to the
motion picture screen, the much-discussed
and disdained theme song was the instru-
ment for bringing personalities of the two
great industries together.

Since the advent of broadcasting, song
publishers and their staff pluggers had
used the radio stations as the most valu-
able medium for getting new numbers
across to the public. There was some dif-
ference as to where the value ended and
the harm began. Many held that too much
plugging destroyed the sales value of a
popular song while others maintained that
the more a number was played on the air,
the more copies were sold all over the
country.

Strangely enough, the man to whom
radio had given his first big opportunity
was the composer of the first song which
became part of an important celluloid
production. And if there is any reward
for the pioneer, Erno Rapee is surely
reaping his in Hollywood now, supervising
all Vitaphone musical activities at a salary
which dwarfs President Hoover's by com-
parison. For it was Rapee who wrote the
first of all the theme songs. His Char-
maine was incorporated in the musical
score and played no small part in the
audience appeal of "What Price Glory"
in the era when a pit orchestra was still
an essential factor in film exhibition and
when sub-titles told that part of the story
which pantomime left in doubt. While
"What Price Glory" was still crowding
them out on Forty-second street, holding
up the national distribution of this Fox
special, Charmaine was being sung, played
and garbled on every wave-length in the
country. So widespread was the broad-

casting of this tuneful refrain that for
more than two seasons Dolores Del Rio
was associated with the name of Char-
maine, the part she played in the picture.

Of course, earlier than "What Price
Glory" there were stars and picture-titles
which inspired the lyricists. As far back
as Mabel Normand's "Mickey" there was
a song writer with an idea of the monetary
value of tying up a ditty to the popular
flicker vehicle. Others followed him but
it was not until the martial production
which brought Victor McLaglen into his

own that a producing company used a song
written especially for a picture as part of
its exploitation campaign.

The outstanding commercial success of
a tie-up between a movie and a song
publishing company with radio as the
means of publicizing is Ramona which
broke all sales records for a popular song
and which not only made millions for the
company which published it but which
actually created a demand for a picture
in the smaller cities before Edwin Carewe's
production had (Continued on page 122)

Lottice Howell makes her screen debut with Ramon Novarro.
Miss Howell was chosen because of her beautiful voice to play
with Ramon in "The House of Troy."

for April 19 30

team

SCREENLAND

This is YOUR depart-
ment, to which you are
invited to contribute your
opinions of pictures and
players. For the cleverest
and most constructive let-
ters, not exceeding 200
words in length, we offer
four prizes, First prize,
$20.00; second prize,
$15.00;' third prize,
$10.00; fourth prize,$5M.
Next best letters will
also be printed. Contest
closes April 10, 1930.
Letters in praise of
SCREENLAND are not elig-
ible in this contest and
should be addressed di-
rectly to the Editor. Send
your Confessions to the
F an s' Department,

SCREENLAND MAGAZINE, 45

West 45/A Street, New
York City.

The Editor

John Barrymore and beard and his wife,
Dolores Costello, are always popular
with this department.

The new idol, Maurice Chevalier, with
his wife, Yvonne Valle'e. Maurice came,
we saw, he conquered.

CONFESSIONS

of the FANS

FIRST PRIZE LETTER
$20.00

Smashing down the bonds of reality, we
are carried away for an all too brief space
of time into a new world, a more beautiful
world, where the paths are not so rocky,
and where the grass seems so much greener.

What takes us? The movies! They come
like a genie, sit us in a comfortable seat,
tap us on the shoulder, and we're off — off
for — where is it this time? England?
Africa? Italy? — where? For a glorious
hour we are there, forgetting our cares,
our worries; confident that after gallivanting
a bit we will be better able to gather up
our worries and thrash them soundly: to
line up our cares against the wall, shoot
them one by one and glory in it, just as
we saw the hero do.

Silently we give thanks to the genie, the
motion picture, for giving us this happy
interlude and showing us, as a contrast to
our hectic existence, a specimen of real,
true beauty.

F. Clinton Spooner,
385 Lafayette Avenue,

Brooklyn, N. Y.

SECOND PRIZE LETTER
$15.00

A few years ago I paid three dollars and
a half to see a third rate musical show.
Now, I can see all the Broadway stars right
at my door, and the admission is seldom

over fifty cents. I also have become better
acquainted with my favorite screen stars
because to hear their voices enhances their
personalities.

The movies not only have done a lot for
the entertainment of this restless age, they
have given us new and up to date ideas.
Our 'small town girls' are no more. They
know how to dress their hair and wear
their clothes. Our leading matrons have
taken on poise. They can meet their guests
in a Lilyan Tashman style and can arrange
a dinner table that would be the envy of
a Mrs. Van De something-or-other on Park
Avenue!

With the talkies, the radio and a nifty
little car at my disposal I would just as soon
live in Cosy Corners as to have a twelve-
room suite in a fifty-story apartment build-
ing in New York. Out here we have space,
and everything is sunny side up. And we
have Broadway and Hollywood at our beck
and call.

Clifford Deppe,

Route 591,
Nampa, Idaho.

THIRD PRIZE LETTER
$10.00

I have seen "Marianne," and to me, this
talkie had more appeal than "The Cock-
Eyed World," (though I'm not disparaging
that. ) Marion Davies was too cute for
words with her broken accent, her smiles

and tears and her poor little war orphans;
and when she entertained the doughboys
with her French songs — well. I don't won-
der they lost their hearts entirely.

I often go to the movies alone, not a
person around me I know. Am I blue?
I would be, anywhere else. But there, I
lose my identity in the figures that flit here
and there on the screen. It is as though
I said to them:

"Work on me your own caprice,

Give me any shape;
Only freedom from myself —
Let myself escape."
A small boy rubbing tearful eyes with
grimy fists, asked a lady for a quarter so
he could 'go to his folks.' She was tender
hearted and gave him the quarter.
"Where are your folks?" she asked.
"They have gone to the movies," he
said, making a bee-line for the theater.

Not one can be left behind without feel'
ing aggrieved. But it takes a small boy to
work so ingenious a scheme.

Marie Shank,
12 West Baltimore St.,

Lynn, Mass.

FOURTH PRIZE LETTER
$5.00

If anyone had told me that I would some
day be a movie fan I would not have
believed it. True, we attended movies, but
I did not get 'fan fever.' I was a defender
of morality and, to my surprise, I found

for April 19 30

Blonde, Brunette, Redhead,

orBrownette!

Do Tou Know

Your Color
Harmony

MV JflHHHfl
ake-Up

as all Hollywood Screen Stars Do?

Universal Star — Blonde

Sally O'Neill
R-K-0 Star
Brunette

Myma Loy
Warner Bros. Star
Redhead

Permit Filmland's Make -Up Genius,
Max Factor, to Reveal to You Holly-
wood's Make- Up Secret . . . the One
Way to Double Your Beauty and
Vividly Emphasize Your Personality.

IN HOLLYWOOD, to please the screen stars,
a new kind of make-up has been perfected
for day and evening use. A new magic to em-
phasize beauty, allure and personality.
And now it is offered to you.
A Society make-up.. .powder, rouge, lipstick
and other essentials, created in varied color har-
monies to blend perfectly with every variation of
complexion coloring.

Now, like the screen stars, you may emphasize
your own personality and individuality by having
your own color harmony in make-up . . . and Max
Factor, Hollywood's King of Make-Up, will
analyze your complexion and chart your make-up
color harmony . . . free.

Ati Amazing Discovery
In his Studio work, under the blazing "Kleig"
lights, Max Factor discovered
the secret of perfect make-up.
Cosmetics must be in perfect
color harmony, otherwise

odd, grotesque effects result . . .
and beauty is marred. So today,
in all the motion picture produc-
tions, faultless beauty is insured by
Max Factor's Make-Up.

Based on this same principle
of cosmetic color harmony, Max
Factor produced Society Make-Up
for day and evening wear. Powders,
rouges, lipsticks and other essent-
ials in correct color harmonies for
every variation of type in blonde,
brunette, redhead and brownette.
Society Make-Up created a sensation in Holly
wood. Almost instantaneously leading stars and
thousands of other beautiful women adopted it.

Learn Hollywood" s Make-Up Secret
Now you may learn what Hollywood knows
about make-up. Max Factor will reveal to you
this new secret of beauty. He will analyze your
complexion and suggest the one color harmony
in make-up that will magically emphasize your
beauty, charm and personality. To gain the greatest
beauty, you must individualize your make-up.
Even similar types . . . for example, Dorothy
Mackaill and Phyllis Haver, both blondes, re-
quire slight changes in make-up color harmony.

What a wonderful opportunity! . . . to secure
personally from Filmland's genius of make-up,
a beauty secret prized by stars of the screen. Now
it is yours. Free . . . and you will also receive a
complimentary copy of Max Factor's book, "The

New Art of Society

Joan Bennett, United Artists star,
and Max Factor, Hollywood's Make-
Up King approving the correct color
harmony lone in Max Factor's lipstick.

Sue Carol
Fox Film Star
Brownette

Not Every Blonde . . .

should use the same color har-
mony in make-up.

Not Every Brunette . . .

should use the same colors in
rouge, powder and lipstick.

Not Every Redhead . . .

should risk beauty to hap-hazard
selection of colors in cosmetics.

Not Every Brownette . . .

should dare to use the rouge and
powder of her blonde sister.

MAX FACTOR'S Society MAKE-UP

"Cosmetics of the Stars"*. . . HOLLYWOOD

Make-Up". Fill in
coupon, mail today.

I MA7LF0R~ YdVR~COMPLEXiON~ ANALYSIS

Mr. Max Factor — Max Factor Studios, Hollywood, Calif. 4-4-24
J Dear Sir: Send me a complimentary copy of your 48-page book, "The New Art
I of Society Make-Up", personal complexion analysis and make-up color harmony
I chart. I enclose 10 cents to covet cost

\ of postage and handling.
Name _

'ddn

COMPLEXION

COLOR EYES

LIPS

Lighi

Fiil

COLOR LASHES

Dry

Medium

SKJN

Ruddy

COLOR HAIR

Oily

Dark

Dry

AGE 1

Normal

OI.*e

Answer with Check Mark

*j6% of all make-up used by Hollywood Screen Stars and Studios is Max Factor's. (Los Angeles Chamber of Commerce Statistics)

SCREENLAND

the movies were the same. In every play
virtue is praised and vice denounced. On
the screen, 'right is might." If the outside
world was like that we would have Utopia!

It may be an action, it may be a word
which makes one a fan. In my case it was a
sentence, namely: "It's the reward of a
virtuous life" uttered by the detective hero
in "The Return of Sherlock Holmes."

John Jenson,
Celoran, N. Y.

Vive Maurice!

Let's go places and see things and be
different kinds of people. A little bit of
Paris with spice and tenderness. Maurice
Chevalier in "The Love Parade." The
charming and diverting voice; it is intrigu-
ing: we listen, we chuckle, first at the
French accent and tone inflection, then we
rock with laughter at the situation. We
live with kings and queens. We march
with soldiers and know the common lot.
We step out of our drabness and live a
life of enchantment.

When I walk out of the theater its in-
spiration follows me and I am filled with
the urge to do better work and create the
masterpiece that dares to smile with me.
So I weep and laugh in many lands. I
can be queen; I can be common; I can
romp with children. I feel I have touched
the heart of every nation and found them
kin through the silver screen.

Freda Lavender,

Box 121,
Oteen, N. C.

A Big Bouquet for "Sally"

I have seen "Sally" and I am still
under the spell cast by that beautiful star,
Marilyn Miller. Words cannot express my
admiration for her. She not only is a
marvelously talented dancer, she is a won-
derful singer and a splendid actress. As
for Alexander Gray, he is about the last
word as a singer and an actor. The voices
of both these stars are scarcely more beauti-
ful on the stage than they are in talking
pictures.

Last, but not least, the color photography
of this picture and the direction of it are
the finest I have seen to date. And the
antics of Joe Brown and Ford Sterling are
well worth mentioning!

Otto G. Frey,
856 Eastern Ave.,
Indianapolis, Ind.

And Now, Barrymore!

Picture, if you can, a group of five
girls, trying to decide what picture to at-
tend out of the many in a large city, on
an afternoon after school. These girls, in-
cluding myself, are students at a school of
Expression and Dramatic Art and naturally
we want to see the best, both to observe
and study the work of actors and to enjoy
ourselves in the way we love best.

"General Crack" with John Barrymore
portraying the character was chosen, and
we were anything but disappointed! Barry-
more is always superb, and as Genera!
Cracf^ he lived up to his reputation. The
picture itself was flawless; a good story
excellently acted. It was thrilling to watch
the unfolding of the romantic theme and
to marvel at Barrymore's voice and acting
ability. The picture was a thing of beauty,
and the cast are to be congratulated for
their fine work.

Audiences will welcome "General Crack"
as a relief from the singing and dancing
shows now so numerous. And I say, more

"Marianne" has made Marion
Davies our leading talking film
comedienne. Bravo!

stories like "Crack" and more of Barrymore.

Rosemary T. Kennedy,
3818 N. Broad St.,

Phila, Pa.

A Parisian Speaks

I had a grand experience recently. I
saw Maurice Chevalier in "The Innocents
of Paris." There really is nothing Parisian
about it, and I for one, am thankful for
that, as I like the American movies just as
they are and do not want them to ape any-
thing else. They flash in the drab life of
a small-salaried clerk (meaning myself) like
a bright ray of sunshine; youth, happiness,
beauty. How can girls be so pretty and so
lovable, men so strong and good-looking?

And now, the talkies! We had to wait
until midnight to see and hear the English
version, but it was worth it. There were
three of us, all trying to keep up with our
English, talking together, reading — imagine
how excited we were! We were actually
listening to American people speaking beau-

Marilyn Miller made "Sally" and
many new fan friends — she's
staying.

tiful English. From that point alone, the
talkies are a boon and a blessing. They
help to make up for the trip to the U.S.
I never shall be able to afford.

Leon Salvan,
232 Boulevard Raspail,

Paris, France.

Remembering Old Favorites

Now that the movies have gone talkie,
mother and father have gone talkie, too,
remembering their old favorites on the stage,
and wondering if anyone ever could be as
good on the screen.

"Who," sighed mother "could equal Mrs.
Pat Campbell in 'The Second Mrs. Tan-
queray?' " — remembering the Campbell ges-
ture.

"Olga Nethersole, you mean," asserted
father — stout fella — remembering the
Nethersole kiss.

Then came Maude Adams, David War-
field, Mrs. Fiske. Mother remembered the
subtlety of a soiled pink kimono. Father
likes drama, too, but I fear, prefers it melo.
He remembered a ringing voice: "Rags are
royal raiment when worn for virtue's sake!"

If my favorites in the talkies ever give
me half the pleasure that just 'remembering'
their favorites on the stage give my folks
I'll be quite satisfied.

Irene Rogers,
10? West Armour Blvd.,

Kansas City, Mo.

Wants Lya de Putti Back

Come on now, producers, speak up!
What's wrong with Lya de Putti, that great
European actress, and when I say actress,
I mean actress!

What a superb performance she gave
in "Variety," with another great star, Emil
Jannings. It was a German picture and it
suited her.

Then she came to America, only to make
a trashy story like "Buck Privates." In
Germany, she was the toast of the theatrical
world, and here, what was she? She didn't
get a part equal to that of a heroine in a
western thriller.

When she went back home I wonder
what she thought of American producers?
Well, I have my opinion. Please, may we
not have back that great German actress,
Lya de Putti?

George Taylor,
34 Mellen Street,
Cambridge, Mass.

Well-Done, America!

This may be the first boost from my
little Isle.

I'm all for the laughter-makers. They
are the salt of the earth. Chaplin. Lloyd.
Colleen Moore. Buster Keaton — all hail!
They're as good as a tonic — yes. better.
They brighten the lives of ever so many
poor souls who go into the picture palaces
heavy-hearted and come out transformed
into human beings.

Some time ago a film company came to
shoot some scenes in Malta. They landed
on a village which is Spanish style and
where all the dustmen come. All the vil-
lagers took part in the crowd scenes and
you should have heard the tales the morning
after which the dustmen recounted to the
maids about their performances!

With a 'Well-done' to America for
giving us the best films and best stars I'll
kiss you and leave you.

Denise Mitsud,
45 Mezzodi Street,

Valletta, Malta.

for April J93C

When the

TEN BEST

pictures

of 1930

are chosen

CHARLES BICKFORD brings a
vivid reality to the rugged char-
acter of the sea-hardened mate
who learns the tenderness of love
from Anna Christie.

GEORGE F. MARION recreates
for the talking screen the hardy
role of Old Mott, the unforgetably
powerful characterization he made
famous in the original stage pro-
duction.

MARIE DRESSLER has made the
world laugh with her gayety — and
now she shows a new and amazing
dramatic power in the role of
Marrhy. A portrait of the talking
screen you will never forget.

CLARENCE BROWN has di-
rected many mighty entertain-
ments for the screen but the great-
est of all is his superb picturization
of O'Neill's soul stirring drama.

GRETA GARBO

IN HER FIRST ALL-TALKING PICTURE

ANNA

RISTIE

Adapted by Frances Marion from
Eugene O'Neill's play "Anna Christie"

A CLARENCE BROWN PRODUCTION

Charles Bickford George F. Marion Marie Dressier

This soul-stirring drama of America's great-
est playwright, Eugene O'Neill, will surely
be selected for Filmdom's Hall of Fame!
Greta Garbo sounds the very depths of
human emotions in her portrayal of Anna
Christie, the erring woman who finally
finds true love in the heart of a man big
enough to forgive. A performance that
places her definitely among the great
actresses of all time. Don't miss this thrill!

ME1

-«0LDW

fYN-MAYER

"More Stars Than There Are in Heaven"

14 SCREENLAND

for April 19 3 0

wins

SCREENLAND HONOR PAGE

All portraits by
Clarence Sinclair Bull.

The Goddess
Comes to Life.
No Longer the
Mysterious
Siren, but a
Living, Breath-
ing Woman,
Greta Garbo
Speaks in
"Anna Chris-
tie" and We
Surrender

Garbo is
Transplanted
from the Hot-
House Glam-
our of her Si-
lent Films to
the Open Sea
of Audible
Drama, and
She Triumphs.
All Hail the
New Garbo!

SCREENLAND

Drawing by C. D. Batchelor

Modem Magic

for April 19 30

THE EDITOR'S PAGE

THERE was a riot not so
long ago in New York
composed of people trying
to get in to see a motion
picture. The police reserves were
called out, mind you.

The first Garbo talker? No.
You'll never guess, so Ell tell you.
The Einstein picture did it.

Did you hear about it? The
Einstein Relativity Film was first
shown at the American Museum
of Natural History; 1,500 people
were invited; 4,500 came. You see
Einstein had announced that only
12 men could understand his
Theory. What a challenge! (He
didn't say anything about women.)
Anyway, several thousand of the
4,500 who stormed the gates of the
Museum were turned away with unimproved minds.
I saw the picture later and I found it as fascinating
as "Anna Christie." You hurl through space with
Professor Einstein, pretending you are a man being
shot out of a cannon's mouth, visiting the moon
en route. You speed 79,000 miles per second
among the stars, thanks to Max Out-of-the-Inkwell
Fleischer's animated drawings. You meet the great-
est star of them all, Miss Betelguese. It's all a lot
of fun.

This short motion picture presented by Edwin
Miles Fadman makes no attempt to 'explain' the
Theory. It merely endeavors to put you in the
proper frame of mind so that if you run into the
Professor or any one of those other twelve men you
will be able to mumble "Yes" or "No" at the cor-
rect intervals. By means of illuminating drawings
and diagrams, and concise, understandable sub-
titles, the learned Professor's Theory is approached
from the point of view of the layman. Every child
should see it, and take his parents along. Of course,
you may say it isn't as thrilling as Garbo. But as
Einstein himself would be the first to admit, it's
all relative.

P. S. Not a Talking Picture.

K Welcome, Oscar Straus. The composer of the
beloved "Chocolate Soldier" arrived in America
from Germany to write music for our movies. If
he turns out another My Hero he can stay as long
as he wants to. There is no accent in music.

C Approximately 9,000 motion picture theaters in
the United States were wired for sound up to the
first of 1930, compared with 1,300 a year ago,
according to a national survey made by that trusty
trade newspaper, The Film Daily. This may ex-

plain why Lon Chaney has 'suc-
cumbed' to talking pictures and is
now making his first. Lucky Lon
— he could afford to hold out un-
til great strides had been made in
sound equipment before he made
up with the 'mike.' Now we're
waiting to hear 1,000 voices to
match those faces.

CC According to Channing Pollock :
"The theater ... is being wiped
out by the motion picture, because
the motion picture requires no
effort to think, and when the mo-
tion picture is wiped out it will
be because something else has been
discovered which requires even
less effort to think."

You've got us all wrong, Mr.
Pollock. That dumb look you see on our faces at
the movies is simply intense concentration, induced
by the demands of the talkies for strict attention
to the dialogue. If you don't listen intently you
don't hear it all. And you don't want to miss any
of it because it's too good to miss. No, Mr. Pollock.
You'll have to guess again.

C John Golden, the Last Stand of the American
'Legitimate' since Georgie Cohan went United
Artists, is talking about us, too. Here's what he
says : "There are numberless thousands of the youth
of the land who have never witnessed a legitimate
production — who have grown up with the idea that
the motion picture was the ultimate and only ex-
pression for the drama. Then came the talkies.
And the talkies will bring them back to us. Al-
ready these youngsters are being shown a bit of
Shakespeare by Doug and Mary — they're getting
another glimpse of John Barrymore as 'Hamlet' and
from such a start these talkies will show their audi-
ences that there is something better and that while
the first medium of the silent picture and the second
medium of the talking pictures were good enough
in their way, there is a third and greater and finer
medium waiting for them."

All I would like to ask Mr. Golden is: where
on the Broadway stage, capital of American 'legiti-
mate' drama, can you find Shakespeare being
played today?

CC Jannings' first talking picture, "The Blue Angel,"
has been completed in Germany. Emil has been
studying English harder than he ever did in Holly-
wood. The Jannings talker, American version, will
be released over here in a few months. With a
theme song ringing clear? D. E.

SCREENLAND

Abel Warshawsky, though born in Pennsylvania,
has lived and studied for 20 years in Paris, where
his paintings hang in the Louvre. Do you agree
with his ideas of screen beauty?

One of the three screen
stars whom Warshawsky
considers really beautiful
is Lily Damita. The art-
ist was one of the judges
in a Parisian beauty con-
test which Lily entered.
She did not win — but out
of her grief she worked
on, and won fame.

"Here is a beauty I have
overlooked," said War-
shawsky when he saw
Bebe Daniels in "Rio
Rita." "The break in the
upper part of Bebe's nose
is beautiful!"

No Real

on the

What, No Beauties? Noted Artist
Smashes a Few Traditions. Read
his New Definition of Loveliness
and See if You Can Find It on
the Motion Picture Screen

Editor's Note: — Warshawsky is one of America's foremost artistic
representatives in Paris. All of his work shows great sweep and
power. He puts down on canvas life as it is: it may be violent; it
may be brutal — but it is always true. While he has absorbed much
of the art of the old world, he still retains in his personal charac-
teristics, in speech, appearance, and manner, the best traditions of
his native land. He knows beauty and loves to paint it.

here is no beautiful woman on the entire moving
picture screen — with possibly two or three excep-
tions," says Abel Warshawsky, famous American
artist, who has resided for the last twenty years in
Paris where his paintings hang in the Louvre and in the
museum at Luxemburg.

"When I speak of beauty," Mr. Warshawsky continues,
"I don't mean the mere tomboy virility of Clara Bow, the
pink and white wistfulness of Dolores Costello, nor the charm-
ing innocence of Mary Brian. I mean true beauty. Beauty
which is like wine to a drunkard. You take one draught, and
only exist until you can have another and another and another

The most beautiful woman the artist has
ever known — a Breton peasant woman, near-
ing seventy! This portrait of her is his
artistic tribute.

for April 19 30

Beauties

SCREEN?

As Told by

Abel Warshawsky

To Rosa Re/lly

— ad infinitum.

"Mere prettiness satiates a man. That is why you
have divorces, desertions, murders and suicides. And
mere prettiness satiates a moving picture audience as
well. That is the reason so many cinema stars rise
and flare out like sky rockets, on a warm Fourth of
July night.

"But true beauty can hold the love of a man and
the loyalty of an audience indefinitely. For it is
composed of so much spiritual, mental and physical
stimulant that a man wakes up each morning with
something new and emotionally absorbing to which
he may look forward. And an audience comes into
a theater day after day, sure of satisfying its un-
quenchable thirst for lasting loveliness.

"This is the only kind of beauty to which fickle
man will be perennially constant. It is the sort for
which kings have thrown over their thrones. It was
for this that Don Juan travelled over much of the
world, possessing dozens of women — and yet never

Warshawsky's 'Ma-
donna,' the only
young girl he ever
painted. "I painted
her because she is
the perfect personi-
fication of universal
motherhood."

being possessed himself by a single one. Men starve and steal
to possess — only this. They hunger a year to hold for one
evanescent half-hour the true beauty which is man's only link
with immortality.

"Sarah Bernhardt possessed such beauty. Lily Langtry, too.
And yet I feel perfectly certain if any of these two women
were alive today and entered a moving picture beauty con-
test, they would be turned down cold. (Continued on page 116)

Alice Joyce, says the artist, is truly representative
of American beauty. She has everything a woman
should possess: sweetness, strength, refinement.

"No woman is beautiful until she is 35!" Here is a
challenge. Warshawsky likes to paint mature women
like the 'Spanish Lady' at the left.

SCREENLAND

1/s

~^aT F people would only let
us alone!" exclaimed
Harry Richman vehe-
mently. "You would
think that nobody in the world
had been engaged before Clara
Bow promised to marry me.

"We love each other," Rich-
man went on, "and we plan to
get married. But we will get
married at our own pleasure.
And neither tabloid newspapers,
smart-cracking columnists, nor
any other power in the world
can force us to name the mar-
riage date until we are mutually
ready.

"If people and newspapers
would only stop hounding us!
From the time I asked Clara to
marry me, neither of us has had
a moment's rest. First one
newspaper and then another
comes out with some ridiculous
story.

"But let me go back a bit
and tell you how we met, how
the courtship occurred, and how
such stories are apt to start.

"The stage has always been
my life. As a kid, I started out
with a piano and fiddle act, I
was at the piano and toured
through Michigan, Minnesota,
Manitoba and the great north-
west. We never played a town
with over ten thousand inhabit-
ants. And for a long while I
never earned more than fifty
dollars a week, out of which
my carfare had to be paid.

"However, little by little, I
got ahead. And in 1926 had
my first big success in George

White's 'Scandals.' Next I started my night club. It
was here that Joe Schenck first saw me and offered me
a part in a silent picture. But at that time I couldn't
take it. I couldn't leave the club.

"About a year and a half ago, I noticed a party one
night at the Club Richman. Joe Schenck was the host.
And Miss Clara Bow was at his table. We were intro-
duced. At this time, Mr. Schenck asked me if I would
like to star in a talking picture. I agreed to do so.

"It had taken me years to make a success of my stage
work and of my night club and I went to California
determined to do all in my power to make a good talk-

International News Photos, Inc.

Two little love-birds, Clara and Harry, during
Clara's visit to Manhattan on her vacation.

c5^LONE!"

ing picture.

"When I arrived in Holly'
wood, I stayed at Mr. Schenck's
house. The first night I arrived
he had a dinner party for me.
Clara was one of the guests.
At this second meeting of ours,
something happened to me. I
don't know what. But I decided
on the spot that Clara was the
girl for me, if I could be lucky
enough to get her to say 'yes.'

"Of course, I didn't ask her
to marry me that first night, but
I wanted to. She was so beau-
tiful. So full of vitality, and
fun. The first thought I had
about her was: 'There's a real
pal, a girl who'd stick when a
man was low as well as when
he was high.'

"Very soon work was started
on my new picture, 'Puttin' on
the Ritz.' But at every oppor-
tunity, Clara and I were to-
gether.

"Now a studio is just like a
church choir in a small town.
No sooner was it seen how
things stood with us, than the
gossip began to buzz.

"At first we were too happy
to notice it, and then — well, it
all started this way. I can
assure you that Clara and I
have never had a serious quar-
rel. One night I called her up
and said: 'How about going to
a picture tonight?' Nearly every
evening she would like to go.
But this night she said she had
been on the lot for fourteen
hours and was tired out and
would rather not.
"Being sort of hot-blooded, I flared up. And she flared
back. And we had a quarrel right on the telephone. I
was terribly sorry the next morning. Called her up and
told her so. She was as sweet and forgiving as could be.
We made up, and that's all there was to it. But — Lord!
The next morning the Hollywood papers had headlines
about us. And so it went. If I wanted her to go to one
picture show, and she wanted to go to another — I can
assure you we never quarrelled over anything more im-
portant than that — like wildfire the news of our disagree-
ment was flashed all around Hollywood, and across the
continent to New York.

for April 19 30

That's All Clara Bow and Harry Rich-
man Ask of the World. Well, Well!

By Gray St rider

Clara says: "Let's set a date ten years from now.
Then if we go off and get married tomorrow, it's
nobody's business."

Harry says: "I decided that Clara was the girl
for me, if I could be lucky enough to get her to
say 'yes.' "

The next thing I would find a
crack about me in some columnist's
paper. Perhaps one of the very
columnists who had been a guest
at my night club for many eve-
nings. It seems hard to find
friendship, real friendship, in this
man's town."

Harry Richman is not handsome.
Not handsome at all. But there
is a brutal, magnetic quality about
his strong features, which, I un-
derstand, has fascinated women
from all strata of society. Brown
eyes, brown hair, bronzed skin —
I could well understand how he
has been the one man really to win
Clara's heart.

He will take what he wants.
And he will hold it. He is a cave
man, thinly covered with Broad-
way veneer. He is a man who
would either inspire a magnificent
passion in a woman's breast, or a
magnificent hate. Maybe both.

.But let's have Mr. Richman con-
tinue his story:

"I think the main reason Clara

International News Photos, Inc.

The New York premier of Richman's
first picture, "Puttin on the Ritz" will
be enlivened by Miss Bow's presence.

and I fell in love," he explained,
"is because we understand each
other and we both understand at
how great a cost success is bought.
We both were born in humble
surroundings. And we both had
to work, fight and suffer to get to
the top.

"Getting from the bottom to the
top on stage or screen is similar
to climbing up a stairway, a stair-
way like the pilgrims climb in
Rome — on their knees. One step
at a time. Clara and I have put
in years doing this. And we don't
want to topple down these same
stairs through any mis-step on our
own parts.

"Just at this time Mr. Schenck,
who has been a real friend to both
of us, considers it would be a mis-
take for us to marry. He says:
'You have been happily engaged
for nine months. Wait just nine
more. Paramount has poured
many thousands of dollars into
Miss Bow's career, and she has in
turn earned (Com. on page 120)

SCREENLAND

Studio Lorelle

The Menjou smile is as inscrutable — and jascinating-
as ever. Adolphe is making talkers in Paris.

SOLVING

The Menjou Mystery

By Stiles Dickenson

THE place: Paris.
The scene: Adolphe Menjou's apartment near
Place Victor Hugo. Of all the places to chat with
Monsieur this seems to be the most ideal. All his
screen characterizations have fairly breathed of Paris and
the Boulevards; so, as the scenario writers would say, the
stage was set.

The door was opened by a nice, motherly-looking French
maid who is looking after Monsieur during his wife's short
absence in America. I was announced — and immediately
in stepped Monsieur Menjou 'en chair et os' (as they say

on the Boulevards.) He looked his old dapper self, only
more so — if you know what I mean. The recent operation
in the American Hospital here has been a howling sue-
cess. Good health and cheerfulness radiated from the
sophisticated Menjou features. As he is in the midst of
starring in his first talking film in France at the Pathe
Studios in Joinville, near Paris, he plunged headlong into
the subject of picture-making.

"Talking films are going to be a hard job. The pic-
tures must be very good to live," he began. "They are
making each country concentrate on its own production

for April 19 30 23

Is Adolphe Through with Hollywood? What
Does He Think of Talkies? All Your Questions
Are Answered in this Report from Paris

and out-put. During the making of silent films ninety- have gone through the Conservatoire and are so thor-
five percent of the pictures on the French market were oughly schooled in elecution and diction that they seem
American-made. The French were not organized. As to be singing a part instead of acting it naturally. They
a rule, the director himself would raise the money to accentuate the artificiality of their lines,
produce the opus. Also, as a rule, the money would "For the Americans the French language will be the
give out before the picture was completed. The picture hardest to learn — or almost impossible. The French love
would be delayed until the director could raise more money; their language and are not amused at hearing it butchered,
and, in the meantime, the American films, with their regu- In America, they may like to hear English spoken with
larity of output, would be all over the place. an accent or foreign pronunciation, but not so with the

"American films were the only successful films of the French. German would not be so difficult. Spanish and
world. Germany lost terribly when trying to compete Italian could be learned fairly easily — at least, enough to
with American pictures, in spite of the fact that the best get by with the lines of a part. It's much different when
equipped studios in Europe are in Berlin. Then, when one has set lines to learn when trying to do it in a foreign
any of her directors or artistes became well-known, they language, than when trying to speak it in conversation,
would be lured to America. Now, talking films have The constant repetition of the same words helps one keep
changed all this. Because of language difficulties and the accent once he has learned it.

accents, back to their own countries flew the prodigal "To be really successful, films must be done in more
sons and daughters. than one language; and — they must be real plays. In

"With the sudden arrival of talking pictures the Ameri- Europe they are thoroughly tired of these slight plots
can productions have been cut off from the rest of the padded out with songs and dances. The novelty of the
world. They will continue to be so until they produce first one or two has. worn off and now they want the
pictures in more than one language. That's where the real stuff. The song and dance films are good when sand-
wiched in with real dramatic
films or good light comedies;
but with the recent flood of
them the public has been fed
up.

"Of course, the song and
dance parts have helped
greatly in foreign-speaking
countries — but they, too, have
had too much. As for exam-
ple, the riots at the Moulin
Rouge the other night when
it re-opened as a cinema
theater. The opening film
was a revue. As the stupid
scenes followed one another
in English the audience pro-
tested— protested so strongly
that in the end their money
was refunded. 'Broadway Mel-
ody1 is a success in Europe
because it has a story to hang
to and splendid acting inde-
pendent of the delightful
music.''''

The telephone rang and as
the motherly- looking French
maid was out shopping at the
market Monsieur Menjou, lui
meme, had to answer it. A
'mile a minute' French con-
versation followed. It de-
veloped that Menjou had
bought a dog from a fancy
kennel. When the dog arrived,
it was sick. It was returned
to the kennel to be treated and
the kennel manager had both
the money and the dog. After
much conversation a personal
(Continued on page 123)

hard work will come in. Hard
work for the stars, I mean.
There are lots and lots of
small part and 'bit' players in
America who can speak three
and four languages. The stars
will have to learn their parts
in other languages. Opera
singers have to sing their roles
in several tongues. This means
a tremendous amount of work.
Why shouldn't the high-sal-
aried cinema stars do the
same? It has been too easy
for them up to now. A pretty
profile or alluring eyes and
voila! — they were highly paid
'stars.' A few months' con-
centrated work will give them
enough knowledge of the lan-
guage to play a role."

Here an amused twinkle
lighted the eyes of the debon-
air. Menjou. I asked him to
tell me what caused the
twinkle. "Well," he said, still
twinkling, "lots of the stars
can't even speak their own
language well enough to play
parts. Some of them are get-
ting so darned cultivated it
-sounds like a foreign language
when they attempt to speak
plain English!

"In England they speak
beautifully, but they are too
conscious of the fact. They
seem to be enjoying listening
to themselves talk. In France,
it's nearly the same proposi'
tion. Most of the artistes

Adolphe and his wife, Kathryn Carver, on their
way to Paris. Menjou will make three French
films, visiting America between pictures.

SCREENLAND

"A una Christie," her first talking film, reveals a new
Greta Garbo. Do you like her as well as the Garbo
of the silents?

IMME a whiskey, wit' ginger ale on th" side. An"
don't be stingy, baby."

Oh, immortal words from a modern Helen
whose face has launched a thousand dreams.
Oh, significant words — that have launched a thousand
battles!

She does. She doesn't — she doesn't, eh? Well, I'd like
to know — that's what you say — oh, you think so, do you?
Well, let me tell you — is that so? Yeah, you and who
else? You can see what this will soon lead to among us
fans who take our Garbo seriously, if something isn't done
about it.

What Garbo loses, if any, or gains, if possible, by the
talkies. That's what we want to decide. And who's to
tell us? Those who say she's lost against those who say
she hasn't, armed to the teeth, going about with chips
on shoulders, families divided, romances ruined. Yes, sir,
something has got to be done to stop this argument. Well,
and who knows?

Mr. Brown knows, Mr. Clarence Brown, Mr. Brown
who achieved such laurels for himself with the direction
of "Anna Christie." He knows.

Let's ask Mr. Brown.

"Mr. Brown, oh, Mr. Brown, what do you say about
the voice of Anna Christie, we mean Garbo?"

Mr. Brown speaks: "I consider Greta Garbo one of the
three great actresses the world has known. Bernhardt,
Duse, and now Garbo."

There, now!

"She is just at the beginning of her career, for we have
brought a new Garbo to the talking screen."

