Modern Screen 1931-08 Vol. 2, No. 3
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. Beech Nut rms vy. RR More enjoyable than ever, these new smooth drops The instant they touch your tongue you begin to enjoy their flavor—cooling, refreshing fruit flavors of orange, lemon and lime. Much as you have liked Beech-Nut Fruit Drops before, you will like them better than ever now. Glistening smooth, almost trans- parent—as enjoyable to the eye as they are to the taste. A most convenient bit of candy to have handy in your purse or pocket whenever you have that natural and healthy craving for sweets—and plenty to sat- isfy your normal desires. As complete candy en- joyment as you can get and only five cents. Made by the makers of the famous Beech-Nut Gum AFTER DINNER PASS AROUND THE BEECH-NUT MINTS PEPPERMINT « SPEARMINT « WINTERGREEN « CLC Tourists motoring through the Mohawk Valley are invited to visit the plant of the Beech-Nut Packing Company at Canajoharie, N. Y., on Route 3.
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span q Z F ATLANTIC HRILLS let loose in a super- whirlwind, on a gigantic ocean greyhound. Love and dalliance, intrigue and millions. Edmund Lowe, a gallant gambler, guard- ing the gorgeous Lois Moran through the tangled plots of a gang of gunmen. Radio ruin for John Halliday, as a banker at play with a famous dancer—the fascinating Greta Nissen. Gilded, glamorous, dangerous life in the palatial maze of a liner in mid- Atlantic. A great masterpiece of direction by William K. Howard— a supreme creation of heart- gripping suspense—and a voyage of superb adventure.
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WU lee See ee ©cip 120196" | | MODERN SCREEN. | FEATURES What of Johnny? How will recent events affect the career of John Mack Brown? Carter Bruce 19 How Constance Really Spends Her Money Walter Ramsey 29 In this amazing story Miss Bennett reveals the details of her budget The Wittiest Man In Hollywood Achmed Abdullah 32 The famous author nominates one of his best friends—and gives reasons If You Met Bob Montgomery— Faith Baldwin 36 A fascinatingly revealing portrait of one of the latest and most popular stars Marriage a la Colbert Adele Whitely Fletcher 38 Claudette’s and Norman’s amazing matrimonial pattern is revealed and explained This Man Has Known Terror _ J. Eugene Chrisman 41 Few talkie players have endured so many tortures in life as have George E. Stone It’s All Greek to Me (Fiction) (Illustrated by Carl Mueller) Hagar Wilde 42 It’s lucky for a talkie actress when she has a father like Frank Carmody The True Story of Norma Shearer Walter Ramsey 45 Beginning the life story of one of the screen’s most popular favorites Long Live Charles Rogers Carter Bruce 47 ““Buddy’’ Rogers is no more but his alter ego carries on Your Hair Can Make You Beautiful Adele Whitely Fletcher 48 From twelve stars we learn the secrets of the perfect coiffure Secrets of the Hollywood Stylists Virginia T. Lane 56 The last word in fashions from one of the studio experts, Gwen Wakeling The Right to Dream Curtis Mitchell 59 To the wife of Chester Morris, her husband’s dreams mattered more than her own Joan Bennett’s Future Wynn 60 The astrologer reveals the destiny of the younger Bennett The Tragedy of Mae Murray Harriet Parsons 62 The story of a star who recently staged a daring come-back You Must Take Care of Yourself, Marie Dorothy Spensley 64 Her friends mean well by Miss Dressler—but it’s something of a strain John Barrymore Tells the World Wilbur Morse 66 One of the few (and the best) interviews granted by this star in recent years My Hollywood Mistakes (Illustrated by Jack Welch) Edwin Anthony Browne 72 The alleged hero of ‘‘Queer People’’ and ‘‘Whitey’’ confesses his worst errors They Really Can Cook Dorothea H. Cartwright 80 Believe it or not, they are as talented behind the stove as in front of the camera DEPARTMENTS The Modern Screen Directory: Players 6 ‘Pictures 11 Here is all the data the fan needs Between You and Me 10 Correspondence between the editor and readers of MODERN SCREEN Beauty Advice Mary Biddle 12 1 This month—the proper care of the hair during the hot months The Modern Hostess 13 What kind of sandwiches do men prefer? Film Gossip of the Month 14, 74, 92 Three sections with the very latest news from Hollywood Know Them? 18 A group of stimulating caricatures All Joking Aside Jack Welch 35 Unbelievable little facts about people Modern Screen Reviews 82 The perfect guide to current films And also: Hollywood Preview Night, 51; Masquerade at Marion’s, 69; Hollywood Wardrobes (Mary Astor), 76; Gallery of Honor, 85; Scoops of the Month, 99 Ernest V. Heyn, Editor K. Rowell Batten, Associate Editor Walter Ramsey, Western Representative | Published monthly and copyrighted 1931 by ‘Syndicate Publishing Company, Incorporated. fice of publication at Washington and South Avenues, Dunellen, | N.J. Executive and editorial offices, 100 Fifth Avenue, New York, N. Y. H. Meyer, President; M. Delacorte, Secretary and Treasurer. Vol. 2.No. August 1931. Printed in the U.S. A. Price in the United States, $1.20 a year, 10ca copy. Price in Canada, $1.80 a year, 15ca copy. Entered as second class matter September 18, 1930, at the Post Office at Dunellen, New Jersey, under act of March 3, 1879. The publisher accepts no responsibility for the return of unsolicited material. | 4
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Modern Screen ood looking...agreeable ee but ‘B.O.’ spoiled the good impression (Body Odor) | Eta AT a summer hotel where men were searce, he couldn’t make a hit with girls. They liked his looks—would have liked him, too, but for one thing! . He never suspected his failing. And no- body told him. People hate to hint at body odor even by its polite name—“B.O.” . . . Later he found out the truth and a simple way to keep perspiration odorless. Now he’s one of the “crowd’—invited everywhere. When “B.O.” ended, happiness began! Hotter weather—take no chances Don’t trifle with “B.O.”’ It’s so easy for any- | one to offend and not know it—especially . these hot days when we perspire more freely. We quickly become used to an ever-present odor—don’t notice it in ourselves — never dream it is annoying others. But it is! —for new shaving comfort TRY LIFEBUOY SHAVING CREAM Its double-dense lather ends tender spots! AT YOUR DRUGGIST’S | — Lifebuoy stops body odor— She thought: d be the most at the hotel j¢ ably Suilty of ‘B.O sep Yet, to be polite, She saj “<7 ag 5 I'd better u POStals if I want to Catch the mail. Wash and bathe with Lifebuoy—then you're safe. Enjoy its cooling, refreshing, penetrating lather, so abundant even in hard- est water. Heat and stickiness quickly vanish —every trace of “‘B.O.’’ goes, too. For Lifebuoy’s rich, creamy lather is gently anti- septic. It purifies pores. Its pleasant, extra- clean scent—that quickly rinses away—tells you why. The finest of beauty soaps Looking for a good complexion soap? Get Lifebuoy. There’s none better at any price. Its bland, searching lather deep-cleanses pores— gently frees them of clogged impuri- ties that mar skin beauty—coaxes back fresh, healthy radiance to dull sallow skins. Adopt Lifebuoy today. A product of LEVER BROTHERS CO., Cambridge, Masa. HEALTH attractive man you Weren’t in- )
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THE MODERN SCREEN DIRECTORY (Players) MARRIED, AND IF SO, TO WHOM, BIRTHPLACE; WHERE TO WRITE THEM; STUDIO AFFILIATION; CURRENT AND FUTURE ROLES—BROUGHT UP TO DATE EACH MONTH BARNES, Carman; unmarried; born in Chattanooga, COMPLETE STUDIO ADDRESSES tract ctr to uae Renn gene eae fessions of a Débutante.”’ - oe BARRYMORE, JOHN; d_to Dolores Costello; Columbia Studios, 1438 Gower Street, Hollywood, California. :RYMORE, JOHN; married to Dolores Costello: ; : ie Bros aystudiowwnG ero Game, MEI Educational Studios, Santa Monica Boulevard, Hollywood, California. “Moby Dick.” Title role in “Svengali.” Russian 5 0 a b 6 allet master in ‘‘The Ma enius,”’ all for ar- First National Studios, Burbank, California. ner Bros. Fox Studios, 1401 No. Western Avenue, Hollywood, California. eborn in Philadelphia, Pay Write tim at M-C-M D ’ Ss - tt “A | Samuel Goldwyn Studio, 7210 Santa Monica Boulevard, Hollywood Free Soul: and the father iMiRineeentaten? | y ’ Y D both for M-G-M. Lawyer in “The Star Witness,” Warner Bros. California. Metro-Goldwyn-Mayer Studios, Culver City, California. aa her errs Soper eri Ne ee D ° ; 2 Write him at First National studio. Contract Paramount-Publix Studios, Hollywood, California. star. Dick Courtney in “The Dawn Patrol,” _ x z El Puma in ‘‘The Lash,’” Breckenridge Lee in RKO-Pathé Studios, Culver City, California. Site Sin cer hosts trees RKO-Radio Studios, 780 Gower Street, Hollywood, California. BAXTER, WARNER; married to Winifred Bryson; ios, Culver City, Californi ae ‘Contract stan. etehan impeetb ia Moder Hal Roach Studios, DUET ity, CUIMONINLE World,” Dr. Penning. in ‘‘Doctors’ Wives,’”’ for Mack Sennett Studios, Studio City, North Hollywood, California. Eich ote te a Surrender," and Jervis Pen- 2 ’ . t i o6 Sa . Warner Brothers Studio, Burbank, California. ee Ea BEERY, NOAH; married to Marguerite Lindsay; born in Kansas City, Mo. Write him at First National studio. Free-lance player. Luke in “‘Tol’able David,’’ Columbia. Machwurth in “‘Renegades,’” Fox. Peterson in ‘“‘The Million- aire,’” Warner Bros. BEERY, WALLACE; married to Mary Gilman; born United Artists Studios, 1041 No. Formosa Avenue, Hollywood, California. Universal Studios, Universal City, California. A : “ ‘ oe in Kansas City, Mo. Write him at M-G-M stu- ADOREE, RENEE; divorced from William Gill, born Radio. , Starred in| White Shoulders and dio. Contract player. Tripod in ‘‘Way for a in Lille, France. Write her at M-G-M_ studio. Nancy’s Private Affair,” both for RKO-Radio. Sailor,” Bill in “Min and Bill,” Gangster in Free Bence eevee Nees role a aCall of tie ASSEN, waTULTAN 4 > Att peor Six,’”’” Aviator in “‘Sea Eagles,” all Flesh,’”’ -G-M. ow recovering from illness a , ; married to Dora May Howe; or M-G-M. Prescott, Arizona. born in Georgetowny Briveh Guianas Write him BELL, REX; aan Chi a Ene Boa a aramount studio. ree lance player. Lord ; unmarried; born in icago, - ree ALBERTSON, FRANK; married to Virginia Shelly; Eustace Farrington in “Along Came Youth,” lance, player. Male lead in “Disappearing Ene- born in Fergus Falls, Minn. Write him at Fox Paramount. Archie in ‘‘Chances,’’ First National. mies,’” RKO-Pathé. Now secretary to Clara Bow. Been ee eee eee POLE Gan okay Gocd: Pellicost a) A iailor Maden Maa ai acane BENNETT, CONSTANCE; d d from Phil Pl emon ©O range rove, or Fox ohn ood- A ; divorce: rom i ant; man in “‘Big Business Girl,’’ First National. : are 3 3 born in New York City. Write her at RKO- Glarencel ante“ The Gaonacticnt Yankee,” Fox. AIRES LEW; unmarried; born in Minneapolis, Pathé studio. Contract star for both RKO-Pathe i inn. Write him at Universal studio. Contract Bere arian ; Featured role Consolation Marriage,’’ RKO- . . : “ 7 and Warner Bros. Sylvia in “‘Sin Takes a: Holi- U Sh Lamb in S t Bullets,” First star. Louis Ricarno in Doorway to Hell, a ~ 4 ca s Ree a Raed in ine Bee ee, Warmer Bros. Billy Benson in veaet le Wert, Sas, RRO Ra | eae D ? 2 erry in “‘Many a Slip,” star of ‘‘Fires of Youth,’’ ’ Dees Le 2 2 ‘dan « +? F 2 and Doris Kendall_in ‘‘Born to Love,’ RKO- ALLEN, ROBERT; unmarried; born in Mt, Vernon, and (the) Kid) inl The} tron)Man}alljfor\Universal: Pathé. Star of ‘Bought! Warner Bros. rite him a arner Bros. studio on- N t pl r. He has played a bit in “Big Busi- BAKEWELL, WILLIAM; unmarried; born in Holly- BENNETT, JOAN: di d from John Martin Fox; ies Gini” and a foateced role in ‘‘The Reckless wood, Calif. Write him at M-G-M studio. Con- NNE: in New York City. Weite eet Fae studi Hour,”’ tract player. Carney in “‘Paid,’’ Tommy in ‘‘Re- Contract player. Pat Coster in “‘Many a Slip,”’ ALVARADO, DON jedunt rofessional AR ED a Ta on en Te Universal. | Feminine leads ce aaeoe I, ; marrie Oo _non-professl 3 ’ -G-M. ef ie 5 born in Albuquerque, N. M. Write him at United ““A Woman of Experience,”” RKO-Pathé. and ‘‘Hush Money,’’ Fox Artists studio. Free lance player. Juan in ‘‘Capt. BICKFORD, CHARLES; married to non-professional; Thunder,’”” Warner Bros. Featured role in “‘The BANCROFT, GEORGE; married to Octavia Boroshe; born in Cambridge, Mass. Write him at M-G-M Love o’ Lil,’’ Columbia. Ramon in ‘‘Beau Ideal, born in Philadelphia, Pa. Write him at Para- studio. Contract player. Dan in “Passion Flow- RKO-Radio. mount studio. Contract star. Bill Rafferty in er,’ M-G-M._ Starred in ‘River's End,’’ Warner AMES, ROBERT; divorced from Marion Oakes; born Seats Wiirals WUT i) “Seal! S365," Fares a pores TS ae. RUG Gee ae i ; mount. A -G-M. = in Hartford, Conn. Write him at RKO- Radio “East of Borneo,’’ Universal. ‘Mad 4 4 Srueney = CORES eee NAD fl in “Wait- BeNKHESD: Lr ae eS oe Pa BLACKMER, SIDNEY; married to tener oe a “6 ” u le, ama. rite her a aramoun i i - Sic it i t First - ing at the Church,” RKO-Radio and “Rebound, studio. Contract star. For the last eight years Aue Line tadinee Beee e Deve Le au is a RKO-Pathé. tio ee lance player. g Boy phoma Boonen TReestar en in: England.) pase “Little Caesar,” Hart in ’’Mothers Cry,’ Paul AND eat He US ee 7c unt a ; at oo rae (Continued on page 8) orn in studio. Contract player. Dan McMaster in “The Conquering Horde.’’ Star of * ‘Gun Smoke,’’ second lead in ‘‘The Lawyer’s Secret,’’ and co-starred in ‘‘Rose of the Rancho,’’ all for Paramount. ARLISS, GEORGE; married to Florence Won ES OMeIe HERE ARE THEIR BIRTHDAYS FOR JULY AND AUGUST—WHY homie init ondon ene. gate binat Wea NOT SEND THEM A BIRTHDAY GREETING ? “The Millionaire,’ title r6le in ‘“‘Alexander Ham- i Be h f WwW : ee ce ioe d to J Kent; John Gilbert July 10 Glenn Tryon August 2 AR marrie o Jeanne Ss , Mich. Write hi at R KO- 4 2 Pathe. studio, Contract player. Larry (Doyle in Sidney Blackmer July 13 Dolores Del Rio August 3 “ee meat ‘Revon in The Tos Man,” and Richard Dix Jul 18 Doroth Jordan Au ust 9 Paid,’”” M-G-M g. y y male lead in ‘‘Ex-Bad Boy,’’ both Universal. } Lila Lee July 25 Charles Farrell August 9 Ae ECE On ee aiceaianin watenbin lara: ’ ico = bore atadtos micontcact player. Featured with Lawrence Gray July QT. Norma Shearer August 10 Karl Dane in two-reelers for RKO-Radio release. Maltean Prin ks Th 27 Ghee: Ro ne pega: 13 ARTHUR, JEAN: married (annulled), to Julian Anc- i = § j % ee § i ae rite her a - mount. studio. ‘Free “lance Piayer. Sylvia aren oe E. rown uly 8 egis oomey ugus in “‘ inine lead in B cavalier of the Streets." for Baramount. Ingenue Helen Wright July 28 June Collyer August 19 ‘s ecret, aramount. Fem- bs aniiemlend i “Ex-Bad Boy,’’ Universal. Catherine Dale Owen July 28 George Fawcett August 25 K th Hawks, b “We . 5 ASTguincy, il,’ Weite her at -RKO-Radio "studio, William Powell July 29 Alice White August 28 Contract star. Princess in ‘‘The Royal Bed,”’ RKO-Radio. Kitty jn ‘‘Sheep’s Clothing,’ RKO- 6
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Modern Screen THE BIRD OF PARADISE” aise Richard Walton Tully’s volcanic dramatic spectacle in all its splendor! DOLORES DEL RIO and ghousands in the cast. FANNIE HURST'S “SY MPHONY OF SIX MILLION”..-Great author of fa city --- drama rising from feem- ing streets--- ¢hunder in its yoice « , laughter on its lips .--@ sob inits th ' pymoresave now shows US the soul © Tumultuo Onrushing ghe stars of RICHARD DIX, IRENE DUNNE. “MIRACLE CITY” . - The Glamour --: Ecstasy --° Heroism of those fated to dwell in Hollywood's Glass Houses! vf MARCHETA”™ GRANEN SOE ANAS = AA in Romance ished skies of old 4 a @ COMING SOON ; ++ ARE THESE OUR CHILDREN?” created by the men who mode | | “cimarron,” Wesley Ruggles, Direc | sor; Howard Estabrook, author. “TRAVELING HUSBANDS” A gay tale of wandering men and wondering wives -°° Evelyn Brent, Hugh Herbert, Constance Cummings- “SPHINX HAS SPOKEN” with Lily Damita, Adolph Menjou, Eric Yon Stroheim. still tell the mana Don’t miss @ On ee all these RKO RADIO pic theatre that you es