But Mr. Brown, we whine, we liked the old Garbo.
Why do we have to have a new Garbo? After all, old
shoes are so much more comfortable to wear, Mr. Brown.
We like old shoes. They fitted around our little pet
dreams, those sneaking yens of ours (Continued on page 12?)

QRETA

. . Victor?

Thousands of Reels of
Since Garbo and Gilbert
Always be Remembered as
in Screen History. Now
their Separate Ways, Which
And What will be their

Will "Anna Christie" Make
Garbo a Greater Star?

By Marie House

The first words spoken by Greta Garbo from the
screen: "Gimme a whiskey, wit' ginger ale on th'
side. An don't be stingy, baby." Will her realistic
role of Anna Christie disillusion her public?

for April 1930

JACK

Vanquished?

Film Have Unwound
Co-Starred, but They Will
the Greatest Love Team
That They have Gone
One has Fared Better?
Fate in Talking Films?

Will Jack Gilbert Win His
Way Back in Talkers?

By Myrene Wentworth

Ina Claire is no sunny-day wife. Now that rain has
come she has hauled out the trusty umbrella and Jack
is under it with her. Metro, Jack and Ina are looking
for a good story for Jack's next talker.

John Gilbert's first talking film, "His Glorious Night,"
was hardly a triumph for this colorful star. Will he
'come back' in his second?

THE world wants to know what John Gilbert is
going to do now. With his mocking million
dollar contract, his sumptuous studio bungalow,
the reported collapse of his fortune on the stock
market, the rumored separation from his wife, Ina Claire,
and the fiasco of his first talking picture. What will hap'
pen to Jack?

He has an iron-bound contract and a studio bungalow
right enough, and it can't be denied that he did take a
terrible wallop on the stock market; but with a million
dollars dangling in the offing we imagine he can recover
from that blow without too much suffering. The fiasco
of his first talking picture and the reported estrangement
from his wife — well! The picture we have of Ina Claire
holding forth for an afternoon to an old friend, her eyes
flashing, expressing herself in dialogue so brilliant that it
would net a movie company a million dollars could it have
been recorded — this picture doesn't give us the impression
that Ina is 'off1 Jack Gilbert! From what Ina said and
from what she is doing it would appear that she is no
sunny-day wife. Now that the rain has come she has
hauled out the trusty umbrella and Jack is under it with
her.

About the fiasco of his first talking picture, which can't
be denied either: we'd like to see the actor who could put
over the dialogue of "His Glorious Night" in anything
but comedy. Lionel Barrymore, who directed the picture,
should have known better; Jack himself should have known
much better. If any blame can be attached to Jack in this
thing that must be where it lies. In the last analysis the
star is the one who suffers after everyone else has alibied
himself to the eyebrows and Mr. Gilbert has been long
enough in pictures to know that. Dialogue has to be
very carefully watched. Every stage director is aware of
this, and "His Glorious Night" held lines that would have
made a melodrama of the barn- (Continued on page 126)

SCREENLAND

Cecil Beaton, noted young artist
and photographer, penetrated Hol-
lywood with analytical eye and
camera. Here he is with Anita
Loos, the pint-sized author.

WHO are the six most
beautiful girls in Hol-
lywood? In a com-
munity where the
beauty of the earth has gathered for
place and fame, such a selection is
daring, dangerous. It would take
an artistic newcomer, with imper-
sonal, analytical eyes and great cour-
age, to make such a decision.

Cecil Beaton, a twenty four year
old boy, has done it. In fact, he
made his choice before he arrived,
from photographs; and although the
sight of some of the other beautiful
girls out here may have made him
writhe in indecision, he stuck to his
first list because the subjects of it
illustrated the idea he had in mind
when he started gathering material
for his book on beauty.

Asked his definition of beauty,
Mr. Beaton declared he hadn't any.
He qualified the statement by say-
ing that any person who was true
to his or her type was beautiful.
'"Sometimes, quite ugly people are
beautiful,'" he said whimsically.
People with irregularities of features
are sometimes more beautiful than
people with perfect features. While
Anita Loos might not be considered
one of the beauties of the world
she has a vividness that is greater
than beauty. She is also true to her
type and has studied it and knows
how to enhance her native attract-
iveness. Miss Loos was one of the

Hollywood's

The Result of One Young
Man's Beauty Quest. Do
You Agree with Cecil
Beaton's Selection?

By Helen Ludlam

Beaton's two favorite beauties, photo-
graphed by himself. Above, Miss
Nancy Beaton; below, Miss Baba
Beaton — the artist's sisters.

Portraits by courtesy of Cecil Beaton

first women in Hollywood to make
smart tailored sports clothes the
vogue for almost every occasion.

Zasu Pitts is also beautiful be-
cause every feature is sympathetic

But now for the six most beau-
tiful. Here they are:

Greta Garbo, because her mystery
and allure exceed that of all women.

Marion Davies, because of the
delicacy and elfin quality of her
features which remind one of a
Greuze painting.

Lillian Gish, because of her ethe-
real spirituelle expression.

Dolores Del Rio, because of the
utter loveliness of the mask of her
face and its perfection of type.

Norma Shearer, whose beauty is
decidedly English.

Alice White, because she seems
to Mr. Beaton to be the Spirit of
Hollywood.

And now, who is Cecil Beaton,
and why is he an authority on
beauty? Well, here's the answer.
And you can take it or leave it.

Cecil Beaton is a well-born Eng-
lishman. Back in the fifteenth cen-
tury his ancestors, like so many other
Frenchmen, migrated to Scotland,
then to England and for generations
his people have been Londoners.
Not that it matters, but the fact
catalogues him. For years he has
photographed the leading social and
dramatic lights of England and the
continent. Such ladies of quality
and artistry as Margot Asquith, Tal-
lulah Bankhead, Lady Lavery, Tilly
Losch, Rosamund Pinchot, and
others. He hesitated to mention
any of their names. "It seems so
vulgar to do so!" he protested with
a grimace. And I felt that I must

for April 19 30

0 Most beautiful JJA

omen

The 6 Beaton Beauties:
Greta Garbo, Marion Davies, Dolores Del Rio,
Alice White, Norma Shearer, Lillian Gish

Nicholas Muray

have become a very hard-boiled
person indeed. But I went right
on and asked him point-blank how
he happened to be in the business
of photographing people.

"Well, you see, I am desperately
unhappy unless I am working at
something. I like to work. I like
to be busy. When I'm not I'm
miserable. Oh, parties are fun
and all that; but if social engage-
ments are all of one's business, life
becomes terribly stale.

"What I really want to do is
to write, and I do a bit of it now
and then. Our Lon-
don paper, The Tat-
ler, and Vogue and
Vanity Fair in this
country have all
published my stuff.
But I love to sketch
and draw and pho-
tograph people. I
like to try out dif-
ferent camera angles
and put my sub-
jects against differ-
ent backgrounds

Oval, Greta Garbo.
Right, Alice White,

Lillian Gish. : ,

Dolores Del Rio.

and I like to design the back-
grounds myself.

"I think every human being
needs expression. If he doesn't
get it he remains undeveloped, in
a state of stagnation that is bad
for him and bad for the world. I
think every man and every woman
ought to reach for a goal that
appears to them the highest. To
a wiser person the goal of one
man's ambition may seem useless
and stupid — never mind — it is the
highest that person can think, and
if he strives, his vision will grow
and his ambition
become something
higher. And that's
how people grow
and that's how the
world grows and be-
comes wiser."

Now all of this,
to explain why he
was working.

And listen, all
you people who
think you must have
perfect machinery,
oodles of capital,
handsome studios
(Cont. on page 112)

Marion Davies.

Norma Shearer.

SCREENLAND

Charles Farrell and Mary Duncan share many tender
scenes in their new picture, "City Girl." Will epi-
sodes like this, with dialogue accompaniment, make
audiences mirthful?

Right: one of the scorching scenes from "The Bad
One," Dolores Del Rio's first all-talking picture.
Edmund Lowe is the hold, had lover of the speakies.
He laughs right along with the fans!

Why They LAUGH

What's All the Shouting For?
Read the Real Reason in this
Amazing Analysis

And here is Mr. Lowe again, this time breathing
sweet nothings into Billie Dove's beautiful ears.
Have love scenes lost their punch since they have
become audible?

YOUR friends may have laughed when the waiter
spoke to you in English, or when you sat down
to play the piccolo. But (business of saying "pouf,
pouf," and snapping the fingers) it was nothing.
Anyone can learn to spika da Ingless. Look at Greta.
Look at Vilma. And who wants to be a piccolo player!

But just imagine a screen star, a soul-searer of the
cinema, with a Casanova reputation to sustain, whose first
"I Love You" in the talkies caused a giggle to roll like
a Republican plurality from coast to coast! Such was
the plight of John Gilbert in "His Glorious Night." And
not a Murad handy.

" 'His Glorious Night' With Catherine Dale Owen" —
so the billing read on at least one theater marquee. But
it turned out to be more of a nightmare than a night.
Inglorious rather than anything to brag about. And doubt-
less next morning John wished heartily that he was back
home in the dumbies with Greta Garbo. So many of us
do after a glorious night. That is, back home. Not
necessarily with Greta. After all there's Clara Bow and
Billie Dove and — oh, lots of nice girls.

"I Love You," said John, and the illusion in a million
feminine hearts collapsed. Thousands of mustaches were
shaven from the lips of those sweeties' sweeties following
the utterance of that avowal. Psyche joined Niobe in a
vale of tears. Cupid got cock-eyed.

The public, fickle as a fancy's fancy, is blaming Gilbert
for something which is its own fault. The public made him
a god when he is but a man with all the lovable, human
frailities of man. The public created an illusion regarding
Love as he personified it — and when the mirage faded it
blamed him.

Any yap can say "I Love You." Most yaps do. In life,

for April 19 30

"Anna Christie" has some tense love scenes with
Greta Garbo and Charles Bickjord. Will Garbo's
artistry rise above audience hysteria and hold us
all spell-bound?

Left: a love scene that made screen history: John
Gilbert with Catherine Dale Owen in "His Glorious
Night." The girls giggled when John said "I love
you" to Catherine and this story tells you why.

at Love Scenes

whether the declaration is spit through a hare-lip, or stut-
tered from the tip of a stammering tongue, it is as the
lyric of Orpheus to the ear of femininity. But some-
how on the screen, with Gilbert, this was all changed. The
shadows were silent, and not even the most hackneyed
title read simply "I Love You." Thus, somehow, a legend
grew that when Gilbert's lips moved amorously in a close-
up half lost in Greta's curls — the great Unknown, the
mighty Unspoken, the mystic Unspeakable words were
uttered. Surely no trite "I Love You1'' could cause such
swooning passion as that with which Garbo filled the
screen! In savage tribes the jungle sorcerers pretend the
knowledge of a word so devastating that if it is ever
uttered the universe must crumble. We aren't so civilised.
And this was the word that every movie maid expected
from John Gilbert.

It wasn't his voice. John's is as mellifluous as Tom's or
Dick's or Harry's. All men are lovers. Yet few speak
in tones like the dew in the heart of a rose made audible
by faery magic. But with Gilbert, somehow, the unfair
sex expected something between the fancied piping of a
Pan and the whispering of zephyrs from a Southern sea
murmuring through the love-tossed locks of Venus. They
didn't get it. And they gave John the Csecho-Slovakian
cheer.

There is yet another reason. And that is this. Every
girl in every audience places herself in the position of the
heroine. When Greta's lips were crushed in a volcanic
caress, milady in the orchestra unconsciously found her
fin gers wandering to her own. If suddenly her dream had
become reality, and she had found herself in Gilbert's arms,
the boy-friend would have been surprised how well she
might have emualated Garbo's (Continued on page 127)

Herbert Cruikshank

The famous locked-door love scene from "Devil May
Care." Little Dorothy Jordan refuses to say fare-
well to her lover, Ramon Novarro. And some mean
old audiences had to laugh!

Hello,

SCREEN LAND

PUBLIC! T%t

Famous Film Star Finds She Has a Voice and Takes it
Into Vaudeville. Read Estelle Taylor's Own Story of
How It Feels to Come Face to Face with the Fans

I've seen America from the cabins of airplanes. Eve
seen America from the drawing room windows of
crack fast-flying trans-continental trains. But, believe
me, until you've seen America from the back seat of
a Ford car, you don't know your own country at all.

Just as every country boy gets the itch to go fishing in
the spring, just so nearly every movie star gets the itch
to take a tour into vaudeville at least once in his life
time.

Ever since Jack and I played in Mr. Belasco's play
"The Big Fight," here in New York, Eve been thinking
about taking a tour. But, of course, before you can put
on a vaudeville act, you've got to have something that
will go over in vaudeville. And many movie stars have
found out that what was just swell in pictures was just
terrible on the stage. And a few of the stage actors

In her recent tour
of America Estelle
encountered for the
first time the audi-
ences who had
written to tell her
how muck they
liked her in "Don
Juan" with John
Barrymore. She
met her public —
and they were hers!

have found out what wows them on Broadway brings
tears to the eyes of the folks in far corners. And I don't
mean tears of grief.

Well, a month or so before I started on tour, somebody
discovered I had a voice. And what a voice it turned
out to be!

Now don't misunderstand me, I really have a voice.
But at first, and sometimes even yet, when I start to
sing, I feel just like a man who touches off the time-fuse
attached to a load of dynamite. I know something is going
to happen. But just what — nobody can tell until the event
actually occurs.

My voice is big, rangy, powerful — and when I start to
sing I feel exactly like an amateur golf player. Em think-
ing so much about technique — all the million things my
teacher has been telling me, correct position, correct
breathing, correct tone, correct control- — well,
Em so busy figuring these things out, that when
my voice actually survives all this technique, I
get as great a kick as an amateur golfer who,
intent on his pro's dozens of instructions, finds
his ball winging its way two hundred yards over
the green turf.

When I finally made up my mind to take the
tour, I asked all my movie friends who had them-
selves made vaudeville tours where was the best
place to start.

The consensus of opinion was that Iowa is the
'toughest' spot in these United States to survive.
"If you can get by an Iowa audience,"' one of
them said, "you'll live to be ninety-six."

That was all right with me, for naturally I
didn't want any managers to catch my act until
I knew how this voice of mine was going to
survive. So the little town of Atlantic, Iowa,
was the first town selected
for the grand tour.

But before I left Holly-
wood I had my modiste,
Irene, design five or six skin

for April 19 30

Except in the role of
Lucrezia Borgia oppo-
site Barrymore, Miss
Taylor's sense of hu-
mor was submerged
on the screen. But in
her vaudeville act her
own glamourous and
witty personality
comes into its own.

The vivid beauty
you have admired
on the screen is
now enhanced by
a lovely voice.
Estelle is a big-
time box-office at-
traction from the
Palace, New
York, to Atlantic,
Iowa, and back
again.

She scored a genuine success at the Palace, ad-
mittedly the most hard-boiled vaudeville theater
in the world.

tight dresses. The movie audiences
have seen me mostly as the hot
vamp in pictures and I knew they
would be expecting a hot stage
performance. And I made up my
mind not to disappoint them.

I had a white lace dress designed
that makes me look as if I don't
have a thing underneath but my
little sunburned hide. Of course,
I have. All the laws of propriety
are positively satisfied. But on the
stage, it is the illusion — not the
reality that counts. I had a beau-
tiful soft black velvet dress made,
too, cut down to the waist in the
back and with all the left side ap-
parently taken out and diaphanous
material set in. But it wasn't dia-
phanous, really.

On a winter morning, my maid,
my manager, my accompanist and
I left Hollywood. I felt positively
miserable. Jack says : "Estelle,
you ought to be Hollywood's offi-
cial publicity woman,''' and it's
true. I love Hollywood terribly.
I'm not happy out of it. When I
see those funny-looking bungalows
fading away, I get the most awful
case of the blues you've ever
seen.

But I suppose we all feel that
way about the place where we've
been happy and where we've made
a success. But even If I hadn't
had a break in pictures, I would

The wife of a world idol, Jack Dempsey,
Estelle Taylor is a celebrity in her own
right. Her splendid voice will be heard
soon from the screen.

still love Hollywood, for people
are happy there, all stories to the
contrary.

It's just a big hick town and
people aren't spoiled. Why, the
girls and men in my crowd get a
kick simply out of going to Henry's
and having a bite to eat and say-
ing: "Gee, I got the role I've been
working for." They like to be
happy. Whereas, stage folks as a
rule are melancholy Hamlets. They
enjoy feeling they are misused.

Well, anyhow, I kissed Jack
goodby and got on the crack flier,
the Chief, feeling decidedly weak
in the knees and dry in the throat.

Somewhere in the middle of the
next night, in the middle of Iowa,
I was deposited on the ground.
And a nice new Ford drove up
and took me to the little town of
Atlantic, where I arrived at day-
break.

Driving up to the little hotel,
I asked for four rooms and four
baths. The little lady who runs
the hotel there, shook her head
dolefully:

"What kind of people be you
that you can't all use one bath-
room? There ain't but one."

Well, I was pretty tired and
worried by that time, so I said:
"All right. Just give us what you
have."

I rolled (Continued on page 118)

SCREENLAND

Photo by Bruno

Mr. and Mrs. Edmund Lowe and the fitted bag which can be used for both men
and women and which they offer to you for the best letter.

<lA (jift from
<JMx. and <JMrs. <Pdmund £bwc

for April 1930

Lilyan Tashman and Edmund Lowe are giving the gift
bag jointly but they are asking questions separately.

Whenever there's a call for a sophisticated part in any
picture at any studio Lilyan Tashman is paged. Lilyan
is a free-lance and has worked on every lot in Hollywood
— which means that when a company selects someone other
than one of its own contract players, she must be good!
But Lilyan wants to know if you think so, too. Here's
her question : Do you like Lilyan Tashman in the sophis-
ticated parts she plays or would you rather see her in other
roles? Why do you think so?

Eddie Lowe can play any type of role — that is, sophis-
ticated or hard-boiled parts, with equal success. It's a
gift and Eddie has it! If you will tell which type you'd
like to have him concentrate on he'll not only do as you
command but will reward you for your suggestions.
Eddie's question: Do you like Edmund Lowe in sophis-
ticated parts such as he played in "This Thing Called
Love," or hard-boiled roles like Sergeant Quirt? Give
reasons for your answer. The best letter wins!

No, Eddie Lowe is
not going anywhere
— he's just display-
ing the gift bag to
you so that you
may go somewhere,
if you are the lucky
winner of this
contest.

Lilyan Tashman,
one of the best
dressed women in
Hollywood, selects
the best in walrus-
skin fitted bags for
you, for answering
her question clearly
and sincerely.

MR. and Mrs. Edmund Lowe — she's Lilyan Tash-
man, you know — offer a swanky walrus-skin
Gladstone bag as their ScREENLAND gift. The
fittings are of ebony with the finest pigskin
bristles in the brushes. The bag is lined with leather and
has compartments for shirts and other apparel. (Don't
you feel that travelling urge descending upon you?)
The bag may be used by both men and women and is
exactly the same as the one the Edmund Lowes use when
they travel. It's the last word in luggage!

If you want to win this gift write the best letter
answering their questions: Do you like Edmund Lowe
in sophisticated parts such as he played in "This Thing
Called Love," or hard-boiled parts like Sergeant Quirt
in "The Cock-Eyed World?" Give reasons for your
answer.

Do you like Lilyan Tashman in the sophisticated roles
she plays or would you rather see her in other roles?
Why do you think so?

By best letter is meant the cleverest, clearest, and most
sincere.

ADDRESS:— MR. AND MRS. EDMUND LOWE

SCREENLAND CONTEST DEPARTMENT

45 West 45th Street
New York City

Contest closes April 10, 1930

SCREENLAND

INGING

in the

ESERT

Bernice, happy-go-
lucky, humorous.

Alec, serious-minded,
calm, idealistic.

Bernice Claire and Alexander
Gray are Co-Stars of Song

Betty Boone

THE stage was set. Silver moon, purple mountains,
and golden desert were all in place. Everything
stood ready for the principals. Bernice Claire and
Alexander Gray stepped to the edge of the sand,
as they had done so many times before, and sang:
"Blue heaven and you and I,
And sand kissing a
moonlit sky.'"
But this time it was not
on a stage. It was not a
scene from "The Desert
Song." They were stand-
ing for the first time on
a real desert. They were
looking at the San Jacinto
mountains in the distance.
The desert breeze was
blowing sand from Mo-
jave on them.

Three little prairie dogs,
more bold or less sleepy
than their friends, sat
near their burrows and
listened. In the distance,
a coyote howled. But
none of these things dis-
tracted the attention of
the singers. They were
really on a desert.

"It was so big," says
Bernice. "It was so still.
It was so romantic. I just
had to sing and sing. I
don't know if Alec felt
that way about it or not,
but he was singing with
me.

"And do you know,
standing there with all
that before us, I realized
what the words 'Oh, give
me the night divine!'

The Claire-Gray team who won applause in
"No, No, Nanette" will repeat in "Spring Is
Here" and "Song of the Flame."

meant. For the desert song certainly was calling to me."

"At times I still feel under the spell of that desert's
mysticism," adds Alexander Gray. "But there was a
time out there that it seemed cruel and sinister. The dark
shadows under the hillocks reminded me of the stories
I read about the early Spanish explorers who died of

thirst in this desert. Going
ahead blindly, they were
seeking new homes in
Monterey. But many
found only graves in Mo-
jave.

"And the story of the
conquering of this waste
by man armed with water
also came to me. I could
see visions of the engi-
neers fighting the never-
ending power of the
desert. Fighting and win-
ning for a day, just to
have flood or drought
come and ravage the place
back to its natural con-
dition. You see," he ex-
plained with an embar-
rassed laugh, "I took engi-
neering at college. The
reclamation of the desert,
especially down in Im-
perial Valley, fascinated
me. I studied it for a
time with an idea of going
into that myself."

The desert fascinated
them so that they stayed
behind at Palm Springs
with Alec's sister after
the rest of the party had
gone back to Los Angeles.
They hiked into it. They
(Continued on page 125)

Anton BrucM

5\ew York-Hollywood Style ^ar

The Battle for the Fashion Favors
of the Lovely Ladies of the Screen

Style supremacy! Does
the palm belong to
Paris? Or Manhattan?
Or Hollywood?

Frances Clyne of New York: "Do
the stars set styles? I am forced to
answer 'No.' They have it in their power
to set fashions not only for the U. S. but
for all other countries where pictures are
shown. But many famous stars , dress in
such an exaggerated fashion that no woman
of good taste would dream of copying.
Out in Hollywood itself there is a saying
about a woman who puts on too many
jewels and extra decorations: 'She wears
two dresses instead of one.1 I think that
screen stars should realize the difference
between giving an impression of riches and
being well-dressed. Good taste really is an
elimination of every extraneous thing. It is
the essence of simplicity. Every woman
should strive to express it in
her manner, in her bearing. And
since the world knows us first
by our appearance, it is doubly
k important that she express it in

her clothes."

Norma Shearer, silhouetted
left and right, as the goddess
of Fashion.

Ruth Harriet Louise

HOWARD
Ho

Greer of
llywood: "Be-
cause of the films and
their need for good
fashion Hollywood designers have
been spurred to keep as close pace
with Paris as possible; but Hollywood
is the bright pupil who, having learned
well his lesson, puts into it something
inspired by his locality. Because of
this need in films Hollywood may be
a bit ahead of New York. Geograph-
ically speaking it should not be. In
the natural course of events New
York would get the newest from Paris
ahead of the Pacific Coast. But be-
cause of our needs we keep up more
carefully with Paris, and now ladies
of fashion in and out of films do
not think they have to go to New
York or even Paris quite as often as
they did, to do their shopping."

Let us see what the
famous designers of
East and West have to
say about it

Zerreivner

eauty in Boudoir Fashions

Claudette Colbert stands alone for the East The love!>
simplicity of these lounging pajamas is in outstanding featun
of this home ensemble They are of brown chiffon velvet
with a collar of eggshell crepe de chine pleated ruffle.* Tin
very long trousers are a distinctive feature The costume wa-
designed by Miss Colbert and Carol Putnam, head oi tl
Paramount Long Island Studio wardrobe department

'/ ii r mil

What They Wear
in the West to
Lounge and Rest

Left: the slender, lithe figure
of Joan Crawford is just
right for the newer pajama
styles that are ruling both
the sports and boudoir field
this season.

Left, below: a full length
view of the Crawford paja-
mas. Of white flannel with a
border of black, this ensem-
ble follows masculine lines
in a striking manner.

Below: Kay Francis prefers
the very feminine negligee,
of beige chiffon and ecru lace
with an underslip of deep
sand satin which shimmers
through the folds of chiffon.

O R T S

Anita Page goes in for sweaters! Cir-
cle, upper left: V-neck sweater with
matching beret suitable for golf. Cir-
cle, upper right: crew-neck sweater
with gob hat suitable for all water
sports.

As Howard Greer says: "The
logical Hollywood style would be
sports things but that is only a
phase in the lives of people in
other and colder communities."
Hollywood screen stars can wear
sports things practically all the
year 'round

of all SORTS

Upper left: Anita likes to wear this
sweater with its matching tarn when
she goes hiking with her small brother.
Upper right: the correct sweater and
hat for a girl who goes in for polo.

Is it any wonder Hollywood ex-
cels at sports clothes? Thanks to
the climate, casual costumes are in
vogue at all seasons. New York,
however, refuses to surrender. She
says that when she does go in for
sports things she makes up for
lost time.

Below: Norma Shearer chooses this
costume for serious golf: pleated wide
skirt, man-tailored jacket, Paisley
scarf, and trim felt ha*

Anita wears a green and white sports
suit: sleeveless dress of white silk
pique with jacket of green.

Bull

Left: Joan Crawford's favorite sports
costume of lace tweed, made with a
boyish blouse and newer-length skirt.

Hurrell

New York Notes in Daytime Clothes

Left: Lilyan T ashman wears a
Frances Clyne creation of raspberry
covert cloth, with tucked-in blouse
of crepe tea-rose.

Left, below: Ruth Etting, now lend-
ing charm to singing pictures, wears
a jaunty street suit of green leda
cloth with a collar of beige lapin.

Below: smart simplicity and the raised
waistline are the distinguishing charac-
teristics of Claudette Colbert's ensemble
of sand covert cloth.

Zerreaner

Ensemble. . .

The Smart New Silhouette Goes West

Might, below: Kay Francis combines Right: Hay Wray wearing a daytime

summer ermine and black broadcloth ensemble of black broadcloth with

;vtth flattering success. A blouse of tailored jacket and circular skirt.

• use-beige satin accents this com- I' he collar and cuffs are of gray
hination. Persian lamb.

Helow: Htch fur adds richness to this
t fiat worn by Joan Crawford. This cos-
ume assumes the approved skirt and
coat length. Designed by Adrian.

II nrreil llyar

THE
AFTERNOON
MODE

When lovely start- sup out these spring
afternoons they must look their best
whether they are representing New Yon
or Hollywood! The girls of the west coast
and their Manhattan sisters may argue end
lessly as to style but they have one thin*,
in common : they must live up to their ow i
highest ideals of dress. You will note that
the Eastern stars— left-hand page achievi
a more formal effect, while the Wester:
luminaries, in league with sunny California
skies, seem to prefer a happy informant)
Each mood of the mode has its right plan

Upper left: the blonde beauty of Claire Ltut
is set off by the exquisite maize shade of this
smart coat by Isabel with its fox collar

ijettan

Upper right: an example of the [return ti
elegance' this spring is the blue flat crept afte-
noon ensemble created by trances Clyne of
New York and worn by Lilyan 1 ashman

Munr;,

C taudetle Colberts new afternoon frock u o<
heavy crepe morocaine in the color much
favored this season by Patou -nasturtium

♦

Directly above: B.illie Dove wearing what might be
called 'the classic Hollywood afternoon dress.' Such a
frock must be set off by such skies and flowers as Cali-
fornia can boast. It is of white scalloped voile.

Fryer

Right: Billies transparent velvet, squirrel-trimmed wrap
is topped by a hat of sheer black tulle with a gold
and silver band.

Upper left: Kay Johnson wears a conservative afternoon
dress of blue flat crepe featuring the new short sleeves
and an unusual neck line. Hurrell

Upper right: Norma Shearer is radiant in a striking
black and white two-piece dress with appliqued gold
brocade roses. Note the distinctive sleeves.

Louise

Monroe

When Lilyan T ashman, above, came to New York for a
vacation, she made for the shops. Lilyan loves her
Hollywood but she makes no secret of the fact that she
simply dotes on eastern styles, theaters, food, and friends.
So she 'did' the Avenue and all points east; and found
just the clothes she had been hoping for. One of her
favorite discoveries was the frock pictured above; de-
signed by Frances Clyne, it is fashioned of Burgundy-
color lace with a foundation of the same color chiffon.
Note the 'party length' sleeves, fitted bodice and
beruffled skirt.

Right: Claudette Colbert, a darling of the New York
stage, is noted for her good taste in clothes. Now that
she is in pictures you may expect her to stage little
style shows in addition to dramatic displays. She is wear-
ing a gown of gypsy-red lace featuring the new silhouette
with the accompanying high waistline. Striking features
are the little Chanel belt, youthful shoulder bertha, and
the ruffle placed below the hip. This frock was especially
designed for Miss Colbert by Shirley Barker, formerly
designer with Lady Duff Gordon ('Lucille').

The Sunday
Supper Frock

The mode of the moment the chic, charming, ele-
gantly informal 'little Sunday supper dress.' It sounds
so simple, and it is really so very clever. Every smart
girl should have one in her wardrobe, to wear mi
those Sunday evenings when she wants to be well-
dressed without dressing formally. East and West
unite in approving this fashion, even though each has
its own ideas as to its design. Left-hand page, East;
right-hand page, West.

/jfirr ii nt'r

I, ana re

Right: (.'laire Luce in a
gown by Isabel of gold
and rose metal brocaded
chiffon. The bodice
blouses very slightly into
the snug hipline, the skirt
is ankle length and
straight to either side,
but flaunts trailing panels
in front and back.

Below: l.ilyan Tashmun
in a gown designed by
Frances Clyne. The bodice
is simple in front, but
decollete in back with a
slight bloused effect. The
hipline treatment is rather
unusual. The stitched in-
serts, front and back,
meet at the left side and
are tied in dripping bows.

Monroe

: V

Evening
in

Manhattan

New York's
Version
of the Smartest
Formal Feminine
Fashions

Left: Ruth htting in a
distinguished evening
frock of gold mesh lame,
with a cherry red how in
the back. Miss luting's
gown is longer in the
back and quite decollete.
The front is straight and
has a slight flare at the
bottom.

Below: Claudette Col-
bert's evening gown is of
off-white satin with a
slightly blue tinge. The
frock is embroidered with
r hineslones and seed
pearls dyed to match.
The smartly tailored
Chanel belt is an inter-
esting feature of the gown
which carries out the idea
of the long body line.

Zerrenncr

Hull

Right: Anita Page has
adopted the lengthened
hemline for evening wear,
choosing a delicately fash-
ioned frock of taffeta and
tulle in a flesh pink shade.
The waistline is outlined
by a narrow sash while
the skirt flares in a grace-
ful line to the floor.

Below: Black satin and
brilliants make a very
safe fashion investment.
Kay Francis' gown is of
black satin, flaunting a
high waistline and an in-
teresting design worked
in brilliants from waist
to knees. The skirt forms
a train at the back and a
point at the front.

Dyar

Evening
in

Hollywood

Fryer

Left: Dorothy Mackaill
hasn't succumbed to the
very long evening dress
as yet. Although her
frock is longer in the
back, it is knee length in
front. Of eggshell moire,
it has no definite waist-
line. Two flounces and a
corsage are the only
trimmings.

Below: Estelle Taylor
features white taffeta with
real lace and marquisette.
The gown is very long
and very full, with back-
less bodice of real lace.
The skirt is taffeta and
starts below the hips and
flares at the bottom with
an even hemline. Designed
by Irene.

A fierio

The West
Presents Its Own
Conception
of Gowns for
Occasions

Right: Marion Davies' favorite
■vening wrap sets off her blonde
liveliness. It is a luscious con-
action of finest trans parent vel-
vet and luxurious white fox.

lielow, left: Alice Joyce is al-
ways pointed to at smart pre-
miers and supper clubs in Man-
hattan as one of the best-dressed
women. Her white, fox-trimmed
wrap is stunning.

lielow, center: Claire Luce wear-
ing a three-quarters theater coat
>f black velvet with a collar of
ermine. Note the effective white
lining of the wide sleeves.

Below, right: this Frances Clyne
ensemble worn by Lilyan Task-
man is fashioned of brocaded
chiffon in tones of beige and
brown with tracings of gold. The
wrap is flounced.

THE
NEW
WRAPS

Speaking of the clothes of a
perfect day, what about the
clothes of a perfect evening?
Here they are, then — perhaps
the most luxurious clothes of
all: evening wraps. On this
page you'll find the newest from
New York, worn by some of
Manhattan's beauties.

Monroe

And How
They Are
Worn

In Hollywood, where there's a
smart screen premier every other
night, the evening wrap is most
important. Picture girls, on
their toes in all matters, invest
lavishly, wisely and well in that
finishing touch to a perfect en'
semble, the evening wrap of real
distinction.

Left: black and white is always,
regal for evening. Joan Craw-
ford's wrap is of panne velvet,
showing a wide ermine border
with a lavish ermine collar and
wide cuffs.

Below, left: ermine and sable
combine to make this important
evening wrap worn by Norma
Shearer. It is Norma's favorite
because it can be worn with all
her evening dresses.

Below, center: Billie Dove's gold
metal cloth evening wrap accents
this star's statuesque beauty. Its
long lines lend dignity. The col-
lar is a large fox scarf.

Below, right: a short wrap of
black transparent velvet, splashed
with crystal beads, is trimmed
with a scarf of ermine and bor-
dered with the same fur. Worn
by Kay Francis.

Louist

HERE ARE HATS

To top off our offering of
east and west style views
we give you — hats! And
then more hats, the very
newest

Now that you have seen
the best in fashion that
New York and Hollywood
have to offer, what is your
verdict?

HurreU

The classic felt worn
by kuy J ohnson, above,
is one of the best bets
for spring. It is suit-
able with the tuilored
suit or sports clothes.

Green hat, summer
1930 style! Miss
Page's has the turn-
back flaring brim with
a saucy pom-pom trim-
ming at the side. Note
the 'lucky chain' neck-
lace.

r Bull

Anita Page's soft pli-
able straw shows the
newer wide brim which
will be muck worn
this summer. It's
sweet and feminine —
just like Anita.

The new w i d e-
brimmed hats offer no
temptation to Norma
Shearer. With a
smooth forehead like
hers she can afford to
cling to ofj-the-face
hats like this.

Louise

for April 19 30

Do you like this
impression of a
young lady famous
for her flaming
roles?

A brilliant come-
dienne trying not
to look like one.
No, not even three
guesses!

Don't you like this smil-
ing Romeo? And don't
we all?

Foolish Question
Number 898

Can you identify these stars?
Well, we hope so! You won't
have to turn to the back of the
book for the right answers this
time. These caricatures are the original
work of Antonio Moreno. No, not the
film star, but a waiter of the same name
in a Hollywood restaurant. Ben Lyon dis-
covered him, and persuaded him to give us
a glimpse of these impressions. Thanks,
Ben. Thanks, Antonio!

Caught in serious mood.
Come now, smile for the
ladies.

Star gazing? Yes, but in
the right direction.

The boy friend's girl
friend. Just teasing.

Is this his natural or
his screen face? Yes.

SCREENLAND

Douglas the poet, the dreamer. There is
something princely about him at times.

1AST month it was Joan Crawford, the new Princess in
the Royal House of Pickfairia: now it is the Prince
. himself, her husband. Ladies and gentlemen of
the talkie audience, allow me to present Douglas
Fairbanks, Jr., playing a new role in public — himself. And
let it be said at the start that there really is something
princely about him at times, though at other times he
looks and acts (on the screen) incredibly young. There
is an intensity about his face, his gestures and at times
his voice which bespeak 'temperament/ the one thing that
has gone out of fashion in royalty since the exit of the
Kaiser. So we will not call him a prince, but we will
call him an artist.

In answer to the questionnaire sent him by SCREENLAND
he puts himself down as more the introvert (dreamer)
than the extravert (doer) by a ratio of 31 to 21. I do
not believe, however, that he was born that way. I take
it that he was born an extravert of the intuitive type,
with the function of feeling playing a large second. This
type, when hard-boiled, makes a good salesman; and when
medium or soft-boiled, a good actor. Intuition makes for
a quick understanding (as by flashlight) of the lay of
the land and the people you meet. Feeling makes for tact,
charm, harmony.

A good salesman acts up to his customer, gets his num-
ber and puts on a good spiel that fits the man he is deal-
ing with. A good salesman stages different acts for dif-
ferent customers. He must cast a spell and hypnotize the
customer into liking and paying for it. He is, in short,
an actor, but he differs from the stage actor in that the
latter is selling, not a piece of soap or a radio set; a stage
actor is selling the spiel itself. He is selling the act.

Doug,

The Son of a Great Screen
Star, the Husband of a
Famous Beauty — What Kind
of a Boy is This Young
Fairbanks?