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Same Tangee Color Principle in Créme Rouge $1 SEND 20% FOR TANGEE BEAUTY SET Containing miniature Lipstick, two Rouges, Powder, two Creams and ''The Art of Make-up." H H : | ‘ H Tue Grorce W. Lurt Co., Drpr. K-7 \ i 417 Fifth Avenue New York H : ‘ 1 H H t H Name. Address Modern Screen Directory of Players | (Continued from page 6) de Segny in ‘‘The Devil Was Sick,’’ all for First National. Lawyer in “It’s a Wise Child,” M-G-M. BLONDELL, JOAN; unmarried; born in New York City. Write her at Warner Bros. studio. Con- tract player. Featured roles in ‘‘The Office Wife.’’ “Other Men’s Wives,’’ “‘Illicit,’’ and ‘‘God’s Gift to Women,”’ all Warner Bros. Feminine lead in “Lillies of Broadway,’”’ Universal. BOARDMAN, ELEANOR; married to King Vidor; born in Philadelphia, Pa. Write her at Para- mount studio. Contract player. Feminine lead in “‘The Great Meadow,’’ M-G-M. Featured role in ““Women Love Once,’’ Paramount. BOLES, JOHN; married to Marcellite Dobbs; born in Greenville, Texas. Write him at Universal studio. Contract star. Count Mirko in “One Heavenly Night,’’ Samuel Goldwyn. Prince in “Resurrection,” Universal. Bart Carter in “‘Seed,’’ Universal. BOW, CLARA; unmarried; born in Brooklyn, N. Y. Write her at Paramount studio. Contract star. Pepper in ‘‘Love Among the Millionaires,’’ Nor- ma Martin in ‘‘Her Wedding Night,’’ Bernice O’Day in ‘‘No Limit,’”’ starred in ‘‘Kick In,” all for Paramount. Now in sanitarium. BOYD, BILL; married to Dorothy Sebastian; born in Cambridge, Ohio.. Write him at RKO-Pathé studio. Contract star. Bill O’Brien in ‘‘Officer O’Brien,’”’ Bill Thatcher in ‘‘Beyond Victory,’’ star of ‘The Painted Desert,’’ and ‘‘Suicide Fleet,’’ all for RKO-Pathé. BOYD, WILLIAM; separated from _ actress-wife; born in New York City. Write him at Para- mcunt studio.. Contract player. Featured roles in ‘“‘Gun Smoke,’’ with Richard Arlen, and ‘‘City Streets,’’ with Gary Cooper, both for Paramount. BRENDEL, EL; married to Flo Burt; born in Phila- delphia, Pa. Write him at Fox studio. Contract star. Comedy leads in ‘“‘The Big Trail’ and “‘Svenson’s Wild Party,’’ Single-O in ‘“‘Just Im- agine,’”’ title role in “‘Mr. Lemon of Orange,’’ comedy lead in ‘‘Women of All Nations,’’ janitor in “‘Riding for a Fall,’’ all for Fox. BRENT, EVELYN; married to Harry Edwards; born in Tampa, Florida. Write her at RKO-Radio studio. Contract star. May in ‘‘Madonna of the Streets.”’ Columbia. Starred in ‘“‘The Mad Parade,’’ Liberty, and ‘‘Consolation Husband,’’ RKO-Radio. ‘‘Pagan Lady,’”’ Independent. BRIAN, MARY; unmarried; born in Corsicana, Texas. Write her at Paramount studio. Free lance player. Gwen in ‘‘The Royal Family,’’ feminine lead in ‘‘Gun Smoke,’’ for Paramount. Heroine in ‘‘The Front Page,’’ Caddo-United Artists. BROOK, CLIVE; married to non-professional; born in London, England. Write him at Paramount studio. Contract player. Noel Adam in ‘‘Scandal Sheet,’’ featured roles in ‘‘East Lynne,” Fox, and “‘Tarnished Lady,’’ with Tallulah Bankhead, Para- mount. BROOKS, LOUISE; divorced from Edward Suther- land; born in Wichita, Kans. Write her at First National studio. Free lance player. Florine in “‘God’s Gift to Women,’’ and Gwen in ‘The Public Enemy,’’ both for Warner Bros. BROWN, JOE E.; married to Kathryn Frances Mc- Grau; born in Holgate, Ohio. Write him at First National studio. Contract star. Rollo Smith in ‘‘Going Wild,’’ co-starred in ‘‘Sit Tight,”’ Oreie Simpson in ‘“‘Broadminded,’’ all First Na- tional. BROWN, JOHN MACK; married to Cornelia Foster; born in Dotham, Ala. Write him at M-G-M studio. Contract player. Title role in “‘Billy the Kid,’”’ Berk in ‘‘The Great Meadow,” featured role in ‘‘The Secret Six,’’ Football hero in “Spent Bullets,’’ First National. CAGNEY, JAMES; married to non-professional; born in New York City. Write him at Warner Bros. studio. Contract player. Featured rdles in “Doorway to Hell,’’ ‘‘Other Men’s Women,” “‘The Millionaire’’ and ‘‘The Public Enemy.”’ CANTOR, EDDIE; married to Ida Tobias; born in New York City. Write him at Samuel Goldwyn studio. Contract star. Starred in ‘“‘Whoopee’’ and ‘‘Palmy Days’? for Sam Goldwyn. CAROL, SUE; married to Nick Stuart; born in Chi- cago, Ill. Write her at RKO-Radio studio. Con- tract player. Jean Blair in ‘‘Check and Double Check,’’ Now on vaudeville tour. CARROLL, NANCY; married to James Kirkland; born in New York City. Write her at Paramount studio. Contract star. Peggy Gibson in ‘‘Laugh- ter,”” star in ‘‘Stolen Heaven,’’ “‘Night Angels’’ and ‘‘Personal Maid,’’ all for Paramount. CHANDLER, HELEN; married to Cyril Hume; born in Chicago, Ill. Write her at First National studio. Free lance player. Feminine leads in “Dracula,”’’ Universal; ‘‘Daybreak,’”” M-G-M; “Salvation Nell,’” Cruze-Tiffany; ‘‘Spent Bul- lets,’’ and ‘‘Five Star Final,’’ First National. CHAPLIN, CHARLES; divorced from Lita Gray; born in London, Eng. Write him at Charles Chaplin studio. Producer-star for United Artists. Starred in ‘“‘City Lights.’’ Now vacationing in Europe. CHASE, CHARLIE; married to Bebe Eltinge; born in Baltimore, Md. Write him at Hal Roach studio. Contract star, making two-reel comedies. CHATTERTON, RUTH; married to Ralph Forbes; born in New York City. Write her at Paramount studio. Contract star. Pansy in ‘“‘Anybody’s Woman,” star of ‘‘The Right to Love,’’ ‘‘Un- faithful’’ and ‘‘Tomorrow and Tomorrow,” all for Paramount. CHERRILL, VIRGINIA; divorced from non-profes- sional; born in Chicago, Ill. Write her at Fox studio. Contract player. Blind flower girl in “City Lights,’’ Chaplin. Joan Madison in “Girls Demand Excitement,’” Fox. CHEVALIER, MAURICE; married to Yvonne Vallée: born in Paris, France. Write him at Paramount studio. Contract star. Albert in ‘‘Playboy of Paris.’’ title réle in ‘‘The Smiling Lieutenant,” for Paramount. é CHRISTIE, DOROTHY; married to non-professional; born in New York City. Write her at First Na- tional studio. Free lance player. Mabel in “Red Hot Sinners,’? Warner Bros. Angelica in ‘‘Par- lor,, Bedroom and Bath,’ M-G-M. Mrs. Emory in ‘‘The Finger Points,’’ First National. 5 CHURCHILL, MARGUERITE; unmarried; born in Kansas City, Mo. Write her at Fox studio. Con- tract player. Feminine leads in “‘The Big Trail,” “‘The Spider,’’ ‘‘Mr. Lemon of Orange,’’ “‘Charley Chan Carries On,’’ ‘“‘Over the Hill,” ‘“Skyline,’’ and ‘‘Sugar-Daddies,’’ all for Fox. CLARKE, MAE; unmarried; born in New York City. Write her at United Artists studio. Free lance player. Gangster’s moll in ‘‘Front Page,’’ Cad- do-United Artists. Feminine lead in ‘‘Good Bad Girl,’” Columbia. _ CLAIRE, INA; separated from John Gilbert; born in| Washington, D. C. Contract star. Lead’ in ‘The Royal Family of Broadway,’’ Paramount. Stellar role in ‘‘Rebound,’” RKO-Pathé. CODY, LEW; widower of Mabel Normand; born in Waterville, Maine. Write him at Fox_ studio. Free lance player. Role in ‘‘Dishonored,’”’ Para- mount. Ace Beaudry in ‘‘Not Quite a Gentle- and William Marriott in ‘“‘Three Girls Lost,’” Fox. Philip Lord in “‘Meet the Wife,’’ Christie-Columbia. Male lead in ‘‘The Common Law’’ and Capt. von Lichstein in ‘‘A Woman of Experience.’’ COLBERT, CLAUDETTE; married to Norman Fos- ter; born in Paris, France. Write her at Para- mount studio. Contract star. Star of ‘Honor Among Lovers,’’ and feminine lead in ‘‘The Smil- ing Lieutenant’’ and ‘‘Secrets of a Secretary’’ and star of ‘‘Street of Women,” all for Para- mount. COLLIER, WILLIAM, JR.; unmarried; born in New York City. Write him at M-G-M_ studio. Free lance player. Tony in ‘“‘Little Caesar,” Johnny Beasley in ‘‘Reducing,” First National. M-G-M. COLLYER, JUNE; unmarried; born in New York City. Write her at Paramount studio. Contract player. Betty Thatcher in ‘‘Beyond Victory,” RKO-Pathé. Co-starred in ‘‘Drums of Jeopardy.’’ Tiffany. Feminine lead in ‘‘Manhattan Muske- teers,’’ role in ‘‘Dude Ranch,’’ Paramount. Fea- ee role in ‘‘Alexander Hamilton,’’ Warner ros. COLMAN, RONALD; separated from Thelma Ray; born in Surrey, Eng. Write him at Samuel Goldwyn studio. Contract star. Stellar ro’es in ‘Raffles’ and ‘‘The Devil to Pay,’’ “‘The Un- holy Garden,’’ and ‘‘Arrowsmith,”’ all for Gold- wyn-United Artists. COMPSON, BETTY; divorced from James Cruze; born in Beaver, Utah. Write her at RKO-Radio studio. Free lance player. Mahyna in ‘She Got What She Wanted,’’ Cruze-Tiffany. Vamp in “The Virtuous Husband,’’ Universal. Star of “‘Helga,’” RKO-Radio Now appearing on Pacific Coast stage. COOGAN, JACKIE; boy actor; born in Los Angeles, Calif. Write him at Paramount studio. Free lance player. Title rdéle in ‘‘Tom Sawyer;’’ fea- tured role in ‘‘Huckleberry Finn,” both for Paramount. COOGAN, ROBERT; boy actor; California. Write him at Paramount studio. Featured player. Featured rdle in ‘‘Skippy.”’ Title role in ‘‘Sooky,’’ now in production. COOPER, GARY; unmarried; born in Helena, Mont. Write him at Paramount studio. Contract star. Tom Brown in ‘‘Morocco.’”’ Clint Belmet in “Fighting Caravans.’’ Starred in “‘City Streets’’ and “I Take This Woman,” all for Paramount. CORTEZ, RICARDO; widower of Alma _ Rubens; born in New York City. Write him at RKO-Radio studio. Contract player. Featured roles in ‘“‘Illi- cit,” ‘‘The Maltese Falcon,’’ Warner Bros. and “Big Business Girl.’’ First National star of “Dance, Gigolo, Dance,’’ ,RKO-Radio. COSTELLO, DOLORES; married to John Barrymore; born in Pittsburgh, Pa. Write her at First Na- tional studio. Contract star. Starred in *‘Ex- pensive Women,’’ First National. CRAWFORD, JOAN; married to Douglas Fairbanks, Jr. Born in San Antonio, Texas. Write her at M-G-M studio. Contract star. Mary Turner in “‘Paid,’’ star of ‘“‘Dance, Fools, Dance,’’ ‘‘Torch Song”’ and “‘Girls Together,’’ all for M-G-M. DAMITA, LILY; unmarried; born in Paris, France. Write her at Sam Goldwyn studio. Contract player. Title réle in ‘‘The Woman Between,”’ RKO-Radio. DANE, KARL; divorced from non-professional; born in Copenhagen, Denmark. Write him at Darmour studio. Contract player. Olsen in “The Big House,’’ M-G-M._ Now making series of come- dies for Damour-Radio. DANIELS, BEBE; married to Ben Lyon; born in Dallas, Texas. Write her at Warner Bros. stu- dio. Contract star. Joyce Benton in “‘Reaching for the Moon,” United Artists. Star of ‘““My Past,’’ Warner Bros. Miss Wonderly in “‘A Woman of the World,’’ Warner Bros. Leading ie = “The Honor of the Family,” First Na- ional. DAVIES, MARION; unmarried; born in Brooklyn, N. Y. Write her at M-G-M_ studio. Contract star. Stellar roles in ‘‘The Bachelor Father.’’ “ee Wise Child,’ and “‘Five and Ten,’’ all for DAVIS, BETTE; unmarried; born in_ Boston, Mass. Write her at Universal studio. Contract player. Featured role in ‘‘Seed,’’ Universal. DEE, FRANCES; unmarried; born in New York City. Write her at Paramount studio. Contract plaver. Elinor Farrington in ‘‘Along Came Youth,’”’ Yvonne in ‘‘Playboy of Paris,’’ feminine leads in “June Moon’”’ and ‘‘Confessions of a Co-ed’’ and featured role in ‘‘Caught,” all Paramount. DELL, CLAUDIA; unmarried; born in San Antonio, Texas. Write her at RKO-Radio studio. Free lance player. Romantic lead in ‘“‘Fifty Million Frenchmen,’’ for Warner Bros. Role in ‘‘High River,’’ RKO-Radio. DEL RIO, DOLORES; married to Cedric Gibbons; born in Mexico City, Mexico. Write her at RKO-Radio_ studio. Free lance player. Title roles in ‘“‘Ramona’’ and ‘‘Evangeline,’’ United Artists. ‘‘Rose of the Rancho,’’ Paramount, “‘The Dove”’ and “‘Bird of Paradise,’’” RKO-Radio. DELROY, IRENE; unmarried, born in Bloomington, born in Glendale, Illinois. Write her at Warner Bros. studio. Contract player. Featured roles in ‘“‘Life of the Party,”’ ‘‘Divorce Among Friends’’ and “Men of the Sky,’’ Warners. DENNY, REGINALD; married to Bubbles Steifel; born in London, Eng. Write him at M-G-M. studio. Contract player. Barney in ‘“‘Stolen Thunder,’’ Fox. Paul Brandt in ‘‘A Lady's Morals,’”’ M-G-M. Victor Randall in ‘‘Kiki,’’ United Artists. Featured réle in ‘‘Parlor. Bed-
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room and Bath,’ M-G-M. Tom in ‘“‘Stepping Out,’’ M-G-M. DIETRICH, MARLENE; married to non-professional; 5 born in Berlin, Germany. Write her at Para- mount studio. Contract star. Feminine lead in “The Blue Angel.’’ Amy Jolly in ‘‘Morocco.’’ Stellar role in ‘‘Dishonored,’’? and ‘‘Indiscretion,’’ all for Paramount. 3 DIX, RICHARD; unmarried; born in St. Paul, Minn. Write him at RKO-Radio studio. Contract star. Yancey Cravat in ‘‘Cimarron,’’ title role in “Donovan’s Kid’? and star of ‘‘Marcheta,” all for RKO-Radio. DORSAY, FIFI; unmarried; born in Montreal, Can- ada. Write her at Fox studio. Contract_ player. Dolores in ‘“‘Mr. Lemon of Orange.’’ Featured role in ‘‘Young As You Feel,” ‘“‘Women of All Nations” and star of ‘‘Champagne,’’ all for Fox. DOUGLASS, KENT; unmarried; born in Los Angeles. California. Write him at M-G-M studio. Featured player. Bob Gilder in ‘‘Paid,’’ opposite Joan Crawford. Role in ‘‘Five and Ten.’’ DOVE, BILLIE; divorced from Irvin Willat; born in New York City. Write her at United Artists studio. Contract star, Caddo Productions. Starred in “The Night Watch,” First National. Now starring in ‘‘The Age for Love,’’ United Artists. DRESSER, LOUISE; married to Jack Gardener; born in Evansville, Ind. Write her at Fox studio. Free lance player. Mrs. Jones in “Lightning,” Fox. Mother in ‘‘Caught,’’ Paramount. DRESSLER, MARIE; unmarried; born in Cobourg, Canada. Write her at M-G-M studio. Contract player. Marie in ‘‘Reducing,”’ title role in “Politics,’’ both for M-G-M. DUNN, JOSEPHINE; married to Clyde E. Great- house; born in New York City. Write her at M-G-M studio. Free lance player. Marion in “Madonna of the Streets,’’ Columbia. Feminine lead in ‘‘Air Police,’’ Sono-Art. DUNNE, IRENE; unmarried; born in Chicago, III. Write her at RKO-Radio studio. Contract star. Sabra Cravat in ‘‘Cimarron,’’ RKO-Radio. Femi- nine lead in ‘‘The Great Lover,’’ M-G-M. Starred in ‘‘Should Wives Work?’’ RKO-Radio. DURKIN, JUNIOR; boy actor; born in New York City. Write him at Paramount studio. Contract player. Huckleberry Finn in ‘‘Tom Sawyer,’’ and title role in ‘‘Huckleberry Finn,”’ both for Para- mount. EDWARDS, CLIFF; divorced from non-professional; born in Hannibal, Mo. Write him at M-G-M studio. Contract player. Cosy in ‘‘The Prodi- gal,’” comedy leads in ‘‘Dance, Fools, Dance’’ and “Stepping Out,’’ all for M-G-M. EILERS, SALLY; married to Hoot Gibson; bom in New York City. Write her at Fox studio. Con- tract player. Feminine lead in ‘‘Parlor, Bedroom and Bath,’’ for M-G-M. Featured role in ‘‘Sky- line,” ‘‘Quick Millions,’’ ‘‘Thoroughbreds’’ and “Bad Girl,’’ all for Fox. — ERWIN, STUART; unmarried; born in Squaw Valley, Calif. Write him at Paramount studio. .Contract player. Paul in “Playboy of Paris,’’ Oscar in “Only Saps Work,’’ Ambrose in ‘‘Along Came Youth,’’ Ole Olsen in “‘No Limit,’’ comedy lead in “Dude Ranch’’ and ‘“‘Manhattan Musketeers,” all for Paramount. FAIRBANKS, DOUGLAS, JR.; married to Joan Crawford; born in New York City. Write him at First National studio. Contract star. Douglas Scott in ‘‘The Dawn Patrol,’’ First National. Juvenile lead in ‘Outward Bound,’’ Warner Bros. Joe Mascarra in “Little Caesar,’’ First National. Jack Ingleside in ‘‘Chances,’’ Larry in “I Like Your Nerve,’ First National. FAIRBANKS, DOUGLAS, SR.; married to Mary Pickford; born in Denver, Colo. Write him at United Artists. Contract star. Larry Day in “Reaching for the Moon,’”’ United Artists. Now on world tour. FARRELL, CHARLES; married to Virginia Valli; born in Walpole, Mass. Write him at Fox studio. Contract star. Charlie Peters in ‘‘The Princess and the Plumber,’’ co-starred with Janet Gaynor in “‘The Man Who Came Back,’’ co-star of “(Body aS Soul,’’ and star of ‘The Plutocrat,’’ all for ‘Ox. FAY, FRANK; married to Barbara Stanwyck; born in New York City. Write him at Warner Bros. studio. Contract star. Stellar réles in ‘‘God’s Gift to Women’ and ‘‘Hercules, Esquire,” Warners. FAZENDA, LOUISE; married to Hal Wallis; born in LaFayette, Ind. Write her at First National Studio. Free lance player. Comedy roles in ‘“‘Gun Smoke,’’ Paramount, ‘‘The Mad Parade,’ Liberty. Aunt Polly in _‘‘Broadminded,” First National. Role in ‘‘The Queen of Hollywood,’? Paramount. FOSTER, NORMAN; married to Claudette Colbert; born in Richmond, Indiana. Write him at Para- mount studio. Featured player. Douglas Thayer in “‘No Limit’? and male lead opposite Carole Lombard in “‘It Pays to Advertise.”’ FOX, SIDNEY; unmarried; born in New York City. Write her at Universal studio. Contract player. Bemeine meade a sean and Earth” and x-Ba oy,” niversal. arilyn Sterling i aa “Riding For a Fall,’’ Fox. is bees ANCIS, KAY; married to Kenneth McKenna; bor in Oklahoma City, Okla. Write her at Warner Brothers studio. Contract player. Dulcie in “Passion Flower,’’ M-G-M. Edith Flint in Scandal Sheet.”” Featured role in ‘City Streets,’ and ‘‘Ladies Man,’’ Paramount. Starred in “The Hungry Wife,’’ Warners. GARBO, GRETA; unmarried; born in Stockholm, Sweden. Write her at M-G-M studio. Con. pack star. | lee réles in ‘‘Anna Christie,” mance, “Inspiration’”” and ‘Susan Pav Rise and Fall,’”’ all for M-G-M. apr (NOR, JANET; married to Lydell Peck; born in Philadelphia, Pa. Write her at Fox studio. Contract star. Stellar role in ‘‘Lucky Star,’’ co- starred in ‘“‘The Man Who Came Back,’”’ starred in “Daddy Long-Legs,’’ and ‘“‘Angel Face,’ all a for Fox. ‘GIBSON, HOOT; married to Sally Eilers; born i akomah, Neb. Write him at Tec-Art studio. Centract star. Allied productions. Starred in Beets NW oe yunged Horseman’’ and purs or niversa an cf i a Allied. Clearing ithe H BERT, JOHN; separated from Ina Claire: in Ogden, Utah. Write him at M-G-M stegm Contract star. Stellar réles in ‘‘One Glorious Dente aoe eee Bays For a Sailor,’’ entleman’s Fate’ 4 i-Bebi,” a toe Micon an Cheri-Bebi, all (Continued on page 100) Modern Screen NOW COMES FREEDOM —INSTANT AND AMAZING — From Woman's Most Universal Handicap A Totally NEW Hygiene For Women That Elimi- nates All Chafing, All Discomfort— Besides Being 5 Times More Absorbent—Softer Than Silk Itself Mos may have thought complete free- dom impossible, every day of each month. That is true no longer. Thousands of women now enjoy continuous freedom with perfect comfort and no fear of embarrassment. They employ an utterly NEW and entirely DIFFERENT sanitary meth- od. It is called Veldown, and it differs from ordinary “pads” in these 3 ways: It is from 8 to 5 times more absorbent. And brings you freedom to do what you please, whenever you please, as long as you please, without fear of accident or thought of embarrassment. It has a unique moisture-proof back. 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BETWEEN YOU AND ME This page is for the readers and the editor of MODERN SCREEN-—a page for frank discussion of the talkies and the stars Dear Friends: What is your idea about editors? Come, now—don’t be afraid of hurting my feelings—haven’t you often pictured them as rather cantankerous, mean old things who take a fiendish delight in reject- ing starving (but, oh, so brilliant) authors’ manuscripts and in run- ning a blue pencil through the best paragraphs in those few stories they accept? Well, I’m going to spoil that picture for you right now. I’m an editor who is positively bursting with pride in my contributors. There’s Madame Elinor Glyn, for example—have you seen her very fine novel “Glorious Flame,” which is running in one of the biggest fiction magazines? And did you know that Hagar Wilde, who has been writing those charming little fiction stories for MODERN SCREEN, has just published a brilliant novel called “Break-Up” which Paramount is going to make into a picture? Also, perhaps you would be interested to learn that Miss Wilde has just recently returned from Hollywood, whither she went, under contract to Howard Hughes of ‘“Hell’s Angels” and “The Front Page” fame. There’s Faith Baldwin, too, whose latest novel, “Skyscraper,” has been purchased as picture material by M-G-M. _ The pictur- ization will be called “Skyscraper Souls.” And young Charleson Gray, whose articles appear from time to time in this magazine, recently wrote a very vivid novel about Hollywood called ‘“Spot- light Madness.” And he’s doing another now. Well—I don’t want to be too boastful about my writers. But | am rather proud of them and | thought you’d like to know about some of the activities of the talented people whose articles and stories you find in MODERN SCREEN. She Shiter There seems to be a rallying of Pola Negri fans I admired the big way in which you announced Pola Negri’s return to the screen. Please give us the lat- est news of her in every issue, or at least a photograph, won’t you? L. D. FACKLER, Roanoke, Virginia. Are we glad Pola Negri is back! Foolish question. There’s only one Pola! Won’t you wish her the best of luck for us? Some Porta Neeri Fans, Chicago, Illinois. 