James Oppenheim

An intuitive-with-feeling type usually makes a
good stage or screen actor because of his quick
understanding of what the public wants, his desire
to please, and his gift of charm. Ronald Colman
is a case in point. But Douglas Fairbanks, Jr., i>
different. He has, I believe, like so many artist^
his wires crossed and tangled. This, without mean-
ing anything unpleasant about it, I have called the
twisted type. Sensation, emotion, thinking, get all
tangled up with the original intuition and feelin >
and there is an inner tug of war, an almost per-
petual conflict, as if the rear wheels of a car wanted
to go one way and the front wheels another. Hence
the intensity, the feeling of not knowing at time?
where one is at; doubts, questionings, and 'to be or
not to be' in the manner of Hamlet.

Such men are up and down, in and out, yes and no,
unexpected. Now they are in the dumps; now in the
clouds; now gentle, now fierce; now cold, now hot. This
doesn't make for practicality and indeed, although Doug,
Jr. is not an extreme of the type doubtless due to long
self-discipline, answers the question: "Do you day-dream
as a steady matter?''' with 2, which means much, and the
question "Are you practical?" with a zero; that is, not
practical at all.

Joan Crawford, as you may remember, answered that
last question with "I am very practical." Lucky for Doug!
I pause to glance at the feminine readers of Screenland
and find them, to the last one, looking up with the
question: "How about Joan and Doug? Are they true
mates? Will it last?" Alack, I am neither a seer nor a

DOUG, JR. ADMITS:

I am a little self-conscious and shy.

I am very idealistic.

I am very jealous.

I like to be alone much of the time.

I am a good actor in public.

I am sometimes a faddist.

I am a one-wife man.

for April 19 30

A Psycho-
Analytic
Portrait

prophet. Marriage is always a gamble, but in
Hollywood it is a lottery. However, we will
place our bets on the bright side; for there is
something strong about both these young peo-
ple, and Doug puts himself down as being Very
jealous.'

But we must let Doug speak for himself. Here
are some of his answers:

I am a little self-conscious and shy.

I hate very much to be conspicuous, even at
home.

I do much day-dreaming, but am only a little
moody. (Joan answered that she had deep moods
and long ones.)

I am considered quite deep by others.

I like to be alone much of the time.

I am a one-wife man.

I am very idealistic.

I am very easily in a tense condition.

His screen love scenes have passion and power.
With Loretta Young in "Loose Ankles."

Douglas the boy, the incredibly young, gay
gentleman who won Joan's heart.

I am very often 'up in the clouds.' (Joan said she was
fairly that way herself.)

I am very jealous. (Joan, only a little.)

Life is not a game to me, to be played
through like a sport. (To the twisted type,
the intensity of living precludes taking it
easy.)

I am a good actor in public.
I am slow in getting over quarrels, dis-
appointments, losses. (Here again, the
troubled intense type.)

I am a good mixer. (3 — very much.)
I do not like many people, nor always to
be on the go.

I am sometimes a faddist.
As to being realistic and having common
sense, only a little.

I am easy-going as a rule (2). (This
somewhat contradicts the 'easily tense.")
I am a little of a go-getter.
My feet are solidly on the earth.
These contradictions the reader may have
noticed are due to the fact that the twisted
type is often a bundle of contradictions. It
is a mysterious type, making a large appeal,
as most artists do, to women. The extreme
type wants a woman who is a mother, a
wife, a nurse, a pal, a vamp, and someone
both very practical and recklessly romantic.
A tall order! It is a very seductive one to
many women; but (Continued on page 129)

SCREENLAND

£A SNJw Qirl

Lillian Roth Left Broadway for
Hollywood but She's Still on the
Great White Way in Bright Lights

Whoever began this
talk about tempera'
mental stage stars?
Whoever it was
doesn't know a thing about the
Broadway actresses who have
uttered words for Hollywood
microphones.

Take Ruth Chatterton. She's
swell. And Kay Francis. She's a
knockout. And Lillian Roth.
Well, she's to the stage what Mary
Brian, the most regular girl in
Hollywood, is to motion pictures.

Lillian is a combination of
Clara Bow and Norma Talmadge.
Her hair is black, thick and wavy.
It looks well combed in its wind-
blown way. She has large, brown,
dancing eyes and a mouth that
twinkles when she laughs. Her
dimpled smile is a sensation and
she almost always is smiling. Lil-
lian is saucy, vivacious, and lovely.
She weighs 118 pounds and is 5
feet, 3 inches tall — a slim, but well rounded figure.

First, I'll tell you that Lil was a born actress. Her
mother decided it years before her first birthday. And
Lillian has fulfilled her mother's dreams. She first made
her way in child parts in motion pictures at Fort Lee.

By .
John Godfrey

A 'blues' voice, stage training, dancing
eyes and dancing feet — all these assets
are Lillian Roth's.

Lillian Roth and Dennis King, both from the stage, in a
scene from "The Vagabond King." Lillian has a dramatic
role in this picture.

She was a child star in the New
York production of "Shavings."
She talked to producers alone when
she was nine years old and ar-
ranged her own salary. She was
a headliner in vaudeville, imitating
John Barrymore, Ruth Chatterton,
Lenore Ulric and Helen Mencken.
She stood up and sang for the
first time in her life before J. J.
Shubert and landed a part in his
"Artists and Models." She's been
a 'blues' singer in Carroll's "Vani-
ties" and Ziegfeld's New Amster'
dam Roof show. Now, she's a
dramatic actress in Paramount's
all-color romance, "The Vagabond
King." And she croons her 'blues'
in "Honey." She's just nineteen.

What a gal! All the boys at
the studio throw down their work
when Lil approaches. Traffic cops
step off their stands to wave to
Lil.

She drove her car home one
night and parked it in front of her apartment until morn'
ing. This being against the law, there was a ticket in
the automobile the next day. They say she went to the
police station to pay her fine and explained that she had
worked late at the studio and was afraid to walk home
from the garage where she parked her car. The
judge was very sympathetic. He tore up her
traffic ticket and offered to give her a police
escort to accompany her home anytime she
worked late again. So 'tis rumored, but that's
Lil!

She was born in Boston, where her father sold
watermelons. Since then, he's been in 101 dif-
ferent occupations, selling American flags, post-
cards, vegetables and other objects. Lillian
weighed 135 pounds when she was 15 years old.
Now, she has complete control of her weight.
She diets and exercises for a few weeks then
succumbs to the lure of the chocolate and cake
and then again misses a few full meals. That's
Lil!

Once a certain actress became too important.
Lil stepped up and replaced her in a motion pic-
ture. That's Lil!

If anybody thinks that Friday the 13th is un-
lucky. Look at Lil. It's her birthday.

Another nice thing about this actress is that
there is another sister, Ann Roth, a little younger.
Before the girls were born, Mrs. Roth had de-
cided that they were {Continued on page 129)

j or April 19 30

Jean Cunningham

p-»

TENTH down the list which
records the number of fan
letters received by the
Paramount stars and fea-
tured players is a new name —
Stanley Smith.

To those who follow the record,
this jump from nothing to tenth
place is remarkable because Stanley
has been seen in but one Para-
mount production, "Sweetie.1''

To the girls at the studio, it is
very difficult for them to realise
why he isn't first on the fan mail
list. He's that way — pleasantly
contagious.

Stanley doesn't like to talk about
himself. He doesn't admit any-
thing about his relatives. But they
were bankers in Kansas City, and
bankers usually have money.
Nevertheless, he is keeping it a
secret. He began thinking about
motion pictures when he went to
grammar school in Kansas City.
His first distinction was a very agreeable singing voice.
It made him a boy soprano in a choir in his home town.
Between singing at choir practice, Sunday services, wed-
dings and funerals, Stanley found a little time on the side to
think motion pictures. He thought about it all by him-
self and secretly wrote letters to Cecil De Mille
and D. W. Griffith. He outlined his great pos-
sibilities and told them of his absolutely certain
prospects of becoming a movie star. Very soon,
Stanley received replies from the directors. He
opened the letters expecting to find contracts and
transportation to Hollywood. The letters very
courteously acknowledged his genius but advised
him to stay in Kansas City.

One summer after Stanley had finished gram-
mar school, his mother and he came to Holly-
wood for a vacation. In September, they de-
cided to remain in the film city and Stanley en-
rolled at Hollywood High School. From the very
beginning, he was a huge success in Hollywood.
He was quite the rage at high school. He was
that sort of a boy for whom girls change classes
and go to football games. For two years he was
the president of the glee club. He sang the
leads in three operas.

One of the best things about living in Holly-
wood for young Smith was the fact that he passed
the house of Bryant Washburn every day on
his way to school. He greeted the star as he
would any neighbor and finally developed a

Another Small Town Boy Makes Good
in Hollywood. Stanley Smith of Kan-
sas is on the Road to Film Fame

Stanley Smith, the screen's newest
juvenile. His hair is dark blond and
wavy and his eyes are blue-gray.

speaking acquaintance.

Stanley's one aim those days was
to get into a studio and act. The
best he could do was to be
Elliott Dexter's assistant secretary.
Through somebody's friend know-
ing somebody else who knew Dex-
ter, the boy became official letter
opener for the star when he
worked at the old Lasky studio on
Vine street. Stanley used to go to
the studio every day after school,
on Saturdays and during vacations.
He asked everybody in the studio
for parts. His youth was their
excuse for not starring him in pic-
tures. He used to park on the set
where William deMille was'
making "Clarence" with Wallace
Reid. Between every scene,
Stanley would bring up the sub-
ject of a part from some different
angle. But the only film work he
ever did was as an extra dancing
all day. That choked his ambition
for a little while.

A year after Stanley graduated from Hollywood High
School, the musical advisor of the institution asked him
to return to sing the leading role in "Robin Hood" when
the leading man was taken ill. (Continued on page 121)

Stanley Smith and Nancy Carroll in a sweet scene from
"Honey." It was in Nancy's picture, "Sweetie," that
Stanley made his talkie debut.

SCREENLAND

Left and right: An evening coiffure,
elaborate in arrangement. The sweep of
hair across the brow suits the beauty
of classic features.

This becomingly youthful
be used for business or
particularly fetching

Coiffures for

Antoine of Paris and New York Explains the Underlying
Art which Governs the Arrangement of the Perfect Coiffure

Antoine de Paris, with beautiful Catherine
Dale Owen as model, shows Screenland's
feminine readers how to do their hair.

With the strong gestures of a sculptor Antoine
de Paris used his comb and fingers on the
shapely head of Catherine Dale Owen. Like
a true artist, he worked in silence, plaiting a
lock of hair here, smoothing a strand there, curling a few
tendrils at the back, never pausing except to reach for a
hairpin that an assistant hairdresser handed to him now and
again. Evidently, it pleased him. With a wave of the
hand, he said:

"Voila! It is done; the coiffure for evening, for grand
occasions."

Catherine Dale Owen, hand mirror in hand, turned her
head this way and that, and smiled her approval.

The result of Antoine's work was a little masterpiece!
The simple act of dressing the hair which every woman
does so casually had been elevated to a place among the
plastic arts by Antoine de Paris.

The coiffure for evening so carefully accomplished was as
severely simple in line as the coif of a nun yet highly elabo-
rate in its arrangement. To emphasize the pure sweep of
Miss Owen's brow, the Parisian had drawn a long smooth
strand of hair across her forehead. To accentuate this effect
he had placed behind it a large roll of hair extending from
ear to ear. From this point the hair was drawn back and
then arranged about the nape of the neck and behind the
ears in flat little curls.

While the first pose was being photographed, Antoine,
punctuating his careful English with nervous gestures of
the hands, explained the underlying laws of art which had
governed the arrangement of the coiffure.

"Hairdressing, like any plastic art which has anything
to do with the face, depends entirely upon the relation be-
tween the mass and the mask for its effect. In the art of

for April 1930

i 1

combination coiffure may
informally. Note the
curl at the right.

This hairdress (left and right) stresses
the lovely lines of throat and jaw. A
coiffure which is formal enough for
evening.

C G A S I O N

By Sydney Valentine

the coiffure, the hair must be a frame for the face; not
only that, it must be an adornment and a continuation of
beautiful lines or a concealment of ugly ones.

"Two things must always be borne in mind when ar-
ranging the coiffure: one must follow the natural lines of
the head and one must be sure that no straight ends of hair
are visible. As you will notice by looking at Miss Owen's
head you will see that wherever the hair ends there are
tiny ringlets such as you see on a baby's head. But never —
never — let these ends be frizzly."

"What about the long dresses women are wearing, M.
Antoine, is there any distinctive way of dressing the hair
to accord with the new styles?" I asked.

"Yes and no," Antoine answered. "The new dresses that
seek grace through length alone are a mistake. They won't
last long because they don't fit in well with our modern
life. Sooner or later our designers are bound to find a
way to achieve both grace and the comfort of shortness.
The long dresses of the moment are the result of a romantic
reaction. Therefore, any coiffure that we devise to go with
them must be of romantic nature.

"Perhaps you notice that I have drawn my inspiration
for Mademoiselle Owen's hairdress from Botticelli's paint-
ings. To fit her coiffure to the gowns she wears I have
had to look backward for the source of my inspiration.
That is not right. The dress designers must make new
lines, new styles, so that I and other coiffeurs can devise
hairdresses to fit them.

"But long dresses are the vogue at present, and we can-
not ignore them. The best way to deal with the problem is
to seek out in a woman's dress the period which inspired
the designer to make the gown, and in dressing the hair
attempt some modified coiffure of {Continued on page 128)

As a sculptor molds his clay, the famous hair-
dresser molds the coiffure to lines of beauty.
Antoine was a sculptor in Paris.

SCREENLAND

Cecil B. De Mille, discoverer of screen stars
and creator of box-office attractions. He says
the talkers open an amazing new world to
beauties with intelligence and microphone
voices and abilities.

BEAUTY, extraordinary physical charm, will always
be a major factor in the expressive arts of sculp-
ture, painting, the stage drama, and motion
pictures.

Any form of pictorial presentation will always require
beauty of form, line and movement. It is possible, how-
ever, that these requirements will be modified from time to
time to fit new conditions.

Such modifications, as they concern the new art sub-
division of talking pictures, is the subject of the present
article.

The place of beauty in silent
films has been discussed pro and
con, from every conceivable angle.
The coming of speech to the screen

has reopened the topic, presenting to

it a number of engrossing new angles.

Brainless
Beauties

By Cecil B. De Mille

Certainly it is true that brainless beauty is in a more
hopeless position than ever before, while beauty that thinks
intelligently and logically has an amazing new world
opened to it.

In silent pictures we sometimes had a rather difficult
time separating the 'sheep1 from the 'goats.'

Pantomimic ability is a very rare possession. You never
can tell whether a person has it except by actual tests.
For example, for many years I have always insisted on
seeing a candidate on the screen first.

This necessity of giving possibilities a test, or even a few
month's work, brought about a great deal of wastage. We
gave tryouts to many very attractive girls, hoping that they
would have enough pantomimic instinct to justify their
retention. Unfortunately, however, our percentage of suc-
cess was painfully small. Present among too many of the
candidates was the apparent feeling that our beauties were
in Hollywood for what they could get: i.e. Rolls Royces
and beautiful homes, not what they could give in the way of
effective artistic expression.

Praise turns the heads of beauty in rather a thorough
manner in far too many incidents. You would be surprised
to know how many gorgeous creatures have just stared
at me in contempt when I gently suggested that a little

furbishing up of the gray matter
would be of help to them in attain-
ing movie success. So many beau-
tiful girls are obsessed of the idea
that a perfect figure, a lovely pro-
file, and gorgeous eyes offset mental
incapacity.

Above: the girl who came back,
Lila Lee. Discovered and pre-
sented in "Male and Female."

Left: Cecil De Mille's greatest
special, Gloria Swanson.

Right: Leatrice Joy, another
De Mille protegee, who played
the lead in "The Ten Com-

for April 19 30

Keep Out!

There's No Place for You in the
Sound Studios. But Beauty that
Thinks is Always Welcome, Says
Eminent Director

To illustrate this point it is only necessary to examine
the history of the thousands of beauty contest winners who
have come to us from every state in the Union; every
country on the globe.

In past De Mille pictures scores of them have been used,
and only two have attained any prominence, Leatrice Joy
and Lois Wilson. These two girls got ahead because they
realised that work and brains must be added to beauty
before the asset can assume real worth.

Beauty alone, unsupported, was a drug on the market in
silent pictures, and it is far more so in the expanded days
of the cinema that we are now enjoying.

Motion pictures do just what their name implies; they
move. They demand plastic, not static art. A rather piti-
able failure in the studios, for example, was that of a
young lady whose face has been made internationally fa-
mous in the masterly paintings of a great artist. She was
a glorious creature, in individual poses. But she had
neither the brains nor the inborn pantomimic instinct to
carry her beauty, undiminished, through the rapidly suc-
ceeding series of dramatic positions required by even the
simplest screen story.

Today, under the dominion of the talkies, a great deal
of this early wastage is eliminated.

The voice has given us a definite
standard for the segregation of the
inept.

I repeat a former statement: that
unless she has had at least a high
school education, and one which
brought her reasonably excellent

De Mille in his workshop at the studio: a
museum of rare and beautiful antiques and
new and novel ideas. The coat of armor worn
by W ally Reid in "Joan the Woman" may be
seen at the right.

marks for application and scholarship, any girl, no matter
how beautiful, is subject to immediate elimination from any
roll of movie candidates.

The voice irrevocably betrays the possession of a care-
less mind or a sluggish one. It takes a certain definite
degree of personal application to develop a speaking voice
of good breeding and emotional flexibility; and a mind
capable of understanding the correct nuances needed for
the proper reading of lines in a dramatic talking picture.
If a candidate, on her first visit, seems badly rooted in
grammatical errors, slang mispro-
nunciations and inexcusable misuses
of the voice, it is logical to assume
that she has careless mental habits
which would interfere with clean-
cut, accurately thought out dramatic
interpretations. (Cont. on page 127)

Above: Bebe. Daniels, the beau-
tiful tiger-skin girl of "Male
and Female" now a great
sound star.

Left: De Mille's discovery from
the stage, Kay Johnson.

Right: Lois Wilson, a beauty
contest winner who also hap-
pened to have real brains.

SCREENLAND

Romance under western
skies has added glamour.
Joan Crawford's second
audible film is an all-talk-
ing, all-singing love story
laid in — you guessed it — the
state of Montana. In the
shadows cast by giant trees
the lovers plight their
troth, to the music of rust-
ling leaves — and an orches-
tra from the studio.

o a n

o c a 1 1 o n with
Crawford

Making "Montana Moon," the
First Musical 'Western' Romance

By Helen hudlam

California was sweltering in mid-winter. The
thermometer registered eighty in the shade and
there had been no rain for more than seven
months. Much as I like the warm weather I had
a great longing for just a breath of snow air, and so when
I was invited to go on the
"Montana Moon" location
which was at Keen's
Camp, a five thousand
foot elevation in the San
Jacinto Mountains, I was
very well pleased. Joan
Crawford was the star,
then there were Johnny
Mack Brown, Karl Dane
and the inimitable fun-
team of Benny Rubin and
Cliff Edwards, more popu-
larly known as "Ukulele
Ike."

Well, there wasn't any
snow, for the first time in
seventeen years at that
time of the year. But the
air was bracing and clear.
We arrived just after the
day's work was over.
They had to call it a day

Just a little love scene. Mai St. Clair directs Joan and
Johnny while Doug, Jr. — seated, in white — looks on
from the sidelines.

early up there because of the light which stopped them at
four o'clock. And then the outfit burst loose and played
tennis, football, or what have you. Mai St. Clair, who
was directing the opus, with Benny Rubin, Cliff Edwards,
Johnny Mack Brown and Doug Fairbanks, Jr. — oh, of

course, Doug was there —
crowded around us to see
if they had any mail, for
we brought a bunch with
us from the studio.

We found Joan in her
little cabin. "Helen may
come in, but not you,
Ralph,"' she called through
the door to Ralph Wheel'
wright, in charge of pub-
licity for the unit.
"Okay!" he laughed, "see
you when you're respect'
able, Joan," and Joan
. welcomed me arrayed in
a fascinating flesh-colored,
form-fitting garment
which would not have
been out of place in a
palace, yet which did
not seem out of place in
that little mountain cabin,

for April 19 30

The leading man in "Mon-
tana Moon" is Johnny
Mack Brown. Malcolm St.
Clair is the director. Joan
Crawford, the star, is at
her very best, both optic-
ally and vocally. Idyllic-
love scenes like this help,
too. Douglas Fairbanks, Jr.
went along on the location.
H e is always just out of
camera range.

either, strangely enough.

Joan had been devouring the newspaper accounts of
the opening of her first talking picture, "Untamed." The
Los Angeles ones weren't so good to the picture, though
they were kind to Joan personally. But Joan was de-
pressed. "I get so blue when I read bad notices. Maybe
you think I am conceited, but it isn't that, really."

I didn't. There are few people in the world, no matter
what happens to be their business, who are not interested
to know what other people think of their work. Joan
likes to read constructive criticism. It helps her.

"Are you going to be in the hotel or in a cabin?" asked
Joan.

"In a cabin. Does someone come in the morning to
light the fires?"

Joan laughed. "Someone does not! It's every fellow
for himself up here. Doug is an angel and hops
out of bed at five in the freezing cold to light our
fire. When it is all nice and warm he wakes me
up. And if you're not in the dining room before
seven-thirty it will be just too bad. Try and get

even a cup of coffee a minute after seven-thirty! But I
always take a thermos bottle on the set filled with it, so
if you want to sleep late tomorrow, don't worry. I'll give
you plenty of java and lunch is at twelve so you won't
starve."

"Could you help Nomnie with the dialogue, Miss Craw-
ford?" an assistant called through the door.

"Oh, the playbacks! Come on out and listen," cried
Joan scrambling into a great coat of Doug's. And for a
long time the memory of that scene will be with me.
There on the pine covered mountain top sat the generating
wagon with the three-foot square funnel placed on the
ground from which came the voices. Nomnie Morris, the
script girl, sat on a tiny three-legged stool with her machine
balanced on her knees taking down the dialogue as it
came over the wire. They change (Continued on page 110)

A location trip which was more like a vacation. Joan
Crawford and Helen Ludlam, Screenland's Location
Lady, talk it over.

Left: Helen with Cliff Edwards, Mai St. Clair, Benny
Rubin and Karl Dane. They are kidding Karl — as usual.

SCREENLAND

Anita goes
to School

'Rah-'Rah-
'Rah — Anita!

She learned ease, poise, and natural-
ness from the ebullient Billy Haines.
"Take it easy!" advised Bill. "Forget
worry and have a good time." Anita
obliges as Mademoiselle of Culver
City.

Lon Chaney, master character actor,
taught Anita Page the difficult art of
make-up. Here is Anita proving she
is an apt pupil by pretending to be
Pocahontas. Where is John Smith?

Anita submerges her own personality
in that of a Chinese girl, under
Chaney's guidance. Lon was never too
busy or too absorbed to stop his own
work to help the little beginner.

plete the curriculum.

The school was organized two years
ago when a little high school girl,
named Anita Pomares, came out of
the East to Hollywood to go into pic
tures. She knew nothing whatsoever
about cameras and studios and things
of that kind. All she knew was that
she wanted to become a movie star
more than anything else in the world.

She presented her credentials to the
superintendent of the school, sitting
in his luxurious office, the likeness of
which can be found in no ordinary
college. These credentials consisted of
good looks, intelligence, determina-
tion, personality and charm.

A nita Page has found a school all her own.
/\ And what a school it is!
/ \^ Imagine a college with Lon Chaney,
Ramon Novarro, William Haines, Nils
Asther, Charles King and their brethren for
professors.

Then imagine yourself being the only student
in the classrooms.

The campus is a many-acred studio in the
little college town of Culver City, California.
The buildings are huge stages. The desks are
make-up tables and brightly-lighted sets. There
are no books. And the faculty — words fail me!

Anita found this school for herself. She is
the only pupil. Which is a very good thing,
considering the future prosperity of the several
hundred temples of learning in the country.

Here is where Anita is learning the readin1
writin1 and 'rithmetic of screen acting, with
courses in higher mathematics, logic, philosophy
and science thrown in for good measure to com-

Two years ago a little girl named Anita Pomares enrolled at
the Metro-Goldwyn acting school at Culver City, California.

for A pril 1930

A Spanish beauty? But no! It's
Senorita Page demonstrating the tech-
nique and attention to detail taught
her by Ramon Novarro. "Don't for-
get the hard work ahead of you,"
warned Ramon.

The first thing this school did was
to give her a screen test to certify
these credentials. Then she was en'
rolled as Anita Page and her class-
room work was begun.

"Do you remember the way you
felt when you started to high school,
a big, new building with crowds of
new people, entirely different from
the grammar school which you knew
so well?11 It was afternoon in Anitas
dressing room and the star pupil was
transforming herself from a peaches-
and-cream blonde to a dusky Indian
maid as she talked.

"That's exactly the way I felt when

A Film Studio is her College. Lon
Chaney, Ramon Novarro, Charles
King and Billy Haines her Professors

By Keith Richards

Who wouldn't be in Dutch with
Anita? She has become a versatile
trouper, having learned from Charles
King the 'audience feel,' first funda-
mental lesson in training for the
talkies.

Anita's professors are proud of her.
She has studied and forged ahead in
her chosen profession. Miss Page is
made up as little Butterflly. Oh,
Lieutenant Pinkerton, how could you?

Oh, How We
Love Our Pupil!

And look at her now! She became the star pupil, Anita Page;
and her career is a credit to her alma pater.

I first walked into this studio. I was terrified,
really. I prayed that no one would see how
scared I was. But everyone was so wonderful
to me.

"For instance, this,11 she held out her fingers
smeared with a brown, pasty stuff with which
she was covering her skin. Lon Chaney taught
me all that I know about make-up. My third
picture was with him, 'While the City Sleeps.1
He was a marvelous teacher."

I almost remarked something about the number
of people who would like to be a marvelous
teacher to a marvelous pupil. But I didn't. I
was too busy watching the birth of Pocahontas
and listening to Anita's words.

"I'll never forget one morning when we were
working on that picture. I had to cry and cry.
Real tears, too. Mr. Chaney said to me while
I was resting between spasms: 'Always believe
what you're doing, Anita. Sincerity is the key-
note of success in this (Continued on page 124)

SCREENLAND

More and Better

Put on Your Other Clothes,

Your Favorite

Mary Lewis, grand
opera star who was
once a Christie com-
edy girl, has come
back to Hollywood to
star in singles.

Grace Kingsky

WEN Lee is having a birthday party," announced
Patsy.

"Reckless of her," I said, "but when?"
"Tonight," answered Patsy delightedly, "and
it's Jack Oakie's birthday, too. They are going to
celebrate together at Gwen's house. They're engaged, you
know — at least everybody says so."

Gwen had nice, cosy fires all over her pretty home on
the side of a Hollywood hill, and we found knots of guests
clustered around them when we arrived, with Gwen her'
self hardly waiting for the maid to open the door to greet
her guests. She was looking lovely in a rose silk evening
dress, made in long and graceful lines, and was assisted
in receiving by her charming mother.

We looked around for Jack Oakie, but found that he
had had to work that night. However, he expected to
arrive later, so that kept Gwen cheered up, not to mention
the rest of us, and he telephoned Gwen from the studio
about every half hour, "just to touch base," he explained.

Jack's jolly little Irish mother was "there, and we could
see easily where he got his bubbling humor and his pep.
When we arrived Mrs. Oakie was dancing with Charlie
Cross to the music of the radio, but came over to sit on
the sofa soon to talk to us.

We learned from others afterward that her wit wasn't
all of the light sort, either, since she had taken some ex-
tremely difficult examinations, after she was fifty years
old, for a high position in the psychological department of
a state hospital, and had passed with honor.

Jack's mother told us vivaciously about Jack's childhood:
how once when she had a birthday, Jack had bought her
two whole dollars' worth of gum drops, and how she still
had some of them, quite ossified, and meant to present them
to a museum!

We got to discussing health topics, and she said that
Jack's health slogan was "To hell with spinach!"

Jack Benny came over to say hello, and when we asked
him about his new vaudeville- tour, he told us that he was
always nervous at every opening performance.

"And you'd think he was as nonchalant as could be!"
commented Patsy.

Gwen came over to show us the wrist-watch which
Jack had given her as a birthday present. It was studded
with diamonds, and had a little legend engraved inside
it which she wouldn't let us read.

She confessed that she had given Jack a slave bracelet.

"Engaged?" inquired Patsy, "or just may be any minute?"

"That's it!" blushed Gwen. But she wouldn't tell us
just which she meant.

Hal Skelly and Mary Astaire were there, and Wesley

Ruggles, Matty Kemp, Barbara Pierce, Carlotta King, Dick
Schayer, James Morgan, Janice Peters, Roger Gray and
several others.

Barbara Pierce, who was married about a year ago, says
that she wants to go to work again in pictures. She has
been interested in charitable work for children, and she
says that she won't give up that work even if she does
return to pictures.

Dick Schayer sat down to play the piano, looked about,
and declared in mock indignation that he was the only song
writer ever invited to a party who didn't find his own song
on the piano.

"What's the matter with the song?" demanded Hal
Skelly cruelly.

"Oh, nothing, nothing!" exclaimed Gwen. "It was all
just an oversight of the hostess!"

And Gwen dug about in her pile of music until she
found one of Schayer's songs.

Gwen Lee's mother suddenly exclaimed:

for April 19 30

Picture Parties

Come Along and Meet
Stars Off Duty

"Are you engaged to Jack Oakie?" someone asked Gwen
Lee, "or just may be any minute?" "That's it!" blushed
Gwen. Anyway, Gwen gave Jack a slave bracelet for
his birthday and he gave her a diamond wrist-watch
and they both gave a party to celebrate. Above,
Miss Lee. Left, Mr. Oakie.

"Oh, I meant to have spanked Gwen at 11:30 — that's
the hour she was born — but I forgot it!"

So after all we didn't learn how old Gwen is. Or rather,
just how young.

Roger Gray, who was playing with Jack Oakie in "Hit
the Deck," arrived in his professional sailor suit, and was a
delightful addition to the party.

Carlotta King sang, while Jimmy Morgan played the
piano.

Then Jimmy played some classic music — he told us just
to show that he really could read music, and didn't go
entirely by ear; after which he obligingly played for those
who wished to dance.

A few rugs were moved from the living room floor, and
those who could and wanted to dance on a dime space did
so. Gwen danced with Hal Skelly, but not for long, as
Jack Oakie cut in — over the telephone!

There was a huge birthday cake, which wasn't to be cut
until Jack arrived; but there was a lovely buffet supper.

The Duncan Sis-
ters, Rosettu and
Vivian, are al-
ways invited tit
sing at Holly-
wood parties,
and they always
oblige.

Then Gwen sat down on the floor and opened her birth-
day gifts, which included some lovely bead bags, a
cloisonne compact, some of the new novels, and other
charming gifts.

Jack, we heard afterward, did arrive toward morning,
when there still remained the cake and a few of the guests.
As we went home, we hoped audibly to each other that
it would be a long time before Gwen got old enough so
that she wouldn't want to give (Continued on page 114)

Lovely Jeanette Lojf, who plays with Paul W hiteman
in "The King of Jazz Revue," is one of the popular
blonde belles of screenland.

SCREENLAND

hollywood's
Bright Boy

Here's Filmdom's Favorite
Juvenile — Eddie Quillan,
Quipping as Usual

By Charles Carter

We live and learn,
To earn and laugh,
You laugh, I earn,
T^o earn, no chaff.

— Eddie Quillanspeare

hy are you similar to a snake?"
"I bite."

"That's right." And Eddie Quillan
does a fade-out amidst a barrage of old
shoes, vases and books-of-the-month.

This twenty-one-year-old wise-cracking son of a Scotch-
man is the same bright boy in private life that he is on
the screen or stage. He has never been known to be
serious. You can't squelch him.

Eddie is only one of
eleven Quillans, the
greater part of which com-
prised that Quillan Family
of vaudeville renown.

It was at the Orpheum
Theater in Los Angeles
several years ago
that Eddie was
'discovered.1

He was doing
a solo tap dance,
at the same time

Portrait of a young man who has sprung a 'fast one'
on himself. Eddie Quillan just discovered he can't
hand himself a snappy come-back.

holding a mirror in front of his face. Brother John came
out and asked: "What's the idea of the mirror, Eddie?"
And then the serious reply: "Dad told me to be careful
and watch myself during this number." Among those in
the audience who laughed was Mack Sennett.

Sennett made arrangements for a screen test of the three
boys, John, Buster, and Eddie. When the young Quillans
viewed the test in a private projection room several days
later, they were so disappointed that they pulled up their
coat-collars, turned down their hat brims and quietly
slipped out of a side door of the studio.

Mack Sennett, however, saw potentialities in Eddie's
test and ordered a contract drawn up for him. But when
he attempted to get in touch with the boy, he found that
the entire family had left town. Their Orpheum engage-
ment in Los Angeles had completed their vaudeville tour.

With the aid of detectives, the czar of comedies finally
located the missing boy, brought him back to the film capi-
tal and induced him to place his name on the contract.
Thus young Quillan was destined to serve a term in an
institution that has turned out some of our best-known
stars of today. Sennett featured him in eighteen two-reel
comedies. It was after this that Cecil B. De Mille se-
lected him for an important role in "The Godless Girl,"
which brought him a contract with Pathe.

Eddie's career, if indicated on a graph, would show a
steady trend upward in a straight line, with
a comparatively few number of vehicles
serving as the steps leading to his present
place in stardom. His stage training since
he was a mere infant, coupled with the ex-
perience derived while working with Mack
Sennett, have supplied him with the founda-
tion that is responsible for his speedy rise and
present stable position in the talking picture
realm.

Has he a high hat now? In a way, yes,
and in a way, no. As far as his mental
attitude is concerned, he is one of the best
all-around guys in Hollywood. Ask any
director, carpenter, actor or electrician who
has worked with him. Walking around the
lot, you will hear a carpenter hail him: "Hi
there, Eddie! What's the good word?" And
he'll come back with something like:
"Salary!"

Oh, yes. I said he had a high hat in a
sense. Well, anyone who regularly visits the
studio where he works, cannot have failed to
see the young comedian
strutting around wearing
an old, battered, high silk
hat cocked on one side of
his cranium. Always
clowning, this kid! He
has a number of things
written on it — a la high-
school Ford — but the hat
is so old and war-scarred
(Continued on page 119)

IHHHBEHH

Photograph by Bob Roberts

The ^JMost ^Beautiful Still
of the iJVLonth

From "TRADER HORN"

THE brooding beauty of Africa is in this
natural 'set' from "Trader Horn." The
tree in the foreground is the flat-topped thorn
tree characteristic of the country. At the top,
among the brambles, are small tender leaves
on which the giraffes feed.

Russell Hall

MARGARET LIVINGSTON, the other
woman' of many pictures, began her
screen career in the serials. Now she is a lovely
menace of the audibles, and doing very well.

MOVIE heroine, new style. Kay Johnson
comes from the stage with a thrilling
voice, consummate technique, and the charm of
rich, rare personality. Now in "Mme. Satan.'

Cene Robert Richee

ANEW portrait of William Powell— the
suave, polished, perfect man of the world,
on the screen and off. As detective or racketeer,
he wins the sympathy of all, even censors.

Edwin Bower Hessey

•jVTARIAN NIXON, now Mrs. Edward
J-VX Hillman, Jr., will be featured m some
new films. From ingenue to real actress is
little Marian's success story.

Bert Longworth

ANEW study or Louise Fazenda. We
mean that Louise is studying her lines.
If vou think La Fazenda is never serious, just
look at her now. Comedy is hard work.

ANOTHER study. Zasu Pitts is deep iff it.
Audiences always sit up and take notice
when Zasu strolls on the scene. This girl with
the melancholy eyes and voice is a real artiste

BROADWAY was never like this, is
girls now in Hollywood doing
Back on Broadway, they were just ballet
Pacific they're nymphs, mermaids,

die opinion of the Albertina Rasch ballet
special numbers for singing-dancing films,
dancers. Here in the blue waters of the
youth incarnate — and oh, what fun!

HERE is H. B. Warner, one of the mosr
interesting personages on the stage or
screen, and one of the most versatile. 'Doctor,
lawyer, merchant, chief — he portrays 'em all

NO, -this is not a costume picture; it's just
the latest portrait of Helen Twelvetrees,
one of the youngest, prettiest, blondest and most
demure of the Hollywood actresses.

Ruth Harriet Louise

VILMA BANKY worked hard at her Enj:
lish so that she could hold her own in
talkers. Now she makes her first all-audibk
film, "A Lady to Love,' in two languages

Ruth Harriet Louise

GIRLS in Hollywood and elsewhere are busy
discussing Robert Montgomery. From
Broadway, this young man is something new in
screen idols. A gentleman, but oh, so interesting!

Elmer Fryer

A PERFECT example of one little hoofer
who made good: Dorothy Mackaill, with
a ready-made Follies figure, carved a career in
Ziegfeld shows and danced to screen stardom

for April 19 3 0

De-Bunking

Z)OROTHY

In Which the Real
Miss Mackaill is
Revealed

By Edward Harte

hat makes for popularity, anyway? How
does the great big inarticulate public choose
its white-haired boys and girls from out the
throng ambling along into a comfortable, or
perhaps uncomfortable, obscurity? What peculiar and dis-
tinguished qualities place the favored few in the reserved
seats on top of the world while the others, the millions of
others, are lucky to find standing room in the subway?