10 I had just about given up all hope of ever seeing Pola in a talkie and now that I will it seems too good to be true. . . . Pola should be good— she’s an accomplished linguist and she has the beauty and charm neces- sary for a successful actress. . . HELEN MANNING, Oklahoma City, Oklahoma. Perhaps Pola isn’t as pretty as Anita Page or Dolores Costello, but she has something finer. Her beauty is from the soul of a woman who has known the fullness of life, the tragedy and happiness of the world. Roy B. McALoney, South Easton, Massachusetts. I'll be glad that Pola Negri is back, if only to see how she compares with our new charmers. Her come-back is | a risky thing, but, having seen Pola at her best in the past, I think she'll come through. Mary A. CumMMINGs, Rio Nido, California. A word or two about Mae Murray (See Page 62, this issue) Did Mae Murray make a hit in her latest role—and how! It takes a princess to show the new ones some new tricks. JosepH T. KILvea, Albany, N. Y. Although I have always been an ardent admirer of Mae in the past, I am not reluctant to say I was forced to have a change of heart about her upon viewing her revived “Peacock Alley.” Her efforts to display her charms seemed positively futile; I have always been sorry I saw the pic- ture, for I would have liked to re- member Mae as she was in the old | days when her romantic beauty dom- inated the silent screen. However, you can pass the word on to Mae that her feet and legs are as beau- tiful as ever. Mrs. Mary D. FRENTZEL, Portland, Oregon. Readers speak their minds about stories and departments I... sure did enjoy the article, “Rudolph Valentino as I Knew Him,” by Elinor Glyn. . . . Madame Glyn is my favorite author and she brought Valentino’s personality to life so vividly. Miss ALASKA GUTHRIE, Huntington, West Virginia. I was much disappointed in not finding the “Screen Loves” idea car- ried out in the June issue. I suggest that Ramon Novarro be the victim for this department next month. PHOEBE, Evansville, Indiana. I think mothers should appreciate your telling (in your directory of pictures) what productions are suit- able for children and those that aren't. A Devotep Fan, Newark, Ohio. (Continued on page 98)
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The MODERN SCREEN Directory (PICTURES) Ben Lyon and Gloria Swanson in a scene from Gloria’s latest film, This talkie permits the lovely Swanson to sing and wear stunning clothes and deliver some cute dialogue. “Indiscreet.”” ANNABELLE’S AFFAIRS (Fox)—Reviewed in this issue, BACHELOR APARTMENT (RKO-Radio)—Reviewed in this issue. THE BACHELOR FATHER (M-G-M)—A rollicking story with a great deal of sophistication and Marion Davies in great form as the leading character. Good—but not suitable for children. BAD SISTER (Universal)—Conrad Nagel, Fox, ZaSu_ Pitts and Slim Summerville Booth Tarkington story. Good. BEHIND OFFICE DOORS (RKO-Radio)—It’s the old story about the woiking gal who marries her boss, but it is entertaining. Mary Astor, Robert Ames and Ricardo Cortez are in it. Very good— but children will not care for it much. THE BIG TRAIL (Fox)—Another epic of the old pioneering days with John Wayne, Marguerite Churchill, El Brendel, Tully Marshall and_sevy- eral thousand extra players. Excellent—suitable for children. Sidney in a THE BLUE ANGEL (Paramount)—A well-told, but sordid tale of love in a drab vaudeville troupe. Emil Jannings will surprise you in his first talkie. Marlene Dietrich is excellent as the singer. Very good—but not suitable for chil- dren. BODY AND SOUL (Fox)—Another_ war story with Charles Farrell this time, and Elissa Landi, the new Fox importation, in the leading roles. Charles is not quite as good in this as he has been in other films, but Elissa is excellent. Good. BORN TO LOVE (RKO-Pathé)—It’s the old story about the nurse in the war, the two officers and the baby. Constance Bennett and Joel McCrea nave the leading roles. Good—but not for chil- ren. CAPTAIN THUNDER (Warner)—The famous stage whimsy—known on the boards as “Captain Applejack’’—in talkie form. Fair. CHANCES—(First National)—Reviewed in this issue. CHARLIE CHAN CARRIES ON (Fox)—The famous Chinese detective—created by the well known author, Earl Derr Biggers—continues with his hair-raising exploits. Warner Oland again plays the detective. Very good. CIMARRON (RKO-Radio)—A saga of American life from the land-rush days right up until the pres- ent time. Taken from Edna Ferber’s famous novel, this film is a very faithful reproduction of the book. Richard Dix does remarkably well as Yancey Cravat. Excellent—suitable for chil- dren. CITY LIGHTS (United Artists)—Charlie Chaplin’s CE Excellent—especially suitable for chil- ren. THE COMMON LAW A .WE are continuing our method of classifying pictures which we started some time ago. Those pictures which are particularly suitable for children we are marking accordingly. And those which are unsuitable for children—either because the subject is not desirable or merely not interesting to young ones—we are also indicating. This ought to be an excellent guide for anybody who is interested in finding satisfactory and pleasing entertainment for children. (RKO-Pathé)—Reviewed in this issue. CONNECTICUT YANKEE story of the famous author, Mark Twain, in talkie form with Will Rogers in the title role. Rogers as the modern American who finds him- self running around in historical times will de- light you. Excellent—suitable for children. (Fox)—The famous THE CONQUERING HORDE (Paramount)—Another wild Western with Richard Arlen in the leading BOCES usual. Very good—suitable for chil- ren. CRACKED NUTS (RKO-Radio)—Bert Wheeler, Rob- ert Woolsey and Dorothy Lee in another of their PEONOO comedies which have made them famous. ood. DADDY LONG-LEGS (Fox)—Reviewed in this issue. DANCE, FOOLS, DANCE (M-G-M)—A girl whose father loses his money becomes a reporter and is put on the trail of a gangster_murderer. What she discovers is a surprise. Joan Crawford is the girl. Clark Gable, a newcomer, plays the pane ster. Watch this chap—he’ll be a star soon. ood. DANGER LIGHTS (RKO-Radio)—The Wolheim, Jean Arthur late Louis and Robert Armstrong in a drama of the railroad. The love element is pretty weak but the railroad sequences are great. Good—suitable for children. THE DEVIL TO PAY (United Artists)—A fluffy little story with Ronald Colman, Loretta Young and a competent cast. Ronnie is a ne’er-do-well whom everybody finds very charming. Excellent. DIRIGIBLE (Columbia)—A story of _ airplanes, dirigibles and the South Pole with Jack Holt, Fay Wray and Hobart Bosworth. scenes but gruesome toward Very good. Ralph Graves, a Some thrilling air the end of the picture. DISHONORED (Paramount)—Marlene Dietrich’s act- ing makes this film worth seeing although the story is somewhat weak. The direction, how- ever, is interesting in its treatment jot the mod- ern method. Good—but children won't like it. DIVORCE AMONG FRIENDS those married life comedies. James Hall, Lew Cody, Natalie Moorhead and Irene Delroy do the emoting. Fair—children won’t like it. DON’T BET ON WOMEN woman-hater, a young married couple who are his best friends, and a wager constitute this story. Jeanette MacDonald, Edmund Lowe and Roland Young. Good. DRACULA (Universal)—A story of the souls who are dead yet not dead—‘‘undead’’ they are called. They prey upon the living. A creepy and chill- (Continued on page 116) 11 (Warner)—Another of
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Bi oo ad ae ADV | Gag During summer days, your hair needs extra care. Winsome Mary Brian shows you in the four pictures at the left how to make those fascinating little flat curls over the ears. First, moisten the hair with perfume or waveset lotion. Then wrap the thin strands around your fingers and fasten them with hairpins. Spray with brilliantine, if you like. In the bottom picture, you see the results. By MARY BIDDLE HEN I saw Clarine at a house party in Connecti- cut in April she looked lovelier than I had ever seen her—and Clarine is quite the most beautiful girl I have ever known. ‘Tall, cool and slim. A halo of taffy-colored hair that clung to her neck in an entrancing bob at the Saturday night dance and which was neatly coiffed in tiny flat rolls on Sunday afternoon when we were playing tennis. Her skin was peaches and cream. Every now and then some man could be heard say- ing, “Who is that girl with the grand hatr—the one in the green dress?” When I saw Clarine at Nantucket last week-end, she looked—a sight! Oh, she was still tall and slim and her eyes were just as lovely as they had ever been. But she didn’t look cool—she looked as if she had been put out in the sun to bake! And her hair—! I nearly wept when I saw it. It had turned straw-color, as taffy-blond hair will if it is not treated considerately in the summer time. “Vou look terrible, Clarine,” I said, with the candor of an old school friend. “What in the name of all that’s holy have you done to your hair?” Yes, I was vehement. Here’s splendid advice “My hair? Why, nothing!” an- swered Clarine. And that was precisely it. She had done nothing about her hair dur- ing those summer days and weeks in which she had sat in the sun on beaches and swung rackets on tennis courts and gone tearing over the country in somebody’s good-looking roadster. So, when she sa:d that she simply had to come to New York for a few days to buy a couple of things, I asked her to make my apartment her headquarters—and I determined that her topknot was going to receive some kind and ten- der treatment. The summer is the hardest season of all for the hair. A shampoo and thorough drying after every swim is hardly possible, yet continued dampness does injure the hair. Sun scorches it, and dries out all the natural oils. Let alone the fact that sea breezes ruin your best finger- wave and make neatness a problem for Einstein to wrestle with. How- ever, there are various ways and means of keeping one’s hair in good condition during the summer—ways and means that will retain all the natural color and gloss and beauty of the hair. There are even ways of getting around the problem of neatness. Therefore, when Clarine came to New York, I began by giving her an oil shampoo. A lot of people think that ol shampoos are exclu- sive to beauty parlors. Not at all— any girl can give herself one. I have recently been using a well- known prepared oil treatment which I have mentioned before and which I find very good. It is very easy to use and has a rather pleasant odor and it is a sure cure for dandruff and dry scalp. I usually heat a couple of tablespoonfuls, pour it in- to an egg-cup and then, in my old- est smock, proceed to massage my scalp firmly with fingertips dipped into the warm oil. Then I wrap a hot towel (Continued on page 96) Se
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“Thin sandwiches are only an ag- gravation to a healthy, hungry man,” says Richard Dix. “They irritate me unspeakably.” In this article Mr. Dix tells what sand- wiches he prefers—and just why. Sandwiches are an important item onthe summer menu. Fol- low Mr. Dix’s taste and earn some real compliments from your men folk THE MODERN HOSTESS MAGINE trying to get through a summer without benefit of sandwiches! But once upon a time there were no sandwiches in the world! Simply because no one had thought of inventing them! Then one day the Earl of Sandwich, having a good run of luck at the gaming table and being unwilling to leave it even for the sake of nourishment, instructed a servant to encase a chunk of meat between two pieces of bread. This be- ing done, the Earl continued his game. Well, the idea caught on; sandwiches, named after their inventor, of course, came to be quite the rage. And they certainly have retained their popularity, though we doubt very strongly if the good Earl would recognize, in some of the delicate slivers of bread and some of the fillings which are served to-day, the lineal descendants of his own husky innovation. Nor do we think he would ap- prove of these emaciated descendants any more than do most men who are confronted with them. It has always been one of our favorite theories that men like sandwiches which are filling as well as filled—and as sandwiches assume such an important role in our national diet dur- ing the summer, we decided it was high time to find out for sure about them. Since seeing Richard Dix as Yancey Cravat, the very masculine hero of Edna Ferber’s “Cimarron,” we have A HOME SERVICE DEPARTMENT ; MODERN SCREEN Magazine ' 100 Fifth Avenue, New York, N. Y. I Kindly send me the recipes for August for | which | enclose 4c in stamps to cover cost! of mailing. F ' Nainto mainstream ee Fo ta \ \ TA Meh: fg te oo or ERE Rare re 1 felt that Mr. Dix would be an ideal person to epitomize the masculine viewpoint on any subject; so we hastened to find out from him how men really do like their sandwiches. “T agree with you perfectly,’ said Mr. Dix. “Thin sandwiches are only an aggravation to a healthy, hungry man. They irritate me unspeakably and if possible I protect myself against them and get a good thick sub- stantial variety. Among my favorite sandwiches are chicken, club and bacon, and I think that these are best when toasted, though in the case of chicken sandwiches, toasting is not so essential. As I am very fond of leafy vegetables I think lettuce is practically half the sandwich and should be tncluded whenever possible. “The bread for sandwiches,” Richard Dix continued, “should always be buttered (I am very fond of butter, particularly the good, fresh, unsalted kind). I think niayonnaise or other salad dressing or condiments should be used sparingly in sandwiches, just enough being added to emphasize the natural flavors of the fillings.” OW you know that men are much alike and you will do well to be guided by the counsel of Mr. Dix in preparing sandwiches for your men folks. We have the recipes for four of Mr. Dix’s favorite sandwiches— an open bacon, a chicken supreme, a tuna club, and a three-decker sandwich—all of them practically meals in themselves. Fill out the coupon on this page and they will be sent to you on separate cards, ready to be added to your collection of Modern Hostess recipes. We feel sure they will be popular with the men, and are so delicious that the women will eat them too, even at the risk of losing their figures. In making up sandwiches of any type, there are a few general rules to follow. The bread should be cut in slices of uniform thickness. If the crusts are to come off, they should be removed (Continued on page 94) 13
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ODERN SCREEN IT IS SAID THAT CHEVALIER’S HEALTH MAY SERIOUSLY HINDER—OR EVEN HALT—HIS CAREER 14 - Maurice must keep his réle of idol of the American screen. — WHY IS MAURICE GOING HOME? According to some very insistent rumors, Maurice Cheva- lier may not make another picture for a long time! In fact, the rumors have it, he may not make another picture at all! Everybody has been expecting that Chevalier would begin his new picture called, “Life Is Beautiful.” The schedule had him down to start immediately. _Now comes the announce- ment that he will sail for France for an indefinite stay—at least, until September. MODERN SCREEN has learned that Chevalier and his wife will sail July 1! on the Paris. Why this sudden decision to take a vacation when schedules demand his presence at the studio? It must be important, for Paramount officials to let him go. According to Maurice him- self, he is making the trip for a visit to his tailor. But rumor has it decidedly otherwise. Rumor—and rumor with strong foundation—has it that Maurice is suffering from some sort of throat trouble which is affecting his voice and which not only will prevent his singing temporarily but may permanently impair his voice. Furthermore, there have been many current reports around the studio that Chevalier’s condition has been causing him great concern and it is understood that he insisted upon this leave. His post-war illness left him in such a weakened physical state that the doctors have forbidden strenuous exercise and have warned him that overwork should not only be avoided but that, if indulged in, might be positively dangerous. Efforts to verify these rumors have met with denials or silence from both the Paramount Studio executives and Chevalier’s personal manager. But—rumors go right on, | regardless. Maurice says that after buying the needed clothes at his particular tailor in Bond Street, he will go, with Mrs. Chevalier, to their villa in Cannes where he will enjoy a long rest. Paramount may send over a cameraman who will commence filming parts of the picture which Chevalier was to have started | here. In it he is scheduled to play the part of a hobo. | Chevalier is under contract to Paramount for two more pic- tures. His salary for his services in these pictures is said to be enormous. If these rumors are true—and everyone earnestly hopes they are not—we pray that Maurice Chevalier will soon recover from this illness which has settled like a blight upon his life.