Does Ann Pennington really owe her fame to dimpled
knees and twinkling feet? Not a bit of it. Does Will
Rogers delight the multitudes because he is extraordinarily
wise or excessively funny? Hardly. Does Marilyn Miller
draw $100,000 for a few weeks' work in making the pic-
ture "Sally" because she has a corner on dance steps?
Not exactly. Is Rudy Vallee a notable singer? Well,
you answer that one. In fact, you may answer all the
other questions at the same time and with just one over-
worked word. You've guessed it. Personality. Now
let's forget it for a moment — personality, I mean.

Driving through the flowery dusk on the way to the
Beverly Hills home of Dorothy Mackaill, whom I had not
seen in five years, I thought of a quite different setting.
It was January in Philadelphia, on a cold Sunday after-
noon. The entire company of First National players, then
working at the old Biograph studios in New York, had
gone to Philadelphia the previous day to take part in a
radio broadcast. There had been a series of parties and
personal appearances in theaters and driving back to the
hotel, Dorothy was tired. She curled up in a corner of
the rear seat of the car, pushed her hat back at a careless
angle and, regardless of the impression created on her fel-
low passengers, including three newspapermen, fell
asleep.

I recalled the incident on this July evening, some five
years later, because it had seemed indicative of a nature
delightfully free from self- consciousness. In a profession
where success depends upon making a favorable impression,
Dorothy had dared to be natural.

I wondered if she would continue to be so after five
years of Hollywood. Had she developed her own per-
sonality, or had she assumed a new one to fit into the
colorful crazy-quilt of the Hollywood film colony? 'Going
Hollywood,' as they call it, works strange transformations.
Trying to become the sort of person that you think some-
one else thinks you should become may have peculiar
results.

Elmer Fryer

Dorothy — devoid of pose or pretense; proving
that a girl can be herself, even in Hollywood.

I found Dorothy more radiant, more keenly alive than
she had been five years earlier. Her face, arms and neck
were evenly tanned and tan is becoming to blondes. She
appeared to be in superb physical condition and justified
the assertion that she felt splendidly fit.

"Success agrees with you," I said. "Of course," she
replied, "why wouldn't it?" and then added with clear
directness, "now please don't write a bla-bla interview
about me and my art. That sort of thing has been done
so much it is the bunk. Let's be on the level."

"All right," I agreed. "After we've had a chat, I'll
scoot back to the hotel and write a piece explaining the
success of Dorothy Mackaill."

"That's okay with me," she' answered. "Maybe I need
explaining."

"Or better yet, let's write it here together," I suggested.
"Lead me to a typewriter." Dorothy showed the way into
the room set aside for her step-father, who is also her
secretary, slipped a sheet of paper into the machine and
settled herself in a chair beside me.

"We'll call it T3e-bunking Dorothy,' " she said.

"No, that's not the idea," I objected. "Here it is," and
I typed:

"DOROTHY MACKAILL— REALIST"

"What do you mean — realist?" she interrupted as I
went on typing:

"Just as Colleen Moore suggests a wide-eyed child look-
ing at life through a window of her doll's house, and
Corinne Griffith must always be the languid lady, impover-
ished perhaps, but Still the (Continued on page 120)

Reviews

Greta Garbo and Marie Dressier in Garbo's
first talker, "Anna Christie."

They don't laugh at the Barthelmess-Bennett
love scenes in "Son of the Gods."

SCREENLAND

the

L>Ca

Anna Christie

HERE is one picture you will see no matter what I say about it.
Who wants to miss Garbo's first talker — the first audible drama
by the Swedish girl who has taken American audiences by storm?
Greta, accent and all, speaks right up to the microphone. What
is the result? Well, let's see. The vehicle is the grim, sordidly realistic
play by Eugene O'Neill. It is not pretty. It is not glamourous. It gives
the star no opportunity to wear the exotic clothes for which she is famous.
In her role of the daughter of the coal-barge captain she appears first in
a bedraggled suit, topped by a funny hat; then in an unbecoming slicker;
and for the most part of the action, in an uncompromisingly everyday
rough sweater and skirt. She is no lady of the fine world; she's a girl
of the half world. And for the first time, we are permitted to pity the
great Garbo. Always before we have been a little in awe of her beauty
and mystery. Now she is a deserted child, a wronged girl, a pitiful
woman. And I think you will take her to your hearts. Her voice is as
unique as she is; the accent not as strong as you expect. She has mastered
the new technique of the talkers to an amazing degree. Charles Bickford
is very, very good as Anna's lover — rich brogue and all.

Son of the Gods

WHAT is it about Barthelmess? With audiences laughing at
love scenes, Dick dares to offer pure, unadulterated romance
in large doses in his latest picture. And not a laugh! The
tender episodes between the star and Miss Constance Bennett
are watched in respectful silence, broken only by a long-drawn sigh or two.
It must be Dick's earnest, almost defiant sincerity. Who would dare to
laugh at Barthelmess? Here he harks back a little to his "Broken Blos-
soms" mood. Again he plays an oriental in love with a beautiful occidental
girl. Frank Lloyd has directed some really stirring scenes of the racial
clash topped by a neat little lesson in brotherly love. One scene stands
out as the most startling and unexpected of the month: that in which the
girl, discovering the boy she loves is Chinese, strides in to their rendezvous
in her smart riding clothes and slashes him with her whip. Again — no
audience hysteria. Barthelmess and Lloyd have their own secret of show-
manship. Barthelmess is restrained and dignified. And with a gallant
gesture he turns over half the close-ups to Miss Bennett. What a glamour-
ous girl! Next to Garbo I think she has more sheer witchery than any
woman on the screen. And she is an actress as well.

Seven Days Leave

Beryl Mercer and Gary Cooper in the
Barrie drama, "Seven Days Leave."

1HOPE you like this picture. I hope you will go to see it and
applaud it, and then tell your friends to go to see it, too. Films
like "Seven Days Leave" deserve all the encouragement we can give
them. They supply all the proof necessary that good things can come
out of Hollywood and are coming as fast as the public will accept them.
Don't forget the producers will make more artistic films as soon as you,
the little old audience, will pay to see them. Here is Barrie, deliciously
directed by Richard Wallace, a young poet in celluloid. All the Barrie
whimsy and charm are present. If you aren't interested in Barrie, try
Gary — I mean Mr. Cooper, whose first starring film this is. Paramount
has done a rather brave thing in presenting its tall idol in a picture un-
tainted by commercialism. And Gary justifies their faith in him by giving
his first, as far as I'm concerned, real characterization. He is that long,
lanky young Canadian in kilties; that boy of the Black Watch in the world
war whose leave in London turns into such an amazing and touching ad-
venture. Beryl Mercer's performance is exquisite. Please see this. As
long as Paramount continues to produce Barrie's plays so beautifully there
is nothing much the matter with the movies.

for April 19 30

Best Pictures

Screenland's Critic Selects the
Six Most Important Films
of the Month

The Rogue Song

I GIVE you a new idol — Lawrence Tibbett. Although he comes straight
from the Metropolitan Opera House, he inspires no awe. He's as
hearty and human as our own boys. Bancroft is no more masculine.
And his voice — ah, that voice! Rudy may croon, but Larry sings;
and his magnificent' baritone will sweep you away with him as he carries
off his proud princess, Catherine Dale Owen, in this Lionel Barrymore
fairy tale. "The Rogue Song" is Lawrence Tibbett. Nothing else matters.
And that is fortunate; for the music, with the exception of the ancient
and honorable Melody of Love, with new lyrics, is not noteworthy; and
the direction is old-fashioned; and the sets — words fail me. With all
nature at their door, these movie men have borrowed the painted scenery
of the operetta stage. Why, in the name of Technicolor? The acquisition
of Tibbett was a master-stroke. You have heard screen snatches of'
Martinelli and other operatic voices; but you are on good terms with
Tibbett from the very first scenes of this operetta. And you like him
more and more as he sings and swaggers his way through the florid piece.
He is robust, with ingratiating blue eyes. For all its merits "The Rogue
Song" fairly moans for the master hand of a director like Lubitsch.

SEAL- OF)

Hit the Deck

AH, there, Jack Oakie! If Greta Garbo hadn't beat you to it, you
/\ would have won Screenland's Honor Page this month. Sez you?
A™^^ Yes, sez me. Ladies first, Mr. Oakie. But you have only started.
"^You're acting better and better, and first thing you know you'll
walk right off with that page, Garbo or no Garbo. "Hit the Deck" is a
swell musical show, a speedy screen version of the popular musical comedy
with the same popular songs and a few new ones. The old tunes can
stand repetition, particularly when Polly Walker sings them. This girl
from the stage is sweet and sincere and she has a voice. She is an excellent
foil for the brash and buoyant Oakie. This boy measures up to none of
the standards for screen stardom; he isn't handsome; he hasn't much of
a voice; his dancing is indifferent. But in the words of the old song,
'He's got that thing,' and that's all he needs. He sets a new style in
screen love scenes. He walks in, drinks a cup of coffee, and walks out
again. But he comes back — you knew he would. Somehow Mr. Oakie
manages to invest the supposedly comic proceedings with a certain engaging
reality. The Hallelujah number just misses being a big moment. The
negro chorus was splendid — and then on came the dancing girls!

Hell Harbor

DO you have that tired feeling? Do you wish you could get away
from it all? Then see "Hell Harbor." It will fix you up. It
will make you forget all the hours you have spent watching back-
stage and court-room and flaming youth films. It's guaranteed
to cure the worst case of extreme ennui brought on by an overdose of
synchronized boom-boom. In other words, see it. Lupe Velez is the
star. The leading man is John, once known as Clifford Holland, who in
spite of or maybe because of a bored and lackadaisical technique in the
amorous episodes steps right up with the important heroes from now on.
There is no other director who can produce melodrama with the easy
swing and casual cruelty of Henry King. Lovely belle of the Caribees
whose rascally father wants to marry her to Jean Hersholt; young trader
who arrives in nick of time and against his better judgment is involved
in her family affairs. Somebody's sense of humor has saved the plot by
writing in sophisticated dialogue in tense moments. When heroine tells
hero he must save her from worse-than-death, he laughs: "Why, they don't
do that sort of thing any more!" Just what we were thinking. Lupe is
gorgeous — prettier than ever — a small sensation.

Judith Vosselli, Catherine Dale Owen, Lawrence
Tibbett in "The Rogue Song."

A scene from the musical "Hit the Deck'
Jack Oakie and Polly Walker.

ith

John Holland and the lovely Lupe Velez in
"Hell Harbor," exciting melodrama.

86 SCREENLAND

Critical Comment

Behind the Makeup

PROVING that the old-fashioned movie is slowly but
surely biting the dust. There's little of the ancient
hokum about "Behind the Makeup." Not that it is a
masterpiece, mind you; but it has intelligence, good taste,
and absorbing characterization. Robert Milton has let us look
into the lives of four people — an egotistical, fascinating Italian
actor, a sweet and loyal woman, a faithful clown, and a real
vamp — not one of your melodramatic hussies, but a cold-blooded
enchantress superbly played, in the few scenes allotted her, by
the elegant Kay Francis. The clown, Hal Skelly, loves the nice
girl, Fay Wray; but the Italian, William Powell, woos and
wins her. Enter the siren — and disaster. Powell's performance
is masterly. "Behind the Makeup" is as smooth and mellow as
an old novel or old wine — that is, as smooth as I understand
old wine to have been.

Their Own Desire

NORMA SHEARER in a Joan Crawford role! How
do you like her? Norma's latest part is no Mary
Dugait or Mrs. Cheyney but it proves the Shearer
versatility. She plays a 'modern girl' whose devotion
to her father suffers a severe set-back when he leaves her
mother for another woman. And when the 'only boy' turns out
to be the son of the same 'other woman' Norma is in a movie
heroine's quandary. But you know these modern maidens, or
you should by this time. They fight through to happiness, no
matter what happens; and plenty does in this picture, including
a storm which casts up girl and boy on a deserted if not a
desert island. Norma's Ophelia scene proves once more that
this Shearer girl is a grand actress with great tragic potentiali-
ties. Robert Montgomery is just about the nicest 'only boy'
in talking pictures. He is always believable.

Little Johnny Jones

MEET Eddie Buzzell in "Little Johnny Jones." I
know you're going to like him. While the director
hasn't given this pint-sized comedian the opportuni-
ties he has had in his stage vehicles, just to have
Eddie with us on the screen is something. His performance of
the little jockey in the old George M. Cohan classic is splendid,
and he gives us at least one poignant emotional scene which is
worthy of Chaplin. If you like horse races — as who doesn't —
there are plenty of thrills for you. Father and mother will
enjoy hearing Eddie sing those old-timers, Give My Regards to
Broadway and I'm a Yankee Doodle Dandy. The ladies in the
case are Alice Day and Edna Murphy, and I'll let you figure
out which one of them is out for no good. But the picture
is entirely Mr. Buzzell's. Welcome to our celluloid, Eddie!

Glorifying the American Girl

AS far as I'm concerned all that this picture glorifies is
/\ Mr. Eddie Cantor. Not since Chaplin's palmiest pic-
/ \ tures has a comedian done such things to me. And I
wasn't the only one rolling in the aisles. That audience
took a new lease on life when the fresh little fellow walked
into the tailor shop and began his forcible selling. The Cantor
comedy runs only a reel or so but it's the funniest thing the
talkies have produced. The action and dialogue never lag for
an instant; it's fast and furious fun. Mary Eaton is the star
of the feature picture with its Ziegfeldian trimmings which re-
lates the progress of a pretty blonde from music counter to
Broadway bright lights. Helen Morgan and Rudy Vallee, whose
voices are their fortunes, appear in the revue. But Cantor's
sketch puts the picture over for me. More, more!

for April 1930 87

on Current Films

Across the World with Mr. and Mrs.
Martin Johnson

TRAVEL pictures have kept up with the times. You
might think the talkies would scare them, but our in-
trepid explorers are right on the job as usual. Mr. and
Mrs. Martin Johnson can talk as well as they can shoot,
and do, too. Their first sound film records their latest explor-
ing adventures, introduces the three Boy Scouts who accompanied
them on part of the journey; and includes those hair-raising
cannibal close-ups you may have seen, before in other Johnson
epics. Cannibal conversation is not recorded. You can't carry
sound equipment into the jungles. But Mr. Johnson's reassuring
voice explains 'the pictures in informal style as they unreel and
Osa, the little woman, contributes her very feminine comments.
The Scouts are potential leading men and Hollywood will get
them one of these days if they don't watch out.

New York Nights

WAS so glad to see Norma Talmadge on the screen again
I'm afraid I can't be too critical of her come-back vehicle.
I The first Talmadge talker isn't remarkable, but the re-
appearance of the star is such good news it disarms
analysis. Norma's voice is reassuring. You will like it im-
mensely; it enhances her personality. "New York Nights" as
you may have guessed is another back-stage story but don't let
that worry you too much. It is more human than most, con-
cerning itself in believable fashion with a song-writer whose
lovely wife sticks to him through thick and thin — and some-
times his behavior is very thick indeed. The wife is pursued
by a rich rogue but persists in her devotion' to the irresponsible
boy of tin-pin alley. Miss Talmadge's position on the talking
screen is secure. Gilbert Roland is good in a mean role.

Navy Blues

Men Without Women

I'M all worn out crying for bigger and better stories for
William Haines. And this isn't one. So what I can do
except tell you that if you are a Haines fan you'll prob-
ably weaken and like "Navy Blues" anyway; and if you
aren't it doesn't matter. This film is as fresh as a sea-going
gob looks. Bill plays a sailor in port on leave who meets Anita
Page. No, you're wrong. She falls for him. And she leaves
her happy home only to learn that he doesn't take her as
seriously as he should. That's a situation for you — the trouble
is, this is a Haines comedy; and wise-cracks and heavy drama
don't mix. Clarence Brown, one of our best directors, isn't as
versatile as all that. Just to relieve your minds, there's a
happy ending. But if you don't like "Navy Blues" don't blame
the hard-working star or his luscious leading lady.

HERE is that picture you have been looking for- — a
'drama that's different.' It's enacted by an all-male
cast; not a skirt of any length listed. And it writes
a new definition of that good old adjective 'gripping.'
John Ford has directed with understanding and irony this sus-
penseful story of fourteen men trapped in a stalled submarine
at the bottom of the sea. Believing they have only a few hours
to live the crew reveal their hearts and souls. Here is real
drama, daring, powerful. It holds undivided audience attention
in a single setting for an hour. "Men Without Women" — with
apologies to Ernest Hemingway who first thought of the title —
should not be missed. The acting is superb, with Kenneth
McKenna walking off with first honors and Frank Albertson a
close second. A great big bouquet for John Ford.

SCREENLAND

REVUETTES of

Lilies of the Field

Corinne, how could you? This picture is far from
worthy of an orchid lady's talents. It's a slow-
moving talking version of the more or less familiar
Mage play and will do little to enhance the star's
reputation. Corinne Griffith's delicate beauty and
dramatic reticence are out of place in this tawdry-
tale. An effort to make the star just one of the girls
never quite comes off. She remains as aloof as ever.
As the wronged wife who turns show girl when her
child is taken from her she gives a sincere perform-
ance but it isn't a Griffith role. Corinne dancing
on a table at a wild party, or as the figurine in a
mechanical ballet, is a waste of Corinne. An ex-
quisite jewel deserves a Cartier setting. This cer-
tainly isn't one. Better luck next time.

It's a Great Life

Oh, it is, is it? Yes, say the Duncan Sisters. Well, maybe
they never saw "Broadway Melody." Back-stage life with its

joys and sorrows was all right then, but I'm a little fed up

with it by this time. No fault of the lively hard-working

Duncans or the personable Larry Gray. They do their best
vocally and comically, and that's pretty good.

The Locked Door

Howdy, old-timer! Seems incredible that anyone could take
seriously the old plot of the pretty wife who doesn't tell her
husband — and then she is mixed up in a near-murder and he finds
out. And after all, there was nothing to tell. Barbara Stanwyck,
pretty and well-behaved, deserves a far, far better chance. As
for Rod La Rocque, he is badly cast.

The Night Ride

If you can believe Joseph Schildkraut in the role of a breezy
reporter involved in melodramatic underworld doings, you can
believe anything. Somehow he doesn't look comfortable in such
sordid surroundings. The handsome Joseph and pretty Barbara
Kent are overshadowed by the performance of Edward G.
Robinson as a racketeer — here is real acting.

Spring

Two reels of the most delicious nonsense ever concocted.
Just a series of synchronized animated cartoons by Walt Disney,
but what cartoons! All of nature's wild flowers and birdies and
froggies and buggies indulge in hilarious dances to celebrate the
vernal season. I've heard this short subject receive more ap-
plause than the feature. You'll love it.

/ or Apr il 1 9 30 89

OTHER PICTURES

The Bishop Murder Case

Here is your old friend, Philo Vance, again — but how
he has changed! You'd never know him for the
same sleuth — and indeed, he isn't. Formerly played
by William Powell, his present portrayer is none
other than the suave Basil Rathbone. I like both
actors so I can't complain. Either one is perfectly
all right with me. This S. S. Van Dine murder
mystery has been produced in first-rate style. In
fact, I can think of few other mystery dramas in
which the identity of the murderer is so skillfully
concealed until just the right moment for revelation.
Rathbone is surrounded by such charming players as
Leila Hyams and Roland Young. I can't help wishing
that Mr. Young will have a real chance to click on
the screen. He is really a rare comedian.

The Lone Star Ranger

For lovers of Zane Grey's western novels, this screen version
of his popular book should satisfy. There is gorgeous scenery
of the Rainbow Arch country of Utah, shot on the spot; plenty
of authentic action; stalwart George O'Brien; and pretty Sue
Carol as the young eastern girl who comes west and finds
love, adventure, and complications. A good western.

The Aviator

Edward Everett Horton has fallen heir to the imposter roles
Douglas MacLean used to do. Here Eddie plays a chap not
at all aerial-minded who is forced by circumstances to take the
air. Amusing in spots; and there is always Patsy Ruth Miller
to enliven the proceedings. But why doesn't some smart direc-
tor give Patsy a real chance to show what she can do?

Up the Congo

Grace Flandrau, the writer, and Alice O'Brien, the explorer,
know their Africa. This travelogue is an interesting visual
record of native life and dances and wild animals at play and
bay. A talking reporter lectures as the film unfolds. Of ab-
sorbing interest to those who go in for cannibals and things
like that, but not of sensational appeal.

Sugar-Plum Papa

Andy Clyde plays Sugar-Plum Papa — you're laughing already
— wait, Daphne Pollard plays his social climbing wife and Harry
Gribbon, their son. Harry is the fall guy; Mama wants him to
marry the not-so-pretty Princess. But Harry has already set
his heart on marrying Marjorie Beebe, the maid. After a
theme song, many laughs and complications all ends well.

SCREENLAND

Have You a

Charm is a Decided Asset Today
and Its Upkeep Should Be Care-
fully Provided For

Mary Brian demon-
strates correct meth-
ods of eye massage.
This is one of the
things that should
be done every day
for beauty's sake.

A budget for beauty? Why not? We budget

/ ^ everything else or if we don't, we should, ac-
/ \ cording to the efficiency experts. So much for
food, shelter, clothes, car fares, recreation and
extras. Then we borrow from food to buy clothes and
from clothes to buy a bargain in chinu and from recreation
to get a marcel we didn't expect to have or a new shade
of powder we want to try out! At least we do if we're
that kind of person, and most of us are. And we never
are quite able to keep ourselves supplied with the necessary
aids to beauty.

So, I repeat, why not a beauty budget? So much for
beauty. After all, beauty, charm, personality, whatever we
call it, is an important phase of our existence and the neces-
sary expense attending it should be as carefully provided
for as any other.

Not only should
we have the neces-
sary aids to beauty
— we should have
time for beauty, too.
That's what I mean
by beauty budget. 1
don't mean an in-
elastic, strict rou'
tine that you can't
get away from. Sys-
tem is good but it
may be carried so
far that it becomes
tyranny.

I once knew a
young housewife
who budgeted every

Studio and location work
are hard on the hands.
Mary uses a good oil
on the nails to keep
them from becoming
brittle.

minute of her day. She arose at a certain
hour, allowed herself so many minutes to
bathe and dress, so many minutes for
breakfast, for bed-making, for dusting, and
so on through the day. I never knew a
woman who accomplished more — but I al-
ways wondered how she managed when a
neighbor dropped in or the telephone rang
unexpectedly or her husband came home half an hour
early or an hour and a half late.

System is good, efficiency is splendid. A time for every-
thing, yes. But oh, let's make it a bit elastic lest we
lose out on a lot of things we ought to know and do and
have.

This is what I would suggest if I had my way about
it. To the housewife I would say: "Broil the chops, dust
the rooms, but save some time for beauty." And to the
professional and business girl I would say: "Paint a pic-
ture, write a book, perfect yourself in the art of being
the best secretary in the world, but set aside some time,

Alice White inventories the stock of beauty
the mirror. She may find that her beauty
evident there's nothing

for A-pril 19 30

Beauty Budget?

Anne Van Alstyne

every day, for beauty."

The modern girl doesn't sit on a cushion fjter f J?"S ,day f,
r & . . . , the studio beneath

and sew a fine seam. Whether she has to strong lights, Mary

or not, she works at something. She's in Brian gives her eyes
business or the professions or she does club a rest treatment.
or philanthropic work or goes in for ath- ^"Lutiful eyes.
letics. No matter what she does, good
grooming is important.

When, a few years ago, a few brave souls turned from
schoohteaching to learn typewriting, they did not realize
that well-kept hair and hands and skin had anything to
do with attaining success in the new world into which
they had ventured. They wore white tailored waists with
decent black skirts which came well down to the ankles.
Powder and paint were not used, at least by 'nice' girls.
If a girl starting out on a career of her own had taken
the pains to make herself as charming as the average busi-
ness girl does today she would have been set down as —
well, whatever they called a vamp in those days.

Today, charm is a decided asset in the world of business

aids on her dressing table and herself in
supplies need replenishing but it's quite
wrong with Alice herself.

and of careers. Not mere surface beauty, but the vital,
radiant beauty that has its beginning deep down within
us where things are real, and shining like a white flame
through a well-ordered, contented mind and a beautiful
body has its perfect fruition in the face of its owner.
And this beauty supplemented by exquisite care, grace of
manner, charm of voice and keen intelligence will make
for her advancement in any line of work.

Whether she works for money, for fun or for the good
she may do, time is a precious consideration in the life
of the modern girl. All work and no play makes Jill
a dull girl; it detracts from her efficiency and also from
her charm. How to be efficient, healthy and charming —
that is the problem.

There are twenty-four hours in the day, so let's get

at the problem by
dividing the day in-
to thirds. Eight
hours for serious
purpose, eight hours
for ' sleep, eight
hours for rest and
recreation.

Since sleep is es-
sential to good
health and to beauty,
we can't steal that
time for beautifying,
and we can't steal
from our working
hours. So let's take
it from our play-
(Cont. on page 108)

Billie Dove, one of the
most charming and ex-
quisitely groomed girls
in pictures, adds a few
finishing touches to her
manicure.

SCREENLAND

The vivacious Lily Damita, now
in a Broadway musical show, will
be back in pictures soon.

Right: Derek Williams, who plays
one of the three leads in "Journey's
End," is slated for the screen.

Below: Oscar Straus, composer of
"The Chocolate Soldier," arrives to
write music for movie operettas.

couldn't play around all day shooting pheasants —
or golf — with nothing real to do," said Derek
Williams, the twenty-two year old nephew of the
Marquis of Queensbury. Williams is the youngest
of the three leads in the New York stage production of
"Journey's End," the most popular of all war plays.

"After I finished public school, Winchester," Williams
continued, "I persuaded my people to let me go up to
London to study for the stage at the Royal Academy.
Here I was extraordinarily lucky, for while I was study-
ing, I got my first job on the stage. So I worked in a

IN NEW

Stars Who Bask in
Broadway's Bright
Lights

double shift: studying in the day time,
playing at night. It was a marvelous
experience. "

Derek's aristocratic English back-
ground, his slim, good looks, with wavy
brown hair, perky nose and clear eyes, make him a good
bet for talking pictures.

Williams had been playing in London but a short time
before he was given one of the leads in the English com-
pany of llJourneys End," and later was brought to
America where he has been enjoying the sights and sounds
of Broadway.

Several moving picture companies have tried to procure
the services of Derek. For, in addition to his decided
dramatic ability, he is the fortunate possessor of a pleasant
singing voice of tenor range, with a fine deep baritone
quality. Williams expects to work for Oscar Hammerstein
in a musical talker if Gilbert Miller, the well-known
theatrical producer, will release him from his stage contract.

This sound film of Oscar Hammerstein's will bring back
to the screen one of our old time and well-loved favorites,
Dorothy Dalton, Mrs. Hammerstein in private life. Dor-
othy is still very pretty, still has her dimples and charming
smile. So with such an unusual Anglo-American alliance,
we have something new to look forward to in the way of
singing pictures.

" *Oh, Hymie, Nils Asther and I are engaged!'

"That's the way Jakie broke the news to me. I was
going over some songs when she rushed in and sprung
it on me. I was so surprised all I could say was: 'Gee,
that's great. Here, tell me — what key shall we sing this
song in?'

for April 19 30

Fairchild Aerial Surveys Inc., N. Y. 0.

YORK

By Anne Bye

"Jakie looked at me a little sadly:
'Aren't you glad, Hymie? I'm so happy.'

" 'Sure, Em glad,' I answered, 'but
here, tell me what key shall we sing
this song in?' "

Of course, you know that Hymie and Jakie are the
nicknames of the famous sister team, Rosetta and Vivian
Duncan.

Hymie (Rosetta), the older and cleverer, has always
looked after Jakie (Vivian) , the younger and prettier, since
their mother died when they were young children playing
marbles on the steps of the Los Angeles kindergarten. For
years, the Duncans have toured this country and Europe,
during which time Hymie has always been the leader,
the business manager, and the one to whom Jakie brought
all her troubles and joys. And that's no stage fiction,
either. The love between these two sisters is something
rare and beautiful.

"I want Jakie to be happily married," Hymie continued,
"I want it more than anything else in the world. But
when she sprung it on me sudden like that, I had to be
banal or I would have wept on the spot.

"Any girl who has had a sister to whom she was really
close will understand. I felt like I was losing my right
hand or a piece of my heart. But I'm used to the idea
now. We'll both keep on in our work, just as we are
now. And I'm sure we'll be all the happier for this
change."

The romance of Jakie and Nils has endured a long time.
When Nils first came to America, he played with Jakie
and Hymie in "Topsy and Eva." On location they fell

Evelyn Laye, star of "Bitter
Sweet," the Noel Coward oper-
etta, is the theatrical toast of
the town.

Left: Hymie and Jakie — in other
words, Rosetta and Vivian Dun-
can, in town for a vacation.

Below: lovely Claudette Colbert,
who plays with Chevalier in "The
Big Pond," is teaching him slang.

in love. And it was here that Jakie taught Nils the
English alphabet. But soon Nils went back to Sweden.
He couldn't write to Jakie in English, and she couldn't
write to him in Swedish — or Esperanto — so the romance
waned.

However, true love being what it is in story books and
on the stage and screen, the lovers have been re-united.
Miss Duncan seems thrillingly and unsophisticatedly happy.
She is sure a greater actor never lived than her Nils. She
admires his dark handsomeness, his sense of humor, his
dramatic ability — oh, just every- (Continued on page 107)

SCREENLAND

Come to a Barbecue

Hollywood Girls May Be Good
Cooks, but Ken Maynard Says
the Boys Aren't So Bad, Either

When Hollywood tires of the formal there
are always the great open spaces to draw
famous picture stars back to nature. That
they don't object to being 'drawn" was
proven recently when Ken Maynard gave a chuck wagon
dinner at the 'Happy Valley Ranch."

It also proves that a man can get up just as good
a meal as a woman can and not only 'get it up1 but
cook and serve it and do it exceptionally well. Despite
the fact that men are accused of being in a rut when it
comes to eating, a man-planned meal doesn't lack variety;
and if it does, it makes it up in quality.

It's true that most men's favorite dishes are ham and
eggs, beans, steak, roast beef, cheese and pie. Try to
take one of these established favorites away from him
and he's as lost as when you try to take an old hat away
that he's grown used to. Place before him a delicious and
optically pleasing new pudding that you've put time
and thought into the making of and he's more than

Ken Maynard, the perfect host and cook, dishes up.
Can't you smell those savory beans and sizzling steaks?
Ho, hum, for a barbecue party!

An open-air cafeteria. Line forms to the right,
free from all culinary duties for

KEN MAYNARD1 S

Home-Made Ice Cream

Beat the yolks of four eggs thoroughly, add a cup and
a half of sugar and two pints of sweet cream; or one pint
of cream may be used and one of rich milk. Put in double
boiler and cook about four minutes. Fold in the beaten
whites of four eggs. Let cool, add one teaspoonful of
vanilla or any preferred flavoring. Let mixture become
thoroughly cool, then freeze in an old-fashioned freezer.

likely to look at it dubiously and say, "Isn't there a
piece of that apple pie left over from last night?"
But even though men do stick to the old dishes, no
one can deny that when they cook a meal they do
it well, as all those who were fortunate enough to
be included in Ken Maynard's party will testify.

Major W. T. Hanford and E. Avery McCarthy
were co-hosts with Ken. Mrs. Avery assisted in re-
ceiving the guests, sixty-five in number. These in-
cluded Bebe Daniels, Mrs. Kenneth Maynard, Grace
Norton, Virginia Lee, Mrs. Stuart Holmes, and Mrs.
Robert Armstrong. Among the men present were Ben
Lyon, Lew Cody, Al Rogell, Charles Christie, Gus
Edwards, S. W. Strauss, Claude King, George Gros-
smith, Sam Hardy, James Crawford, William David-
son, Robert Armstrong, Al Christie, Alan Hale,
Laurence Grant, Vivian Guy, Reginald Denny, David
Torrence, and George Barraud.

The menu was barbecued steaks, ranch fried pota-

for April 19 30

with Ken Maynard

or is it the left? Anyway, Mrs. Ken Maynard,
this one day, is having a good time.

FAVORITE RECIPES

Apple Pie

To two cups of flour use one-half cup shortening. Work
to a paste, adding enough water to hold together. Roll out,
line pan with dough, and slice apples into pan until filled.
Add one cup of sugar, more if apples are very sour. Place
dabs of butter over fruit, sprinkle with nutmeg and flour.
Put top crust over, punch tiny holes in top and bake about
forty-five minutes.

toes, baked beans flavored with onion and garlic, let-
tuce salad, home-made ice cream, and apple pie. A
regular man's meal? Yes. But there were ladies
present, remember, and if you think they didn't ap-
preciate it, just ask them.

The barbecue took place near a spring of cool water.
Long tables were arranged for the guests with tin
plates and cups, kitchen knives, forks and spoons and
paper napkins. Pitchers of milk were placed at inter-
vals. The sibling steaks over the coals whetted the
appetite while the table was being set, also during the
meal giving promise of 'more.' The food in covered
dishes was placed on a long table near the fire and
each guest took his plate and helped himself.

To barbecue a steak a wood fire is allowed to burn.
1 low and form a huge bed of coals. Iron grates are
then placed over it and the steaks, well seasoned, are
laid on the grates. When the steaks begin to brown
they are turned with long forks to the other side,

Emily Kirk

and this portion is allowed to cook. After turning two
or three times the steaks are pronounced done. Generous
dabs of butter are rubbed on the steaks and allowed to
melt while being served.

With the steaks were served fried potatoes such as
those of us who grew up on farms throughout the United
States know well — the kind that one can consume un-
limited quantities of, particularly in the open air. They
are simply potatoes peeled, sliced and put in frying pans
with hot fat, then salted and peppered and allowed to
cook until done, turning from time to time to allow all
the potatoes to brown. An onion cut in bits and fried
with the potatoes adds flavor and 2;est.

While the meal was in progress a cowboy band played
fiddles, banjoes — all the instruments this same band plays
while Ken is making pictures. During the meal Bebe
Daniels stopped the show at one point because one fiddler
stopped playing to watch Bebe go back for a second
plate of beans. (Continued on page 121)

Bebe is telling Ben she wishes he would learn to cook
as well as Ken. Bebe stopped the band during dinner
by going back for a second helping of beans.

8CREENLAND

The e?TAGE

New Plays which May
be Fitting Vehicles for
the Screen

■ a

De Casseres

I was chock-a-block with delightful memories of Grace
George, both as woman and actress.

If there is a finer, more finished, more artistic, more
intelligent portrayal of a female character on Broadway
at the present time — or at any recent time — than Grace
George as Janet Fraser, the widow of a Scotchman, the
mother of two ridiculous sons (T^inian and Murdo by
name, so help me Ervine!), and who is besieged by her
first husband and yet another fellow (played inimitably
by Lawrence Grossmith) — if, I say, there is an actress on
the American stage today who can for one moment com-
pare with Grace George in convincing simplicity, the art
of motionless suggestion and subtly nuanced word-values,
I would not be overjoyed in having some one prove it to
me by naming her.

Grace George is a superb artist without artifice or
theatricality. When you leave "The First Mrs. Fraser"'
(an entertaining trifle — nothing more — as a play) it is
Grace George that walks home with you. A. E. Matthews
was comic and self-conscious as James Fraser, the burry

Jack Donahue and petite Lily Damita. What
Jack and his pals do as "Sons o' Guns" will
amuse you mightily.

"Sons o' Guns"

"/"""N ons o' Guns," with wild and woolly Jack Donahue
and the petite and libido-inspiring Lily Damita,
V J produced by arrangement with Samuel Goldwyn,
is likely to play to S.R.O. for many months. And
then you'll see it as a talkie-singie. It's about how Jack
was a society golf-player when the war broke out. Being
shamed into it, he became one of the sons o' guns during
the summer when many of his friends remained at home
in bathing suits having a good time. What Jack and
his pals did Over There will never be found in any war-
book; but will amuse you mightily. The music will
never cause even the ghost of Victor Herbert to stir with
envy.

"The First Mrs. Fraser"

"The First Mrs. Fraser" is by St. John Ervine. But I
want to talk about Grace George because I did not re-
member much about the play when I left the theater, but

From "Waterloo Bridge." Glenn Hunter as the
soldier boy, and June Walker as the girl of
Waterloo bridge give superb performances.

for April 19 30

/'// Review

Scotchman. But Ninian and
Murdo — I had no idea that Mr.
Ervine was so subtle!

"Red Rust"

"Red Rust,"1 which the Theater
Guild studio (the Lunts, Digges,
Westleys and Fontannes in the
egg) put on as an experiment to
show the world (that is, New
York) what they were doing
among the kids, was the surprise
of the season. It made a hit.

And that is not the only sur-
prising thing about this fascinating
drama of Red Russia. "Red Rust"
is Russia laughing at itself, kidding
itself, pointing out to the world
its disillusions after ten years of
as insane an experiment as was
ever attempted this side of the
moon. That was, to me, the big'
gest surprise of all. "Red Rust"
was written by two Russians and
has been done in Moscow without
being suppressed — ■ which shows
that toleration and civilisation
may be possible among these most
fanatical and diabolical of peoples,
an introverted race of cosmical
bellyachers.

On a background of Lenin's

Herbert J. Biberman and Gale Sonder-
gaard in a scene from "Red Rust," a
fascinating drama of old Russia. A
Theater Guild play.

"The First Mrs. Fraser": Grace
George, with Carol Goodner, the
'second.' A splendid vehicle for the
inimitable Miss George.