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FILM GOSSIP OF THE MONTH F course, everyone who could crowd into the M-G-M studio the day that Prince Takamatsu was there wanted to get a good glimpse of the royal son of the Japanese people. But the huge mob weren't accorded the same opportunity of seeing the Prince as they were of seeing President Coolidge when he visited the same studio. You see, almost all of the inside studio buildings are equipped with iron balconies . . . and it was here that the crowd gathered the day the former president arrived tor luncheon. But it seems that it is against the Japanese Royal ethics for anyone to view the Prince from above . so the studio had all the balconies policed by armed guards to keep them on a level with the blooded visitor. Tle Prince was accorded quite an honor at lunch when he found that the studio had hired a corps of his country- men to prepare a Japanese mid-day meal. By the way, this was the only “home-cooked” food he received on his whole tour of the United When any girl of Clara’s age is spunky enough to stand up and take the gaff from a scandal sheet—right on the chin—without a whimper for weeks, just so the authori- ues will have an opportunity of getting sufficient evidence to convict the blackmailer who is trying to ruin her repu- tation, we say that she isn’t quite the type that gives in to suicide when the whole affair is over. Why break down now when the man who was trying to get money out of her by means of extortion is behind the bars! Still . . . the story goes on to say that Clara may be seen walking about the grounds of the sanitarium with a heavy muffler around her neck! Harrison Carroll says he has found out why Marlene Dietrich’s little girl looks so much like her. Marlene has all her gowns copied in exact duplicates for the tiny young lady! OW that the secret States. All the big is out, we won't studios haye research be breaking a confidence departments for just LATE NEWS ITEMS lite wemstelli syoul ae ebe such occasions in pic- : ; Daniels is, as Will Hays’ tures .. . so it must have h Covel ee Bi) Powell i Kerielly elles: clean-up squad would been the real McCoy! Mater Cunt (Stunt tant Se lnedncie put it, “expecting a ; Bebe Daniels’ baby will be born in September. blessed event.” We'll Bob Montgomery 1s : ; : confess that we knew saving a little out of his Ramon Novarro is reported to be greatly interested in Madge about it four months weekly allowance so that Evans, his leading lady. he may take a trip to He has written the story for his next picture, “The Truthful Liar.” He will adapt it while on a four- ago—but Bebe and Ben asked us to keep it quiet Europe in the fall. months’ trip abroad and direct it when he returns to Hollywood. —and we couldn't give Quaint? them away. Jackie Cooper, famous for his Skippy characterization, has The stork is antici- EAVE it to Charlie signed a contract with M-G-M at $1500.00 a week. His first pated at the Daniels- MacArthur and picture under the new contract will probably be “Oliver Twist.” Lyon home about the Ben Hecht (co-authors Of hie cont) Page”) to think up the original costume for a_ fancy dress ball. They came with sheets over their bodies and ropes around theteeaneckse On” the sheets were printed the names of two very fam- ous convicted murder- ers in California: Hick- man and Northcott. Some of the guests were really scared at the picture these two pre- sented .. . red make-up on the neck, and what not. Some fun? Clara Bow. will not take up his option. HAT’S this story we just heard about Clara Bow? Can it be really true that the reason she is in the sanitarium is because she attempted to commit suicide? Hard to believe about our red-head, isn’t it? But just the same, it is an underground story that has a lot of backing! It seems that a certain newspaper woman from the East is supposed to have got the in- formation from an interne at the hospital where Clara is now staying. Of course, we realize that an attaché of the Sanitarium would be in a position to have the real low-down on the facts, but it all seems a bit incredible. Daisy De Voe is suing the publisher of the scandal sheet who used her name as the person who had furnished sworn material to back up the. blackmail plot for $100,000.00. The De Voe girl is also. said to be planning a goodwill tour in defense of Johnny Mack Brown is now making “Rio Grande,’’ for which he was loaned to Universal by M-G-M. Although he may do a serial for Universal, too, it is rumored that M-G-M Mae Clarke (see page 86) has signed a long-term Universal contract. She will replace Rose Hobart in “Waterloo Bridge.” Nancy Carroll has filed suit—at Nogales, Mexico—for divorce from her husband, Jack Kirkland. first. of September ! We're sorry we couldn’t tell you sooner—but a promise is a promise— even in Hollywood! OW it’s the Robert Armstrongs who have come to the parting of the ways. We were all so sure that Bob and Ethel were happy that we allowed Ethel to be gone from town a whole week before even think- ing of checking up on her! But there is one per- x son in town who has known it all the time (we promised we wouldn't tell who). From her we learned that Ethel Armstrong (once an actress under the name of Jeanne Kent) has been in Reno for a week. She inay still be there. But thus far the papers haven’t even got wise to what is actually going on. We’re sorry it had to be Ethel and Bob. Is this a romance between John Gilbert and Joan Ben- nett? Theyre going places together—and having a lot of fun doing it! But then, as we've often said before— one never can tell about these things. You simply must know your Hollywood if you are a real fan 15 OS pe ee ey gr ee 8) ee See)
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Acme Robert Montgomery recently took a health-giving vacation at his friend Reginald Denny’s ranch up in the beautiful Sierras. of Lawrence PEAKING of romances, none other than Marie Dressler and Wallie Beery were having lunch téte-d- tete the other day. And if we can believe our eyes— Min and Bill were making goo-goo eyes at each other. And they’re old enough to know better, too! ! All of Hollywood is bringing its golf troubles to Bobby Jones. The champion is out here making short features, and incidentally, refuses to use any make-up before the camera. One actor was complaining to Bobby about his slicing. “Do you slice with all your clubs?” helpfully asked the champion. “All but the putter!’ retorted the other. FE hate to tell you, but it looks as if the Betty Compson-Hugh Trevor romance has gone on the rocks! The break-up between these two followed a spat which was the result of Hugh’s “stepping out”—and Miss Compson isn’t backward about telling people the whyfore of it all. And although Betty is being quite attentive to an old name, Grant Withers, a good friend of hers told us that her real romance is with a local business man—who has lots and lots of money. Now Hugh is going about with the same blond lady that Grant squired around just after he returned from New York recently! OSEF VON STERNBERG has gone in for portrait painting. And his first ‘masterpiece’ has the place of honor in Marlene Dietrich’s gorgeous dressing room— which Josef himself paid to have decorated. This painting of Marlene, which hangs so conspicu- ously in her dressing room, looked more like a group of vivid flowers under which somebody had put a lighted firecracker than a portrait of the beautiful Dietrich! But we guess it depends on the way that you look at it. LTHOUGH a grand passion between Connie and the Marquis is a thing of yesterday and each of them is finding enjoyment in the company of others—here’s some news that may surprise you. When Connie finishes Freeman Gosden and Charles Cor- rell (Amos ’n’ Andy) at the camp Richey, Hoover’s secretary. International Jack Mulhall and Mrs. Jack Mul- hall sailed recently on the S. S. Paris for one of those popular European vacations. President her next picture for Warners, she’s scheduled for a nice, long vacation in Europe. And the Marquis is planning a European jaunt at about the same time. Then, too, Carole Lombard and Bill “Junior” Powell are planning a trip abroad in the early fall. That sounds iike wedding bells to us! AYBE you didn’t know it—but almest all the stars in Hollywood have a morality clause in their con- tract. It’s the usual thing, just like cream in the coffee. Nevertheless, the blond Connie Bennett is one of the very few who refused the morality addition to her agree- ment . . . and got away with it! Connie says that she has a mind of her own—and she doesn’t want anyone else using it! OLA NEGRI has been very mysterious about a cer- tain big business man whom she plans to marry. But you simply can’t keep secrets in Hollywood. Now it’s out that the big business man is none other than Andrew Mellon, secretary of the treasury! I say! Everybody on the M-G-M lot is anxiously awaiting the first post card from the Thalbergs—tIrving and Norma Shearer. These two, with their young son, are enjoying a real rest in Germany—as Norma puts itt— “Taking rest with a vengeance.” ITTLE SYDNEY FOX is fast becoming one of 4 Hollywood’s most successful heartbreakers. One day she’s practically engaged to Junior Laemmle. The next, Sydney’s having lunch at the Embassy with John Considine (who is supposed to have broken with Joan Bennett so that he could become re-engaged to Carmen Pantages). Sounds like a Chinese puzzle, doesn’t it? The following noon, we were flabbergasted to see her chatting gaily over a luncheon table with Gene Markey. Gene is the boy who convinced Gloria Swanson to say “yes.” And that’s some record for such a tiny brunette. Pretty Fox-y, what? Isn’t that wonderful news about our old favorite, Bebe Daniels? 16
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International Princess Takamatsu, Mr. and Mrs. Mayer, Polly Moran, Marie Dressler and Prince Takamatsu, at the M-G-M studios recently. The Japanese royal couple were givenaluncheon of their real native food by M-G-M. EORGE ARLISS, the grand English actor who has so many successful pictures to his credit, is rivaling 'Greta Garbo for the record of being Hollywood’s most consistent hiker. Arliss takes long walks across Cahuenga Pass. The other day a studio employee, not recognizing the star, stopped to offer him a liit. “No thanks,’ Arliss answered, “I’m walking for my own enjoyment—and you're the tenth man who has offered me a ride.” To you who go in for figures, the walk over the Pass is four miles long. ILL BOYD, who is the husband of Dorothy Sebas- tian, is having a hard time of it. It seems as if Wil- liam Boyd (of stage fame and now under contract to Paramount) is always being reported seen here and there in company with a very lovely blonde. And, believe it or not, Dot’s hubby gets hundreds of letters every week reprimanding him for these goings-on. Fans call him down for two-timing such a beautiful wife as Miss Sebastian. The facts of the matter are that Bill and Dot are one of Hollywood’s most happily married couples, and they're getting fed up with these wild tumors. The public can’t seem to realize that there are two Boyds—William, who came to pictures from the stage and who does take a certain beautiful blonde to parties and such—and Bill, who is Dot Sebastian’s de- voted husband! We had dinner the other evening out at the home of Mr. and Mrs. Charlie Farrell—it's Virginia's old home which is just back of Gloria Swanson’s. And believe it or not, Virginia's bedroom is the only room in the house which haswt a profusion of Janet Gaynor pictures! OWN at the amusement pier at the beach we hap- pened on Jobyna Ralston—having a grand time on the shoot-the-shoots—-and looking very collegiate. By the way, who was the gentleman we saw you with last night, Joby? Some friends were trying to coax Oliver Hardy into the roller coaster—but he said he’d need a shoe horn. Acme Gloria Swanson visited the Levia- than to say “bon voyage”’ to Corinne Griffith when Corinne recently sailed for Europe. “With all the gals wearing pajamas on the street,” re- marks Bob Woolsey, “we men will have to wear pink lace night shirts, so that in case we walk in our sleep we won't look sissified!” RE our old pals, Nick and Sue, really going to sepa- rate? Some people have it that the Stuart and Carol marriage isn’t so happy these days. But as for your correspondent, it’s very hard to believe. Certainly there was no sign of any break- up (apologies to Hagar Wilde) the last time we saw them. Sure, it’s news ... well always give you that. LEANOR BOARDMAN and her director husband, King Vidor, have just launched their new fifty-two- cot cruiser, “The Runaway,’ up at Seattle. And they're planning a trip on it in British Columbia waters. As their guest on the jaunt, Eleanor and King invited Paul Lukas. And since Paul was an aviator in Austria during the war, he climbed into his airplane and flew up to Seattle to meet the Vidors. HEY’VE started a federal investigation out in Hollywood to find out if all the movie stars who in- dorse certain well known soaps, really use them! The government is checking up—and if an actress sees some- one pop. out at her as she’ s preparing to scrub the much- photographed neck—it’s probably only a federal agent. Speaking of romances, we'll stake last year’s tin ear- phone that Thelma Todd will wed Abe Lyman. And the Dorothy Jordan-Don Dillway team is still going strong. HERE seems to be no possibility of a reconciliation between Grant Withers and Loretta Young. Lor- etta is living with her mother and sisters. In the meantime Grant is stepping out with Aileen Pringle. How times change in this town is a riot. Withers is right back where he started some years ago. YOU WILL FIND MORE GOSSIP ON PAGES 74 AND 92 Are Wallie and Marie really Min-and-Bill and cooing? 17
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KNOW THEM? Drawn by Carreno The lady above is one of the screen’s most famous _ brunettes. Not so very long ago she married a man in the profession whose initials are K. M. Yes, she’s a Paramount player. We’ve made it too easy. Drawn by O’Brian Get a laugh Pv) ‘ from this month’s group of caricatures Drawn by Carreno The young person above recently be- came a star. She isa widow and has been playing on the screen for quite a while. The two chaps at the left are one of our funniest teams. Any fan should guess who they are.
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a OL OO WHAT ABOUT JOHNNY ? When “Laughing Sin- ners” was seen by studio executives they ordered the film re-made with Clark Gable in place of Johnny Mack Brown. Is Johnny through? By CARTER BRUCE ND so, Johnny Mack Brown has been removed A from the cast of ‘Laughing Sinners.’ The last half of the picture will be re-made with Clark Gable in the role of the Salvation Army boy. . .” The above quotation is from the statement given out by Metro-Goldwyn-Mayer the day after the first preview of the picture which stars Joan Crawford. But it doesn’t tell the story. It doesn’t even hint at the tragedy and the . heartbreak behind it. Those who know the story behind the statement are not at all taken back by the fact that these few words may mean the end of Johnny’s motion picture career. | They all knew it was coming sooner or later. OHNNY MACK BROWN was born.in the small town of Dotham, Alabama. His father, the late J. H. Brown, was a merchant in town and able to make a fair living for his family. Besides Johnny, there were five other boys ; and three sisters. The Browns were a normal, happy southern family—and Johnny was a normal happy boy, like thousands of others in small southern towns. Although there was always a sufficiency of the neces- sities of life in the Brown household, Johnny Mack helped along by doing little odds and ends after school and dur- b ing vacations and in that way earned his spending money. His only ambition at that time was to get enough saved to enable him to go through the University of Alabama. Never once during his boyhood did he have the slightest ambition to be an actor . . . and certainly “being a movie star” was the farthest thing from his mind.” Came the time when he was to go to the University. Al- ready he was in possession of a promised job in a small men’s furnishing store near the school. Then came a new love . . . football. Johnny wanted to be a big football player for two reasons: he thought the game the best he had ever played; and he wanted to help Alabama be the finest football team in the country. The case of Johnny Mack is without doubt the most unique in the annals of football—it gave him the chance for one of the most heralded bits of success that the game has ever known .. . and it gave him the chance for the greatest possible failure he will ever have to sur- mount. Because it was through his brilliant part in the Johnny is the type of chap who prefers a quiet home to the noise and acclamation of fame. But Holly- wood took him and made him a movie star. And, now—is Hollywood going to discard him? Fast vs. West game in Pasadena in 1924 that he met Hollywood. It was only natural that Hollywood should interest itself in this new owner of limelight honors. Johnny was not only a famous football star . . . he was one of the few handsome boys who had ever reached football heights. Hollywood is ever on the lookout for a handsome face in any line of endeavor. They invited Johnny and the rest of the team over to the studios and gave them a wonderful time. He was even approached with a proposition of staying on to work in pictures. But Johnny had a sweet- heart waiting for him down in Alabama—and pictures didn’t interest him at all. E had no desire to stay in Hollywood; he had no ambition to become an actor. When he went back to Alabama, he quit the University so that he could start in business. He had to make enough money so he could marry in the spring. He went into the insurance business; worked hard, just as he always had done in everything he had ever undertaken. In the spring he was married. Doesn’t that sound like the story of a lot of perfectly normal and human boys that you yourself know? That is really the pitiful side of Johnny Mack Brown in Hollywood. He is too normal ... too natural. : But being an insurance salesman didn’t make for much happiness. His friends and even his pretty young bride kept his mind continually on his Alma Mater . . . on football. And so, it was quite natural that Johnny should find himself working at the University as assistant coach of the football team. So we find him headed West again for the Rose Bowl Game on New Year’s Day of 1926. That was the year that southern strategy saved Alabama once more. I don’t know whether Johnny was responsible for the play or not, but during the last five minutes of the game Alabama scored against a much heavier team from Stanford to tre the game. ee time, just as before, Hollywood called for a visit. Johnny had made the acquaintance of George Fawcett, one of our much-beloved old character men, and it was Fawcett who wanted Johnny to (Continued on page 101) 19
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"| have quite a num- ber of girl friends and they all use Jo-cur’ now. There is no shampoo or wave-set like it.""—MISS MARTHA MURPHY, Cincinnati, Ohio. JO-CUR' SHAMPOO, 10c You can shampoo your own hair easily and quickly with Jo-cur’ Shampoo Concen- trate. It lathers luxuriously and removes that film of dust which hides the natural beauty of your hair. Notice too, how easily Jo-cur' lather rinses and how soft, silky, and beautiful your hair is after one shampoo. Jo-cur’ Shampoo Concentrates makes the hair easier to finger-wave—the the waves last longer. Try this modern way of shampoo- ing your own hair. Generous size bottle ; contains enough for several shampoos. "| found it left my hair more beautiful than ever oe ey ‘ before.''"—MISS KATH- IN eR E ae Be RYN WIEDENHAEFT, % Chicago, Ill. S : JO-CUR' HOT OIL TREATMENT, 10c Instantly removes every trace of dandruff and prevents falling hair. Expensive scalp treatments are no longer necessary, for Jo- e ® cur’ Hot Oil treatment is prepared for your — use at home. And it's so easy to use! Just apply it generously to the og as it comes from the bottle, then wrap a hot towel around the head and in a few minutes the xy treatment is finished. The new health and a S T @) R E S vitality of your scalp and the beauty of your hair will delight you. Use Jo-cur' Hot Oil A Treatment before every shampoo. 20
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JO-CUR' WAVESET, 10c The original popular finger waving liquid prepared for you to use at home. With Jo- cur Waveset, you can set those soft, natural looking finger waves you've always wanted —set them quickly and just as easy as comb- _ ing your hair. Jo-cur' waves. will stay in for days—even in damp weather. No matter how straight your hair may be, you can train it to fall into lovely, soft waves with Jo-cur'. Give yourself a Jo-cur' finger wave —you will be surprised how easy it is and how beautiful your hair will look. KRESGE STORES "Jo-cur' Shampoo and Jo-cur' Wave-Set are just grand. The wave- set makes finger-waving so easy. —MISS ALICE Ark. 1, YENDREK, Dardenella, Jo-cur' Shampoo and Jo-cur’ Wave-Set are the sure way of hav- ing beautiful hair." —MISS DOROTHY Z. EGGERDING, _ Indian- apolis, Ind. JO-CUR' BRILLIANTINE, 10c Use Jo-cur’ Brilliantine as a finishing touch to your complete hair beauty treatment. Brush just a little of it lightly over the new waves. Jo-cur’ Brilliantine adds a delightful sheen to the hair and brings out the full beauty of every wave. It is pleasantly per- fumed and gives your hair a lustre that is envied by every woman. Use a little each day and your hair will look as lovely in the Oo evening as it did when dressed in the oe morning. 21
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Noble Lady Hair Nets— are guaranteed to be per- fect! Wear them and know you are looking your best. Twe sizes: For long hair; for the bob. All shades including GREY and WHITE. 10c—3 for 25¢ KressentGypsy Cap— 20c. As becoming as it is useful. Ideal for all active sports. In lovely colors, and two - tone shades. i Kress Silk Not with ~ Kressont Water Wave elastic edge — keeps va. Net with Chin Ribbon the hair firmly in place. Ww —10¢e. Slip it over your 5¢ each @ hair when you water- Ny wave it, and know that it will ‘set’ All colors. VY Kressent Pes Spanish Bandeau — 10c NN Cloisonne Buckle — 10c Sold separately. Gay and 5 charming — for outdoor ts. All colors. A spor \ Genuine Hard Rubber Combs. There is noneed to pay more, when youcan buy these fine combs at 10¢. For men and women—for the pocket, the purse or the dressing table. pi Beg Kressent Water Wave Net with Chin Elastic— 10c. To set your wave or fo train your hair. Wear it, to0, while cold-cream- ing your face. In pastel colors and hair shades. Made in France. THESE PROB UCTS ON mar: KRESS STORES
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joan Halr Nots— in ful! size, or special size for the bob. Guaranteed! At home, at work or at play, they keep you trim and smart—ond they save your Wave! Grey and white, too. 10¢, 3 for 25¢. joan Gypsy Cap — 20c. For Sports and all outdoor activities, there is nothing so becoming and colorful as the Gypsy cap. Get one to match every sports costume! Joan Water Wave Net with Chin Ribbon—10c When you set your 4J jean Silk Nets — water-wave, use one of G; with elastic edge. these nets, just as the nN ~, Strong and durable— hair dresser does. It will & (O, 5¢ each give you perfect results. All colors. jean Spanish Ban- oy deau—10c; Buckle—10c Sata ee sahtt O Hilt | you'll look “just right LP | O A ; whether you're dancing driving. All colors. x Cameo Hard Rubber Combs. A reol value. Cp One out Made of smoothly molded rubber. In four styles, < for pocket or for home use.For men andwomen.10¢. jean Water Wave Bake Net with Chin Elastic O ‘ aS —10c¢. These French < or ss silk nets are ideal to O wear at night, to set your wave, or to pre- serve it. In lovely pas- 2) tel colors and hair A- shades. THESE PRODUG@S OM aaa ee T KRESGE
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P OF ee Photograph py Elmer Fryer 24 Rose Hobart’s childhood was closely associated with music, her mother being an operatic singer and her father a con- cert ‘cellist, so it is natural that Rose should be a brilliant pianist besides an excellent actress. Between scenes on the set she reads biographies and novels to get herself in the mood for her characterization. She has finished “East of Borneo” and her next will probably be “Back Streets.”
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Photograph by Elmer Fryer Ricardo Cortez’ chief relaxation is horseback riding. Frequently Mary Astor accompanies him on these jaunts. For keeping fit he does a daily workout in the RKO gymnasium and for ex- citement goes in for hunting and fishing. He has finished ‘The Next Corner” and is now working on “Folly,” in which Ina Claire will play opposite him. 25
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Photograph by Clarence Sinclair Bull Jean Harlow, the blondest blonde, recently started a Hollywood fad by appearing on the street in bright green pajamas. Her particular pash is French fried potatoes but she admits she has to curb this desire for the great god Diet. ‘Goldie’’ is the name of her most recent- completed picture. Her next effort will be a réle in “The Greeks Had a Name For It.’’
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A chap who is over six feet, usually goes around in old sport clothes and yet plays the piano with superb delicacy. Ralph Graves prefers writing to acting and has an M-G-M contract which allows him to do both. He wrote the story and played the lead in “Below the Surface,” for Columbia. He goes in quite a good deal for both golf and tennis—and loves them. 27
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Photograph by Clarence Sinclair Bull Although almost everyone in Hollywood knows where Greta Garbo lives, the Swedish star hasn’t moved for some time. Perhaps she’s getting used to inquisitive fans peering through the hedges. She takes a long hike every day at sunset and is usually accompanied by a woman companion. She is now at work on “Susan Lenox—Her Fall and Rise,” with Clark Gable playing opposite. 28
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ers pat i (1%. 99, @ This story tells you in fasci- nating detail just how and where the enormous income of Constance Bennett goes Constance does not own a fleet of Rolls- Royces. She only has one car and trades it in for a new one about every two years. She figures that her auto- mobile costs her about $5,000 yearly. HOW CONSTANCE REALLY SPENDS HER MONEY By WALTER RAMSEY REATHES there a girl with soul so dead who never to herself has said: “If I had a movie star’s salary... !” S The very mention of those thousands per week conjures up a veritable strawberry-ice-cream-soda night- mare of shining town cars with uniformed chauffeurs and even footmen; a pink stucco palace in Beverly Hills with a marble swimming pool and tile tennis courts; a yearly trip to Europe in the royal suite of the largest liner ; and as for clothes, well, closets and closets full of them. There’s no doubt but what you and I and the other fellow could have a lot of fun with the average movie star’s salary. It’s fun to think of it, anyway. But even in our wildest imaginings I doubt if we've ever played very seriously with the idea of spending the amount of Constance Bennett’s salary. It is one thing to imagine one’s self spending from two to five thousand a week—but $30,000! Now there is a sum that takes a really first-class imagination to even start day-dreaming about. On top of that, when you stop to figure that the beautiful Constance was a million-dollar heiress before she began her career . . . and besides her amazing ten- week Warner Brothers’ contract which pays her the $30,000 every seven days, she also holds a Pathé contract 29
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If anyone imagines Constance Bennett spends money like the proverbial drunken sailor he has another—in fact, several—guesses coming. (Right) Connie’s gowns seldom cost her more than $350 each, and usually less. Connie points out, in this article, the absurdity of anyone believing that she could spend $250,000 a year on the clothes she wears. said to net her several thousands more weekly . . . it makes you stop and wonder what this twenty-four-year- old girl does with so much money. KNOW you've read the wildest stories of the Bennett extravagance. For instance, that fabulous yarn to the effect that she spends $250,000 yearly on clothes alone. The very mention of that story makes Constance fighting mad! In an earlier issue of MopDERN SCREEN she has already told us how that silly yarn got started. Someone walked up to her in a hotel lobby, you remember, and asked her how much money she spent on her clothes. “Plenty,” was Connie’s answer. Whereupon the ambi- tious and very imaginative reporter decided that $250,000 annually might be considered “plenty’—and quoted Con- nie’s wardrobe expense at that figure. The svelte Bennett spent the next six months fighting down the bad reactions on that story. “How could I possibly spend $250,000 yearly on clothes?” she wailed. “They would have to be diamond-studded to cost that much money.” Because this and similar stories of her extravagance have been so far flung through print it was decided to really thrash out the question of her expenditures. What does she actually spend for her clothes? The upkeep of 30
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her homes? Her servants? Her vacations? What does it actually cost her to keep up the prestige of her stardom? Working on the idea that no one should know those answers better than Constance herself, the questions were put to her one afternoon as she rested in her bungalow on the Pathé lot between scenes of “The Common Law.” “I once swore,” said Con- stance with a little frown, “that I would never mention the subject of money again for the press. The exaggera- ens of my extravagance are aggravating, to say the east.” “But if you settled the matter once and for all,” we interposed hopefully, “if you really told just how you do budget your large income, there might not be any more of those exaggerated stories.” Constance smiled the smile that means so much at the box office. “Of course, that’s one way of looking at it.” she agreed. “But if I do talk about it this time, it will actually be the first time and the last time I shall ever speak of money and how I really spend it!” Here was the psychological moment to bring out the pencil—before Connie had a chance to change her mind. OR one who is accused of so much extravagance,” she began, “it. may surprise you to know that I am EVERY YEAR CONNIE BENNETT SPENDS: $15,000 for the upkeep of her homes. $15,000—not $250,000—for clothes. $10,000 for a vacation in Europe. $6,000 for servants. $5,000 for her automobile. $5,000 for pin money. Miss Bennett figures her California homes, one at Malibu and one at Beverly Hills (below), cost about $15,000 a year. budgeted down to the final cent of my income. Three- quarters of what I earn I never see. Of this sum (three-quar- ters of my total income) I use two-thirds for sound invest- ments in either seasoned stocks or in bonds. The other third is used for careful speculation on the stock market or in other ventures which I feel to be sensible. “That leaves me one-fourth of my total income to be spread over all the expenses I may incur, including the luxuries and the: necessaries of life. I'll not quote a figure of my annual expenditures, but let me tell you that I consider it quite a good deal of money. And let me impress upon you right here that the amount is no more nor less than I would use if I were living in New York and not a part of the motion picture colony! “While in Hollywood, I maintain two homes. One at the beach and one in town. Neither of them are large places. To the contrary ... they are really small as com- pared to the homes of: many others in the profession. The upkeep, food, insurance and incidentals of my two homes require about $15,000 a year. “T have four servants in my employ—a chauffeur, cook, two maids and a secretary. Their total salaries amount to about $500 a month—or $6,000 a year. $21,000 for homes and (Continued on page 108) 31
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THE WITTIEST MAN That’s what this famous author, known for his fine stories, says of Lowell Sher- man—and offers evidence By ACHMED ABDULLAH So, when I write about him or talk about him, ] am at an advantage as well as a disadvantage. Our friendship dates back quite a few years. It dates back to a first night in Baltimore when he was being starred in a comedy of mine which shall be name- less, produced by a Broadway manager who shall also be nameless—unless you want to compromise on the monicker of Alf Stone. The comedy was a flop. Oh—what a flop! Therefore, by all the rules of the theatrical game, it should have been pistols for two and coffee for one. Lowell and I should have been at each other’s throats, gouging, biting, kicking; the star accusing the playwright of being a wretched, incompetent scribbler: and the latter returning the compliment with interest. But Lowell and I missed that particular cue. We did not live up—or down—to the ethics of our profession. For, instead of flying at each other’s throats, we were in each other's arms. Instead of blaming and abusing each other, we combined forces—and vocabulary—and blamed and abused, very unjustly, our producer, Alf Stone. In- stead of crying salty tears, we laughed. OWELL SHERMAN is one of my best friends. UCCESS would have meant a party. We decided that failure deserved a series of parties. And so, during the try-out week, we gave nightly entertainments of which conservative, aristocratic Baltimore speaks to this day with admiration, awe and envy. These parties, which were celebrated with the en- thusiastic support of George Dorsch, star reporter on the Baltimore Sun, and Stanley Logan, that witty Irish actor who is now in charge of productions for the Shuberts, would break up around half past five in the morning— a time of day when the blues are abroad, when a sensitive soul feels morose and a sensitive tongue tastes like the bottom of a parrot’s cage, and when Lowell and I would count our lost chickens: he regretting the fifteen hundred dollars and percentage on the net which, the play being a failure, he would nof receive every Saturday; I ruing my own thousand dollars or so weekly royalty. And who was at fault? Alf Stone. -Who else? Achmed Abduilah says that Lowell Sherman, in speaking of the theater, never mentions his own successes, but speaks of the stage itself, of . acting as an art. He believes in the theater. 32 a
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IN HOLLYWOOD At the left is Achmed Abdullah, the author of this article, and at the right, Lowell Sherman, his friend and comrade of the theater. Among other things, Achmed Abdullah says of Sherman that he is not as famous as he ought to be because he is independent and refuses to go in for cheap, paid publicity. HUS, each and every morning at half past five, we would telephone long distance to New York, to the house of the eminent producer, and get him out of bed, and call him names. And, incidentally, in this calling of names, Lowell plays a very poor second to me. He has a certain gift in that direction, I grant you. But I have the jump on him—and he knows it. After all, I spent Imany, many years in the British army, the old regulars, and a few in the Turkish. I have learned how to deal with recruits—and mules—and Greeks . That Saturday night the play closed up. Over the hills to the storehouse! And, in New York, Lowell and I picked up gossip. We heard Alf Stone’s point of view... Alf Stone, who would buttonhole acquaintances and com- plete strangers on Broadway, at the Friars’, the Lambs’, the Green Room Club, and in the Astor Grill, and com- plain bitterly : “Say, listen baby! I didn’t mind them two boids— Lowell Sherman and that Toik, Achmed Abdullah— tingin’ me up long distance every mornin’—callin’ me foul names—coisin’ me out—givin’ me the woiks. Sure I didn’t mind. But—would yer believe it, baby ?—them two crooks revoised the telephone charges on me!” By RING the following months I saw a good deal of Lowell Sherman. We spent many happy hours to- gether—he and the late Arnold Daly and Jean Wick, my wife, and I. If Lowell did most of the talking, it was not his fault, but ours. We made him talk because we wanted to listen. The man is so witty, so keen, so well informed on many subjects ; and he does know the theater. He is inspired when he is on the subject. Nor is his conversation the selfish, boring bilge of the ham actor; the man who, at the slightest provocation or with no provocation at all, will dust his laurel leaves, gather the tolds of his moth-eaten toga about him, produce his book of age-yellowed clippings, and prate about his glory and his fame. : Lowell Sherman never mentions his own successes— and there have been many in the past and will be many in the future—in connection with his chosen profession. He speaks of the stage itself ; of acting as an art. For he believes—sincerely and wisely—in the theater, its artistic and educational mission. N the course of that winter we discussed other plays; discussed collaboration. We plotted and discarded; plotted and discarded. But nothing came of it. Perhaps, after all, our Baltimore experience had discouraged us a little. And so, presently, Lowell hied himself to Holly- wood to make screen history there, while I returned to the comparative safety of my muttons, the writing of novels, of magazine serials and short stories, of an occa- sional high-brow tome. Then, early last year, I, in my turn, went to Holly- wood to write “The Son of India’ for Ramon Novarro: and, naturally, since old friends (Continued on page 119) 33
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one ageemaa ee AES 9 rece , « a if A } e\ »% \) ie ‘ f a : i ’ 4 ; j ; & : fe a i ; - | | * i ; | H i ® WW j 2 : I # ® * ] { e } . | J eo o ® ri } g 5, Photograph by Otto Dyar. f & Carole Lombard has the honor of having been chosen to play in the talkie version of the famous stage play, “The Greeks Had a Word for It.” Incidentally, the movie title will be, “The Greeks Had a Name for It.” 34
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ALL JOKING ASIDE—By JACK WELCH JN HIS STAGE DEBUT STUBRT ERWIN HAD Five DISTINCT TARTS — See =< — Sa 25 KI RIO RORK OS ISRO SIDNEY FOX Weore A NEWSPAPER COLUMN OF LOVELORN ADVICE WHEN, SHE WAS 15 i AND NEGRO EKic ONCE WORKED AS A LIFE GUARD FOLLY MORAN WON A CSTHING BEAUTY CONTEST = (WHEN SHE WAS 18) 35
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FO YO MET BOB This feature, written by one of America’s foremost authors, will bring this star as close to you as your best friend MONTGOMERY By FAITH BALDWIN EFORE I met Robert Montgomery I was told that he was “‘shy.’”’ I was definitely astonished. What to do? I asked myself anxiously, tearing out a handful of my scanty locks, and consulting my mirror for an answer. My experience with shy young men has been rather limited. And I am at the wrong age to deal with them. I am not young enough to enable them to feel protective and superior, and I am not old enough, thank fortune, to adopt successfully the maternal attitude which would set them at their ease. Therefore, all the way to the hotel at which Mr. Montgomery and I were to lunch, I took counsel with myself. I hastily reviewed my contacts with this young man and that, whom I had en- countered backstage, at football games, over teacups or what have you, in my own home, at dances. “Shy?” I said, loudly, to the consternation of a taxi driver, “there ain’t no such animal!” But I was worried. My preoccupation with this matter fled, never to return, when I looked up at Mr. Mont- gomery from my disadvantage of five foot two, and dis- covered during the first sentences which passed between us that we had mutual friends and that if he were shy he wasn’t, at least, shy of—or with—me. EGARDING him over tomato juice, I discovered first, that he is older than he looks; and younger than his mental processes. Living in a world in which everything is illuminated by a hot, white, and sometimes cruel light, Robert Montgom- ery’s shyness springs, I daresay, from something I would rather call fastidiousness, if the word is not- too old- fashioned for 1931 usage. Perfectly aware of the de- mands and exigencies of his profession, he admits, grace- fully, the necessity of what we term publicity. He is quite cognizant of its value, he knows that at certain times a too obvious reticence defeats itself. And if, on occasion, he resents the Paul Pry attitude of the world in which he lives, he is far too clever to display it openly. But I have a very strong idea that, asked a question he did not like, and could not consider anything but impertinent, he would take refuge in a very charming silence, and if that passes for shyness, let it pass. In an era where The Wisecrack is King and Court Jes- ter, Mr. Montgomery does not wisecrack. He makes an occasional remark which is wise enough, almost too wise, -and not a crack at all. I suspect him of irony, which is 36 a gift in itself. And a rare gift in young men. We talked of a number of things. If our topics did not include cabbages and kings they included at least such allied or differing subjects as Palm Beach, tennis, first nights, parts, poetry, photographers, vitamins, and writ- ers. I asked very few questions because, I confess it without shame, my mind is not geared to the technique of cross examination. During the two hours which I spent with Mr. Montgomery I contented myself by being a sort of feminine Sherlock Holmes in very dark dis- guise, endeavoring to make my own deductions. If I tell you what they were, neither you, nor he, must blame me for I am not psychic, neither am I Solomon in all his wisdom, and I haven’t a trace of Philo Vance, who, from the cigarette which Mr. Montgomery smokes, could doubtless deduce his preference in colors, flowers, soup and sports. OBERT MONTGOMERY has a trace of what, in the days of the “beautiful guards- - men,’ of whom Ouida wrote, would have been called “disdain” or even “languor.” Such terms, applied to masculine heroes of today are obsolete. But he pos- sesses something definitely remote; and gives one the impression that he is not one young man but two, one of whom stands, a little apart, and observes the other, and life as well, with something of the detachment of a spectator. This detachment, this dual quality has sharpened his judgment and permitted him to regard everything, even himself, dispassionately. He is even able to smile at him- self occasionally, which is a rare and quite modern achievement. I think that Robert Montgomery is as modern, not as today, but as tomorrow. His outlook upon life and people is modern, it is keen and concise and clear cut; his obser- vations upon life and people are spiced with a quiet and sardonic flavor; and lest he be accused of malice, [ hasten to add that his observations concerning himself betrayed the same amount of disillusion. It has heen my pleasure to watch him on the screen not once but many times. I have seen him play bad parts exceptionally well; and have seen him get more out of good parts than was in them. _ He is, in my opinion, a very accomplished actor and to a natural talent or gift he adds the necessary, but not at all usual, accompaniment of intelligence. As an actor, especially as a screen actor, he is unusually versatile. I’d readily take issue with any critic who,