Philip Merivale and Rose Hobart in
a scene from "Death Takes a Holi-
day." A fine play and one you will
not soon forget.

tomb and the Kremlin we are
shown in many scenes the pure
Babbittry of Bolshevism: we have
free-love Babbitts, anarchistic Bab-
bitts, idealistic Babbitts, Marxian
Babbitts, nihilistic Babbitts and,
above all, the splendid figure of
the hero, Tere\hine (played finely
by Herbert J. Biberman), who
preys on women, deserts his wife,
kills his sweetheart, cringes before
punishment, loves life and spouts
platitudinous rubbish just exactly
like any capitalistic bunk-bawler.

"Red Rust" is a complete ex-
pose of the Lenin hokum, and as
such is a blessing to those who
believe, like myself, in the capital-
istic organization of society. And
I salute the two Russians who
wrote it — also the Guild and the
splendid cast that interprets.

"Children of Darkness"

"Children of Darkness," by
Edwin Justus Mayer, is the most
finely written play of the season —
a literary gem, a carefully thought-
out, perfectly wrought sardonic
comedy built around as fine a col-
lection of gentlemen as ever slit
a throat, (Continued on page 128)

Basil Sydney in "Children of Dark-
ness" with beautiful Mary Ellis who
gives the most convincing perform-
ance of her career.

SCREENLAND

News And Gossip Strai
from the Studios

roll for some time, but
it's news that she is that
way about us.

HOLLYWOOD was thrilled to hear that Charlie
Chaplin and Lon Chaney would at last break
their silence and emerge in talking pictures. It
is true about Lon. His new contract calls for
one talker and he has decided to take the plunge. His
first will be "The Unholy Three," according to present
plans, and will go speedily into- production. He starred in
the silent version two years ago. But Charlie spent some
time framing up his denial of the report and many dollars
on cable and telegraph money to flash that denial over the
world. Charlie declares that he has built up his reputation
on pantomime and that talking pictures would utterly de-
stroy the illusion he has so carefully created. Charlie isn't
ready to give in yet, and it is a question whether he ever
will.

Russell Gleason, son of that famous pair, Jimmy and
Lucille, is coming right along on his own. He is playing
Muller in "All's Quiet on the Western Front," in which
Lew Ayres plays the juvenile lead and Louis Wolheim
runs true to form. The company is on location at Balboa
and army regulations and rules are in force. It is just
like a real camp. "I suppose," said young Russell, "that
they will give the story a happy ending and have Germany
win the war."

H< ^

"Garbo Tal\sF' We've noticed the M-G-M publicity

department working themselves up to this sensational line,
all that appears on the twenty-four-sheet billboards out
here, for some months. We'll wager if the public were
asked they wouldn't know whether they cared if Garbo
talked or not. They'd go to see her anyway. But by the
time they read about how she talks and why she talks and
all the rest of it they won't be able to get a good night's
sleep until they hear for themselves. And Greta makes
good in a big way.

What a curious combination she is. She is turning out
to be a real artist. Her word is law at the studio in which
she works. Everyone takes her seriously. Yet she trembles
like a child lost in the dark at the mere thought of meeting
a stranger. The other day while taking a walk on a very
quiet street, all dolled up in goggles and flat-heeled shoes,
someone recognized her and said, "Why, that's Greta
Garbo!" She almost broke into a run to escape the possible
gathering of a crowd from neighboring houses.

sfc 3: sfc

When Herbert Brenon directed a picture in which Rich-
ard Dix and Betty Compson appeared some visitors came
on the set. This upsets Mr. Brenon unless he knows who
they are and why they are there, but this time he felt in
a jovial mood and decided to give them something to talk
about. "Now, Betty," he said, "please give me expression
twenty-five in this, and Richard, I want thirty-four from
you. No, that's twenty-one, Betty. I want twenty-five.

for April 19 30

■0-

That's fine, Richard — well, it
might be a more definite thirty-
four — yes — that's fine!"

"Isn't that wonderful?"
whispered one lady to another
while the actors restrained their
mirth with difficulty, "he directs
by numbers!"

We must have our little jokes
out here.

* % *

Nils Asther, who started
with such promise, will finish
his contract with Metro-Gold-
wyn-Mayer at the conclusion of
his present picture "The Sea
Bat," and it will not be re-
newed. Mr. Asther speaks
with an accent and Metro thinks
it has enough to worry about
without taking on the responsi'
bilities of a foreign accent. So
here's a good bet for another
company. Nils is a fine actor
and he is charming, too.

Olive Borden demon-
strates signals in the
sound studios. "Cut:
meaning sufficient take, or
stop," says Olive, looking
very lovely and efficient.

A few people on the Metro

lot were struck dumb to see

Gloria Swanson pay a visit to

Mr. Cecil B. De Mille! Now

you boys and girls who are

bright at putting two and two

together — what do you make of that? We never were

much good at - arithmetic ourselves but it looks as though

it might add up to 'picture' to us. Maybe Gloria thinks

Mr. De Mille can help her with "Queen Kelly," or maybe

her erstwhile director has an idea for a picture in which

she will star. Anyhow, something's in the wind or Gloria

would never have made that visit.

* * *

Over on Paramount 's stage three, Mary Brian and

Richard Arlen are making love
to each other again in "The
Light of Western Stars," by
Zane Grey.

"You should see the way we
played our first scene together,"
Mary laughed.

"The script called for us to
walk on the set slow; ly, hand in
hand," Dick went on. "I
grabbed Mary's wrist and off
we went. 'Say, where's the fire?'
our director shouted. You feel
awfully self-conscious when you
first do love scenes on the screen.
When a girl twines her arms
around you and you grip her
in a bear-like hug you think des-
parately to yourself, 'Well, I
suppose it's all right but it sure
looks funny.' "

Dick tells a story about the
team work he and Mary have
been doing on so many pictures.
In "The Virginian" Mary was
supposed to be in love with
Gary Cooper. During one of
the love scenes Dick noticed
that she kept looking over at
him between scenes and later
said to him, "Dick, do you know
I feel as though I had been
cheating a little!"

J mt

Olive continues demon-
stration: "Interlock: start
camera motor and sound
recording motor at same
speed," she commands.
Below are more signals.

Clara Bow started off on her vacation to New York be-
having rather like an ostrich. She put on big goggles
thinking they covered everything. But there was the wild
red hair curling in a million ringlets; there were the cute
socks and bare legs; the hat with the funny feather; a
baby doll tucked under one arm and — well, just nobody
who had his sight would think it was anyone but Clara,

»"""*«* *v

Turn 'em over:
start motors.

N. G.: Kill— do
not print.

Out: no good — applies Fine: director says
to sound or camera. scene is O. K.

Cut: sufficient take.
Stop.

inn

SCREENLAN D

Jean Bary is blissfully unaware of Frank Fay's
admiring glances. Both play in "Bright Lights."

preparation by the scenario department.

Famous line, Number 36:
"What are you doing now, Fred?"
"We are preparing to start preparations to shoot," re-
sponded Fred Niblo.

* * #

"It you want to get into a studio and have no entree,"
Bernard Granville, who had been here three days, advised
a friend who had been here two days, "just walk briskly
through the gate and if the guard stops you, say 'Techni-
color1 and keep right on walking!"

* * *

Nancy Carroll wants Screenland readers to know that
the reason she couldn't come across with her copy this
month is because she went to Honolulu on a vacation.
She can't rest in Hollywood so she and her husband, Jack
Kirkland, stepped on a boat and sailed away. She'll be
back soon to play in "The Devil's Holiday." Phillips
Holmes will play opposite her. Poor Phillips is another
victim of the dyed hair erase now flooding Hollywood.
He has to play a Kansas farmer. Well, that's what we
were told when we asked how come. And who are we
to question? We only stopped in Kansas a week.

t'fi % %

Gary Cooper just bought a new dude ranch in Kingman,
Arizona, which his father will manage for him. He is
going to import a lot of buffalo from Montana which will
not be for game. There are a terrible lot of acres on it —
just how many we have forgotten. But having this ranch

even though she did push through the mob de-
claring that "she didn't even know who Clara
Bow was!"

Repeated rumors that Clara was through at
Paramount are denied vehemently by that firm.
Box-office returns still show that Clara leads in
popularity. And box-office talks with any pro-
ducer. Clara made up her mind to two things;
she was going to get thin and she was going
to take a real vacation. The first of these she
has achieved. She weighs 120 pounds. And
now comes the vacation. She is going to wave
to the tall buildings in New York and then hurry
back for her next picture which is already in

A few million dollars worth of talent: conductor Dr. Hugo
Riesenfeld ; producer Arthur H ammerstein ; director Paul
Stein; composer Rudolph Friml and Lois Moran.

After a year's absence Milton Sills returns to
the screen in "A Very Practical Joke." His
wife, Doris Kenyon, sings and talks in "Strictly
Business."

has been an ambition of Gary's for a long time
and he can't help looking pleased about it.
% % ❖

All the old timers were lined up on the Metro
stage one day during the taking of their picture
by the same name: De Wolfe Hopper, Weber
and Fields, William Collier, Fay Templeton and
the rest. Polly Moran walked up and down
looking at them critically, then went over and
tapping Harry Rapf on the shoulder said anx-
iously : "Harry, you'll have to shoot this picture
soon!" Why, Miss Moran!

for April 19 30

101

For the first time in a good many years Cecil B. De
Mille is making a picture without Peverel Marley as
cameraman. The reason is a good one. Pev has turned
actor. He is in vaudeville with his wife, Lina Basquette,

as her dancing partner.

* * *

What a surprise Reginald Denny sprang on everyone.
Few people knew that Reg has a voice, but not much
escapes the watchful eye of Cecil De Mille in the way
of talent. It seems that Reg sang Prince Danilo in "The
Merry Widow" in London and was featured in "The
Pirates of Penzance" and "The Mikado." Also, he was
a familiar figure on the Winter Garden stage. Knowing
all this, Mr. De Mille engaged him to play the leading
male role in "Madam Satan," which will not be exactly

a musical comedy but rather a comedy with music.

* * *

Just when we were expecting something exciting to
be announced about June Collyer and Buddy Rogers he
starts going around with Claire Windsor again!

Buddy and his family, meaning his mother and father,
took John Craig Hammond's house in Beverly for a few
months. They likewise inherited Mr. Hammond's two
prized Filipino servants, Edicio and his brother. About
the fourth morning, a Sunday, Edicio didn't show up for
breakfast although it was nearly eleven. Mr. Rogers went
to the garage over which the boys have their rooms and
called: No answer. He went up and found the boys
unconscious. Because of the cold they had turned on
the gas heater and not opened the windows. Mr. Rogers

Lew Ayres and Russell Gleason of the "All Quiet on
the Western Front" cast try out their spiked helmets.

Both boys were out of danger in three or four
days and back at work in ten.

* * ^

A strange thing happened to Arthur Lake
during a recent trip to New York. He dreamed
his favorite dog Bummer was dead. So strong
was the impression left by the dream that after
fretting all day he actually called Hollywood
that evening. The housekeeper answered the
telephone. "How's Bummer?" Arthur asked im-
mediately. "Well, I don't like to tell you, Mr.
Lake," she began. "I know," replied Arthur.
"Bummer's dead."
And he was.

The fierce-looking gentleman is director Fred
Niblo after Buster Keaton got through making
him up. Buster thinks he did a good job.
Niblo isn't so sure.

called Buddy and they both worked over the
boys until the firemen came with the pulmotors.
The doctors at the hospital where they were
taken said Buddy and his father saved the
boys' lives.

Mr. Hammond went to them as soon as he
heard of the accident and his was the first face
Edicio saw when he recovered consciousness.
"Oh, Mista Hammond, my Mista Hammond,"
he sobbed. "You tell me be good boy and the
first thing I do I no can get Mista Buddy
Rogers' breakfast!"

Three famous pace-makers of the American show world and
the son of one of them. Left to right: Joe Weber, William
Collier, Lew Fields and William Collier, Jr.

102

SCREENLAND

"Women always buy cheap stocks," declared Mervyn
LcRoy when Bernice Claire told him she had invested in
a new company putting out a device to be used in the
picture business. It was selling for fifty cents a share. "Til
tell you a good one to buy, Bernice, Mustache Cups, Inc.
Beards are coming in again!"

As for Mervyn, he's off stocks for life. "I don't care
if they go to four thousand a share, I'm not buying any
more of them."

* * *

Bodil Rosing was explaining to us the meaning of names
in her country. Now over here Jane is Jane, and that's
that. But in Denmark and a few other countries names
have significance. For instance Bodil, prounced Boadhill,
means healer of battle wounds, and her friends say that
Bodil has healing hands. Her two daughters are named
Tove (Mrs. Monte Blue) and Saime. They are pronounced
Tove and Sime. Tove means dove while Saime means lake
with a thousand eyes.

We don't know what
Bodil looked like when
she was eighteen but she
is certainly a beautiful
woman today. She is es-
sentially a mother type
and the fan letters she re-
ceives from people who
long to be mothered are
very touching. Some are
old people and some are
young people, but all are
heart-hungry and reach
out to one who they think
will give them good ad-
vice. And she does. Bodil
answers all letters she be-
lieves sincere.

She has just finished
"Hello, Sister" for James
Cruze, with Olive Borden

and Lloyd Hughes.

* * *

No wonder they don't get on very fast in the art of
picture making in England. Here we work people to
death and there they don't work them half enough. Ac-
cording to Irving Asher, who ought to know since he
was general manager for a British film company, they
saunter to work at ten in the morning. Tea is served at
eleven-thirty, lunch from one to two, tea at four and
home at five-thirty!

❖ ❖ *

Carmel Myers is finding out that it is difficult to be a
good wife. When she and her husband, Ralph Blum,
made their first trip together he gave Carmel two bundles
which he had packed himself, not taking any chances.
"Now this one goes in the trunk and that one in our
suitcase for the train," he said. "Yes, darling," replied
Carmel and taking them to her maid explained that "this
one went in the trunk and that one in the suitcase for
the train." And Carmel never will know what happened
but when they got on the train 'this one1 had mysteriously
gotten into the suitcase and 'that one' must have been put
in the trunk! And poor Ralph hadn't a clean collar or
a shirt to his name until they reached Chicago where he
crashed the baggage car and opened his trunk.

* * *

This bit of news came to us one day about Ruth Roland
from rather an unusual source. You know how that bath-
room faucet sometimes loses a washer — well, ours isn't a
bit above doing it so we sent for the plumber. He told us

J. F. Hanley, movietoner,
plays his own melodies to
Mrs. Hanley, Therese, and
baby Mary Jane.

A big strong man and a very
small pet. Monte Blue on
the set between scenes.

Below: an attractive four-
some— Bernice Claire, Alex-
ander Gray, Grant Withers
and Loretta Young. Hail,
bridegroom, hail the bride!

for April 1930

103

A popular character actor at
home: J. Farrell MacDonald,
his wife, daughter, and yes,
the dog.

Ruth Roland, 'lost' in Screen-
land. Ruth returns to pic-
tures in "Reno."

Below: "The 'mike' was bad
enough," says Harry Lang-
don to Thelma Todd, "but
ok, this Spanish!" Harry's
comedies will have Spanish
versions.

that at Christmas time when he was doing a job at Mrs.
Ben Bard's he was surprised to see a truck at the door
and a lot of bundles being thrown into it. From the house
boy he discovered that Ruth Roland had bought shirts,
pants and blankets for over a hundred veterans at the
Old Soldiers Home at Sawtelle. And not a word about
it to her press agent, either.

* * *

Ben Lyon and Bebe Daniels are scheduled to play to-
gether, in "Smooth as Satin," Bebe's next, and this time
it looks as though it would take. Ben is just winding up
a two months' engagement in "The Boomerang" at the
El Capitan Theater in which he plays the love-sick youth
in a convincing manner that has won him much praise.
.Tom Moore and Kay Hammond are the other headliners
in the piece. The production schedule overlaps the stage
run a bit so for about a week Ben will be doing day
and night duty.

* * *

Betty Pierce, who fasci-
nated New York for over
two years as Tondeleyo
in "White Cargo," has
been signed to play a prom-
inent part in "Smooth
as Satin" with Bebe and
Ben. It will be Bettys
film debut and she says
she has never dreaded
anything so much in her
life as her first day at the
studio. To step into an
unknown world, work
with a strange medium
where people use familiar
terms that are unfamiliar
to her — "Oh, a first night
is a picnic compared to
it," she declared.

However, Betty has per-
sonality plus and she'll get
along. She is the sort of
person you like immediately. She has a piquant little face
with red-gold hair that curls in ringlets all over her head,
and her voice is beautiful with a resonance and carrying
quality that should record very well.

The day before she started on the RKO picture, Uni-
versal called her. It seems that her test with them was
fine. "When are you through at RKO?" Universal wanted
to know. "Why, I haven't even started yet," gasped
Betty. "Well, let us know soon as you can — ahead of
time," said they. Betty is 'over'!

Loretta Young is Mrs. Grant Withers, and that's all
there is to it! You know Grant Withers and Loretta
Young, who have been engaged to each other for months,
suddenly eloped in a plane to Yuma, Arizona, and got
married. Loretta's mother met the homecoming plane and
told the young couple in words of one syllable that there
was to be nothing to the marraige. She declared her
daughter to be too young, but said that if when Loretta
became of age they still felt the same way about it then
she would have no further objections. Both young people
bowed to her will. Loretta went home with her mother.
Then Grant and his bride thought it all over and decided
they couldn't live without each other, so Loretta went to
join her nice new husband. Who says there is no real
romance in Hollywood? Mr. and Mrs. Grant Withers
are kat home' in a duplex apartment, which though spacious
and modern is nevertheless just a cosy little love nest.

104

SCREEN LAND

^heir Own travelogue

Mary and Doug Co-Star in
"Around the World for Fun"

Below: This famous couple
have been photographed in al-
most every country in the
world, but never before have
they found themselves thus
silhouetted against Egyptian
skies.

S. S. Cathay, enroute from Port Said to
Colombo. Doug's binoculars don't focus
right or something. "Don't worry about
it," says Mary. "We're on vacation."

Mary is acquiring a nice coat of Egyptian
tan, while Doug tells himself he's glad
they brought along their good warm
coats. You never can tell about weather.

Below: Among the temples
and tombs of Luxor. Jack
Pickford (left) is shooting a
bit of Egyptian atmosphere.
What a location!

W e had hoped Egyptian donkeys would
be more picturesque. If we were Mary
and Doug we wouldn't feel safe just hold-
ing onto his ears.

In a I'ast outdoor museum. Doug looks
as though for half a cent he'd start
clambering over the ruins just to see
if they're real.

for April 19 20

^HE

<3EST

LINES

Crisp Dialogue from Current Films

From "Hit the Deck":

Looloo (Polly Walker) : "He — he kissed
me! It was a beautiful kiss!"

Lavinia (Margaret Padula) : "Well, sailors
ought to know how to make 'em beautiful —
they get enough practise."

From "Their Own Desire":

Jack (Robert Montgomery) : "Haven't you
a heart at all?"

Lally (Norma Shearer) : "Something's
beating."

Jack: "That's just a big muscle that pumps
your blood."

Mrs. Payne (Ethel Clayton) : "But, dear,
you only saw him once."

Looloo (Polly Walker) : "It's not the times
you see a person that counts. It's what hap-
pens when you do see him."

From "Behind the Makeup" :

Marie (Fay Wray) : "Yes, I know — I
understand."

Hap (Hal Skelly) : "Yeah! Women be-
lieve everything an Italian tells 'em. Tell
'em the time of day in Italian and they think
it's poetry."

From "Glorifying the American Girl":

Gloria (Mary Eaton) : "Now, Buddy, you've been
reading your fairy tales again — 'and the little Princess
waited for her little Prince Charming!' No, darling,
not for Gloria. I want to do things and go places be-
fore I settle down and raise a lot of little passengers
for the subway."

106

SCREENLAND

Clara Bow is a great favorite with Miss Vee
Dee's readers. Clara's next talker will be
"The Humming Bird."

ASK ME

An Answer Depart-
ment of Information
about Screen Plays
and Players

Miss Vee Dee

FRANCES from Portland, Oregon.
Will I make room for you, cow-
boys and everything, fightin' hand
and foot, to say nothing of tooth
and nail? You think I'm scared, don't
you? Sue Carol, whose real name is
Evelyn Lederer, was born October 30, 1908,
in Chicago, 111. She has brown eyes, dark
brown hair, is 5 feet 3 inches tall and weighs
118 pounds. She had been married and
divorced before becoming the wife of Nick
Stuart. Some of Nick's pictures are, "The
River Pirate," "The News Parade," "Girls
Gone Wild," "Joy Street," and "Why Girls
Leave Home." Audrey Ferris was born
August 30, 1909, in Detroit. Michigan.
Douglas Fairbanks, Jr., was born Decern-
ber 7, 1907, in New York City. Joan
Crawford was born March 2 3, 1908.

Ellen W. of Haverhill, Mass. No, it's
not true that Clara Bow died two years ago
and another girl has taken her place; so
take out the little hanky and dry your
tears. Zasu Pitts, the girl with the soul'
ful eyes, plays with Edmund Lowe and
Constance Bennett in "This Thing Called
Love." Ramon Novarro's new film, in
which he sings and talks, is "Devil May
Care" with Dorothy Jordan.

]oan from East Orange. You want a
snappy answer, do you? That's my idea of
a dig, but well dug. withal. Marceline
Day played opposite Ramon Novarro in
"The Road to Romance." Billie Dove and
Ben Lyon appeared together in "The Ten-
der Hour." Richard Dix was born July 18,
1894. in St. Paul. Minn. Neil Hamilton
played opposite Olive Borden in "The Joy
Girl." Joan Crawford was born on March
23, not May 23. Greta Garbo's real name
is Greta Gustafman.

Miss Josephine of Victoria, B. C. Can
Adolphe Menjou talk? Sure, he's a fine
talker. Could anything be grander than his
spoken lines in his last American picture,

"Fashions in Love?" He was born Febru-
ary 18, 1890, in Pittsburgh, Pa. He has
dark blue eyes, dark brown hair, is 5 feet
10 inches tall and weighs 147 pounds. His
wife is Kathryn Carver, who is also in pic-
tures. Read the swell story about Adolphe
in this issue.

T^ancy of Warren, Ohio. You are not
the only one who is 'that way' about Lane
Chandler. Come on, Lane, show us some
talkie stuff — we know you can do it. You
may write him at Paramount Studios, 54? 1
Marathon St., Hollywood, Cal. He was
born June 4. 1901, in Culbertson, Mont.
He is 6 feet 3 inches tall, weighs 185
pounds and has blue eyes and red hair.
He has appeared in "Red Hair" with Clara
Bow: "Love and Learn" with Esther
Ralston; "The Big Killing" with Mary
Brian; "The First Kiss" with Fay Wray
and Gary Cooper; and "The Wolf of Wall
Street" with George Bancroft and Nancy
Carroll.

Shirley O. of Coldwater, Mich. Do all
girls use make-up? My observation is, most
girls use it because they haven't the face to
go without it. "The Office Scandal," "The
Shady Lady," and "Thunder" were Phyllis
Haver's last screen appearances. Raquel
Torres played with Monte Blue in "White
Shadows of the South Seas." Lina Bas-
quette played opposite Richard Barthelmess
in "Wheel of Chance." John Barrymore's
new picture is "General Crack" with
Marian Nixon. Joan Crawford's real name
is Lucille Le Seuer.

Future Star from Surry, England. Glad
to meet you. So I'm a sure cure for the
blues. Right-o and that's what they all say,
but how can I prove it? William Powell
was born in Kansas City on July 29, 1892.
He was educated in Pittsburgh, Pa., and
the American Academy of Dramatic Arts
in New York City. He has brown hair
and eyes, is 6 feet tall, and weighs 168

pounds. He spent 10 years on the stage
and has been in pictures since 1921, his
first role being with John Barrymore in
"Sherlock Holmes." His latest release is
"Behind the Makeup" with Fay Wray,
Kay Francis, Hal Skelly and Paul Lukas.

Virginia from Hornell, A[. T. Tumble
out of the old mahogany four-poster and
listen to this about "The Vagabond Lover"
with the croonin' singer, Rudy Vallee, Sally
Blane, Marie Dressier and Rudy's Con-
necticut Yankees. Miss Dressler's work is a
knock-out and believe me I'm not waiting
for a street car when I say that. Charles
(Buddy) Rogers was born August 13, 1905.
He has black hair, brown eyes, is 6 feet tall

Gary Cooper looking sad. Cheer
up, Gary, we all like you better
than ever.

for April J930

107

and weighs 17? pounds. He played with
Mary Pickford in "My Best Girl." His
latest release is "Half Way to Heaven,"
with Jean Arthur.

Opal H. of St. Joseph, Mo. So you
read my offerings in the 'show me' section
of the U. S. A. Now I have to make good.
Laura La Plante was born November 1,
1904, in St. Louis, Mo. She is 5 feet 3
inches tall, weighs 118 pounds and has
blonde hair and blue eyes. Her husband is
William Seiter, the director. Her new film
is "La Marseillaise" with John Boles. Betty
Aden is not related to Richard Arlen. His
real name is Richard van Mattimore.

Ruth W. of Ko\omo, Ind. The height
of something or other is reached when a
bevy of high-school girls go into conference.
Am I right? Don't tell me. John Boles
is under contract to Universal Studios, Uni-
versal City, Cal. "The Little Angel" was
the working title of "A Lady of Chance."
No, James Murray is not a cameraman,
just an actor and a darned good one
at that. It's hard to keep track of the
various hues of hair the stars work under
but just now Clara Bow's hair is red.

Alma H. from Little Roc\, Ar\. Thanks
for the vigorous boosts you have given my
lines — give till it hurts. Ronald Colman
appears in "Condemned" with Ann Hard-
ing, that sweet-enough-to-eat young person.
"The Marriage Playground," with Mary
Brian, Fredric March, Lilyan Tashman,
Philippe de Lacy, Anita Louise, Little
Mitzi and a dozen other players, was adapted

from Edith Wharton's story, "The
Children." Little Mitzi is the new child
wonder, who has been given a long-term
contract with Paramount.

Mattie of Term. Edna Wallace Hopper
doesn't know how to grow old — she looks
20, 30 or 40 and boasts of some 60 odd
years, so what's the answer? Thomas Edwin
Mix was born January 6, 1887, in El Paso,
Texas. He has black hair, brown eyes, is
6 feet tall and weighs 165 pounds. He
has been married twice. You can reach
Corinne Griffith at First National Studios,
Burbank, Cal. Her latest release is "Lilies
of the Field."

Katherine of Alabama. What wrong
number do you call to get the right num-
ber? Stand by while I look it up but don't
keep your fingers crossed. May McAvoy
was born in 1901 in New York City. She
has brown hair, blue eyes, is 4 feet 1 1
inches tall and weighs 94 pounds. Malcolm
MacGregor was born October 13, 1896, in
Newark, N. J. He has black hair, brown
eyes, is 6 feet tall and weighs 172 pounds.
Billie Dove was born May 14, 1904. Her
latest picture is "The Painted Angel" with
Edmund Lowe.

G'eraldine G. of E. Liberty, Pa. My de-
partment is open to all. No age limit, so
come on, children, brother and sister fans,
and hearken to your great-auntie Vee Dee.
Sally Blane played opposite Tom Mix in
"Horseman of the Plains." Dolores Del
Rio was born Aug. 3, 1905, in Durango,
Mexico. Her latest release is "Evangeline"

with Roland Drew and Donald Reed.
Address her at Tec-Art Studios, Hollywood,
Cal. You can reach Sally O'Neil at RKO
Studios, 780 Gower St., Hollywood, Cal.

Sylvia of Texas. Of course you may
ask me the ages of the stars but I'm not
always able to 'tell on 'em.' Some own
up to it, others admit it. John Gilbert is
38 years old. He was married to Ina
Claire on May 9, 1929. Jackie Coogan
hasn't made a picture since "Buttons" and
"The Bugle Call." He has been in a mili-
tary school since touring the states in vaude-
ville. Gary Cooper appears in "The
Virginian" with Mary Brian, Richard Arlen
and Walter Huston.

Elizabeth E. of Easton, Pa. You are a
great reader of Screenland, are you?
That's fine, for I love to meet the great
and the near great — in fact, we celebrities
must all stick together. Clara Bow has
red hair and brown eyes and weighs 110
pounds. Her latest release was "The Satur-
day Night Kid."

Miss E. S. of Medical La\e, Wash. You
want me to find your movie sister for you.
Georgiana Sands, where are you? I have
located stranger things than movie sisters
through my "Ask Me" pages. Gary
Cooper's real name is Frank J. Cooper and
he has dark brown hair, blue eyes, is 6
feet 2 inches tall and weighs 180 pounds.
He gets his fan mail at Paramount Studios,
5451 Marathon St., Hollywood, Cal.
Gary's latest release is "The Virginian."

In New York — Continued from page 93

thing! And if she keeps that up, I can't
predict anything but a happy married life
for her.

There's no getting away from it, that
was a swell luncheon party that Warner
Brothers threw for Oscar Straus, the
Viennese composer of "The Chocolate
Soldier" and "The Walts Dream," the other
day at the Ritz Carlton Hotel, New York.

More than a hundred composers, includ-
ing Henry Hadley, George Gershwin, and
John Philip Sousa, and writers were sitting
around the enormous horse-shoe shaped
table when Mr. Straus was called upon to
make a speech.

Now lots of speeches had been made,
some superfluous and wise-cracking. But
Straus rose and quite simply said : "I am
happy to be in America where the Warner
Brothers have invited mei to write music
for talking pictures, a medium in which I
am much interested. I thank you all for
coming here to meet me." Then he sat
down.

Oscar Straus is a man in his late fifties,
with a humorous detached smile. He seems
delighted to be in this country and makes
no secret about it. Mrs. Straus, who ac-
companied him, is a pretty, plump woman
who wears her clothes admirably.

The high light of the occasion to my
mind, however, was the sincere and earnest
speech which Harry Warner made. He
told, in few words, how his late brother,
Sam, had envisioned this wonderful inven-
tion, the Vitaphone. How he had worked
to have it accepted, and how he died before
he saw the fruition.

Maybe I'm a sentimentalist, but I felt
proud as I looked at Warner. Proud that
in this day and in this country, the Warner
Brothers have promoted an invention which

will bring happiness, beauty and education
to the millions of people throughout the
world. And one of the best steps in this
direction was inviting Oscar Straus to
America. If he can recapture one tenth
of the lyric quality he put into "The
Chocolate Soldier" so many years ago, the
original operetta he will write, in my
opinion, will bring back to us that refresh-
ing musical quality which is rarely heard
in this day of monotonous jazz and openly
pirated operatic and symphonic themes.

What a girl Claudette Colbert is!

The other day, over at the Paramount
Studio in Long Island, I had a talk with
her while she was working with Maurice
Chevalier on his new picture "The Big
Pond."

Claudette, as you perhaps are aware, was
born in France and came here to America
as a young girl. She soon went on the
stage and has appeared in many Broadway
successes.

She is one of the most magnetic women
I have ever met. Exceedingly pretty, black
hair, black eyes, smooth olive skin, and the
most svelte — there's no other word for it —
figure I've ever seen. It's thin but it's
round. The perfect figure for present-day
frocks. She wore a white beaded gown,
closely fitted to waist and hips. And the
contrast between that and her olive skin
was something to rave about.

Between shots at the Long Island Studio.
Miss Colbert teaches Mr. Chevalier Ameri-
can slang, and it is most amusing to hear
Chevalier at it.

"French may be the language of poets,"
Miss Colbert explained, "the language in
which you can get the finest nuances or
shades of emotional feeling, but really to
tell the world what you mean and tell it

quickly, nothing is so expressive as Ameri-
can slang. Don't you think so, Mr.
Chevalier?"

"You 'ave said a mouthful, Claudette,"
Chevalier replied.

It .is seldom that any one person can
cause New York to rear on its hind legs,
but at the present writing, one girl has
caused this staid old town to describe such
an undignified posture. That person is no
other than Evelyn Laye, the extremely beau-
tiful star of "Bitter Sweet," the English
operetta by Noel Coward, imported to
Broadway.

Her beauty is the kind that appeals to
nearly every type of person. And her
lovely voice matches her charm. Soon she
is to be seen on the United Artists lot
where she will make her first talking pic-
ture, for the Ziegfeld-Goldwyn combine.

Lily Damita is one of the sights of New
York. She's seen every now and then along
the main stem in those exclusive night
clubs where it costs you twenty-five dollars
before you even get your coat checked.

Lily has been playing in "Sons o'Guns"
with Jack Donahue and threatens to become
the toast of the town, like her namesake
Lily Langtry became, so many years ago.

Everybody falls for this Lily. It's not
her beauty, which she has in abundance;
it's not her dramatic ability, with which
she is certainly gifted: it's that tremendous
vitality which oozes out of her at every
turn of the head.

But we're going to lose Lily soon. She
is to return to Hollywood at the close of
her stage engagement to make another talk-
ing picture which like "The Cock-Eyed
World" will probably knock our hats off.
Manhattan will miss her when she goes.

108

SCREENLAND

Have You a Beauty Budget? — continued from page 91

time, and make it as pleasurable as possible.
It need not be a great deal of time, but
it must be spent systematically and well.

No, I can't plan this for you, girls.
Conditions vary, and so do girls! What
one needs to specialize on, another girl may
slight. And while one girl may do her
special beautifying stunts in the evening,
another will find it more convenient to do
them in the morning or afternoon. I can
only give you general suggestions which
you may adapt to your own need.

Decide what things you need to do most
for beauty's sake and do them so regularly
that it becomes a habit. The actual care
of hair, hands, skin and teeth need not take
more than a half hour a day if you set aside
an extra half hour on certain days or even-
ings for special tasks.

About once in two weeks, take inventory
of your beauty supplies and plan to re-
plenish them. With everything at hand
the every-night beautifying process may be
more quickly accomplished. Have at hand
a jar of cleansing cream, and one of skin
food, squares of cheese cloth or a supply
of cleansing tissues for removing super-
fluous cream, an astringent or skin freshener,
witch hazel, lotions for sunburn in season,
a good hand lotion or cream, an antiseptic
salve or lotion, tooth paste, a mouth wash,
manicuring articles, an eye wash, eye cup,
hair tonic, a jar of absorbent cotton, a
shampoo liquid or powder, clean hair
brushes, a depilatory and a good deodorant.

If you have a weekly manicure, massage,
shampoo and wave at a beauty parlor, plan
to have it all done at one sitting if pos-
sible. This saves time and simplifies the
daily beautifying process.

If you take care of your own hair, as
many girls like to do, take a half hour
every other week, for a shampoo and thor-
ough scalp massage. The following week,
take a half hour to use a good tonic and
to give the hair an extra brushing.

Use a liquid, powder, or a good soap
shampoo, as you prefer. Wash the hair
once in two weeks, thoroughly rinse and
dry with warm towels rather than with in-
tense heat, and your hair will keep in fine
condition. If your hair and scalp are very
dry, have an- oil treatment at least once a
month. There are excellent tonics that
help stimulate the production of natural
oil. Scalp massage helps, too. And if your
hair and scalp are over-oily, a special prep-
aration will remedy this condition.

Hair must be shampooed often to keep
it live and healthy and the scalp must have
a certain amount of massage every day.
Various devices for massaging the scalp
have been devised, but a girl's own finger-
tips are about as successful, if used briskly,
as anything invented by man. The usual
method is to rotate the finger-tips over the
scalp, moving the scalp covering all over
the skull. Two or three minutes a day
should be given to this, and after the sham-
poo, the scalp should be massaged until it
is loose and pliable, live and glowing.

Once a day the hair should be brushed
well for two or three minutes. Once a
week it should be brushed thoroughly for
at least five minutes. At this time, a tonic,
dry or oily according to the need of the
hair, and cleansing in quality, should be
applied to various partings in the hair until
the scalp is quite damp. Writh a clean,
dry towel, rub the scalp and hair until
dry. Then, with a clean brush, brush the
hair thoroughly, brushing it up, down, and
from various partings until it shines with

renewed luster. The most accomplished
hairdressers are stressing the natural soft-
ness and luster of the hair. This may be
achieved by a once-a-week special treat-
ment and a little care every day.

About the trend of styles in hair dress-
ing, it's interesting to wonder just where
they come from. But whether they come
from a Parisian stylist or a New York hair-
dresser, or a picture star with a flair for
individuality, it's lots more important to
know whether we can wear them after we
get them. Take a little time to experiment
with a new mode before adopting it for
your own.

Once a week, unless you have it done
regularly by an expert, give your face a sci-
entific treatment. A treatment based on
healthy cleanliness and building up of tis-
sues. Make-believe, as the children say,
that you are comfortably seated in a beauty
salon and go about the treatment step by
step just as the beauty expert would do.

First, apply a cleansing cream to face and
neck, using an outward and upward move-
ment. Wipe off with a soft cloth or cleans-
ing tissues. Repeat the process until the
face is thoroughly clean. On other nights,
this cleansing may be followed by soap and
water. But on this one night, use only
cream.

Warm a generous quantity of thick,
nourishing cream and smooth into the face
and neck. The warm cream is soothing
and restful and sinks into the pores "of the
skin until it is completely absorbed.

One of the popular phrases of the beauty
salons is 'getting up your circulation.'
Whether they want your hair to grow
strong and vigorous or your face to bloom
with youthfulness, they first set about stim-
ulating the circulation. This means local
stimulation in the case of the face and
scalp, and even though you have not the
skilled fingers of the professional you can,
with practise, become quite efficient at this
task.