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at any time, would speak of him as “miscast.” I do not feel it would be possible to miscast him, except in exter- nals, such as exhibiting him with a limp and a long gray beard. I think, merely, that he may have good parts or bad parts. But bad parts, while they may both annoy and afflict him will not mark him as miscast for he will get all there is to get out of them, and a little bit more. It is going to be rather hard to “type” Robert Montgom- ery, for he is certainly not a one-part actor. I am think- ing at the moment of the contrast between his casual and modern young-man-about-town part in “The Divorcée’” and his more recent part in “Jnspiration,” in which, far from being casual, and about-town, he portrayed the difficult role of a youngster who was, at one and the same time, an ardent lover and a consummate prig. Young men in plays or pictures who depict heroes who judge, and very harshly, beautiful, if weak, women, and who permit themselves to be “sacrificed for their soul’s sake,’ are not popular—and not probable. Such a part in less capable hands would have caused me, for one, a slight nausea and a very definite dislike. But Robert Montgomery, to my way of thinking, invested the young lover of “Inspiration” with charm, a veracity which doesn’t, really, exist, and a certain understanding, so that one came away rather liking this puritanical boy who, as far as the story went, was much more fortunate than he realized. ROM time to time, on stage and screen as well as in novels, the Young-Man-Led- Astray- Who- Wakes- To- Better- Things, usually through the dot- ing fondness of some siren, ap- Among other things, pears to us. Such a part is never Faith Baldwin declares happy, and an actor has to be a that Robert Mont- very good one in order to elicit gomery observes life from his audience any sympathy whatever. No matter how puti- tanical are our roots, something and people, indeed, everything—including in us rebels against the so-called his own doings—with prig. Goodness or innocence, or ‘the detachment of a whatever you may call it, is so spectator. much more difficult to create in any medium than the humanity of human weakness. I do not think that Mr. Montgomery felt either happy or at home in this part. He is far too intelligent, and much too adult. But happy or not, he gave to my mind an excellent per- formance and took the curse off the role in an entirely capable manner. In speaking to me of his future as he saw it, he said that some day he would like to do the things he wanted to do. He added, quickly, “not of course the things I want to do now; but the things I shall want to do then. I am quite aware that they won’t be the same.” That, if you must have a concrete example, is intelli- gence. Most of us still believe that the things we desire now will be the things we will desire in, say, five years. And most of us are wrong. Robert Montgomery knows that. ERE is a young man whom I term modern. I call him modern because, in the first place he is exces- sively alive and alert under a manner which is too con- trolled to be anything but acquired. That is modern, also. I suspect him strongly of being sensitive. Not in the usual sense; but sensitive to opinion, sensitive to life, sen- sitive to his own reactions. He is modern because he is detached and clear-sighted. He is modern because he knows how and why he has arrived where he has; be- cause he knows, definitely, where he is going; because he has no illusions about his knowledge; and because he is not unmindful of the pitfalls in his path, of the volatile fancy of the public and of the (Continued on page 95)
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“When Norman is coming over for the evening,” says Claudette Colbert, Norman’s wife, “it’s quite as exciting as if we were engaged.” (Right) The two of them aboard the freighter on which they spent their vacation. Claudette Colbert—and her amazing plan for happiness in her marriage By ADELE WHITELY FLETCHER LAUDETTE COLBERT and Norman Foster have been married three years. Throughout that time Claudette has lived in a small apart- ment and Norman has stopped at the Lambs’ Club. Not because they don’t love each other enough to live in the conventional way, sharing the same home. Rather because they love each other too much; too much to risk glamor being dulled by monotony; too much to permit Claudette’s good-by kisses to become habit, offered in a perfunctory way, while she telephones the grocer. It would be a girl like Claudette, dark and vital, like a Goya painting, who would fling traditions and conyven- tions to the wind and live as she wanted to live. But let us go back to the beginning for Claudette and Norman, to the time when they met during rehearsals of that successful stage play, “The Barker.” It’s really necessary to do this if we’re going to understand the exciting, modern plan by which they live their lives. 38 MARRIAGE A LA COLBE It was three years ago, perhaps a little more, that “The Barker’’ was ready to go into production and the cast called for a first reading. The company was almost en- tirely assembled on the stage, seated in a semi-circle in the usual variety of decrepit chairs and stools available in an empty theater. Straddling an old ladder chair, his arms resting on the back, was Walter Huston, the star. Squatted on an ottoman that was rapidly oozing its stuffing was Norman Foster, the juvenile. The best seat of the lot, an upholstered and half-way respectable chair, remained empty. It was for Claudette Colbert, the leading lady. HE call had been for two o’clock. It was twenty minutes past two before Claudette arrived, flushed from hurrying and from her embarrassment. She smiled her apology and the directorial frown became less minous, entirely disappeared. She slipped quietly into
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(Right) Although she has made her name as one of the smartest women on the screen, Claudette Colbert has inveigled Paramount executives to give her the rdéle of a caba- ret dancer in ‘“Twen- ty-four Hours.’’ (Below) The young man whom Madame Chauchoin, Claud- ette’s mother, dis- covered had charm. the vacant chair. She threw back her smart coat. She opened her manuscript to the first page and, like a dutiful child, waited for the reading to begin. During the reading, Claudette managed polite glances at the juvenile. She felt it would be better for the love scenes if he were taller than she. But because of the way he squatted on the ottoman it was practically im- possible to tell a thing about him. If Norman Foster was conscious of Claudette’s dark eyes upon him he gave no sign. He appeared to be en- tirely absorbed with his ‘script. He read his lines beautifully. At last the reading was concluded. Everybody stood up and as Norman Foster reached his full height Claudette Colbert breathed a little sigh of relief. He was sufficiently tall to hold her in the circle of his arms and tower above her. Claudette knows the importance of love scenes. Weeks of rehearsals and then the play opened to score an immediate success. The company settled down for a long run. Often after the evening performance one gentleman or another—a banker, perhaps, or a famous novelist, a king of industry or an artist—would stand at the Colbert dressing-room door, his flowers inside, his chauffeured cabriolet outside, waiting to take Claudette to supper. T’S nothing to wonder at that men always have sought her out. She has a smiling mouth and brilliant eyes. She has humor and a Gallic gaiety. However, in spite oi all the charming gentlemen who peopled her life, Claudette insists that not unti! she met Norman did the thought of any man keep her awake at night. Then, suddenly, after “The Barker” had been playing about a month, no matter how hard she danced or how late the reading lamp burned beside her bed, it still would be a long time before she got 39
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to sleep. It was as if she had so much to think about that she couldn’t bear to slip into unconsciousness. Norman Foster hadn’t gone out of his way to be pleasant. On the contrary, he was positively grouchy. But Claudette didn’t let that worry her. She had been about, you see. She had read dozens of books on psy- chology. And she interpreted the gruff way in which Norman Foster treated her to her own glory and satis- faction. Had he been casual she would have been piqued, if not actually alarmed. But he wasn’t casual, he was gruff. In this she found consolation, for it showed her very clearly that he was thinking about her more than he found comfortable. His grouchiness she saw to be defensive. HEN Norman began writing poetry about black hair and laughing eyes, leaving it about where Claudette would be certain to see it. She was entirely satisfied it was her hair and her eyes he meant. No false modesty about Claudette. She’s too modern for that. “Finally,” she told me, “Norman up and asked me to dinner. I knew he was going to. You know, he fumed and hedged and even talked about the war debt and the salt question of India before he came to the point. “Now he insists he would have asked me much sooner except that he felt I was ritzing him. He says I spoke with an English accent and used frightfully broad A’s. He’s probably quite right at that. I’d been playing with an English company previously and I’m one of those awful un- conscious mimics.” Claudette and Norman must have had a wonderful time over that first dinner table. With the orchestra playing the new love songs. With the headwaiter bending solicitously over them, aware of their importance on Broadway, sensing their budding romance. And then the hurry back to the theater because they had lost all track of time. The rush to get into make-up. It’s quite pos- sible they played their love scenes a little differently that night, a little self-consciously. Norman asked Claudette to dine with him again and again. Together they began to discover how wonderful is New York. They found the old Egyptian tomb in the Metropolitan Museum. All lovers do. They discovered the hansom cabs at the Plaza and drove through Central Park in the mad starlight. They searched the most dimly lit cafés and restaurants until they found the most secluded tables. “Ah, this is wisdom—to love, to live... Claudette Colbert. BB) LAUDETTE knew right from the start that the secret happiness that sang inside of her was this thing called love. And she tells of the day when, jubilant, she was satisfied that Norman loved her too. He didn’t tell her so, or even hint at it. He simply suggested that she use a little less mascara and perhaps just a trifle less lipstick. And her dresses maybe just a bit longer. 40 The best things in life come easily to the honor of playing opposite Maurice Chevalier in “The Smiling Lieutenant.” Don’t miss seeing it. “After that,” she told me, “his proposal was anti- climactic. Whenever a man suggests less make-up or longer skirts it’s obvious he’s in love with you. Even | though he may not realize it at the time. : “There’s something about men that makes them want to temper, change, make more conservative if not less attractive, the woman they love. “Of course, I didn’t give in to Norman. I was smarter than that. If he'd been good enough to fall in love with me as I was I wasn’t going to be foolhardy enough to risk any change.” : Theirs was true love. And it didn’t run smooth. Claudette’s mother, Madame Chauchoin, held up her hands in horror at the very thought of Claudette marry- ing an actor. “Cest impossible!’ bonne maman Chauchoin insisted. “Tmpossible! Un acteur pour ma petite fille!” Claudette didn’t know what to do. Her father was dead. She _ hardly could go off and leave her mother to live alone, miser- able over what had come to pass. And she couldn’t give up Norman. She realized she was only half alive now with Norman away from her. Life with- out Norman would be such a dreadful waste, a desper- ate business of marking time. The sound of his voice on the _ telephone brought that divine chok- ing sensation to her throat. The touch of his hand... ah, she made up her mind, once and for all, never would she give up Norman. So one day the two of them ran off somewhere— where is their secret—and under their real names of Chauchoin and Hoefler, they were married. One of them was HE weeks spun around. Never were there such love scenes on any stage as Norman and Claudette enacted—of course that’s not the right word at all—in “The Barker.” And then, gradually, in spite of the deeply rooted prejudices of a whole lifetime. Madame Chauchoin began to change her mind about the dark young man who was always calling for Claudette and bring- ing her home after the theater. He had charm, that young man. And once she had admitted this, even to herself, there was nothing for Madame Chauchoin’s prejudices to do but vanish. For no one places a greater importance on charm than ladies born and bred in Paris. Claudette admits she had counted on this very thing. Inevitably, she felt, in the face of such graciousness and sympathy and humor, her mother’s foolish prejudices must give way. Because of no other man had Claudette ever walked the streets not knowing where she was going or what she was doing. Because of no other man had she ever felt that if the telephone didn’t ring soon she must stop breathing. However, even after Madame Chauchoin had entirely capitulated ‘and Norman and Claudette had told her of their marriage and received her (Continued on page 114)
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As Earl Williams, the fear-crazed, persecuted little Communist in Lewis Milestone’s hit, ‘The Front Page.” OLLYWOOD is filled with stories of those who have struggled upward from obscurity to fame but none of them more vivid, more poig- nant and more dramatic than that of the mild, un- obtrusive little man who has recently given the screen two of its finest and most memorable characterizations: George E. Stone. As Sol Levy, the unforgettable little peddler of “Cimarron,” and as Earl Williams, the wild-eyed, hunted creature of ‘““The Front Page,” he has established himself forever as one of the screen’s finest character actors. Never have two characters been more sympa- thetically and poignantly portrayed. But if George E. Stone is ably capable in such parts, it is because he, ‘too, from earliest childhood, has known suffering and persecution. To understand, we must turn back some twenty years to the snow-swept streets of Lodze, in Russian Poland, and the raw grey twilight of a northern winter day. Among those who struggle homeward from their work is a ragged urchin, not yet six years old. Clutched in his tiny fist are a few coins, equivalent to five cents, a No wonder George E. Stone can por- tray suffering so realistically on the screen—his early life was full of it. Only a man of George E. Stone’s nature could survive the strife and struggle and horror of his early life As Sol Levy, the poor little down- trodden Hebrew of “Cimarron,” Mr. Stone insisted on a faithful portrayal. THIS MAN HAS KNOWN TERROR By J. EUGENE CHRISMAN week’s wages in the silk mills. At home, where they all live in a crowded tenement room, his mother and four sisters wait for him. Pitifully small, that weekly wage, but so ab- ject is their poverty that it means much to them. Suddenly from up the street comes the crack of a pistol shot, then an- other—and another! The hoarse cries of men and the shrill screams of women and children mingle with the thud of galloping hoofs. Above it all rises the wild biood-curdling yell of those demons of the steppes, the Cossacks! A pogrom! The crowds scatter, seeking shelter, for once more those fierce riders who serve the “Little Father,” the Czar, are at their favorite sport of Jew killing. HE child looks back. Standing in their stirrups, sabers swinging, the riders thunder down on him. Behind them the snow is dotted with the slain and wounded. He struggles to reach a sheltering doorway but too late. A giant Cossack spurs his horse, his sword flashes down and the ruffian rides on, leaving behind him another small dark heap (Continued on page 103) 41
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Priscilla’s father just didn’t seem to know what it was all about— but it was really Priscilla who didn't know illustrated by CARL MUELLER By HAGAR WILDE RANK CARMODY was a long, rangy man of fifty-six years. His eyebrows were of the bushy variety, and his mouth curled up at one corner. That corner said perkily, “I’ve lived a good and exciting life.’ The other corner, curling down, said, “But there’s been the other side, too. It hasn’t been too easy. There’s Priscilla, for instance.” Priscilla was his daughter. Carmody’s life had been balanced nicely, what with good luck bouncing on one end of the see-saw and bad luck holding down the other end. When Priscilla was given a contract for pictures, good luck had hopped off her end, and Frank Carmody had hit the ground with bad 42 luck’s foot in his eye. His tap dancing creaked as young as he had been. though, until his just a little. He’d carried on, booking had been cancelled in a small southwestern | town. At that point, he had decided to go and see Priscilla. She was making a mild sensation in Hollywood. He hadn’t heard from her in six months. She’d been very busy, of course. Frank made friends with a traveling salesman on the train who was getting off at Salt Lake City. Frank was | always making friends on trains. He showed the sales- Priscilla had been the fairly | important part of their act, and old Frank wasn’t
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man Priscilla’s picture, and the salesman was properly impressed. “And,” Frank said, “she’s just as sweet as she is pretty. I brought her up after her mother died. We’re pretty close, Pris and I. I’m awfully anxious to see her. Six months is a long time when you've never been separated before.” HE salesman allowed that six months was a long time. Why, when he’d been separated from his wife for three weeks . Frank heard him through with a gentle, vacant smile, and then continued his conversation. Frank was very Priscilla stopped short and stared at the blond bundle that raised itself from the davenport to glare at her... “Business,” Priscilla said, looking hard at Joe. dogged about his conversations, though polite when interrupted. “See,” he said, “she had this offer from Supreme, and I didn’t feel as though I ought to stand in her way, so f told her to go ahead.” “But didn’t she feel bad, pulling out of the act that way? Didn’t it leave you kind of . . . kind of WG 5 gs” “Oh, I wangled things,” Frank said. “I sort of made her think it would be better for me, and all that. You know how it is. Kids should have their chance.” “T’ll bet she'll be glad to see you,” the salesman said, “being the only person she’s got, and all.” 43
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A contented smile played around the up-corner of Frank’s mouth. Priscilla would be glad to see him, all right. He could just see her jumping into his arms, squealing, “Frank!” WO days later, Frank rang the doorbell marked Priscilla Carmody in a swanky Hollywood apart- ment house. After ringing the bell, he struck an attitude and waited. His heart thumped. He felt a little silly about that thumping heart, and tried to look uncon- cerned. Wouldn't do to let Priscilla know how much he’d wanted to see her. A maid answered the ring, and Frank felt a little dashed. He twisted his hat around and around in his hands. “Is Miss Carmody in?” he said. “Ves, sir,’ the maid said. “What name shall I give her?” “Uh ... Carmody,” said Frank. He followed her in and stood in the subdued light of the inner hall, still twisting his hat. “I’m her father,” he said then, and laughed nervously. Wait until Priscilla saw him! That maid would feel pretty sore about the way she'd turned her nose up when she saw Priscilla kissing him. He followed the girl into the living room. Pris- cilla stood across the room, staring at the door. Frank’s arms went half out, and then dropped back to his sides. Priscilla was moving toward him, slowly. She had changed. Maybe it was the dress. No, it was her eyes. It was something, anyway. He laughed nervously again. Funny how that laugh came out in spite of him. “Why, father!” Priscilla said. Frank felt as though he were a balloon with the air suddenly let out. “Hello, Pris,” he said awkwardly. She came up and kissed him lightly on the cheek. “Why didn’t you let me know?” she said. “1... 1 ttought I’d surprise you,’ Frank said. “T’m just going out to a party with Mr. Devon,” she said, gesturing to a tall, dark man standing by the mantel. “Joe, this is my father. Larry .. .” A lanky, fierce-looking young male hoisted himself from a chair and plunged across the room. Frank breathed easier. He knew that lanky, fierce sort better than the Devon breed. Larry Seville gripped his hand and mumbled, “Nice to meet you, sir,” and Devon came over to offer a limp handclasp. They all stood around uneasily. The maid brought Priscilla’s wrap and Joe helped her put it on. She patted Frank’s arm. “Aw- fully. sorry, Frank,” she said, “but we’re late now. You don’t mind, do you?” “No, I don’t mind,” Frank said wistfully. “Think may- be you'll be home early ?” “Oh, dear, I’m afraid not. You see, we promised to FOnOny ene “Well, tomorrow will do as well,’ Frank said, with assumed jauntiness. “Tomorrow evening, perhaps?” she said. “I’ve an appointment at ten, and then I have to go to the studio, andeatter: that eles “Sure, make it tomorrow night,” Frank said. ARRY had gathered up his hat, too, prepared to make a departure. Priscilla paused in the doorway and looked back at Frank. “Oh,” she said, “I almost forgot. Where are you stopping? [ll call you.” Frank twisted his hat again and looked down at his shoes. He hadn’t stopped to get a shine because he’d been so anxious to see her. Now, his shoes felt big and awkward and dirty. “Why, I don’t know,” he said hesitantly. “Where do you think I should?” “Why not the Roosevelt?” “All right,’ Frank said, “T'll be at the Roosevelt.” Priscilla biew him a kiss and floated out on a cloud of 44 chiffon and lace. Larry stood there beside Frank. “Come on,” Larry said, in a fierce undertone, “‘let’s be going. I'll walk over to the Roosevelt with you, sir, if you like.” “That’s mighty nice of you,’ Frank said. Slowly and silently the two rangy figures ambled down the street. Frank said, after a moment, “That looked like a big apartment.” Larry didn’t look at him. “It’s big enough,” he said. “Oh,” Frank said. “I just wondered.” “Look,” said Larry, pausing in the act of kicking a tin can clear to New York, “if you came out here expecting to find Priscilla like she was when she first came, you might as well get over it right now. That guys a Greek, and he’s got the high-sign on her.” “He’s gotthe what ?” “The high-sign. She’s crazy about him.” “Diewio tiae we tani saidi sha. not Greek.” “Did I say it was? | I said he was. People change their names out here, you know.” “Oh;”) Prank ‘said: They walked along silently for a few | minutes more. Frank | said then, “You like | Priscilla a little, don’t | yous cea “T’ve been making | a damned ass of my- | self over her for six | months,” Larry said | savagely, “and if you | want to know, I’m | getting fed up. That | oly, 1S) uheeeeeeae LARRY Sate | “Sis ile savihat es Frank said. | “Never mind. Here’s your hotel.” “What is he?” Frank persisted gently. “Nothing,” said Larry. _ “Oh,” Frank said. He held out his hand. Larry took it. “Hope I'll be seeing you again.” “Hope so, sir. Ill give you a ring. Maybe we can have lunch together or something.” “Fine,” Frank said. He went in and registered. That Devon guy was something. All night long, he wondered what it was. He shrugged, along toward dawn. “It’s ali Greek to me,” he said, and then smiled like a naughty child. “That’s a pun,” he said, “or almost one. It’s all | Greek to me. He's a Greek <1. 7 ARRY called him the following morning and took him out for lunch. Larry was bottled up. He slammed his fork down on the table and said, “Well, Priscilla and I are washed up. I’m through making a fool of myself.” Frank fooled with his fork and said, “What’s the matter?” “Well, see, Priscilla and I were engaged, and then this guy comes along... . he’s a director, and I’m nothing but a cheap camera-man, and he knows how to sling words, and I feel as though it oughtn’t to be necessary, and there you are.” “Where?” Frank said. “Right there,’ said Larry. “I’m through. I’ve been sticking around hoping that she’d see what she’s getting into... come to her senses, (Continued on page 115)