With the fingers of both hands work
firmly with a kneading motion at the back
of the neck where the spine begins. You'll
be surprised after a couple of minutes to
feel taut nerves relax. Then place the sec-
ond and third fingers (using both hands)
under the ears and, with a lifting move-

Ethelind Terry glows with the
beauty of careful grooming and
perfect teeth.

ment, press firmly; this starts sluggish blood
to circulating. Next, beginning at tip of
the chin with finger tips pressing upward
firmly, work along the jaw to the ears.

Beginning at base of throat, use a sweep-
ing upward and outward movement with
both hands over the entire neck. Repeat
ten times. Beginning at either side of the
chin (with tips of second fingers) use little
rotary movements to the corners of mouth,
then to the nose to prevent down-in-the-
mouth lines from forming. With both
hands use a gentle sweeping movement
over cheeks, upward to temples. Under
the eyes, where wrinkles come first, usually,
use plenty of cream and pat and smooth
gently in, over and under the eyes.

In treating the skin, keep in mind its
delicacy; don't subject it to shocks. Don't
rub or pat too vigorously, but gently.
When you have finished this treatment,
take a piece of absorbent cotton, dip it
in cold water, press out all the water and
saturate it with an astringent or skin tonic.
Now slap the face and neck with this
dampened pad until the face and neck is
in a warm glow. This is most refreshing,
removes every trace of cream and leaves
the skin soft and fine of texture.

If you are going out, you have only to
apply a very little foundation cream and a
dusting of powder. If you give this treat-
ment before retiring, leave the face clean
and free from cream this one night.

On another day of the week, give the
eyes special attention. I shall not give de-
tailed directions as I already have done this.
But let this day, or night, be rest time for
the eyes. Don't sew or read or write. Use
an eye wash several times. Prepare sooth-
ing eye pads and give your eyes a long
rest. Go to bed early and make up all the
sleep you have lost the past week. Rested
eyes are beautiful eyes.

Hand beauty is an important asset. If
the hands and nails are given a thorough
treatment once a week they will need only
a few minutes attention daily. On the
special hand night, use a bleaching cream,
if necessary. If the hands are very dry,
give them a warm oil treatment. Give the
special hand massage that tends to make
the fingers slender and shapely, and a few
exercises to make them more supple.

For the home manicure, simplicity of
method may be satisfactorily followed. A
good manicure once a week, and the nec-
essary attention every day will keep the
nails in good condition. On special hand
night, remove all stains from the nails. If
the nails are brittle and crack and split,
soak them in warm oil for a few minutes.

And. tc complete the time budget, allow
some time to devote to small details of
dress. Follow the same routine with your
clothes that you do with your beautifying
and attend to the hundred and one little
things that clothes require to keep them
looking fresh and chic.

It need take little time in the morning
to bathe and dress if you give a half hour
to beauty before you retire; and if your
gown, shoes and hose are in readiness.

A pleasant voice, charming manners, ex-
quisite daintiness should enter into your
ideal of beauty. These things no one can
give you, but they are the things you have
entirely within your own power to culti-
vate and possess.

Do you want to know more about charm?
Write to me. I'll be glad to answer any
questions. Please enclose stamped, self-
addressed envelope for reply.

for April 19 30

109

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SCREENLAND

On Location with Joan Crawford— Continued fro?n page 61

it so often that the script is never any help,
and the script clerk must keep an account
of every spoken word.

A few feet away, a dozen or so cowboys
squatted about an open fire rehearsing their
songs. Benny Rubin led them. Then
Joan's voice over the sound track sang the
theme song. It sounded very beautiful
there in the still air among the giant pines
with the sky overhead flaming a thousand
shades of scarlet and purple.

"When the wind is sighin',
In the big pine tree,

Mornin' an' noon,

What do they croon — "

Yes, nature was very grand at Keen's
Camp! Joan and I sat on a narrow iron-
bound case made for holding camera plates
and listened to it all — Joan prompting Miss
Morris in the words she couldn't catch.

We went back to the cabin shivering a
little and had a grand fire blazing when
Doug came in. He was rubbing his nose
a trifle thoughtfully, and with good reason
as it turned out. "For five days, ever since
we have been up here," he said laughing,
"we have been playing football. Everyone
not in the game was afraid we would get
banged up, but not one of us got even a
scratch. Tonight we start a simple game
of baseball and in fifteen minutes I get a
whang on the nose that makes it bleed for
five minutes. Can you imagine that? It
was nearly dark and we couldn't 'see the
ball very well."

After Joan had assured herself that the
wounded member wasn't broken her mind
turned to her own woes.

"Nobody likes me, Dodo," she said, re-
ferring to the newspaper reviews scattered
over the bed. Doug sat down on the edge
of it.

"I do," he said cheerfully.

"Well, you're all that's necessary, dar-
ling," laughed Joan.

Dinner was a lot of fun. Joan and
Doug, Mai St. Clair, Johnny Mack Brown,
Karl Dane, Benny Rubin, Cliff Edwards,
Ralph and myself sat at one big square
table. On the menu appeared "Rabbit a
la Karl Dane." It seems that Karl and
some of the boys had gone bunny hunting
the night before and shot about a dozen
which they presented to the hotel. And
how they were cooked! Such meals! The
best I have had at any restaurant in Cali-
fornia.

Cliff and Benny kept everyone convulsed
by their impromptu gags. But they were
the kind that have to be told with gestures.
Words alone could not do justice to them.

After dinner we were all glad to see the
huge open fire in the hotel lobby. The fire-
place was six feet wide and required two
men to stagger under one of the logs for it.
Six of these giants were blazing merrily
when we filed out of the dining room.

"Gosh, that fire's hotter than a Shubert
revue," said Cliff Edwards edging away
from it.

"Well, that's not a bit too hot for me,"
said Joan shivering a little. I felt the same
way about it so we both hugged the fire
all evening. Joan had a good-sized wool
rug which she was embroidering. And if
you don't think Joan can embroider you
ought to get a close-up of that rug. It was
perfectly done. She has made several and
loves to work on them.

"Are we going to have our contest to-
night?" asked Johnny Mack Brown.

"Sure thing," said Mai St. Clair. "Cliff
and Benny have to rehearse the cowboys

but we can start and they can come when
they are ready." The rehearsing was done
in the center of the room, the whole hotel
being turned over to the Montana company.
Joan had to sing the theme song for them
several times, which she did from her place
by the fire.

The game they were playing was flapper.
It is played in this way. Put one foot be-
fore the other, heel touching toe, until five
steps are measured from the chair in which
the player is sitting. At the end of the
five steps place a felt hat on the floor,
bottom up. Then from the chair you
throw, one by one, a deck of cards trying
to get as many as you can into the hat.
There is quite a trick to it, but this whole
bunch were experts at it. Johnny Mack
Brown won the first contest, tossing forty
four into the hat, and I think Mai St.
Clair won the second.

We all turned in early. "Be sure and
lay your fire before you go to bed," cau-
tioned Joan. "Then all you have to do
when you wake up is touch a match to it
and get back to bed till the cabin is warm.
You don't know what a help that is!" she
said darkly.

I thought if it was any colder in the
morning than it was right at that moment
I should never be able to live through it.
The cabins were so cute and comfortable
though, each with a bath and electric
heating appliance that kept a supply of
hot water always on hand. There were
also plenty of pure wool blankets and a
sheet iron stove — what more could one
ask for?

Next morning Benny Rubin insisted upon
giving me one of his pancakes and some
bacon until mine arrived. "I never ate
such pancakes," he declared. "In the
Brown Derby you get three heavy pan-
cakes for four dollars. Up here you get
ten light ones for five cents." And it
didn't matter that he was exaggerating a
bit — we all knew what he meant. They
certainly were delicious — would melt in
your mouth, and I'd like to know where
they got their bacon. It was swell! I
think they must grow it themselves.

We had to climb a fence and cross a
gully to get to the location nearly a quarter
of a mile away, but the air was so won-
derful you could have walked ten miles
and not have minded. We passed a cow
pasture with about five hundred head of
cattle and I never saw anything cuter than
those cows. They were all so interested
and every one of them followed us with
their eyes and seemed to be perfectly fas-
cinated with our goings-on the whole of
the day. They looked like a bunch of
pansies as they stood there staring at us
with their big brown eyes and sad faces.

It was supposed to be a cowboy's camp
under the pine trees and Johnny Mack
Brown brings his bride, Joan, as a surprise
to his gang. Benny Rubin plays a medi-
cine man, Dr. Bloom, who was rescued
from a desert death in a rickety old Ford
by Cliff Edwards. And, of course, Benny is
constantly getting into hot water. He just
can't learn to be a regular cowboy.

There seemed to be a conference going
on among the principals and their director.
"Look at the difference in my script, just
overnight," declared Benny Rubin, referring
to the changes in dialogue that came daily
from the 'front office' of Metro Goldwyn
Mayer.

"Listen — 'The Doctor rides down the
cliff, forcing horse on haunches to make

it.' How do you like that? Right from
the script I am reading it to you!" Benny
shook his head.

"You'd better tie yourself on, Benny,"
I laughed.

"Tie myself on! I won't even get on,"
exploded Benny. "Me that's never even
led a horse by the bridle. I should slide
one down a cliff on his haunches!" And
amid roars of laughter Benny scuttled off
to rehearse the cowboys again.

"What are we going to say in this scene?"
Cliff wanted to know. "I introduce Benny
to Johnny Mack and Joan. What do I
say? 'This is Dr. Bronx from Bloomchitus.
New York?' "

"No, his name's Bloom. Dr. Bloom,"
said Karl Dane.

"Well, I don't have to get it right."

"Why don't you say, 'This is Dr.
Bronchitus from Bloom, New York,' " said
Mai. "No, that's no good," he added.

"Well, anyway I can say, 'This is Dr.
Bloom from Bronchitus, New York?' " And
that's the way it stood in most of the
scenes. I must confess that every scene
was a little different, and in the rehearsals
all of us were convulsed at some of the
remarks. But when they came actually to
take the scenes they tidied up the dialogue
a little.

The sun was so warm and the air so
balmy that we all felt very lazy until Mr.
St. Clair snapped us out of it. "Come on
now, a little action," he said, as much to
wake himself up as to get us started, I
thought.

With a tremendous effort Cliff Edwards
pulled himself to his feet yawning. "I
could stretch a mile, only I'd hate so to
walk back," he complained.

"Murder him, somebody!" shouted Karl
Dane. "Hey, let my skinned elbow alone,"
he winced. Poor Karl is always getting
banged up. He teases easily and the studic
gang have a lot of fun with him, and he'd
break himself to pieces on a dare. The
bunch are always having to look out for
Karl.

"All set?" called Mr. St. Clair.

"Wait a minute, Mai," cried Cliff
Edwards coming back from his stretch and
reaching for his cartridge belt. "Wait a
minute. Ah has to get mah boom-boom
on!"

"Now, all you boys, when you hear Miss
Crawford's voice, turn around and look
toward the direction from which it comes.
You never heard her before and you won-
der who it is," Mai instructed them.

Karl Dane was struggling with a mon-
strous chunk of tobacco which taxed the
capacity of his jaws to the very limit. He
had the look on his face of a small child
who has taken too large a mouthful of
candy — eyes sort of scared, as though he
wondered whether he was going to make
the grade without an accident.

"And to think," one of the grips re-
marked slowly, "that if it hadn't been for
his accomplishments with the weed, Karl
Dane might never have become a motion
picture actor!"

The scene was supposed to be by moon-
light but by camera tricks scenes taken in
the sunlight look better than those taken
at night. Poor Benny and Cliff were facing
the east and having to look up at Johnny
and Joan who were on horseback, the
brilliant morning sun streamed full into
their faces. Their eyes began to water and
finally Benny gave up altogether and shaded
his eyes with his hand. "What would you

for April 19 30

111

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"h si

Diagram show-
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Note how ordi-
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This diagram
ehowa how Col-
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112

SCREENLAND

be shading your eyes from the moon for,
Benny?" asked Mai St. Clair.

"Say, that's murder up there. You can
take another scene but I'd have a swell
chance getting another pair of eyes," de-
clared the sufferer.

"Put a gobel on the sun!" shouted
Johnny Mack Brown who looked so much
like Dustin Farnum in the outfit he was
wearing it actually gave one a turn.

There was an important football game
going on in Los Angeles during the after-
noon and after much discussion as to how
it could be managed, it was decided that
Doug listen in on the hotel radio and after
each score run out and signal to us. If
a scene was going on we would give him
a signal to hold everything, and if 'okay'
he was to shout what the score was. Doug
certainly was a busy boy that afternoon.
He looked very handsome, too, in a pair
of corn-yellow linen trousers and a blue
shirt with a neutral tie around his waist se-
cured by a neat knot which is the latest
thing in belts out here for sports things.

After work was over everyone scattered.
Some took walks up through the mountains,
the sad-faced cows watching the hikers at-
tentively every step of the way. Some
played games and some took naps. Joan
gave herself a shampoo. Always when she
is working she has a shampoo two or three
times a week so her hair will always look

and all the rest of it. Just listen to this
and believe it or not, but it's true. This
young enthusiast brushes all such 'bosh'
away with one contemptuous gesture and
gets $500.00 a dozen for pictures which he
takes with a little Eastman kodak that was
given him when he was ten years old and
which cost about five dollars when new!
He usually does his own developing and
printing and enlarges" his pictures to eight
by ten and eleven by fourteen inch sizes.
The two pictures of his beautiful sisters,
Nancy and Baba, were taken with this
camera.

But five hundred dollars a dozen!

"Well, I suppose it is a lot — but I can
get it so why shouldn't I ask it?" he said
when he thought I might be going to faint.

His sisters, Nancy and Baba, are two of
the loveliest girls I have ever seen. The
fair one, Nancy, is especially appealing.
Mr. Beaton told me she expected to visit
Hollywood soon, but when I asked if it
was to start a picture career he laughed a
little awkwardly and said he didn't think
she'd be allowed.

But to get back to his own work, some
of the backgrounds he uses for his pic-
tures are simple in the extreme. Silvered
paper roughly pasted on a base of card-
board giving it a bumpy, uneven look.
Orange oil cloth over which he throws a
rumpled piece of white glazed tarlatan;
lengths of chintz and cretonne of unusual
design are also used and he throws them
over a door or tacks them on a wall or
anything that happens to be handy. Light-
ing never meant anything in his life until
he came to Hollywood. His usual method
was to take a time exposure in a sunlit
room. Even out here he took time expo-
sures and that is not an easy thing to do
in Hollywood. After hours before the
motion picture camera the film players are
tired and it is very difficult for them to
hold a pose long enough for a time ex-
posure. Hollywood photographers snap
their pictures as fast as possible, otherwise
the publicity departments would never get

the same throughout the picture.

George Sweeney, the property man, is
a born comedian. They gave him a bit
to do in the picture and the actors declared
they were going to the bat for him when
they got back to the studio. "He's got a
wife and three kids. It would be a god-
send to him to step in on the big money,"
they declared.

There are real cowboys in the picture
picked from the ranches 'round about Keen's
Camp. No small ranches cither, though
one of the cowboys said a seven thousand
acre ranch was just a 'Fair-sized ranch.'

The cowboys' voices are the only ones
doubled in the picture. The boys who sing
didn't know anything about ranch life and
the cowboys, although they have plenty of
songs that they sing among themselves,
knew nothing of ensemble work and would
have died of self-consciousness had they
been asked to perform before the camera.
Some of the boys were very young, only
twelve or thirteen years of age, and some
looked as though they were well along in
the seventies or eighties. But young and
old they were all quick on the draw and
tough as new beef. I don't mean tough
in the sense of being common. Some of
them gave evidence of having had a very
good education. But tough in the sense
of being hard-boiled and knowing their way
around. They sometimes have cattle rust-

half they needed to fill the demands of the
press.

To please Vanity Fair, to whom he is
under contract, Mr. Beaton used an eight
by ten camera which he declared was 'too
awful.' But for reproduction the larger
plates are better because they can be re-
touched to greater advantage.

You still may want to know why Mr.
Beaton's opinion is important? Well, a
young man who has photographed so many
lovely ladies from all parts of the world,
and whose life has been devoted to the
study of beauty, must be something of an
authority, mustn't he?

When he decided to compile a book on
beauty, taking as examples fifty of the
world's loveliest women, with a chapter
descriptive of the type of each one of them,
he thought such a book would not be com-
plete without including some of the Holly-
wood girls. He came out to California
with John Emerson and Anita Loos, was
a guest at Marion Davies' house for a
week-end, and the other ten days he photo-
graphed madly, dozens of Hollywood beau-
ties and interesting types both male and
female.

He has a very odd way of working.
With his little camera he perches himself
upon a stepladder, or sits on a desk or
kneels on the floor, sometimes lying flat on
his stomach better to steady the camera
which he holds at an angle of forty-five
degrees. He did these strange things to
try for unusual camera effects and from
the look of some of his studies he certainly
achieved his purpose. In Hollywood,
working with the unwieldy still camera, he
could not be quite so erratic. "But I am
having a lot of fun with lights and that is
something I have never tried before," he
told me.

I spent an afternoon at the United
Artists Studios watching him photograph
Edmund Lowe, Dolores Del Rio, Mr. and
Mrs. Irving Berlin and Mary Ellen Berlin,
their daughter, and Mary Loos, Anita's
young niece. Truth compels me to state

lers to deal with.

Mr. St. Clair told about one of them
going home and entertaining his family
and friends with accounts of his experi-
ences in the movies. One of the older men
couldn't understand about the love making
between Johnny Mack Brown and Joan.
Finally he called his wife and said to the
boy, "Here, show me." The cowboy, noth-
ing loathe, put his arms about the lady and
kissed her.

"Not sure 'nough," chuckled Johnny
Mack. "What did she do? Did she like
it?"

"Like it? She loved it!" cried Mai.

We played a lot of jokes that evening.
It seems that if you double up your elbow
and bang a book right square on the bone
you won't feel it. And you can also take
the loose skin on the end of your elbow
and pinch it as hard as ever you like and
you won't feel that. The elbow, appar-
ently, is a very remarkable part of one's
anatomy.

After dinner the flapper contest contin-
ued and several tables of bridge sprang
into existence, while some of the boys went
bunny hunting again. But I had to be in
Hollywood next day so shortly after dinner,
I reluctantly started on my two hundred
and twenty-five-mile drive home. But
there was a full moon, and oh, how beau-
tiful the world looked!
4_

'- Continued from page 27

that Mary Ellen Berlin did not share her
parents' respect for the young photog-
rapher. She was too polite to say so, but
she thought having to hold still for longer
than a second a terrible waste of valuable
time.

"Look in the camera, Mary Ellen," im-
plored Mr. Beaton.

"What for?" she wanted to know, and
with some reason when you come to think
it over; for after all, a camera isn't a very
exciting thing for a little girl of three to
gaze at for any length of time.

A point of light striking the camera lens
gave her mother an idea. "Look, darling,
at that star. Look very closely and you
may see two stars. Think how wonderful
that would be."

Mrs. Berlin was kneeling on the studio
stage with one arm about her little daughter.
This didn't seem right to Mary Ellen — why,
she was as tall as her mother! "No, mother.
you be the big one," she said crouching
down so that her mother towered above
her.

But when all four of them had about
reached the breaking point some fine pic-
tures were taken of the young lady.

"Oh, Cecil." said Ellen Berlin after her
small daughter had been sent home with
a nurse. "Do take one of Irving and me
together, will you? We haven't been taken
alone since we were married and everything
was so hectic then."

The pictures of the group were taken in
front of a ten-foot parallel with a strip of
rose cloth under white glazed tarlatan
thrown over it for a background. There
was a prop light on the side and the only
spot used was held over the subject's head
by a long-suffering electrician. Consider-
ing the strain he was under, kneeling on
a parallel and holding a fifty pound or more
lamp over the edge of it for ten and fifteen
minutes at a stretch, it was no joke. But
he was so interested in Mr. Beaton's method
of working that he didn't mind a bit and
several times reassured Mrs. Berlin, who
was sitting directly beneath it — had he lost

v- '

Hollywood^ 6 Most Beautiful Women—

for April 19 30

113

ollow

this SIGN

and hearTalking Pictures
that sound NATURAL . . .

WHEN you go to a

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adays you have a right to
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Westcn

designed and made by the
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— Bell Telephone Labora-
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It is the result of an experience of over half
a century in making telephone apparatus that
must carry the voice with clearness. For
thorough enjoyment of your talking picture en-
tertainment, look for the Western Electric sign.

SOUND

W/ectac

SYSTEM *f

MADE
BY THE MAKERS
OF YOUR
TELEPHONE

114

SCREENLAND

his balance she would have had an ugly
blow.

The electrician was much interested in
the lighting Mr. Beaton used. "All the
Hollywood photographers burn the place
up with light," he told me. "I have al-
ways thought that soft light would pene-
trate as effectively as hard light so I am
very eager to see how these pictures will
turn out. Mr. Beaton uses so very little
light one would almost call him an extrem-
ist. Of course we have to take snaps
and a great deal of light is required for
them, and Mr. Beaton is taking time ex-
posures. I'll bet some of these things are
beautiful."

In his turn Mr. Beaton was much sur-
prised by the courtesy and co-operation of
the electricians and carpenters whom he had
always heard were a 'hard lot.' "They
are marvelous," he said.

Dolores Del Rio was taken sitting on
the ledge of a balcony with a geranium to
lend atmosphere and color.

"What an extraordinary place a studio

is," exclaimed Mr. Beaton. "Here I have,
without having had a thing arranged for
me, the exact settings 1 need for all these
people. Even to the sea for Edmund
Lowe." Eddie came in the sailor outfit he
wears in "The Bad One" which co-stars
himself and Dolores. The 'sea' was a
miniature used as a back drop for the bal-
cony from which Dolores was taken. On
the same level with the balcony had been
a room with a wall, a mirror and a good
bit of furniture upon which Mr. Beaton
had asked Irving and Mrs. Berlin to pose
for their portrait taken together. The only
backgrounds he supplied himself were the
lengths of tarlatan and oilcloth which he
used for Mary Ellen.

So, all you people who think you must
have a gold pen before you can write, a
Rolls Royce before you can learn to drive,
and an up-to-date, de luxe camera before
you can begin that photographic career,
pause a moment to consider that this Eng-
lish lad has climbed right up into the big
money with nothing to help him but a

cheap little camera and a tremendous eager-
ness to express something in himself that
threatened to stifle him unless he did give
it expression. And that eagerness and that
sincerity put it over for him.

He has, too, a tremendous belief in him-
self, not that he thinks he is such a great
artist, but he is convinced that all honest
effort is worthy of respect. And it never
occurred to him that it would be a difficult
thing to gain entrance to the sacred portals
of the movie studios. Had not the doors
of palaces been thrown open to him? And
neither did he have difficulty. But he can
thank Marion Davies and Anita Loos for
that, for these two young women believe
that he has a great deal to give, and they
sponsored him out here.

Yet the one whom I think he most
wanted to meet, that mysterious, alluring
lady, still holds mystery and allure for him.
Because she would not break her rule and
could not overcome her dread of meeting
a stranger even to be photographed.

That one was Greta Garbo!

More and Better Picture Parties— continued] rom page 65

a birthday party!

"You take the high-brows and I'll take
the low-brows!" sang Elsie Janis, burlesqu-
ing the old English song that Corinne Grif-
fith used as a theme song in "The Divine
Lady."

She was directing her singing to Mary
Lewis, the grand opera singer, who has come
west for pictures, and who was giving a
paj;ty at her lovely Beverly Hills home.

"Well, I'm thinking," remarked Patsy,
"that Mary gets both high-brows and low-
brows. You know she was a Follies girl
before she was a grand opera singer, and
she's never forgotten how to be gay.

John McCormack was there; and so were
Elsie Janis' mother; Zoe Akins and John
Colton, noted playwrights, who are seen
about everywhere together; Nils Asther,
Georgie Grandee, Frances Starr, Edmund
Breese and his wife, the Duncan sisters,
Rosetta and Vivian; Basil Rathbone and his
wife, Ouida Bergere: Kenneth Thomson and
his sweet wife, Alden Gay: Edith Taylor
Thomson, who has been an actress and a
theatrical manager all her days and who
used to manage John McCormack; Gus
Edwards and Armida; Seena Owen and
Roland Drew — they came together, and
Roland seemed much devoted; Harry Tier-
ney and Jack King, musicians and com-
posers, and many others.

Miriam Seegar, wife of Mitchell Lyson,
was there with her husband. Miss Seegar
is an opera singer, lately come into pictures.
She was Richard Dix's leading lady in
"Seven Keys to Baldpate."

She told us that she had lately had an
operation performed on her nose. She is
very lovely and always was.

"I knew her in her pre-classic-nose days,"
confided Patsy, "and I never saw anything
the matter with her nose."

However, Miss Seegar told us that it
was a quite impossible organ for the screen
before the operation.

Edmund Goulding was there and enter-
tained us with some brilliant imitations of
noted singers. At least, he said they were
imitations, but we found that they were
really delicately shaded burlesques, and most
amusing. We instantly recognized Chalia-
pin, John Charles Thomas, and others.
Goulding has an excellent voice, and Ouida
Bergere declared that he should be put out
of the Authors' League for being able to

sing so well!

McCormack's daughter Gwen was there,
and we heard that she had a beautiful voice,
but we did not hear her sing.

Reginald Sharland had come as our
escort. Suddenly we heard: "Oh, Reggy!"
"Oh, Basil!" And Mr. Sharland and Mr.
Rathbone had all but embraced.

Sharland is from the London stage, and
has just been playing a lead in a talking
picture. The two knew each other well in
the London days, but they hadn't met since
coming to Hollywood.

John McCormack, by the way, went home
early, as he had to play in his picture next
morning. We had hoped he would sing,
but he didn't, but he cried out "Bravo" at
everybody else's performances.

Zoe Akins is a most amusing person.
We were sitting on a big divan in front of
the fire, chatting — Ouida, Zoe and I — and
Ouida was telling us about a big costume
party she meant to give.

"I'm going to come as the Leap Year
Bride," Zoe explained comically. "I did
intend coming on a bicycle built for two,
but everybody I invited just gave me one
look and begged off, evidently thinking they
might have to do all the pedalling. So now
I mean to come as the Queen of Java out
of respect to my Javanese chauffeur."

The Duncan Sisters, Rosetta and Vivian,
arriving with their brother Harold, said
hello to everybody, and, of course, were at
once invited to entertain us, which they
did most amusingly.

"You must go and see our picture to
the end," remarked Vivian, after Elsie
Janis had laughed at the Floradora sextette
burlesque, which is included in their pic-
ture, "It's a Great Life."

"Oh, you're just doing a trailer!" Elsie
Janis called out with a grin.

Vivian told us about Elsie, when she
first came home from the war, where, you
know, she went right down into the trenches
to entertain the soldiers.

"Elsie was present at a big public meeting
in New York when medals were being
handed out," Vivian explained. "A man
who was making the presentation was
puzzled somehow about Miss Janis' identity,
famous as she was. He stumbled along:
'Miss — er — ' 'Just call me Else,' Elsie Janis
called out."

Mrs. Janis inquired kiddingly of Vivian
and Rosetta whether they were relatives of

Isadora Duncan, but Vivian, quite equal to
the occasion, retorted: "No, we're the other
Duncans!"

And Rosetta, always clowning, called out:
"What's that? I can't hear a word without
my glasses!"

Then the Duncans sang Remembering,
from "Topsy and Eva; ' and Elsie chimed in
with the do-do-dos, after which Elsie sang
Somebody Else, beautifully.

Buffet supper was served, and Mrs. Janis
asked for a second helping of olives, where-
upon Elsie accused her parent of working
for a big olive firm.

Then Rosetta trotted out a monocle and
stuck it in her eye, and Elsie exclaimed:
"You won't be able to see a thing, but
you'll have a lot of fun!"

Mary Lewis danced for us in that fasci-
nating way of hers, and when it was very
late we decided to go home. Rosetta Dun-
can wanted us to come to her house at
Santa Monica and have breakfast, but we
decided a little sleep is necessary, even in
Hollywood, so we went home prudently,
though we found it very hard to turn down
Rosetta's fascinating invitation. •

She said that her colored cook was won-
derful, but, in case Chloe had gone to bed,
that her chauffeur was a good cook, to< '

"Whose home," I remarked to Patsy, "is
so homey as Glenn Tryon's? Lillian, his
wife, manages to make even one of these
modern Italian and Spanish trick houses
seem like 'way down east, doesn't she? '

"Please," said Patsy, "don't be forever
giving it away that you were brought up in
a house with double parlors and only one
bathroom!"

Glenn and Lillian were giving a party
at their home in Benedict Canyon Road,
which, with its quaint and handsome
Spanish and Italian houses, looks like a bit f
from the old world.

Lillian was looking lovely in a rose-
colored evening dress, and she wore a dia-
mond necklace which had been Glenn's
Christmas present to her. On the way up-
stairs to take off our wraps, as Lillian was
escorting us, she showed us how the neck-
lace came apart, to leave a pendant, with
the two side pieces to be used as bracelets
if she desired.

May Boley was one of the first people
we met. She had just had a birthday, she

for April 19 30

115

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116

SCREENLAND

said, and Richard Carle and his wife, dear
friends of hers, had given her a silver
caviar set.

"I'll just have to remodel my house and
reconstruct my whole life, in order to live
up to that set," May smiled in her droll
way. "You see, I live very simply, in a
bungalow court, and I'm sure that set will
resent such surroundings."

Paul Page was there with his lovely bride,
Ethel Aliss, who recently left the New York
stage to go into the talkies. She isn't
beautiful, but she is pretty enough, and
very charming and intelligent. I hear, too,
that she photographs beautifully. She is a
characterful young person, and she and
Paul seem entirely happy.

"It was pretty bad," remarked Paul, as
Ethel and I sat on a divan chatting, and
Paul sat on a footstool at our feet, "the
way those rumors got around when Ethel
and I were separated — she in New York,
I out here in Hollywood — that I was en-
gaged to a lot of other girls. Ethel would
hear about it, and then I'd have to spend
a week's salary in one day in wires and
long-distance telephone calls."

"Well," remarked Patsy unsympathetic-
ally, "you should have announced your en-
gagement."

"We were a little superstitious," ex-
plained Ethel, "afraid something might hap-

pen to spoil our happiness if we talked
about it."

Paul had just been making a submarine
picture, and had been sailing around in sub-
marines; said he was crazy about them.

"Yes," Ethel put in with a comical pout,
"I'm afraid I may have to set up house-
keeping in one!"

That handsome. charming Walter
O'Keefe was among the guests. He and
Jeanctte Loif have been much devoted of
late, but Jeanette got cross at Walter about
something — nobody knows what — and so
their romance has been off.

"But I'm going over to see her — she's
having a party tonight, too — just as soon
as I leave here," he told us, "and I'm going
to try to get her to make up with me."

"Paul Bern," Patsy confided to me after-
ward, "has been paying an awful lot of
attention to Jeanette. But, somehow, my
heart is just set on Jeanette and Walter
making up."

Both Paul and Walter, we learned, had
been in business life before going on the
stage, and knew each other well.

"Yes, we made a dishonest living in busi-
ness before taking up acting," Walter
kidded.

Richard Carle, famous musical comedy
and operetta star, and his wife were there;
and Tony Brown, Larry Ceballos and his

wife. Max and Jack Wagner, and ever so
many others.

Walter O'Keefe told one on Glenn
Tryon. He said that Glenn went to
Mexico, a few years ago, with two pearl-
handled revolvers on his hip, determined
to be a revolutionist. They took the re-
volvers away from him at the border, but
he went on and joined the revolutionists
anyway.

"Anyhow, I learned to speak Spanish,"
grinned Glenn.

"Well, then, sing us a Spanish song to
prove it!" demanded Larry Ceballos.

Whereupon, Walter played for him and
Glenn sang AdeHta, which, he explained,
had been the bandit Villa's favorite tune!

Buffet supper was served, and as we ate
it. May Boley told us how she used, when
she was playing "So Long Letty" on the
road with Charlotte Greenwood, Sidney
Grant and Walter Catlett, to cook dinner
for them at her apartment, wherever she
happened to be, and then go down to the
theater and play the role of the cook-wife,
which you remember if you ever saw the
play.

"I used to tell them I seemed never able
to get away from that role," she grinned,
"but they only said callously that my cook-
ing only helped to keep me in the

atmosphere!"

No Real Beauties on the Screen? — continued from page 19

"The reason for it, I think, is this:
America has evolved a composite idea of
everything — even beauty. Movie producers,
magazine editors, newspaper publishers have
given us the composite picture of the
'typical American girl ' The Harrison
Fisher girl and the James Montgomery Flagg
heroine were what the producer, the editor,
the publisher wanted. And the Harrison
Fisher girl and the James Montgomery
Flagg heroine are still the type demanded
today by the publisher, the editor, the pro-
ducer. The beautiful, innocent miss with
the vacant eyes and the sterile brow! Of
course, now she is slimmer and her skirts
are shorter. But it's like the old sausage
gag. You can slice it thick or you can
slice it thin, but it's bologney just the
same.

"To illustrate this point better, let me
tell you of an experience I had some years
ago. A magazine gave me a commission
to illustrate a story of an English actress,
on her way to America, who fell in love
with a parson.

"I got an English model of the actress
type and a man model of the clergyman
type and drew them and carried the
sketches in to the editor.

" 'They won't do at all,' he told me
immediately.

" 'But they are true representations of
an English actress and a clergyman,' I
answered.

" 'What the devil do 1 care!' he replied
angrily. 'Look at this and this,' he ran
quickly through some past issues of his
magazine. 'That is what I want.

"I took a good look. Then I went home
and copied a Gibson girl and a Gibson
man and took them back.

" 'That's it," he gave me a big thump
on the back. 'That's exactly it. That's
what the people want."

"But it wasn't. It was what he and a
hundred other editors had taught the people
to want.

"From that day on, I gave up illustrating,
and it's a good thing I did, for I was a
rotten illustrator. But I learned that day
what twenty years' later experience has con-

firmed: the great art here in America is
commercial art. To paint a beautiful pic-
ture is useless. Collectors are buying them
to beautify their homes. But for the great
mass of people it has no utility. Nothing
has any substance here that can't bring a
quick money turn-over.

"So far has this proscribing of what
we shall eat, wear, drink and think gone,
that no American girl who wants to be
popular will dare to be a type — something
different from the usual idea of beauty.
All women on Fifth Avenue look exactly
alike. They may be blonde, brunette or
red-haired but their clothes, their hats,
their furs, their shoes, bags, gloves, acces-
sories, and I am sorry to say, often their
minds, bodies and souls seem all etched in
similar strokes.

"Of course, now and again, you do find
a girl who dares to be an individualist. But
she has been swayed so long by popular
influence that when she does dare to be
a type, the result is rather sickening. Like
a madonna in long jet earrings. She just
can't put it over.

"The reason there are no beautiful
women on the moving picture screen —
with the possible exceptions I mentioned —
is that no woman is beautiful until she is
thirty-five. But so terrible is the tired busi-
ness man's fetish for youth, taught him
by producer, editor and publisher, that most
movie actresses have lost out by the time
they are thirty-five, or are so frantically
busy trying to cover up their first approach-
ing signs of age that they have nothing
left to pour into their work.

"However, recent signs are encouraging,
for I know at least three American cinema
stars over thirty who have, in the last six
months, given the only artistically mature
performances of their careers. And they
are all women exceptional in temperament,
character and mind. Women who have
learned to realize that they must succeed
because of their maturity, not in spite of it.

"Most Americans think I am joking when
I say no woman is beautiful until she is
thirty-five. And yet, I am whole-heartedly
sincere. I never painted but one young

girl in my life. And that only recently.
I painted her because her face showed her
to be the perfect personification of universal
motherhood. And the madonna type, be-
cause it is the basis of civilization, is as
ageless as eternity.

"No, I positively dislike painting young
girls. They have nothing to give out ex-
cept a certain fleeting prettiness which all
young girls possess between eighteen and
twenty. But this prettiness which is merely
the flush of youth expires when the girl
goes into her twenty-first year and only
revives if that person's life teaches her the
proud lift of throat and head — even in
defeat. The calm tolerance of brow — even
though distorted with pain. And the stead-
fast clearness of eyes — even if blinded by
tears.

"The most beautiful woman I have ever
known is an old Breton peasant, nearing
seventy. She has no possessions in the
world but her Breton cap and dress, and
an old cotton umbrella which she grasps
as firmly on sunny days as on rainy. She
has been the mother of twelve children, six
sons who are all drunkards, and six
daughters who are girls of the streets in
Paris. And yet, this woman is beautiful.
Life has not bowed her, and death will not
conquer her. Her eyes are still clear, her
head is still high, and her lips still preserve
the tender twist of humor and hope.

"Naturally, feeling as I do, you can un-
derstand why little beauty exists for me
on the screen. However, three women in
pictures interest me enormously as an artist.

"The first is Alice Joyce. She, to me,
is truly representative of American beauty,
not the fragile, immature wisps of femininity
which magazine covers covet. Miss Joyce
stands out as far in my mind above other
American screen stars as the evening star
does over the Woolworth building. She
is what the French call une belle femme.
She may not be physiologically perfect in
figure and facial structure. But she has
everything a woman should possess. Sweet-
ness, strength, courage, refinement — she
gives us mental, spiritual, aesthetic stimula-
tion.