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a es WHE TRUE BITORY OF NORMA SHEARER The real story of this bril- liant actress gives you a vivid picture of her life, personality and character By WALTER RAMSEY ORMA SHEARER should have been born an American. She looks American, she acts American, and the story of her life is as typically Yankee as those up-from-nowhere-go-get-’em articles ‘that fill the pages of America’s success magazines. As a matter of biographical data she is a Canadian, born on August 10, 1903, in the town of Westmount, a suburban garden that lies between two portions of the city of Montreal. Her birthplace at 507 Grosvenor Avenue, a two-story stone dwelling, is much the same as the aver- age family residence in Keokuk or Birmingham. Her family was of a cultured, scholarly background, not well off in a monetary sense of the word, but Mr. and Mrs. Andrew Shearer stood for something solid and respected in the church and social life of the little suburb. ORMAY’S first remembrances are of following in the wake of her mother and father in the Sunday church brigade . . . the three children, Athole, Douglas and little Norma, spick and span in their Sunday-best clothes, patent leather shoes squeaking, nickels for the Sunday school box clutched firmly in moist, childish fists. Norma liked Sunday school, the beautiful colored post- cards that told such gentle, kind stories, and the books that were passed around and opened and sung out of at the top of one’s piping lungs. Norma never wriggled in Sunday school—even then, she had that Shearer poise. After Sunday school there were always the exciting Sunday activities of a big family dinner in the middle of the day, with aunts and uncles and little cousins gathered around the large table in the dining room. “Norma is such a pretty little girl” was not an infrequent remark Amazing, that the Norma Shearer we know, poised and the epitome of smartness and beauty, was once told by Florenz Ziegfeld that she wasn’t the type who photographed well. 45
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made on these occasions. Norma would always reply, “Athole is pretty, too.” For Athole, her sister, was Norma’s idol, her chum and constant companion. When Norma and Athole were old enough to be entered in school, they were so close that they actually seemed to act and speak in unison. If Athole had a red cap and red mittens to wear with her winter coat—Norma wanted nothing but red cap and mittens. If Norma wanted pea- nut butter sandwiches in her lunch box, nothing but pea- nut butter sandwiches would satisfy Athole. They played, studied, cut out paper dolls, read from the same story book, stood up and sat down—together. Once Athole asked Norma, during a lull in the building of a snow man, what she wanted to be when she grew up. “An actress,’ answered Norma who was entranced by the pic- tures of ladies on billboards. “So do I,’ responded Athole, who hadn’t thought of it before. At that time Athole was a dark, sparkling-eyed little girl with brown curls that fell to her shoulders. Norma was a delicately- featured, blond child, immaculately dainty, with an angelic appearance that hardly matched her love of fun and pranks. The games Norma and Athole liked best were skipping rope, “playing in sandpiles, and in winter, skat- ing or exciting snow-ball fights with the boys and girls of the neighborhood. In view of her reputation as a perfectly gowned woman now, it is amusing to recall how much Norma used to hate “new” clothes. Nothing short of bribery would get her into a new dress, hat or coat, and above all things she hated new shoes. N one occasion Mrs. Shearer finally managed to array the young Norma in an entirely new outfit for the purpose of a friendly neighborhood visit. The little girl fairly radiated with what she considered a terrible shiny newness. Thirty minutes later when her mother emerged from the house a very beaming and satisfied Norma was At the tender age of three years. First nights waiting to greet her. She had deliberately rolled around meant little to Norma Shearer in the days when in the sand pile so that she could get the newness off her this was taken. She was chiefly concerned in garments. Except in imagination or make-believe, any display of adoring her sister, Athole. violence or cruelty would turn Norma from a sensitive child into a whirlwind avenger. Once she turned in and personally dealt a bar- | rage of flying fists and kicking feet to a group | on neighborhood boys who were torturing a little squirrel. Athole stood by squealing and yelling as the enraged Norma rolled in the dust, rst on top, and then kicking from be- neath! Even as a child Norma believed that when | direct action was needed, direct action should be taken—even though it necessitated drastic measures. At the age of fourteen Norma had blos- somed into an ethereally beautiful girl and was the belle of her neighborhood. She loved life and laughter and good times and young J. beaux with boxes of candy under their arms. } Norma and Athole were considered too young | to go out with boys at this time, but the young sixteen and seventeen-year-old blades were welcome to drop up to the Shearer home ia | the evenings. Of this group of young ad- mirers, Norma had no particular beau. Athole, on the other hand, was constantly in a state of poetic reverie over some downy As she appeared in “(The Squealers,” the first picture in which youth, and this amused Norma considerably. she received screen credit. It was made by the Robertson-Cole She used to lead Athole into exhibiting some company and was released in the dim days of 1920. of the romantic (Continued on page 111) | 46
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_ This star revolts at last against the idiotic char- | acter he hasbeenforced ‘to play both on and off screen Vy Y j J “i Desi Wy 7: ay YY Yy Ue Uy Yj Uy , é ( Across the top of the page is the well- remembered “Buddy”’ Rogers, now extinct. At the left is Charles Rogers as he appears with Clive Brook in “The Lawyer’s Secret.” BeDY ROGERS IS DEAD -—LONG LIVE CHARLES ROGERS! By CARTER BRUCE DIDN’T want to interview “Buddy” Rogers. Of the two hundred or more stories that I’ve written over the last few years, not one has ever been on the subject of “Buddy.” But I have enjoyed reading about him. Most of the - stories were done by feminine writers who invariably ! developed a “mother complex” after the first paragraph ‘ and gushed at great length. I say I enjoyed reading : about him... the enjoyment came in seeing them picture ‘ him more and more of a namby-pamby at each start. : First: America’s Boy Friend. ' Then: “A cute young man with dark curly hair and Pb such eyes.” Later: “Unspoiled . . - young man.” My first reaction to him came from his marvelous ' performance in “Wings.” He did a swell job. I saw in ' Buddy Rogers a fine example of a young man. Poised, sincere, real and alive. But I’ve never seen that same young man since! I believe I stood in line at the box office at least four . unsophisticated . . . a sweet or five times in the months that followed “Wings” to see another of his pictures that would give me the same reaction that I got from that picture. Then I gave up! All I saw in those last four or five was a silly, over- dressed excuse for the flyer who went to his death in a German plane. Then someone tacked on the handle “Buddy” . . . and that was the last straw. There was something about the name “Buddy’—especially on a grown man—that caused a disturbance in the pit of my stomach. I quit going to see him on the screen. And my dislike for him was not merely a negative dislike—it amounted to an aversion! That’s the reason why—-when the editor asked for a story on “Buddy’—I revolted. I had a strong feeling that if I were to write the truth of what I should “most certainly” find, that I would be sued for defamation of character. Suddenly I thought of “Wings.” And it was easy to recall the marvelous method in which he characterized a real, sincere human being. (Continued on page 105) 47
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(Above) Kay Francis’ present coiffure: wide waves from a center part—soft curls turned up at the neck. (Below) The slick, chic bob she used to wear. Kay likes the new way best. (Left) Joan Crawford shows you her latest bob. It is so distinctive that it will probably be known as “The Crawford Curl.” ‘The article describes how to achieve this charming ringletted hairdress—and cau- tions imitators that it is suitable only for formal or semi-formal occasions. (Right) The water- waved, wind-swept bob Joan has worn up to the present. From the talkie stars you can learn the secret of the most becomingly arranged hair for your type—the first step toward looking your very best E all want to look our best. That is a perfectly obvious statement, of course. But not half of us really succeed in this. Looking our best is, after all, something of an art. It takes perspective. Clever- ness, too. And more time and energy than we are likely to have left over from our school or our work. There is, however, a short cut to this altogether desirable end. And it lies, simply enough, in a study of the screen stars. Looking their best is an important part of the stars’ jobs. In all the world no group of women make a greater study of themselves. They are constantly ex- perimenting with different types of clothes, different make-ups, and dif- ferent coiffures. And in these ex- periments they often are advised by the greatest experts. It is, of course, vitally important that we recognize the star we most resemble—that lovely lady who is, basically, our type. Greta Garbo may appeal most to our imagination and it may be Greta we’d like to look like, but if we have the deli- cate features of Norma Shearer, Garboisms are taboo. We must ex- ercise every care never to become so blinded by what we want to be | that we fail to see what we really | are. N this article I am going to tell | of the chic coiffures that twelve stars of widely different types find most becoming. For there is, after all, nothing of more importance to our appearance than our hair. [ have seen girls with large heads and short necks whose so-called crowning glory turned out to be anything but that when they affected a long bob. Out of the thousands who read this article and wish they were the Greta Garbo type, there will be per- haps a few dozen who really are fundamentally like this golden Vik- ing—girls whose features are clearly cut though not smail and whose heads are set proudly on fairly large frames. Let all such listen carefully! Greta very definitely prefers her hair, golden brown and of a very fine texture, parted on the left side. Not too far down—about over the center of her left eye. The ends, which fall just below the nape of her neck, she usually has curled with an iron in soft, loose curls. However, even when the character
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a ( (Left) the famous, sleek Shearer bob: water-waved and brushed slickly back to show Norma’s lovely hairline, delicate features and perfect ears. The back hair is curled tightly up into the neck. (Right) the slightly careless and thoroughly engag- ing manner which Norma sometimes adopts for evening. A lock of hair is allowed to droop over the left eye. MAKE YOU BEAUTIFUL By ADELE WHITELY FLETCHER Greta is playing makes some other treatment of the lower part of her har necessary, she has the hair around the top of her head brushed _slickly down so that the shape of her head is definitely outlined. And, as a rule, she prefers her hair brushed back so that her ears show. When Greta wears her famous beret, she tucks her hair back under the beret so that the ends form a fringe at the neckline. To give her hair the desirable sheen where she wears it so very ‘sleek and smooth, she brushes it religiously. Marcel waves she particularly ‘dislikes, feeling they are wooden and artificial and likely to detract from any individuality. HERE will, perhaps, be some = readers who are not only the same type as Kay Francis—with nicely shaped ears well placed on their head, with a smooth, well pro- portioned forehead and eyebrows, very slightly arched, that grow fairly close to the eyes—but who, like Kay, are just learning the joys of long hair. Kay’s hair is now almost shoulder length. Kay has dressed her hair any number of ways but best of all she likes it as she wore it in “Ladies’ Man” and in “The Vice Squad.” Remember ? She parted it in the center and waved it off the ears in low, large ridges. Then, in the back, she had it curled upward and combed out. She pinned it back of her ears, al- lowing it to curl and fall as it would. Waved and dressed in this way the hair should come just be- low the ear lobes. And now for those girls with small, delicate features—girls like Norma Shearer. Norma is con- vinced that she looks her best when her bob is disguised in a close-fitting coiffure and drawn away from the face instead of falling at the sides in curtains. As you readily can see, curtains of hair would have a ten- dency to submerge rather than set off the delicacy of small features. Since Norma’s hair has a natural curl, she has it water-waved. The ends she curls up in order to achieve a softening, feminine touch. But the front is brushed severely back- ward and behind the ears in order to reveal the line of her forehead. Unless Norma happens to be playing a gay young thing, in which case she allows one side of her hair to fall carelessly over one eye, she brushes both sides back. Her part is on the left and, like Greta Gar- bo’s, placed approximately over the center of the left eye. HEN there’s Ruth Chatterton. After experimenting with long hair and very short hair and the shoulder length bob, Ruth has come to a happy decision about the ar- rangement of her hair that is most becoming. “Now,” says Ruth, “I dress my hair off the forehead in two large waves. I part it on the side of my head with a slightly slanting part but have the wave put in on a straight rather than on a diagonal line. As I wore it in ‘Unfaithful.’ Gloria Swanson changes her hairdress with each type of costume—but she always insists that the hair have a “sculptured look’ in back. Above and below, two of the favorite—and loveliest—Swanson coiffures.
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The world-famous Garbo bob (left) which so many girls have copied. It’s lovely on the right person, but pretty terrible for those who don’t possess Greta’s For a long time Nancy Carroll (right) has been irying to find a new way to wear her pretty red hair. Her round youth- ful face just seemed to insist upon soft curls, But don’t you like the pompadour effect she has adopted lately? “T intend to keep it short, but not closely clipped. I don’t use any hairpins but permit the hair to fall softly into natural contours.” Joan Crawford, on the other hand, feels that it is by doing your hair in many different ways that you can best remain varied and in- teresting. It’s a good idea if you can find sev- eral arrangements which suit you equally well. Joan has. Leave it to Joan! Off the screen, as a general thing, Joan wears her hair parted fairly near the center and back from her face in a wind-swept (via a water-wave) line ending in a shoulder length bob. In “This Modern Age,” however, she intro- duces what undoubtedly will be known as the “Crawford Curl.’ And listen attentively, for I should not be surprised if this new coiffure became something of a rage. Certainly it is eminently suited to the romantic looking clothes we have taken to wearing evenings. It would be decidedly out of place in a business office, however. To achieve this “Crawford Curl,” Joan parts the front of her hair on the side and brushes it down smoothly with a soft water-wave to break what otherwise might be a too-severe line. Then in the back and at the lower part of the sides the hair is worn in loose ringlet curls which are piled high from the top of her head —where the smoothly brushed water-wave ends—to the neck. However, a word of warning: don’t attempt this halo effect unless you're a Crawford type Or quite positive it suits you. It is the sort of 50 MS clear-cut features splendidly set head. achieve that gloss, Greta brushes her hair religiously, thing that could be very dreadful. Joan’s hair 1s very fine and of a silky tex- ture. She gives it twenty strokes twice a day so it always will have a lovely sheen. And when her hair is dressed she sprinkles brilliantine over it—very, very lightly—with an atomizer. LAUDETTE COLBERT favors the long bob, preferring her hair as she wore it in “Honor Among Lovers.” She has it waved in about a two-inch curl and the ends rolled up with the finger. Claudette says she has her hair thinned fre- quently because it has a tendency to become thick. And to the Colbert mind there is noth- ing worse than hair that disguises the shape of the head and causes it to seem half again its actual size. There’s no doubt about it, it is only those who seek to make the most of what they are and do not waste time or energy futily attempt- ing to change themselves into something else who achieve their greatest charm, personality, or beauty. \ Dolores Del Rio is an excellent example of what I mean. She remains faithful to the simple coiffure which she is convinced most enhances her particular type. “For generations,’ Dolores explained, “women from the southern countries have worn their hair as I wear mine. They learned from their mothers and from their grand- mothers that, generally speaking, this was the hair arrangement for them, that it suited their | personality, the (Continued on page 96) Ruth Chatterton (left) — has definitely decided - upon the rather short (but not closely clipped) bob, parted on the side in a_ slightly diagonal line, and loosely waved. | Its very simplicity just seems to belong to Miss Chatterton’s type. No hairpins are used. The perfect coiffure for the Latin type—and for that type only (right). Dolores Del Rio parts her long black hair in the center, smooths it down just over the tips of her ears, and arranges it in a small knot in back. It suits her best.