117

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"Whenever her pictures are playing on the
Boulevards of Paris, I am one of the first
to visit the theater. And secretly, as I
sit in the little French cinema houses, sur-
rounded by Gallic audiences, I feel always
a thrill of pride, for I know that there on
the screen walks a type of true beauty.
True American beauty.

"The second screen star whom I con-
sider really beautiful is Lily Damita. Lily,
I know, is only in her twenties, but she has
beauty for me, because being a war child
of Europe, the hard work and trouble she
has suffered have distilled in her a real
beauty — a flame which I think will last as
long as Lily breathes.

"Lily's mother was French, her father
Austrian. You can realize what that meant
during the war. Cousin fighting cousin.
The mother distrusted by the father's
family. The father's family isolated by
prejudice and hate. Lily was only a con-
vent child at the time the war broke out.
Through many countries she danced and
sang, entertaining soldiers and officers, see-
ing the whole bloody holocaust of the world
at an age when other girls are just com-
mencing to conjugate irregular French
verbs.

"I first ran into Lily in Paris, shortly
after the armistice. The editor of Le
journal was heading a beauty contest, the
winner of which was to be sent to America
with a short contract to a certain moving
picture company. I was one of the judges
and certainly Lily was by far the most
beautiful young girl there. As a matter
of fact, the others weren't even pretty, to
my mind. But Lily did not win the con-
test. For some unknown reason the editor
of Le Journal would not have it. Lily
came in second — and how she cried! Such
feeling, such emotion, such tempestuous
grief.

"I felt so sorry for her. At that time
she was just a poor little dancer. The
dressmaker Jenny was supplying her with
clothes, as many Parisian dressmakers do.
She had no worldly assets but her beauty.

"Although I went home saddened, now
I am very glad Miss Damita did not win
the contest. Winners of beauty contests
never seem to get anywhere. The name of
the girl who won this contest I do not
even recall. But Lily out of her grief and
chagrin, worked on, and reached the top.
And certainly in 'The Cock-Eyed World'
and 'The Bridge of San Luis Rey,' Miss
Damita has added a page of flaming beauty
to the catalogue of the world's loveliness.

"Bebe Daniels is the third woman in
pictures who brings out a real artistic in-
terest in my heart. I didn't formerly con-
sider her possessing the elements of beauty
when they used to star her in hoydenish,
comedienne roles. But since I saw 'Rio
Rita,' she makes a tremendous appeal! to
me. When I heard the voice she has
evolved, saw the dramatic technique she has
developed, I was amazed. And as I studied
her I said to myself: 'Here is a beauty I
have overlooked.'

"You'll laugh when I tell you what made
me decide she is a beauty! It is a little
break in the upper part of her nose which
gives character to her entire physiognomy,
making what would otherwise be a merely
pretty face, a face of intrinsic loveliness.

"It's always that way with beauty. Out
of imperfections, perfection. Out of grief,
success. Out of mortal clay, a certain god-
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refuses to be appalled by death; and this
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118

SCREENLAND

Hello, Public — Continued from page 31

into bed — dead to the world, but not for
long.

On that bed there was what I learned
to call a musical spring. Every time I
turned over the coils, in these springs
snapped and gave out a sound like a circus
calliope. So when I finally fell asleep
around seven o'clock it seemed only a
moment until my maid had knocked on the
door and said: "We're due for rehearsal
at the theater in twenty-five minutes."

When I got to the little theater, I found
there was no orchestra.

"But I've got to have an orchestra for
this act. I've just naturally got to," my
manager said.

The theater manager who had had a
pretty tough year was willing to do any-
thing in his power to help us, so out into
town he went and within an hour had
organized an orchestra.

And what an orchestra!

The first member I saw was the trombon-
ist. He walked in in overalls, carrying an
old trombone, all taped up. And I heard
him mutter as he sat down where the pit
is supposed to be: "Well, this is better
than greasing cars in the garage at ten
above zero."

I afterwards learned that he was a me-
chanic from the local garage, taking time
off to hold up the orchestra.

Next in was the violinist. He sold elec-
tric light fixtures. The piano player fol-
lowed after him. And this man was a pian-
ist, with a love for his art which almost
proved disastrous. As I shall tell you later.
In ordinary life, the pianist was the soda
squirter, at the big time drug store on
main street.

We were all ready for rehearsal but
there was no piano for the stage. My
manager conferred with the movie theater
manager. "But we've got to have a baby
grand. With the backdrops and beautiful
costumes, an upright piano will throw every-
thing out of proportion."

"But there isn't but one in town. And
that belongs to the undertaker," the
harassed theater manager replied.

"Get it," my manager answered. "Get
it — at any cost!"

By this time, it was almost the hour of
the evening performance. My maid and
I hurried down under the stage where the
kind manager had rigged up a dressing
room of sorts. It was pretty cold for my
California blood. And there was no hot
water. However, on a little electric heater,
my maid warmed some for me to wash in.
And I was just heading for the bathroom
with a pail of warm water in my hand
when the largest rat in captivity skidded
out of the bath room door.

I have always heard that rats will attack
people. And I was literally frozen with
fear. But instead of that rat attacking me,
he must have thought I was going to attack
him — for he turned a flipflop and ran.

My nerves, by this time, had the better
of me. And if I could have found a fast
freight outside of that stage door, I would
certainly have hopped it back to Holly-
wood. I was literally sick with fear.

Perhaps, you all don't realize how it is
learning to sing. Your teacher stands by
you. And just her physical presence is a
great moral help. She acts as a Svengali
to your Trilby. Well, I couldn't bring my
teacher with me, and here I was alone on
the Iowa prairie. And if I didn't make
good — well, that would be the end of little
Estelle!

My, how you can pray when you get in
a tight place. And believe me I did. With
cold fingers and a trembling tongue I gave
Amy Macpherson a race for her money.

Somehow, my maid poured me into my
white lace dress and I hobbled up the
dark steps to the stage.

I heard the orchestra playing the over-
ture. But strangely enough I didn't hear
my accompanist play the opening bars of
my first song — which was the cue for me
to come on. But I did hear a strange
whisper, "Come on, come on!" he was
shouting as he sat behind the baby grand,
perspiration streaming down his face.

I made my entrance, had a nice little
round of warm applause, and waited for
the opening bars of my song. Nothing
happened. I saw the accompanist pressing
down the keys — still nothing happened.
Finally with a mighty effort, he played
the first few bars of my song, and how they
jangled, and I opened my mouth to sing.
But before I could get out a single note,
I heard an awful crash. The piano had
fallen to pieces!

"Don't leave the stage," the accompanist
hissed. "Stay where you are." And I did.
trying to smile, while giggles were mount-
ing rapidly in the audience.

The accompanist rushed off of the stage,
down into the orchestra pit, leaped onto
the piano seat and started to play my song
from there. But the local pianist clung to
his art. He refused to leave the piano
bench. And so while two large bodies
struggled to occupy the same spot at the
same time, I put on my first professional
song.

How, what or why, I don't know, but
finally it was over. The audience applauded
and whistled — I took eight encores. And
then fell back in the wings, crying with
laughter and fright and nerves.

My poor accompanist was little better.
And I learned what had happened.

When the theater manager went to the
undertaker to hire the piano for the per-
formance, the undertaker was tuning it.
Nothing loathe to make a few extra dollars,
he let the theater manager have it, neglect-
ing to say, however, that part of the in-
strument was tuned in the upper register
and part in the lower. Also that he had
taken the screws out of the pedals.

When my unfortunate accompanist hit
the first few bars, the resulting sound was
awful. When he tried the pedal to see if
he could sustain the chords once struck,
the whole piano dissolved in his lap — -the
pedals came off, the piano lurched to the
side and it was then that he made his flying
leap for the orchestra pit.

After three days in Atlantic, we played
Cedar Rapids, Des Moines, Sioux City, and
points south north and east, working grad-
ually towards New York where I played
the Palace Theater, following it with en-
gagements in Yonkers, Brooklyn, Flushing
and Newark.

It didn't take me long to settle down
into the life of a vaudevillian. We used
to make all our jumps by motor car be-
cause often in the middle west it was the
quickest way between two points. After
we closed out in one town, we would get
into the automobile about twelve o'clock at
night and motor to our next week's or split-
week's engagement.

This night driving I enjoyed most of all.
Sometimes it would be through the wheat,
belt. Again through the dairy country.
And as we got south, we came to the oil
fields.

There, all day and all night, like sentinels,
the oil derricks would be outlined against
the skies, with their sturdy little pop en-
gines chucking away, and once or twice we
had the great luck to see a big gusher of
crude black oil burst over the top of the
derrick and flood the countryside. A flood
which oftentimes meant untold riches to
farmers who a week before had been
scratching the soil to make a bare living.

I enjoyed shopping on my tour, too.
Since I left Hollywood when it was very
warm, I had no heavy coat. The first night
out motoring in Iowa I almost froze. So
early the next morning I went down to the
main emporium in Atlantic to buy a coat.

The best coat in the house was forty
dollars. And it was a fine, thick warm coat
trimmed with good black fox fur.

That was a revelation to me! A movie
actress becomes so accustomed tj luxury,
to paying high prices and shopping in smart
shops, that to discover a fine substantial
coat at such a reasonable sum rather restored
my sense of values. And that's what a
movie star needs most of all — to have her
sense of values restored; to keep in actual
daily touch with the millions of people be-
fore whom she hopes to bring her pictures.

Often, at night, or early in the morning,
as I would arrive at various little towns, I
would find it hard to sleep. I had a tem-
porary attack of what the doctor called a
nervous heart, brought on, I suppose, by
nerves and worry. In Hollywood, I always
feel well and as healthy as a horse, but with
these new conditions, not being sure of my-
self or my voice or my stage training, at
unexpected intervals my heart would start
to pump most disquietingly.

The only way I could stop it, would be
to lie quietly in bed. And read.

I have always loved poetry. There is a
warm, lush beauty about words which fas-
cinates me. And as I would lie on those
hard Iowa or Kansas beds, there was one
particular poem from which I often used
to read. I'm sure you remember the words
from "John Brown's Body" by Benet:

"Since I was begotten
My father's grown wise
But he has forgotten
The wind in the skies.
I shall not grow wise. . . .

For money is sullen

And wisdom is sly,
But youth is the pollen

That blows through the sky

And does not ask why."

It was on this tour that I peculiarly real-
ized that money, and fame and worldly
wisdom are not necessarily the levers which
lift people to happiness. I saw — I en-
countered thousands of people with no fame,
little worldly wisdom and less money. But
they had achieved a certain durable kind
of happiness from doing their daily job
well.

They taught me how to do my stage job
well. For often I was tempted to quit —
right off short — and go back to the Holly-
wood I love better than any place on earth,
to the movies which mean more to me than
any single quality in life. But I stuck it out
because the tradition of the stage is 'on
with the show.' And these Iowa and Kan-
sas people were teaching me an even better
tradition — is was 'on with life.'

That's what we need to learn in Holly-
wood— on with life. Changes come, shifts,

for April 1930

upsets, the rooster of today is the feather
duster of tomorrow. And then again the
feather duster of today may be the rooster
of tomorrow. For nobody can tell what
will come out of this new ferment of talk-
ing pictures.

Many of the great figures of moviedom
of yesterday have been forgotten today.
And many of those forgotten yesterday have
staged a tremendous come-back today. It
is a process of development and adaptability.
The movie star of yesterday who is content
with her pretty face and a pretty figure is
bound to be carried into oblivion tomorrow.
But the movie star of yesterday who takes
all she knows of the pantomimic art and
combines it with a desire to learn this new
technique of talkies; who tries to develop
her singing voice, to adapt her speaking
voice; who takes to heart the fact that youth
is only the pollen that blows through the
sky, and realizes that at the first touch of
maturity her youth must be transmuted into
finer, sturdier qualities — she is apt to be-
come the real trouper who will advance
farther and farther each year into the hearts
of the educated, discriminating audiences
which talking pictures have brought about.

Hollywood's Bright Boy

Continued from page 66

that one can hardly read the "Beware the
woodpecker," "Insert coin here," etc.,
which decorate the headgear.

More than one person has attempted —
and vainly — to get an insight into Eddie's
'other self,' if he has any. The self that
isn't continually joking and clowning;
maybe a sentimental side. But it is like
breaking down a barbed-wire entrenchment
with only your bare hands for tools.

I took a chance on the subject of matri-
mony, knowing him to be one of the few
younger players who is not accused of
being engaged, or appearing at parties with
this and that actress.

Yes, he would marry some day, if he
could find the right type of girl — and one
who would have him.

"Why, you shouldn't have any trouble
finding a girl to marry you," I told him.

"Oh, yes I should. The trouble is that
I'd want a wife with a sense of humor.
She'd have to have one, of course, to marry
me. But I mean, I'd want one whom I
could clown and joke with and she wouldn't
think I was a darn fool. No, she couldn't
be dumb. If she were dumb, my jokes
would be lost on her. Naturally, I don't
like that in any audience, much less my
wife. On the other hand, if she were
real smart, she would probably throw some-
thing at me every time I made a wise-
crack. And no one likes that type of an
audience.

"What I would want is a wife who
could stand up under the gaff — and like
it. One who wouldn't think I was too
wise. One who would be indulgent with
me in these weaker moments. Humor me,
as it were. Where could I find this type?"

"In most any asylum," I vouchsafed,
thinking of some of his jokes.

"I guess you're right. Maybe an ex-
nurse who used to work in an asylum. The
kind who is accustomed to hearing all the
dodos declare they are Napoleon."

I don't know whether he was kidding
me or not. Maybe I had penetrated that
wise-cracking epidermis of his and was lis-
tening to young love's yearning — and
maybe I hadn't!

119

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120

SCREENLANb

De-Bunking Dorothy — Continued from page 83

languid lady, so Dorothy Mackaill is a
realist — a go-getter."

"Have it your own way," Dorothy in-
truded. "Well, you are a realist, aren't
you?" I argued. "You face facts with a
what-the-hell determination to get what you
want out of life, anyway.

"Think back, a long way back — to Eng-
land when you were only thirteen years old
and obsessed with the notion that you
belonged in a chorus instead of a school.
You .said 'what-the-hell' to parental author-
ity and became the spryest chicken in the
'Chicken Walk' at the London Hippo-
drome.

"Again, when you wanted to come to
America you were not frightened by stories
of chorus girls unable to step out of their
Rolls Royces because they did not have
enough money to buy shoes. Now, sup-
posing we go ahead with the story of how
Dorothy Mackaill built up a personality."
"Okay," said Dorothy. "Make it snappy,"
and I started typing once more:

"The confident young woman, of Scotch-
Irish parentage with no friends in America
and only a few bills in her pocketbook,
occupied a room in a cheap theatrical hotel
located in New York's Fighting Forties.
On a hot morning in the late summer, she
sat on the edge of her bed scanning the
theatrical news as was her wont. A bottle
of milk and a plate of crackers were on a
table beside her. She read that the Shu-
berts were about to revive 'Floradora' and
remembered that the girls in the original
sextet had either killed or married their
millionaire boy friends. She looked at her
last pair of silk stockings drying on the
window sill and decided that the chance
was worth taking. She had little to lose
and everything to gain. Being a realist
and a go-getter she moved the damp silk
stockings to a sunny spot on the window
ledge so that her meeting with Mr. Shubert
might be hastened. Her mind functioned
that way — thought, action, snappy, just like
that. No time wasted at the wishing well.
Yes, she got the job."

I stopped typing. "What next?" I asked.

"It's your turn."

"Next came 'The Follies,' " Dorothy
talked while I typed:

"I had a devil of a time getting to Zieg-
feld until one day I sent in my name as
'Dorothy Mackaill of London.' The 'Lon-
don' fetched him. He sent for me and
looked me over. He liked my voice and
okayed my legs."

"What's that?" I interrupted. "Accuracy,
remember."

"All right," she corrected. "He liked my
legs and okayed my voice. Anyway, I got
the clothes Jackie Logan had been wearing
and a place in the 'Midnight Frolic.' They
gave me a song that in those days was
considered racy.

"Edwin Carewe, the director, was out jn
front one night. He liked my face and my
legs and said that in his racket the voice
didn't matter. This was long before
talkies, you know."

" 'Any movie experience?' Carewe asked.
'Sure,' I answered. 'Two flops in England.'

" 'You can't scare me,' he said. 'You're
just the gal I want for a picture called
"Mighty Lak a Rose." '

" 'Sounds sort of mushy to me," I said.
'Never mind that,' he came back. 'What
do you say?'

"I believe I told him that if the price
was right I would be there with the make-
up. The picture went over big and so did
I, but that's old stuff."

Dorothy stopped talking and we both
lit cigarettes. Beverly Hills is such a
serenely quiet place on a summer, or any
other evening, that I resented the intrusion
of a radio someone had turned on in
another part of the house. I opened a
French window and looked out. Now, of
course, the velvety lawn should have been
bathed in moonlight, but there wasn't any
moon. I couldn't see a thing, and grum-
bling. "What — no moon?" returned to the
typewriter. "Read this," I said, and began
hitting the keys with Dorothy looking over
my shoulder:

"You will observe that up to this point
in Miss Mackaill's career, two traits of char-

acter are plainly evidenced — determination
and direct action. She knew what she
wanted and looked at the goal, not the
difficulties. Psychologists would term her a
100% extravert, meaning a person who does
things. She never feels inferior, therefore,
does not assume to be something that she is
not. In a community addicted to strained
posturings, she is free and easy as — as —
'Hop-and-Go-Fetch It!" " Dorothy suggested.
'Fine,' I said and went on typing:

"It will be seen that at the basis of Miss
Mackaill's personality are qualities entirely
in accord with present-day standards. De-
termination, directness, frankness, and, oh,
yes, fearlessness, rank well among the ideals
of the whoopee youngsters who end by
rocking the baby to sleep in a three-room
flat furnished on the installment plan. In
her most successful pictures, Miss Mackaill
has played exactly the sort of young woman
thousands of girls would like to become.
Swimming, tennis, horseback riding — she
excels at them all, and, of course, she
possesses considerable beauty."

"I wondered about that," came a voice
from over my shoulder.

"Yes, considerable beauty," I went on.
"But she owes her popularity first of all to
her personality — a peculiar, elusive com-
bination of qualities that make an individual
stand out from the crowd."

I stopped writing and turned to Dorothy.
"You see what I am driving at. Technical
efficiency in any line is not hard to find.
Plenty of dancers, singers, actors, are tech-
nically proficient as the popular favorites.
But they don't register."

"Sure, I understand," broke in Dorothy.
"In one way or another we are expressing
personalities that the public falls for. What's
inside — the character stuff — has a way of
coming out."

"Exactly," I exclaimed.

"Now I'm going to ask you one." said
Dorothy as she glanced at the desk clock.

"If it takes you two hours and a lot of
fancy words to figure that I'm hard-boiled,
how long would it take you to explain
Lon Chaney?"

"Let Us Alone!" — Continued from page 21

much money for Paramount. The fans do
not always like to think of their stars as
being married. They like the stars to be
free, so they can dream over them.*

"Although it is hard for us, I suppose
there is much' sense and logic in what Mr.
Schenck says. Miss Bow is soon to make
'The Humming Bird.' This will be a spec-
tacular picture with a real story for her.
She will have a chance to do the best act-
ing of her career. And she wants to be
free from all marital responsibilities until
that picture is finished.

"So far as I am concerned, I should like
to be married tomorrow. Miss Bow is here
in New York now and I would like nothing
better than to get up tomorrow morning
early and hurry down to City Hall, pro-
cure a license, and get married. And then,
to the country, away from all this hurly-
burly, all the endless clamorings, question-
ings, and conjecturings. But again, even
about me, Mr. Schenck says: 'Not yet. I
have tied a million dollars up in your pic-
ture, "Puttin" on the Rits." And I want
you to give me every advantage in making
this picture go over big.'

"No matter which way we turn about
this marrying business, we seem hindered.

I suppose the only thing to do is to wait —
a little while. But it is harder than ever
now with Miss Bow here in town on vaca-
tion, and nothing to stop us except the
wishes of a man who has been a real friend
to both of us, and the advice of our busi-
ness colleagues.

"Newspaper interviewers keep asking me:
'What are your feelings toward Miss Bow?'
I think: 'Is nothing sacred in this man's
town?' And then I struggle on and try
to tell them what I think. I can't make
myself understood. Everybody knows when
a person really cares, he fumbles his words:
he can't express his meanings; he gets in-
articulate Why, sometimes I feel like an
animal in pain, not able to tell where the
misery hurts me.

"I feel this way because I look on Miss
Bow as you would look on a beautiful
statue. I want to keep her as she is. To
protect her and carry her away from every-
thing that would trouble or worry her. And
when I see the papers coming out with their
fantastic stories, I feel I can't wait. I'll
have to marry her and run away with her
some place where nobody can get at her.
I want to hold her — to keep her for my
own. Away from sordidness, from specu-

lation, from notoriety, from petty gossip.

"Clara herself is very witty about the
whole thing. She just laughs it off and
says: 'Let's set a date ten years from now.
And then if we go off and get married to-
morrow, it's nobody's business."

"I think that's the policy we'll have to
adopt. For when you're at the top of the
ladder, nothing seems sacred from the press.
But at least, there should be twice in a
woman's life when she might be kept in-
violate. First when she prays. And second
when she chooses the man with whom she
wishes to share her life and herself.

"If people will leave us alone, we'll finish
our next pictures and then we'll be married.
Just as every girl and every man dreams
of being married: in a church, with music
and flowers and candles.

"But if people keep hounding us, I shall
just get up early some morning, take out
my roadster and motor Clara to some little
tucked-away town. We'll be married there.
And we'll keep it a secret. We won't tell
the world unless the world will give us
a break and let us get married in our own
way, at our own convenience."

for April 19 30

121

A New Boy

Continued from page 55
A scout for Lenore Ulric saw the youth
in the performance and suggested him for
the juvenile who sings and plays in "Kiki."
He played the part in San Francisco with
Miss Ulric and later was given his favor-
ite part of Lieutenant Moore in "What
Price Glory."

With ambitions to become a success on
the stage, Stanley decided to have training
in stock companies of the west. He played
one season in Houston, Texas, and two
seasons in Omaha, Nebraska. Upon com-
pletion of his stock training, Stanley visited
his mother in Hollywood. Bryant Wash-
burn sent him an invitation to take a film
test. Washburn directed it and Melbourne
Spurr was the photographer. When weeks
passed and nothing came of the test, Smith
signed for the leading juvenile role in "The
Royal Family," a Los Angeles stage pro-
duction.

In the same play was Fredric March.
Two film companies were approaching
Smith for his services. And March was
faced with the same situation. On the
strength of the Washburn test, Pathe signed
young Smith to a contract before "The
Royal Family" left for the San Francisco
engagement. During the run in the Bay
City, another film company tested Fredric
March in the ballroom of the St. Francis
Hotel. Before the latter organization could
decide, Paramount acquired the March sig-
nature on a contract.

While Smith was waiting for his first
picture, "The Sophomore" to begin pro-
duction he accepted a part in the stage
production, "Little Orchid Annie." After
"The Sophomore" at Pathe, Paramount bor-
rowed him for the lead opposite Nancy
Carroll in "Sweetie." His singing of
Sweeter Than Sweet prompted flappers to
exchange their stamps for his pictures.

"Sweetie" resulted in Smith's getting the
lead in "Honey," Nancy Carroll's new musi-
cal romance. And "Honey" has resulted
in a Paramount contract.

Gary Cooper, who plays western roles to
perfection, would like to sing. Charles
'Buddy' Rogers, who sings, would like to
play in 'westerns.' So Stanley Smith, who
sings so very well, wants to play straight
dramatic parts. That's the truth.

Smith is quiet, well-mannered and a com-
bination of Gary Cooper, Richard Arlen
and Charles Rogers. His hair is dark blond
and wavy. His eyes are blue-gray. He
weighs 155 pounds and is almost six feet
tall. His favorite sport is swimming. And
he's not married!

; 4r

Come to a Barbecue with
Ken Maynard

Continued from page 95
When every one had eaten until they
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But when they tried to convey to Ken
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and independent — as every man ought to
be.

And we believe he is right. Life is
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The next issue of
SCREENLAND
will be on sale April 1st

Movies in the Air — Continued from page 8

left its initial Manhattan house.

Back to "What Price Glory," the radio
played no small part in popularizing Char-
maine which Rapee had written while he
was musical director for S. L. Rothafel
(Roxy) who, too, owes his international
reputation to his airwave programs. Radio
has been an important factor in putting
every theme song ever written over to the
public. Remember, Charmame and those
songs were written at a time when the
movie officials still held a resentment against
radio as an intruder. They were still ob-
sessed by the fear that radio receivers would
keep the public in the home and away from
the movie theaters, forgetting that the herd
instinct will never permit any isolated form
of entertainment to keep men away from
one another. While the opportunity offers
itself people will always herd together; the
increased movie patronage is the best ex-
ample of that.

The theme song has come to be a
despised part of the audible films because
of the indiscriminate use of them during
the stuttering days of the talkers. Directors
felt it imperative to put a theme song in
every picture they made and not being
adept at the insertion of music into talking
films or the discreet use of a musical back-
ground, their presentation of the theme
song was often so obvious and ill-timed
as to be distasteful. Which brought male-
dictions down upon every kind of theme
song.

That period in the talkies can be likened
to the early days of radio when program
directors were so anxious to get entertain-
ment, any twenty-five-dollar a week song
plugger could have a featured place on a
metropolitan air bill. Their renditions were
often a handicap instead of a help in ex-
ploiting a song, but it was not until much
later that the song publishers learned that
their wares deserved a special setting and
then the big orchestra leaders were recruited
to blaze the trail of the new musical hits.
If in your recollections of favorite jazz
numbers or waltz songs of a few years
back you can associate certain pieces with
certain musical organizations, you have a
right to surmise that the leader often got
his share of profits for plugging a song.
They had an arrangement for a cut-in on
the royalties, sometimes with the composers
and sometimes with the publishers. Many
of the biggest orchestras in the country, and
some of the most important radio artists
have contracts with music publishing com-
panies and must include certain of their
songs in the broadcast programs.

The amalgamation of the music houses
with the film producing companies has
added another direct link to this chain of
mediums by which the public in certain pic-
tures is stimulated and box-office totals
rolled up.

An example of what a radio reputation
will do for a talkie is Rudy Vallee's "The
Vagabond Lover." Regardless of how
much any individual liked or disliked the
picture itself, everyone must admit its com-
mercial value, judging by theater returns

from all over the country. He is still the
outstanding success of a broadcasting cam-
paign. He hasn't played in the west nor
in the south. His orchestral career has
been confined to a few cities in New Eng-
land and to New York where his night club
first brought him attention. But it was his
radio broadcasting that secured for him con-
tracts that bring his salary to many thou-
sands of dollars a week. There are those
who say that he is just a passing fancy,
that already interest in this megaphone
sheik is waning, but there are still thou-
sands of women evidently sufficiently inter-
ested in "The Vagabond Lover" to pay
admission prices to hear him. The picture
wasn't a spectacular success in New York,
surprisingly enough, since his personal ap-
pearances at the Paramount Theaters on
Broadway and in Brooklyn brought new
records to both those houses. But recent
reports from the south and west concerning
the reception of this film are amazingly
satisfactory to the producers. His crooning
voice must have penetrated every hamlet
and town most effectively, judging from
the way they're flocking to see the Radio
Pictures presentation.

Movie producers are beginning to find
out that while radio artists are not generally
suitable for film careers, a voice that goes
over well on the radio will record favor-
ably on the talkie equipment. Graham
McNamee's voice as the unseen announcer
in Universal's newsreel is just as pleasant
to hear on the screen as over the radio
receiver. The trouble is that many of the
beautiful voices of the air were meant for
an unseen audience, and film fans are still
desirous of having their heroines beautiful
and their heroes the popular idea of a sheik.

Naturally, some of the old movie stars
will go on in spite of their voices and not
because of them. Janet Gaynor has a cute
little voice, not at all remarkable, but her
whimsical appearance and her charm more
than make up for any vocal defects so that
"Sunnyside Up" is playing to S. R. O.
business in every state.

Lottice Howell, who will be seen with
Ramon Novarro in his new picture, is the
newer type of screen player who has been
chosen particularly because of her beauti-
ful voice. Dorothy Jordan is another of
Novarro's supports who has an individual
vocal quality which marks her for success.

After all, the movie companies have
stolen a march on the radio industry. The
films, instead of suffering from the new-
comer, have absorbed what they needed for
improving themselves and for creating a
new and wider interest in films. Not only
have they applied broadcasting technique to
vocalizing their pictures but they have
drafted whatever technical and entertain-
ment talent they needed; just as they have
drawn from the stage and musical world
such figures and genius as should keep
movies the most popular field of entertain-
ment, and should make celluloid the most
important medium of artistic expression in
the coming years.

Qini ii iiiii linn ■miMiiiiiiiMiiiiiiiiiiiiiiiiiiiiiiiiiMiMiniiiiiiiiMMiiiii Minimi imniiiiinnniimmmnwiinmmni"»n»iMi

\The winner of the Rudy Vallee contest which appeared in the\
'{January 1930 issue of Screenland will be announced in the\
{May nwnber of the Magazine, out April first. Watch for it! I

Q*iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiQ

for April 19 30

123

Solving the Menjou Mystery

Continued from page 23

visit was decided upon to settle the matter.

As I have friends who raise wonderful
dogs for pleasure I suggested that I was
sure they would be delighted to present
him with a nice dog. He was pleased with
the offer but said that as the kennel had
both the dog and the money he would
have to stick to them until he at least got
something that barked and wagged its tail.
He would get something, he said, even if
it had to be two cheap dogs!

I can't imagine the elegantly smart Men-
jou out walking with what one would call
a 'cheap dog' — can you? And what rob-
bers they were at the kennel, he complained.
Well, that's the fatal result of what is
known as 'class.' The world over, the
movie people are supposed to be rolling
in limitless wealth. Add to that the glamour
of the Menjou personality and you can
realize how the kennel people lost all sense
of hold-up proportions.

During the telephone conversation I had
a chance to look about the salon of the
Menjou apartment. Quiet, good taste was
all about; a thoroughly perfect setting for
this artiste. Photographs and a miniature
of a beautiful blonde lady showed that he
had tried to fill the place with Madame
Menjou's presence — even though at that
moment she was on the other side of the
ocean on business. On seeing my interest
in the ex-Kathryn Carver, Menjou showed
me some interesting snapshots of their
travels in Italy and France. Then we con-
tinued our film talk.

"In another year, I am sure most of
the films will be in color. With the talk-
ing and sound effects so well perfected
there was something lacking. The scenes
and people seemed hollow and dead when
done in black and white. With the colors
all this has changed; with them one has
everything. The living people seems to be
before you. Some of the last color films
I saw in America were wonderful. Of
course, all this will cost a great deal. Actors
will have to work for less money. All must
be on a saner and more level basis. With
good dialogue and colors there will be
little need to fill out a picture with the
usual spectacular scenes, cabaret midnight
orgies and the like. With lines to be
spoken and dramatic and comedy situations
to be worked up with the dialogue, there
must naturally be cleverness in that dia-
logue. Hence, the quality of pictures will
be raised to a much higher level. All that
must be!"

There is an interesting enthusiasm in all
that Menjou says. It colors all his remarks.
Never once does one see the blase, ultra-
sophisticate that is so often his screen
characterization. He talks rapidly and
brilliantly in the French and English that
we spoke. He speaks fluently, English,
French, German and Italian. He said that
he knows enough Spanish to 'get by' in
a role and with a little study would be
fluent at it.

While in most of his screen characters
Menjou has been identified with French
parts he, himself, is distinctly international
— but with that is the added color of a
continental personality. Just as he fitted
thoroughly into the French salon where we
sat, I am sure he would be just as well
framed by an English country house or an
Italian villa.

"The one person who is independent of
the many changes and revolutions caused

by talking films is Charlie Chaplin," Men-
jou went on. "He is completely apart. His
pantomiming is international and speaks a
universal language in its mute eloquence.
Sad or funny, he has his audiences in the
hollow of his hand. It's noticeable here
in Europe on seeing his films. There are
practically no sub-titles — only the usual ones
at the start to plant the story. Naturally,
in talking films that would be the same.
He could remain mute and the other char-
acters could talk, if they must!

"Chaplin makes so few pictures he can
watch the hectic whirlpool around him and
calmly go about his own way profiting by
the mistakes and successes of the others
as he sees fit. He is the real, world-wide
genius, unique among the vast film crowds.
I do hope he will not be influenced and
eventually fall for a talking picture. When
I left California he was firm about it and
I feel sure he will stand out. He is truly
the only one, I believe. Every other artiste
will have to stand or fall according to their
talking film qualifications. But all through
this will wander the quaint little figure of
Chaplin — a real creator of genius and a law
unto himself. That's a great thing, when
you think of it!"

"What about your own pictures?" I in-
terrupted.

"The title of my first French film at
present is 'As It Happened in Paris' — that
may be changed but I think it a good title
for English-speaking countries. We are
doing it in two languages, French and
English. There are four characters. All
the artistes will play in the two versions
with the exception of the leading lady. We
are getting one from London for the
English version, as Mile. Alice Cocia, who
plays the lead in French, cannot speak
English.

"The studio is doing everything possible
to make this a good picture. The studios
are well built and equipped with good
lights. They have brought over the sound-
reproduction installations from America with
American operators, so when I hear them
talking it almost seems that I am back in
Hollywood.

"After all, when all is said and done
there is no place like Hollywood. I am
a little homesick. For making pictures, it
is the ideal place. After all these years
they have perfected everything till it all
runs like a great, well oiled machine. Even
the finest machines slow down a bit or run
at too great a speed. So do the machines
of Hollywood run. Whatever is done, or
whatever is not done there is a greatness
about it that tells, after all these years of
hard labor.

"Hollywood will always be the heart of
the film industry. Once one has worked a
long time in Hollywood he becomes used
to that efficiency and notices its absence in
other places. Capital is really the thing —
the whole thing. Things in Europe are
organized with insufficient capital and
naturally the quality of their pictures will
suffer. However, they have organized per-
fectly for this production I am in and we
feel that we will have a good picture.

"But that's for the public to decide! At
least, it's an interesting experience which I
am enjoying thoroughly. The other pic-
tures I will do have not been decided upon
as yet, but we have a wealth of material at
hand to choose from. I await with great
impatience the release of this first one."

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Anita Page Goes to School

Continued from page 63

business. Don't spread your emotions all
over the screen. Conserve them and make
them genuine," Wasn't that splendid ad-
vice for a beginner?"

Anita spoke of the thousand-faced Lon
with the youthful adoration and admiration
which every school girl lavishes upon her
favorite teacher, the one whom she thinks
knows more than anyone else.

"Mr. Chancy taught me to do each thing
definitely," Anita went on. "He believed
every move, every action, must be clean-
cut and definite. By working with him
and watching him, I tried to learn to elim-
inate sloppiness and haphazardness. He
was never too busy or too absorbed in his
own work to stop to advise and help me."

Professor Chaney's class came later than
the one with William Haines and Nils
Asther. Gay, wise-cracking Billy was
Anita's first teacher. That course was held
during the filming of "Telling the World,"
Anita's very first picture.

From Bill she learned to relax, to forget
worry, to acquire ease instead of the
strained tenseness of a beginner.

" 'It's not so deadly serious.' Bill said to
me during our first week of work," Anita
remembered, " 'after all, the best thing to
do is to take it easy. Be natural, but re-
member the camera wants to see your face,
not the back of your head. Forget worry —
and have a good time, baby!' "

What a professor!

"That was the best possible advice for
a scared newcomer," Anita laughed. "I
was all tied up in knots of nervousness and
worry. But I didn't stay that way long
with Bill to teach me. If I had been
assigned to make my first picture with a
serious an dtense star, I don't think that
I could have done it. Bill introduced me
to the cameras and made me feel at home."

Anita adores Bill with the affection Mary
Jones has for Miss Brown who was her
first grade teacher and who brought to her
the first glimpse of classroom life.

After "Telling the World" Anita was
plunged into the mad, modern hilarity of
"Our Dancing Daughters."

"Johnny Mack Brown and I were the
babes in the woods of that class. We sat
at the feet of Nils Asther and tried to
learn from him.

"Nils taught me repression and poise, a
far cry from Bill's ease and gaiety. 'Emo-
tions repressed are often more significant
than emotions obviously expressed,' Nils
told me. So I tried to learn to restrain
my feelings.

"I watched Nils, whom I think is one
of the greatest actors of the screen, watched
him thinking himself from one mood into
another. Of course, I can't do that as he
does. But just watching him work was a
priceless lesson in screen technique."

Next came the class with Professor
Chaney. Following that, Anita, with her
newly acquired knowledge, went down to
San Diego to play Ramon Novarro's hero-
ine in "The Flying Fleet."

From Ramon Anita learned the valuable
lesson of singleness of purpose and atten-
tion to details.

" 'Always finish whatever you start,'
Ramon said to me one day on the set,
'never leave loose ends, Anita. They are
so hard to pick up again.'

"I shall never forget one night when
Ramon took me to a dance given by the
naval officers in San Diego who were work-

ing with us. I was feeling quite set-up
over the attentions which they were giving
me. While Ramon and I were dancing he
said, 'Don't let flattery turn your head,
child, or make you forget the hard work
ahead of you. It has ruined more than
one beginner. You owe to the public, which
is making you, the giving of the very best
and most serious efforts of which you arc
capable.'

"Ramon was a wonderful influence for
me. It is pretty hard for any girl to keep
her head when she is tasting the first drops
of a little success. When I'd begin to think
I was pretty good, I'd look at Ramon,
who has let nothing interfere with his con-
stant study and his progress, and remember
that I was still a rank beginner with nothing
accomplished to give me the right to self-
pride."

Ramon taught Anita to neglect no detail,
no matter how small. He would stop a
scene to correct a bad light which was
making a shadow across her cheek or to
suggest a more graceful movement.

When "The Flying Fleet" was finished,
Anita returned to school at Culver City.
She went from professor to professor, from
classroom to classroom, learning new things
every day.

Then, suddenly, came the talkies. She
was back in kindergarten again. So was
everyone.

Out from New York and the footlights
arrived a new faculty, men and women
who knew the ABC's of voice usage, of
singing and dancing.

Charles King, fresh from Broadway, was
her first professor under the new regime.
She played with him in "The Broadway
Melody."

"Charlie taught me the 'audience feel,'
the first fundamental lesson in the talkies,"
Anita continued, lacing a soft, leather moc-
casin. "I was so nervous I could scarcely
speak during the first days of that picture.
The microphone scared me to death.

" 'Don't be scared, Anita," Charlie said
to me one day,'learn to think of the 'mike'
as a living thing, a real flesh-and-blood
audience. Play to it. Please it. Sell your
voice and your songs to it. Make it li\e
you.' He taught me countless things about
using my voice."

Anita was adjusting a black wig with
bright-colored feathers in its braids.

"You see, I've been most awfully lucky,
playing with people who were willing to
try to teach me a part of what they knew."

Again I felt like mumbling something
about all teachers being eager to impart
knowledge if all pupils were Anitas. Again
I said nothing.

Pocahontas, alias Anita, stood up. I
could scarcely believe my eyes. This dusky
Indian maid bore not the slightest resem-
blance to the golden girl in a white flannel
suit who had danced into the dressing room
a half hour earlier.

"Pretty slick, isn't it?" Anita asked,
admiring her new self with nineteen-year-
old enthusiasm, "now I know how it feels
to be a brunette. This is for still pictures.
I love to do these things, fixing myself up
in different clothes and colorings. It's good
practice in make-up."

So even the still cameramen, the make-
up artists and the hair dressers are instruc-
tors in Anita's school.

Altogether, now: "Three Cheers for
Anita. 'Rah! "Rah! 'Rah!"

for April 1930

12?

Singing in the Desert — continued from page 34

rode horseback early in the morning and
late at night. They just stood on its edge
and sang.

It answered their need for solitude. For
they are complete in each other's friend-
ship. At the studio, they do not mix with
the others in gossip circles. They are not
unfriendly to their co-workers. They just
do not make advances. After half an hour's
chat one comes away liking them but know-
ing no more about their lives or thoughts
than before.

The friendship between these two is built
on three things. Their love of music, their
differences — for they are exact opposites of
each other — and the fact that at the time
of an important crisis in the life of each,
the other was there to help, to sympathize,
and to encourage.

"I needed help badly," relates Bernice,
"when I first went into 'The Desert Song'
in Chicago. I had all my experience in
high school operettas in Oakland. But had
never spoken a line on the professional
stage. I was just a dancer and under-
study for a short time in New York before
I was sent to the other company to fill a
vacancy made by the illness of Charlotte
Lansing.

"I had to succeed. My whole future
depended upon this role. I didn't want to
go back to the chorus and work up again.
Alec noticed my inexperience and sym-
pathized. He had to go through the same
thing once himself. He was put into the
leading male role in Marilyn Miller's play,
'Sally,' with less experience than I had had.
So he knew what I was going through."

"She was such a forlorn little thing,"
relates Alec. "I knew she was inex-
perienced and probably homesick. So I
asked her over to my flat to practise. I
had lived in Chicago several times before.
I'd been a teacher in the Northwestern
Military Academy there and an advertising
manager for the Diamond T Truck Com-
pany. I had friends there and introduced
Bernice to them. And my wife, Jeanette.
took a big sister's interest in her.

"It was her perfect voice that attracted
my interest. It is so clear and smooth. It
blends well in duets and therefore makes
her an ideal partner. She soon learned the
technique of the stage. By the time we
took the play on tour, she was a finished
musical comedy actress."

And Bernice repaid this kindness and
help only a year and a half later. For
tragedy came into Alec's life. Jeanette
tried to drive from Chicago to Pittsburgh
and was killed in an automobile accident.
Alec was stunned at first. It had come so
suddenly. He had been looking forward to
her visit, although he had advised against

it because of the condition of the roads.

When the reaction set in and he realized
that it was true, Bernice feared for his
mind.

"He blamed himself for it," Bernice ex-
plains. "He insisted that he shouldn't have
let her come. But she had done it against
his will. He was sort of unstrung. He
acted as if the world had come to an end.
And I guess it had, temporarily, for him."

The tour ended right after this and the
company went into New York. Here, the
First National studio in Brooklyn asked
Gray to come for a test.

"I thought I might be asked to do some
acting, so I persuaded Bernice to come
with me," says Alec. "But we only had to
sing. We sang a couple of duets and a
solo apiece from the play."

Marilyn Miller was making a talking pic-
ture version of "Sally" in Burbank and had
requested Gray for the leading man. He
was sent right out as soon as his test was
okayed. Bernice did not hear from hers,
so she went home to Oakland to visit her
family.

She had been there a couple of months
when she received a wire asking her to
come to Los Angeles to play Jeanette in.
"No, No, Nanette" opposite Alec Gray.
She went down there immediately and has
played opposite him ever since. After
"Nanette" came "Spring Is Here." The
latter was two day's work from completion
when they were put into "Song of the
Flame," and played in two pictures at the
same time.

Bernice is happy-go-lucky with a strong
sense of humor. Alec is more serious-
minded; a dreamer, an idealist. His laughter
comes slower than Bernice's, but is none
the less hearty.

Bernice leads, and delights in doing so.
Alec is glad to follow and enjoy her spon-
taneity. He delights in her quick laughter.
He is amused by her sudden change of dis-
position. And Bernice is glad to have
Alec nearby to talk to, to tease, to laugh
at.

Music is their common ground of under-
standing. Both love it for itself. Music
in any form charms them. They love to
sing. They even like to practise. Any
hour of the day when they are not on the
set finds them in the song-writers' office,
practising.

It was the harmony and melody of the
desert that held them entranced at Palm
Springs, just as "The Desert Song" brought
them together and cemented their friend-
ship. The desert waited for them the two
years they toured, singing its song. Now
it has them. And they cannot and do not
want to escape.

Greta Garbo — Continued from page 24

to be — well, just a little tempting, just a
little seductive, a little, well, naughty,
maybe — but in the nice way Greta does
it. Yes, we liked our old shoes. New
shoes are very nice, Mr. Brown, nice and
shiny no doubt, but they hurt just a little
bit, Mr. Brown. Just a very little bit.

"Garbo now takes her place as one of
the truly fine dramatic actresses of the
screen. Unique in that she knows little of
technique; indeed she doesn't need it, but
acts by instinct alone. She lives her part,
and her voice helps in this sincere por-

trayal of a role. That's why in 'Anna
Christie' she is the girl of the streets who
finds redemption in the love of the burly
sailor, Matt."

But, we can't help sniffling, we always
thought Greta was a good actress. Why,
remember "Flesh and the Devil," and "The
Woman of Affairs."

Mr. Brown pays no attention to us. He
is carried away with his subject.

"It is true that Miss Garbo comes to
earth with a crash, perhaps, in her first
talkie. Certainly no part could be farther

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removed from those romantic ladies who
glided so serenely through a romantic
world."

Oh, yes, we moan.

"But first of all it is necessary that Miss
Garbo be accepted as the fine actress that
she is. Not to be confined to one role,
but to be allowed to show her mettle in
widely different characterizations. This
complete transformation came as a surprise
to many, no doubt."

It was a rude awakening, we admit.

"Perhaps this unreal figure she played
in the past, will become alive, more en-
chanting, but it is necessary to shed the
garments of the old, before building the
new. Garbo is first of all an emotional
actress, an instinctive actress, not a type.
That is why she cannot be allowed to con-
tinue to be a type. You will find she has
lost none of her old glamour, but has
adopted new sheaths of beauty."

We will? We swallow our last sniffle.

"Now, while her public is in this state
of surprise, we shall swing back and make
her a prima donna, a ravishing opera star
with a world of adorers at her feet."

You will? We gulp.

"What little is left of her accent will be
fitted into this role. It is only a matter of

months before every trace will have dis-
appeared."

But we liked the accent in "Anna
Christie," Mr. Brown. Wc really did.

"Strange as it may seem it was some-
times difficult to get her to speak with an
accent that would be in keeping with the
Swedish Anna."

Then her voice will lend itself to other,
different kinds of parts, Mr. Brown?

"We are already perfecting plans for
Greta to play in 'Romance.' that stage play
in which lovely Doris Kcane formerly
starred, in which she will be all that is
glamorous. Her deep seductive voice will
thrill you."

O-o-o-o-oooh!

Thank you, Mr. Brown. So that's what
Greta's director has to say. Well, well,
after all the sun is shining. Those new
shoes we were kicking about, I guess we
may as well take them along. I guess they
do fit our humps of romance, come to
think of it.

Now let's* not hear any more arguments.
That settles it.

Oh, it does, does it? Well, is she
another Duse or another Bernhardt, that's
what I want to know? Make up your
minds!

Jack Gilbert — Continued from page 25

storming days blush. But Mr. Barrymore
let it get by, Jack was going through an
emotional storm and everyone was in a
hurry anyhow. Get a Jack Gilbert talking
picture out — that was the idea. The big-
gest mistake was in thinking Gilbert's tre-
mendous popularity was enough to weather
anything, even bad recording. They know
now that no matter how popular a star is
he can't afford to appear ridiculous in a
serious picture.

As for his voice — had it been truly re-
corded, John Gilbert's first talking picture
would not have been a fiasco. His voice
is brittle, tense, and exactly suits his per-
sonality. He speaks quickly, but with ex-
pression, for his mood is expressed in the
tones of his voice just as it is in his mobile
face. His is a taut, nervous temperament.
He does everything impulsively. It is one
of the things that makes him so lovable.
Underneath the impulsiveness is a quality
that searches relentlessly for motive. That
is the quality that has endeared him to hun-
dreds who call him friend; who have him
to thank for gracious deeds of kindness
of which the world knows nothing. But
John Gilbert is always good copy and re-
porters seize avidly upon his slightest ges-
ture to supply them with news. They
forget that they are nailing a human being
to the cross.

About Jack's voice. When a director,
either on stage or screen, selects' a cast in
support of a star he is careful not to de-
stroy the composition of the picture as a
whole. As an instance: E. H. Sothern
is a man small in stature. It was one of
the harassing things in his career. But did
he magnify this by engaging men taller
than himself to play with him? He did
not. Directors don't do those things. So
with the voice in talking pictures. Had
men been selected with voices sympathetic
in timbre with Gilbert's, there wouldn't
have been so much trouble. And had in-
finite pains been taken in the recording of
this star's unusual voice, as have been
taken with other stars since then, there
wouldn't have been so much trouble, either.

This correspondent happened to hear sev-
eral Gilbert scenes recorded. The outside
recording was fine. The inside recording
was good of the other voices but Jack's
didn't sound natural. Nothing was done
about it. Not even Jack thought of asking
for better sound equipment.

When they signed up Lawrence Tibbett
his voice threatened to wreck the whole
sound department. Their first thought
wasn't. "How can we preserve this glorious
volume of music?"' Indeed, no. What
they said was, "Mr. Tibbett, you will have
to hold your voice back." Those of you
who are singers can imagine what the
Metropolitan Opera star replied to that.
But they wanted Mr. Tibbett very badly
so they worked until their equipment was
adjusted to this magnificent artist's meas-
urements. And the result will mean
millions of dollars in their pockets.

And oh. what pains they took with Miss
Garbo! No slip-ups there. And now
Metro is backing Jack. It may be because
they have to, on account of that iron-
bound contract; but they are going to
watch their step next time and give Gilbert
the consideration Tibbett and Garbo have
had. "His Glorious Night" was just a
mistake. Metro, Jack and Ina Claire are
looking for a dramatic story and next time
the result will be different.

When Jack was rising out of the five-
dollar-a-day class and life looked rosy to
him, as it did just before this talking pic-
ture experience, he overheard a director
say 'that Jack Gilbert will never get^ very
far in pictures — his nose is too big,' and
Jack contemplated suicide for weeks
through sheer depression. Then the un-
quenchabh spirit that is his and that makes
him what he is came to his rescue. He
decided that he wasn't going to let his
nose get the better of him! And that s
what Jack is doing now. He's making up
his mind that his voice won't get the
better of him.

And it won't. Not if we know John
Gilbert.

for April 1930

127

Why They Laugh at Love Scenes

Continued from page 29

quivering response. But the charm was in
silence. And the talkies shattered it.

If John had encompassed the ladies of
the audience in his wide embrace, and then
whispered rather gaspingly "I Love You,"
the composite girl doubtless would have
giggled. That would be the reaction to
the sudden gusty sighs that crumbled the
stillness. When he actually did say "I Love
You" to Catherine Dale Owen, who for
the moment was all the women in the
world, the audience girls ran true to form,
as they always do, and that giggle of self-
conscious embarrassment inundated the
cinematic world.

You doubt? Consider then another
cause celebre — only one of many since Con-
rad Nagel got the first "I Love You" razz,'
berry. It concerns no less a romantic figure
than Ramon Novarro, selected as Valen-
tino's successor and the logical recipient
of the particular love mantle that graced
great Rudy's silent seductiveness. (And
what would the talkies have done to him?)

In "Devil May Care," the gallant Ramon
is the colorful, glamorous, undeniable lover
whom Everygirl hopes to greet from the
safety of her balcony. The film itself is the
very essence of all love stories. Its most
pathetic moment, its amorous climax, comes
when Ramon, misunderstood after a quar-
rel, pleads at his sweetheart's door for one
word in explanation before his departure to
the wars and probable death.

He is on one side of the closed door; she
on the other. Both love with all that
pathetic intensity found so frequently in
make-believe, so seldom in reality. His
voice is taut with passion, the echo of the
longing in his heart. She, on her side,
leans, spent with the very force of her love,
against the door, stilling sobs as she drinks
in every word of his entreaties. Such is
the scene, as beautiful, as heart-stopping,
as passion-pulsing, as pleasurably painful as
any ever filmed. What happens? What is
the reaction of the girls in the audience?

Why, they laugh!

Why? Because they, themselves, are the
girl in the room. Alone in her position,
they'd open the door. But in some con-
fused way they feel that all the other people
in the house are watching them. They
don't dare let Ramon enter. If the scene
lasted a little longer it would attain a
height where the audience would be re-
duced to nervous hysteria. It breaks just
before this point is reached — and the girls
giggle.

A fine director, Richard Wallace, if you
must know, shares an ambition which must
be harbored in the hearts of others, one
day to direct a scene so tense that people
will run from the theater in a frenzy. He
will take their nerves, and hearts and souls
and emotions and twist and turn and tor-
ture them to such an extent that they can
no longer stand the emotional strain. Pain,
you know, is just next door to pleasure.
So much warmth is pleasant — a little more
and there comes the pain of burning. When
Wallace slips this one over on the master
minds of Hollywood he will have created
a mighty scene, and accomplished the labor
of a real superman in gaining utter con-
trol of the multitude and bending it to
suit his will — his mood. In the Novarro
scene this ultimate was approached ever so
slightly.

In the meantime there will be countless
repetitions of the Gilbertian giggles. Love
has been made audible — and it can't stand
the gaff. It must be perpetually encased
in the softest spinning of our dreams — a
touch of realness, a breath of down-to-earth,
steak-and-potatoes "I Love You," and the
result is unrestrained merriment.

The producers will be wise if they gag
Cupid — keep Eros dumb, as Justice will
forever remain blind. Let the talkies talk,
and talk and talk — but never let them say
"I Love You." That's our advice. It
doesn't cost anything. Perhaps that is just
what it is worth!

Brainless Beauties Keep Out

Continued from page 59

It is evident, therefore, that the road to
beauty is strewn today with many added
difficulties.

But for two classes of girls, the situation
brought about by talking pictures offers a
definite challenge.

First, the beautiful girl with ambition
enough to learn the technique of preserving
that beauty on the screen; second, the less
beautiful girl who will work additionally
harder to create that illusion of beauty
which is the great achievement of a truly
fine actress.

This illusion of beauty is more important
than the actual beauty itself. I will repeat
a former statement that no perfect beauty
has ever been a great actress. A perfect
example is Sarah Bernhardt. Madame Bern-
hardt was by no means a perfect beauty.
She had many imperfections of face and
figure. However, after an evening watching
her art, you would come away from the
theater swearing that she was the most
beautiful woman in all the world.

In talking pictures a splendid voice is
a very great asset in heightening the effect
of beauty. Kay Johnson, my lead in "Dyna-
mite," is an extremely charming blonde.

She is a great actress, whether it be in
silent or vocal pictures. But in talkies she
creates a tremendous aura of charm by her
perfect combination of an extraordinary mo-
bile voice, and excellent physical attributes.

It is evident, therefore, that talking pic-
tures set up such very definite standards
that any beautiful girl who seeks to climb
cinematic heights must do so deliberately
and in full knowledge that she will have
to study and work just as she would in
preparing for an equally difficult profession,
such as law or medicine. There are rich
rewards for hard work in this newly ex-
panded art, but the rewards are given only
for artistic values received. Even in the
days of silent pictures the various celebrities
who rose to stardom through my pictures
had from five to seven years of hard
apprenticeship in very minor roles before
they attained the final reward.

The same arguments, of course, apply
with equal force to the good-looking and
clever young men who have film ambitions.
Good looks aren't worth the proverbial thin
dime in motion pictures unless, in motion,
they are properly harnessed to a clear'
thinking brain.

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The Stage in Review — Continued jrorri page 97

and one lady of impeccable harlotry.

The scene is Newgate Prison back in the
eighteenth century, when you could be
hanged for almost nothing. In the jail we
have Mr. Snap, the jailer, himself a sly
cutpurse of the empire, played in a Dickcn-
csque manner by Walter Kingsford; the
Count La Ruse, a sentimental, royally born
scoundrel, a superman of friskers and bed-
tumblers, played rather too struttingly by
Basil Sydney; a poet, in for debt, played
(Alfred de Mussetically ) by J. Kcrby
Hawkes; the famous highwayman, Jonathan
Wild, done bawlingly, alcoholically and
superbly by Charles Dalton; Lord Wain'
wright, a beautifully conceived Borgian
scoundrel who has poisoned his whole
family, a man who hates cant and whose
acting is a gorgeous burlesque, a breath-
taking piece of audaciousness, and Mary
Ellis, who plays as she has never played
before, wisely and well, the part of the
prison wench, the jailor's daughter. Miss
Ellis is alive (italics, please). Ah, Mary,
thou art a wine of wizardry! Critics are
dumb before thee — except the ascetic Mr.
Nathan.

The dialogue is superb; there is not much
story — but it would make a superb picture
for Lubitsch.

"Waterloo Bridge"

Mr. Sherwood has written in "Waterloo
Bridge" a sentimental tale of an American
street-walker in London and an American
boy who is certainly the Incredible Boob
of the late war. Glenn Hunter was the
soldier boy who tried to lift the wench to
spiritual heights and June Walker was the
girl of Waterloo Bridge into whose life
Something Better came. They were both
as good as good can be. Teething rings,
however should be given out with tickets
to this play.

"Death Takes a Holiday"

Here are imagination, originality and

thrills with a theme of universal interest —
a sort of morality play dressed up in modern
clothes and speech; something that comes
near to you; a play you will not soon for-
get. It was adapted by Walter Ferns from
the Italian of Alberto Casello, who has
not the daring or subtlety of Pirandello,
whom the gods, had they been in benign
mood, should have assigned to do this job.
It lacks metaphysical magic.

Exquisite early autumn night at the
Italian villa of Du\e Lambert. All the
guests who arrive have just missed death
in their cars by a hair. Even the leaves in
the garden have suddenly stopped falling.
Enter Death when the Du\e is alone. He
informs the Du\e that he has decreed for
himself a three-days' holiday on earth in
order to find out what it is that makes
humans afraid of him and why they cling
so to life.

He then appears later as a soldier, a
Prince Sir\i (decorated on all fronts and
by all sides of course!) and falls in love
with the beautiful Crazia (Rose Hobart).
Ah! — so that is the reason why we dally
on earth in spite of disease, wars, taxes and
street radios! It is Love that wags the
world! Not new — except to lovers, if any.

Even when Grazia finds out that her
Tremendous Lover is Death she elects to
go with him (her eyes can see beyond the
horror-mask), thus proving again to those
who already believe it that Love is stronger
than Death. Grazia lives in Revery, which
is just on the edge of Wonder. At no
time does she live in the same matter-of-
fact world as the others.

The play is perfectly constructed and
certainly worth seeing as a novelty. Philip
Merivale fits into the role of Death per-
fectly. It was made for him. If "Death
Takes a Holiday" ever reaches the screen,
Janet Gaynor would make a memorable
Grazia.

Coiffures for Occasions — continued \rom page 57

the same period. The styles of Greece and
of the Second Empire are most simple and
therefore most adaptable to our present
needs. Such head-dresses as were worn at
Versaille in the time of Marie Antoinette
would never do. Some of these old time
coiffures took days to arrange and were not
discarded for several months. Plaster, pieces
of wood, wire frames and even ship models
were used in constructing the coiffures of
the court ladies. Such styles, vastly un-
comfortable and most unsanitary, are not
for the modern woman. If she must wear
long dresses and look backward rather than
forward for her inspiration in hairdressing,
it is better to follow the simple styles of the
Athenian ladies and of the Parisian women
of a century ago.

"No, I do not recommend that the hair-
dress be an exact replica of the old-time
styles," Antoine concluded. "It merely
must catch the mood of the old coiffure."

The photographer had finished with Miss
Owen, and Antoine again took up the task
of showing Screenland's feminine readers
how to do their hair. His second coiffure
was a simple affair suitable for afternoon
wear, yet formal enough for evening if a
few jewels or other ornaments were added.

"It is, you will notice, a frame for Miss
Owen's interesting features especially stress-
ing the beautiful line of her throat and
jaw. As I said before, the hair always
should frame the face becomingly, empha-

sizing the most beautiful lines and alleviating
the undesirable ones. An older woman
must never wear her hair back from the
forehead. She must soften her face by
bringing the hair down far enough to shade
it. And even the most beautiful of women
must have a little hair showing beneath her
hat — but only a little."

"But what about short hair?" I wanted to
know.

"Compromise." answered Antoine, smil-
ing. "Cut it to the shoulder if it is long,
or if it is short let it grow until it reaches
the shoulder. Shoulder-length hair can be
easily managed and is adaptable to either
the long bob such as Greta Garbo wears
or to coiffured hair. Personally, I like to see
it done up for evening with combs and
other ornaments."

Again Miss Owen was ready, and he ar-
ranged the third coiffure quickly and dex-
terously, a combination coiffure which
could be used for either business or semi-
formal occasions. When he had finished,
the famous hairdresser let drop a few hints
on hair and the mode.

"When, many years hence, your hair
starts turning gray," we heard him tell Miss
Owen, "let it become gray. Don't try to
do anything about it. The most flattering
shades for any woman are silver gray and
ash blonde. Yellow blondes and red-haired
women — no matter how beautiful their hair
may be — are at a definite disadvantage when

for April 19 30

129

it comes to picking colors for their gowns
and hair ornaments. Few shades harmon-
ize with these shades of hair.

"You," he continued, pointing with his
comb to Miss Owen s small, pretty ears,
"can show your ears to advantage. But
you are an exception. Not one woman out
of a hundred should allow her ears to pre
ject below her coiffure."

Miss Owen fingered the tip of one ear
appreciatively. "How do you get ideas for
the varied coiffures that you create?" she
asked.

"These coiffures I have arranged for you,
Miss Owen, are not mine. They are yours!
It is from the contours of your face and
from your expression that I have drawn my
inspiration. I do not make the same coiffure
twice. Each time with the hair I attempt
to interpret the mood which my client is
in at the moment that I work. If I see
that it is a happy mood or, perhaps, a

quiet, pensive mood, I try to preserve it
while the hairdress lasts.

"Then, too, the shape of the head tells
me a great deal as to what I should do in
making a distinguished coiffure. I follow
the natural lines."

M. Antoine is perhaps the most famous
hairdresser in the world. His real name is
Antoine Cierplikowski. He came to Paris
from Poland as a sculptor, but his work,
in the modern trend, was too advanced at
the time to be truly appreciated and he
turned to hairdressing and the manufacture
of unusual artificial flowers for a liveli-
hood. When his success finally came, it
was assured. He now has salons in Berlin,
London and New York as well as in Paris.
If he himself dresses a client's hair he re-
ceives a fee of one hundred and twenty-
five dollars. And if the work he did
on Miss Owen's hair is a sample, it is worth
it!

A Neiv Girl— Continued from page 34

to be Sophie Tuckers, Nora Bayeses or some
other well known actresses. Before Ann
had learned to walk, the mother had taken
the children to New York. With some of
her many letters of introduction, Mrs. Roth
got her daughters into the Fort Lee studios
where they decided that Lillian would do
for Evelyn Nesbit Thaw as a girl. She
did Mae Marsh as a girl, acted a scene
with Theda Bara and played one of Gen-
eral Pershing's children.

During those days, the Roth girls and
their mother had to get up at 4 o'clock
in the morning in a house with only one
stove and travel to Fort Lee to work. In
one of her sad moments away from the
studios, Lillian was given the part of the
abused daughter in the stage play, "The
Inner Man." When Lillian went for her
next role, she was informed that a little
boy was needed. Mrs. Roth hurried her
daughter home, cut Lillian's hair, changed
her clothing and returned with the state-
ment: "This is the brother of the girl you
just saw." She got the part.

At the age of seven, Lillian played a part
in "Penrod" and later a role in "The Be-
trothal." When she was eight, she was
selected from 935 other stage children to
play the child part in "Shavings." She says
it was because of the fact that she was the
only one with straight hair. When she
signed her contract, Lillian went up alone
and asked for $100 a week. She was paid
$50 a week for a year's run of the play.

"The Roth Kids" was the title of the
sister act when Lillian, then 10 years old,
and Ann, played the Palace Theater in New

York. After five years of vaudeville in
towns all over the United States, Lillian
returned to New York a grown girl of
fifteen. With a new smart outfit she went
to see J. J. Shubert. He asked her if she
could sing. She said she could, although
her only vocal training was the singing
of Red Hot Mamma in the bathtub every
morning. Ann was astonished when her
sister told the piano player to strike up
Red Hot Mamma. But Lil stood up,
gathered her voice, which arrived that mo-
ment, and sang successfully. Her reward
was $150 a week and the title of 'the
youngest soubrette on Broadway.' She
crooned, sang her 'blues' and did her strut
numbers in "The Padlocks of 1927," "The
Vanities" and "The Follies." She was on
the same bill with Maurice Chevalier in
Ziegfeld's New Amsterdam Roof show.
When Jesse Lasky came to see how his
idol of France was progressing, he also saw
Lillian and signed her to a contract. She
did a couple of successful short subjects
in New York, packed her trunk and left
for Hollywood.

Need I say that Hollywood likes her?
She manages to get anything she wants.
She's just that way.

To date, Lillian has played in "Illusion,"
"The Love Parade," "The Vagabond King"
and "Honey," a new musical romance.

Lillian wanted a nice dressing room at
Paramount. She got it. The executives
couldn't quite decide whether or not she
could go to New York for a vacation re-
cently. She went. Her next production hasn't
been decided yet. But wait. She'll get one.

Doug, Jr. Psycho-analyzed

Continued from page 33

hard to carry out. Artists are notoriously
hard to live with. Bernard Shaw once said
that the artist is the man who would take
his mother's milk and turn it into printer's
ink.

But Douglas Fairbanks, Jr., is not an
extreme type. He is, I take it, in some
ways a chip of the old block; there is some-
thing strong and sturdy in him which fights
against the artist's weaknesses. It is, in-
deed, greatly to his credit that, although he
has Fairbanks blood in him, he is not an
imitation of his father. He has hewed out
an individuality of his own which, in some
respects, differs startlingly from Doug, Sr.
We all know the older man, an extravert
if there ever was one, a D'Artagnan to the

very end and the end is not yet.

Contrasted with him Doug, Jr., is more
typically the artist, with something of the
poet, the dreamer, the introvert, the ques-
tioner of life and himself.

Among the younger actors of the screen
he stands out as something very much him-
self, something deeper, with more than the
ordinary possibilities of development. He is
a young man who by his very nature should
grow steadily and surely until he becomes
a star of high rank. The energy, ambition
and practicality of his wife should help
him very much, just as his varied and rich
nature, with its depth, understanding and
sympathy should help her. The bet placed
above remains standing!

LEARN f/ieBANJ0«>

u nder Harry Reser ffift

the Worlds Greatest Banjo ist \

the

The Famous Leader of
Broadcasted
CLICQUOT CLUB ESKIMOS

offers an amazingly simple Banjo Course by mail which
anyone, even without musical talent, can master at
home in a few spare hours. Positions, fingering and
chords thoroughly illustrated and explained. Students
and Professionals heartily endorse this Simplified Home
Method. Costs only few cents a day. Special Banjos
for Students.

BE POPULAR— MAKE MONEY
At home, parties, or week-end gatherings, the banjo
player has many friends. Also, the banjo is vitally es-
sential in the dance orchestra of today. Banjoists make
big monev. Learn more about this inexpensive course.
Send for my FREE ILLUSTRATED BOOKLET
HARRY RESER, Banjo Studio No. 39
148 West 46th Street, New York, N. Y.

Beautiful Complexion
IN 15 DAYS

Clear your complexion of pimples, blackheads,
whiteheads, red spots, enlarged pores, oily skin
and other blemishes. I can give you a com-
plexion soft, rosy, clear, velvety beyond your
fondest dream. And I do it in a few days. My
method ia different. No cosmetics, lotions,
salves, soaps, clay, ointments, plasters, band-
ages, masks, vapor sprays, massage, tollers or
other implements. No diet, no fasting. Nothing;
to take. Cannot injure the most delicate skin.
Send for my Free Booklet. You are not obli-
gated. Send no money. Jutt get the facts.

Dorothy Ray, 646 N. Michigan Blvd., Dept. 2540, Chicago

"GIRL PICTURES"

Art pictures and Bathing beau-
ties 25 cents (coin). Money
refunded if dissatisfied. Photo
Sales Co., P. O. Box 744-F, Chicago,
111.

YOU can earn good money in spare lime at
home making display cards. No selling or
canvassing. We instruct you, furnish com-
plete outfit and supply you with work.
Write to-day for free booklet.
The MENHENITT COMPANY Limited
252 Dominion Bldg.. Toronto. Ont.

m-m-r

YOU

WANT A

BIGGER INCOME

SELL SHIRTS

Earn big money from the start. Let Quaker help you. Won-
derful sample Outfit gets orders. Finest Men's Shirts, Ties,
Underwear, Hosiery. Unbeatable values. Unique sales
features. Ironclad guarantee. FREE Shirts, Ties, Cash
Bonuses. Write for Free Outfit NOW I Dept. Z4

QUAKER SHIRT CORP., 1107 Broadway. N. Y.

ARTISTIC

ENLARGEMENTS

Size 16x20 inches

Surel? you have a
photoof somedear ■ ■IIO

one, mother, dad, JK v

baby, <>r friend ^llH
thatwnuld enlarge S^V^^B
beautifully and
bring: out the lifelike features
perhaps better than in the small
picture. The usual price of this
work is $5.00, but our price ia
only 98c.

SEND NO MONEY

Just mail photo or snap-shot any
size, full figure, bust or group.
Within a week you will have your
enlargement, size 16 x 20, or
smaller, if desired. Guaranteed
fadeless. Pay postman 98c plua
postage, or send $1.00, and we
pay postage. Money back, if not
delighted.

CDCC With each enlargement
,,,fcl,ff8 send Free a hand
tinted miniature reproduction of
photoaent.Tak e ad vantage of this amazing off er now. Send photo today,
ALTON ART STUDIO. 5654 West Lake St., Dept. 76 . Chicago. III.

photo. I will pay postman 98c plus postage for T ,

each enlargement. (If $1.00 cash for each enlarge- W anted

mentisenclosed withthisorder.wepaypostage.) r—j X(5x°0 in

Name □ 10x16 in.

Address □ 11x14 in.

Town State □ 8x10 in.

SCREENLAND

This Is Not Advertising! But We Acknowledge
Our Debt to Honeslt Advertisers

WE American folks pride ourselves on
our willingness to approach all ques'
tions with perfectly open minds, to
seek the truth and to give credit where credit is
due. We are known as believers in fair play and
are quick to defend against unjustified attacks.
Most of us try not to be unreasonable and few' of
us are uncharitable. We surely are not selfish and
we all lay claim to a sense of appreciation.

C[ While Screen land is primarily devoted to
screen entertainment, it realises that its readers have
other interests in life. They are interested in all
of the four recognized essentials of living: first there
is food, then clothing, then shelter, and then recrea'
tion. And since Screenland's editorial policy is
founded upon well'balanced common sense and rea'
son, we know that our readers follow other means
of entertainment, for instance, the theater, music,
the radio, books, and magazines of general inter'
est. Indeed, you're reading now.

C[ It is generally well known that magazines and
radio broadcasting stations are largely dependent
upon advertisers for their continued existence.
True, their patronage depends
upon their entertainment value
to readers and listeners-in, and
their value to advertisers depends
upon the size and quality of the
audience, so after all it becomes
a trio, in which the advertiser
plays an important part, and in
the case of magazine and radio,
the advertiser makes possible the
recreation.

C[ Established magazines and im'
portant radio broadcasting sta'
tions refuse page and air to any
but responsible advertisers and
this strict censorship furnishes a
sterling guarantee to the buying
public. Advertised products,
foods, wearing apparel, necessities
or luxuries, are usually the safest
to buy, because anything lacking
in merit cannot for long be sue
cessfully advertised.

Amos V Andy, popular entertain-
ers on the Pepsodent Program of
National Broadcasting Company.

C[ But speaking of fair play and the debt due to
advertisers for their part played in the world's
recreation, Screen land takes this opportunity to
challenge Dr. Lee De Forest, who upon his recent
election as president of the Institute of Radio
Engineers, exclaimed in his inaugural address:

"The insidious influence of the avaricious advertiser
and his stupid insistence on direct advertising have, I
regret to observe, become increasingly effective and
devastating . . . The radio public, I believe, is be-
coming nauseated by the quality of many of the
present programs. Shortsighted greed of the broad-
casters, station owners and advertising agencies, is
slowly killing the broadcasting goose, layer of many
golden eggs."

C[ Heavy thought! The so-called 'father of radio'
probably hasn't been listening-in recently. If he
bad been, he would realize that the sponsors of the
priceless radio programmes on the big broadcasting
stations, particularly the National Broadcasting
and Columbia network chains, are merely promot'
ing good'will for their products and that this ad'
vertising goes hand in hand with columns and
pages in the world's interesting periodicals, and that
the reading and listening public
will seldom tune out on Arwater-
Kent, Palmolive, Amos 'n' Andy
(Pepsodent), the Ipana Trouba'
dors, The Lucky Strike Hour,
The Johnson & Johnson Program,
The Fleischmann Hour, The
Wrigley Program, and pardon
Screenland, we almost forgot
The De Forest Radio Company
(De Forest Audion Tubes) .

C[ But there, there, we know
what's the matter. The 'father
of radio' hasn't heard the Metro'
politan Life Insurance Company
Health Exercise program, daily
except Sunday. He'd have to get
up early in the morning for that
one. But lots of daddies and
mothers and boys and girls do!
((No, Doctor, lots of folks will
listen in on the programmes. And
they'll read the advertising in the
newspapers and magazines.

The Publishers

e world s mosi famous libshck

In an amazing way, Tangee changes color
as you put it on . . . and blends perfectly
with your individual complexion — whether
blonde, brunette or titian. Natural color!
Subtle individuality!

Lips of Tangee ... no trace of grease or
pigment . . . nothing except a lovely glow
— so beautiful, so natural that it seems a
part of your own lips . . . and as perma-
nent as the day is long.

Ask for Tangee and be sure
you see the name Tangee

PRICES — Tangee Lipstick in gun-metal
case $1, in superb gold and black enamel
case $2.50, Tangee Rouge Compact 75c,
Tangee Creme Rouge $1, Tangee Day
Cream $1, Tangee Night Cream $1,
Tangee Face Powder including the smart
new shade, Tangee Tan $1. The George
W. Luft Co., 417 Fifth Ave., New York.

The Geo. W. Luft Co., Dept. S. L. 4,
417 Fifth Ave., New York.

Enclosed is 20c for Miniature Tangee Beauty
Set — all six items and "The Art of Make-up."

cast themmsjlMiclous

It's toasted"

Campbell 1777-1844)

AVOID THAT
FUTURE SHADOW

by refraining from
over-indulgence

We do not represent that
smoking Lucky Strike Ciga-
rettes will cause the reduction
of flesh. We do declare that when
tempted to do yourself too well,
if you will "Reach for a Lucky"
instead, you will thus avoid
over-indulgence in things that
cause excess weight and, by
avoiding over-indulgence,main-
tain a trim figure.

1930. The American Tobacco Co.. Manufacturers

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