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HOLLYWOO®R PREVIEW NIGHT One of those important previews held in some out-of-the-way place You are the FIHST audience lo see the picture previewed tonight. The Paramount Publix Corporation would value and appreciate your opinion of it before making final alterations for general release. This card ia self-addressed — Please mail it promptly. UP POPS THE DEVIL Name of Picture At the right is the postcard which Paramount distributed to the audience at the preview.. (Below) the Alexander Thea- ter, in Glendale, a small town near Hollywood, where the preview of “Up Pops the Devil” took place. Note the lone spotlight—how different from an opening! This picture tells its own story. That’s Skeets Gallagher and his wife. Skeets played one of the leading réles in the picture. “AY =- rel Ws ~~ ~~,
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These pictures specially posed for ; a M ones Scere aa Ef is Crehed A rare picture of William Powell and Carole Lombard together! by Willianirmen Swell, eh? They were at the preview and the camera- man caught them. Quite a scoop for MODERN SCREEN. Far more important than an opening night in Hollywood— | 52 :
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Somehow or other the fans always get wind of these previews and when “Up Pops the Devil” - was previewed at the Alexander Theater in Glendale quite a little crowd was on hand to see the movie people “in the flesh.” And they got their money's worth, too, judging by these pictures. | Hollywood's famous matrimonial couple, Lilyan Tash- man and Edmund Lowe, were there (left)—Lilyan plays a réle in the production—and with them appear Mr. and Mrs. M. C. Levee, Paramount executive man- ager and his wife. (Above) Sam Jaffe, Paramount production manager, Mrs. Schulberg, Mr. B. P. Schul- berg, managing director of production, and Mrs. Jaffe. these previews which take place in some small town 53
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(Above) After the preview is over, the stars pose for some pictures. In that group in the foreground you will find Lilyan Tashman and Eddie Sutherland. As you know, she had a leading réle in the picture and he was the director. (Right) A close-up of Eddie Sutherland, director. He has handled the megaphone for many of Paramount’s successes. Look over these pictures carefully. Maybe you can find 54
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(Above, left) Janet Gaynor and Lydell Peck come to see the new picture. Lydell is a Paramount executive, you know. (Above) Pretty June Collyer and Stuart Erwin, who are said to be that way about each other, dropped in to see their co- workers’ work. (Left) And Helen Johnson, another Paramount player, also dropped in although she was not in the cast of “Up Pops the Devil.” your favorite star in the informal preview atmosphere 55
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SECRETS.OF | tag AUGUST STYLE HINTS FROM HOLLYWOOD Square necklines, pointed seamings and pleats find favor with the stars. White is still supreme for evening—but an added note of chic is offered by the black satin slippers and short black suede gloves worn with it. Cotton mesh in delicate sweet pea shades creates novel sport frocks. As the season advances, pale yellow and apple green lead in color combinations. Left, above, is Connie Bennett’s gown of silver sequins.. The original Wakeling sketch of it is shown at the extreme left. Right, above, a delightful summer din- ner gown of embroidered batiste over a silver cloth slip, worn by Marion Shilling. The other small sketches are also Wakeling originals. By VIRGINIA T. LANE T’S every woman’s job to be beautiful. Her real job, you understand, that takes precedence over even home or office work. I don’t mean that she is to neglect her other duties and to be self-centered. Heaven forbid! But her biggest task is to fit pleasingly into the picture we call Life.” Gwen Wakeling quite evidently practices what she preaches. She is smart with the smartness you expect to find at Aiken or at Palm Beach. She is tall and lithe and blond with very blue eyes that appraise you in one quick glance. She designs clothes for the Pathe studio. A quotation from Gwen Wakeling’s style manual: “One 56
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HOLLYWOOD STYLISTS gown for Ann Harding. flannel sport coat. VI. GWEN WAKELING ie discovered from my experience in helping women that it’s easier to be beautiful than it is to be unattractive. It’s merely a matter of a little thought, a little perseverance and the will to be lovely. There are a thousand ways to be beautiful. It doesn’t necessitate a perfect nose and a bewitching mouth. Nor money. The soft-voiced, smooth-browed young business woman with her well-groomed body and trained mind is one of the finest derivatives of the modern age. Being wise, she takes stock of herself, physically and tempera- mentally, and then seeks to enhance her charm us Above, left: a moulded-to-the-figure evening gown of flesh chiffon for Ina Claire; right: a simple black lace dinner The small sketches show (left to right) a chonga cloth suit, a “different” yachting cos- tume, an informal suit and a brown an individual. Not as a conformist to any set type. “Let me explain. Ann Harding has always appealed to me as being a princess out of a Hans Andersen fairy tale. It’s because there is something so innately sweet and dignified about her . . . and because she has never cut off her magnificent pale gold hair. If she had bobbed it like the rest of us did she would have lost some- thing distinctly Aun. HE doesn’t know about clothes for she has never studied them but she is instantly aware when they be- come her. If there is a line wrong she is vaguely unhappy without being sure which one it is. Long flowing skirts suit her best because they accent her born-to-a-great-position false note in a costume is like a jarring discord in music.” 57
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Angel blue satin fashions these pa- jamas for Ina Claire. Note that the trousers are of normal width and length. A blue chiffon scarf, a girdle of metal links, and a corsage of forget-me-nots trim these pajamas. look. She needs long waists, too, to offset her square shoulders. A high, tight waist would make her seem slightly ‘dumpy.’ “Ann appears well in either strictly tailored garments or soft, feminine things, the reason being that her charm is so illusive and delicate she requires one extreme or the other to frame it. You may recall that in ‘Holiday’ she looked as interesting in a tweed sport suit as in a dinner gown of alengon lace with a trailing skirt. “The simpler her hats are the more becoming they are. With her finely shaped head and chiselled features she doesn’t need to be flattered by wide brims. Invar- iably I design snug, plain little hats for her that depend on line rather than on trimming for their chic. And right here I’d like to bring out a point: Hats should be bought not because they're pretty in them- selves but because they improve your looks. See what they do to you in back—whether they go with your collar. with round faces crowned hats. 58 Do they cut you off? should avoid these new Hats have the power to make or unmake a costume and ought to be purchased with a definite idea of which suit or dress they are to complement. “Strong colors are not adapted to Ann. water green, delf blue, aquamarine, faded pinks and pastel shades serve to emphasize her daintiness. A Wakeling adaptation of the “middy and skirt” idea for Marion Shilling. The dress is oyster white crépe, trimmed at the hips with intricate bands of red and navy. The scarf tie combines the three colors. Miss Gwen Wakeling, head designer for Pathé, who this month contributes her secrets to this department. Here is one of Miss Wakeling’s first rules for smartness: “It is far better to be underdressed than overdressed.” Short people shallow- Black, white, rose beige. Ash _ blondes Helen Twelvetrees likes this casual sport outfit which Gwen Wakeling designed for her because the frock with its pleated skirt is suitable for tennis, while the green flannel coat is just the thing for summer motoring. ° like Ann must pay particular at- tention to the hues they select— otherwise they'll be eclipsed. For instance, I wouldn’t want to see Ann in a gown of silver sequins because it would submerge her. She’s too much the country lady for anything so _ conspicuously dazzling. ONSTANCE BENNETT, on the other hand, is a cosmopo- lite and has the ability to surmount any clothes one might put on her. In ‘The Common Law’ she wears a silver sequin dress and cap (shown on page 56) that reflect a myriad lights but you never lose sight of the fact that it’s Connie wearing them. That’s chiefily be- cause she is a moderne with a cap- tivating personality that makes it- self felt the moment you speak with her, and because she has an expert knowledge of dress. Her figure is perfect so that styles bother her not at all. Being an in- dividualist, she sets styles and com- mands fashions with the ease of an Empress Eugenie. “Of course, she has her preferences. materials, soft lines and soft colors. brilliant tints she could wear, like a bright peacock blue, for her eyes are so intensely blue, but she refuses. Her favorite shades are powder blue, powder pink and She always adopts a natural waistline and wears a belt with her formal as (Continued on page 109) Connie loves soft There are certain
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SSS EELS al te BE RN Se AS eel The boy who stood on the Atlantic shore and watched the roaring sea. (Right) With Sue on the deck of the M. VY. Oakland where they spent their unusual vacation. THE RIGHT \TO DREAM Mrs. Chester Morris dreamed of a gorgeous European vacation with her husband—but reality proved to be amazingly different By CURTIS MITCHELL AS a woman who is also the wife of a talkie star the right to dream? “When Chester Morris led lovely, blond Sue Kilbourne to the altar, he promised to share with her all the things he possessed. Neither Chester nor Sue knew what that meant—then. Most of us still remember Morris’ explosive march to fame. I'll tell you more about that presently. There was the crashing success of “Alibi” and a procession of other gang world pictures, each adding to the stature of the smooth young actor from the East. Fame touched him, claimed him, and finally absorbed him in the business of making talking pictures. It was then that Sue Kilbourne began to dream. Her dream was a simple one. Its realization would bring much that was needed into her husband’s life. Mostly, it would bring rest. She dreamed of visiting Europe where there were Alps and fiords and crumbling castles; where the need for hurry had vanished with the centuries and a man could steep himself in tran- quillity. There would be an opulent ship and seven days of sunshine across the Atlantic, then Paris and the Riviera or the Lido. She imagined blue water and white sand and the cleansing rays of Mediterranean air. Then, when their Hollywood nerves were calmed, they would come home. She dreamed and planned that, and Chester Morris agreed. Together, they read travel folders and brilliantly illustrated booklets. They filled their minds with the glamor of a luxurious cruise abroad and awaited the precious day. Sue Kilbourne made just one mistake, and it was not a mistake of judgment so much as one of ignorance. She had no way of knowing that her husband, many, many years before, had dreamed of a holiday, too. I E had stood, that windy day, with his feet braced against the uneasy footing of a sand dune on the New Jersey coast and faced the (Continued on page 117) 59
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OMETIMES it’s a handicap to be born with a big reputation. On every hand we hear about the youngest of the Bennett girls, Joan. But what we hear has to do with her illustrious father, the great Richard; and her ” sister, the “sophisticated Constance.” There was Barbara, too, but she decided against the profession of her father, married and settled down. But remember, when you are ‘speculating about Joan Bennett, that she has an independent nature, as shown by her four planets, Mars, Uranus, Venus and Neptune, in signs of the Leading group. They make her a good executive, one who has ideas about what her career should and should not be. She also has four more planets, Jupiter, Mercury, Moon and Saturn, in Fixed signs, mak- ing her set and sometimes a bit stubborn. You may put it down in your notebook right now that Joan is not a girl who in any way likes to shine by reflected glory. It isn’t her way to trade on the successes that her father and her sister have made on the stage and screen. She is perfectly willing to let them have their laurels. I can’t imagine that she wants any part of them for herself. 60 This astrologer says that Joan Bennett has the possi- bilities of becoming one of the screen’s greatest actresses, (Below) In “Hush Money,” with Hardie Al- bright. This is Joan’s latest film and is not yet released. UTURE HE is interested in what she can do by herself; and I am certain, after studying this horoscope, that | she is quite definite about it. It wouldn’t surprise me a bit if some interviewer were to come in with a story about | her in which she said, “I want my portrayals to be rated | If I need_criticism, give it to me— | don’t try to spare me because of fear of offending me | on their own merits. or my family. Look at that third house, ruled by Venus, which is also | the planet ruling her mid-heaven (occupation ). The third | is where we find the relationships with brothers and sis- | ters, and Joan has Jupiter in this division, indicating that | she has a sister who is very well regarded as an actress— | for Jupiter is the ruler of her fifth, the house of drama | and entertainment. | This has more than one interpretation, however, for it| shows that Joan herself can do well (as she has already | demonstrated in “Many a Slip” and “Doctors’ Wives”) | without borrowing a reputation from anyone. Before she j t , j | NNETT’S| ! |
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According to the planets, Joan Bennett, if she marries again, will need the sort of a man who is more or less a prototype of herself. A man who sees life from the same angle that she ~ does and likes the same things that she likes. With his accustomed pre- cision, this famous astro- loger tells what life has to offer for this famous player BY WYNN is through, which I hope will not be for many, many more years, she will be giving others something to shoot at, for she has the capacity to render extremely valuable contributions to the talking screen, with her Sun in the fifth-house trine to Jupiter; and with Jupiter in the fifth- house trine to Neptune, the ruler of the movies. Every person born to this Earth has problems to face. You are no exception, as you probably know. And Joan Bennett’s horoscope doesn’t promise her an undiluted string of successes and a career unmarked by its low spots. For hers is a life that shows at least three great personal lessons for her to learn during her sojourn on this planet. ER ruler is the Sun, with Leo, the natural fifth (drama, amusement, children, creative abilities) house of the Zodiac on her Ascendant. She would have been an actress of high merit, no matter whose family she was born into, with this horoscope. If this chart had been brought to me without my knowing whose it was, I would have selected an artistic career for its owner, desig- nating acting as the best branch of art for her to follow. But right here, in an analysis of her ruler we find a con- flict within her own nature, for her Ascendant is a Fire sign and her Sun is in a Water sign, Pisces. Add to this the fact that it is in the seventh house, that of marriage and partnership, it means there will be plenty of problems in her life. This one subject alone could easily fill the article I am here writing—and unless she finds out in time a lot more than I have space with which to tell her, there will be plenty of articles written in the magazines about her private affairs with those of the opposite sex. Joan must realize that part of her artistic nature comes from the sign Pisces, although it is only secondarily re- lated to her acting ability. At the same time, Pisces makes her sensitive—she feels very keenly any slight or adverse word, even when she doesn’t show that she does. She has a great deal of Fixed sign pride, too. Joan is a sincere and earnest young woman and can be counted on to be trying to do the right thing all the time. But we all make mistakes and that seventh division of hers holds warning of a complicated set (Continued on page 107) 61
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THE TRAGER OF MAE MURRAY Sad, indeed, is the story of this woman who has perpetually re- fused to face facts as they are By HARRIET PARSONS People will tell you that Mae Murray is temperamental and hard to get along with, says this author, but they forget some of the fine things that Mae has done. 62 As she appeared in “Jazzmania,” in the days when Mae Mur- ray’s name in lights meant a successful picture. It was during this period that she practically saved the old Metro company. AE MURRAY has figured on stage and screen for almost twenty-five years, been married four times, been involved in over twenty law- suits—and apparently hasn’t learned a thing. I do not say this with any intent to be cruel. I say it wonderingly, sympathetically, and pityingly. To me it is the pathos of the woman. Hollywood tells many stories about Mae Murray—and most of them with intent to be humorous. Her lawsuits, her squabbles, her regal manner (she is married to Prince David Mdivanr), her fanatical clinging to youth, and her persistent Pollyanna attitude are standing jokes. No one seems to see the underlying tragedy. No one seems to realize that the spectacle of an aging actress with the splendid body of a sixteen-year-old girl and the face of a woman in her forties is not funny. Hollywood seems to have missed the pathetic import of the fact that Mae Murray has lived an extraordinarily full and colorful life without seemingly learning one thing from experience. Take, for example, that first marriage of hers. Few
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people know about it. Born Marie Koenig, the child of humble German parents, she had had to make her own way in the world while she was still in her teens. Blessed with a crown of blond hair, a pouting red mouth, an exquisite figure and a flair for dancing, she had turned naturally to the chorus. Success had come rapidly and in the “Follies of 1909” she had conquered Broadway with her impersonation of “The Brinkley Girl.” Nell _ Brinkley’s drawings of fluffy, exaggeratedly pretty and feminine damsels were in high favor at the time—and Mae looked like one of them come to life. While she was tasting the fruits of this first success she met William Schwenker, Jr., son of a millionaire dealer in brewers’ supplies. They were married ten days later. Young Schwenker, confident that papa would provide, gave a swanky wedding breakfast at Rector’s and invited Mae’s friends and his own. Mae’s girl friends were envious and admiring—Willie Schwenker was a catch—Mae was _ a lucky lady—she would never have to lift a finger again. Jt was a brilliant moment for the former Marie Koenig. She was leaving the stage in a blaze of glory and the future looked like Paradise on earth. It never occurred to her that anything might go wrong. ee AY forgot about Mae Murray—until six months later when Willie Schwenker was sued for $561, the price of that magnificent splurge at Rector’s. _ The papers unearthed a story which revealed that the famous wedding breakfast, instead of being a glorious beginning had been a spectacular ending. For the elder ‘Schwenker had disinherited his son, and Mae and Willie were destitute. They were living in an eight-dollar-a- week furnished room, cooking over a gas range. For two weeks they had existed on $15 borrowed from Willie’s sister. And their wedding breakfast was still With Lowell Sher- man in “Bachelor Apartment,” the picture in which Mae Murray made her screen come-back re- cently. unpaid for. Willie could not get a job—so Mae went back to the stage at $30 a week to support them both. Most girls would have been permanently embittered— or at least permanently warned by such an experience. But not Mae. She was taken aback for the moment— but her amazing optimism and faith in the goodness of life promptly reasserted itself. Poor, trusting Mae—she had honestly believed that Willie Schwenker was her Prince Charming and that he. and she would live happily and luxuriously ever after in true story-book manner. Mae always expects life to be serene and splendid, is al- ways shocked and hurt when cold facts prove the con- trary, and always promptly forgets her disillusionment. When Mae went back to the stage she told the press ‘that poor Willie was totally unsuited by his upbringing _ to make his own way in the world and that girls should | 3 always marry self-made men. Yet she chose for her fourth husband a penniless prince, equally unsuited for work. In other words, seventeen years found her right back where she started—except that in 1926 the prince charming was really a prince arid Mae was able to afford the luxury. Coupled with her incorrigible optimism and in reality growing out of it, she has a terrific and unfortunate persecution complex which has made Mae’s life one long wrangle. In the past seven years she has been involved in twenty lawsuits—not to mention numberless quarrels without benefit of jury. One gets the impression that she is always on the defensive—always looking for trouble. The truth of the matter is that she is always idealizing events and people, always expecting life to be a fairy tale with a happy ending—and getting mad when it isn’t. People will tell you that Mae Murray is temperamental, that she is impossible to get along with. They will re- mind you that she quarrelled with her second husband, J. J. O’Brien, rich sportsman, on their wedding night. And that she divorced genial, easy-going Bob Leonard after he had directed her in a series of successful pictures. They will regale you with anecdotes concerning her classic battle with Von Stroheim during the making of “The Merry Widow.” They forget that O’Brien is supposed to have beaten her in a jealous rage; that her marriage with Leonard lasted nine years—which is, after all, nine years; that Von Stroheim is not exactly the embodiment of placidity himself. They forget, too, some of the really fine and generous gestures which Mae has made. HE late Marcus Loew, kindly old pioneer of the film industry, was grateful to Mae Murray until the day he died. When the old Metro company, of which he was the head, was on its last legs and Loew was facing bankruptcy, it was Mae Murray who saved the day. She made “Fascination” and “Peacock Alley” with- out hope of repayment; woftked like a trouper to make them a success; gave the best she had. The two pictures were box-office riots and put Metro back in the running. That is the reason that Mae Murray was queen of the M-G-M lot for so long. For even after Metro became the powerful Metro-Goldwyn-Mayer, Loew never forgot Mae Murray’s kindness. I have said that Mae is a tragic figure because forty odd years of living have taught her nothing, and because she suffers from a persecution complex. I have pointed out that these continual battles of hers are pathetic rather than funny. There is another aspect of Mae which has Leen equally the subject of jokes and which is in reality even more pitiful. And that is the desperate manner in which she clings to youth and (Continued on page 118) With her husband, the Prince David Mdivani. It is said that the Prince has made a good deal of money for his famous wife. International 63
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“YOU MUST TAKE CARE With the best intentions in the world, Marie Dressler’s many friends continually tax her strength with solicitude By DOROTHY SPENSLEY ARIE DRESSLER’S friends are legion and they all agree, whether they pronounce it “Maw-ree”’ or ‘‘Mah-rie,” that Marie Dressler should take care of herself. That this God- given gift for comedy—and tragedy—that she has, must be protected. That this great body that for fifty-nine years has brought a giggle to the world’s tired face must be kept strong and vigorous so that it can continue to (Above) While she is being given a face mas- sage one of her friends shakes an admonish- ing finger at Marie and warns her to take care of herself. At the left is the exterior of Marie’s lovely Beverly Hills home and at the extreme left are Jerry and Mamie Cox who have looked after and protected Marie for seventeen years. bring us laughs and tears and happiness and _pity.- “Some men were born to invent labor-saving devices, others to write books. Some women were born to sing, to bear children. I was born to make people laugh.” To that effect is Marie Dressler’s philosophy. There are those of her friends, her intimate friends, who see the terrible tiredness in Marie’s face when she comes home from the studio after a day of intense work. The lines that come from fatigue and are not etched by her smiles, nor the beauty of her thoughts. HESE are the friends who caution her to take care of herself; not to give herself so completely to her friends; not to worry about their financial troubles, their domestic embroilments, nor the countless difficulties that they bring for her wise counsel. “Unanimity is the watchword of success,” is the creed by which Marie Dressler lives. And once she said to me: “Never be alone. Always have someone on the plank with you, for some day he or she may be your pillar in a dark hour.’ Her eyes were full of wisdom. 64 It is this life rule that is inundating Marie today. Her friends, alarmed by the readiness with which she | succumbs to fatigue, are smothering her with cautions. They love her. Not only her intimate friends, but her acquaintances, | her well-wishers, her admirers, are crowding in on her, solicitously. Telling her to guard her health, not to tax her strength, not to give herself to social affairs, nor go to teas, dinners, premieres, and to, by all means, rest— rest—rest. But even the response to this pampering, which she loves, is fatiguing to Queen Marie. They telephone, they drop in at the English house on jj, the Beverly Hills’ corner where she makes her home, well 9, protected by Mamie and Jerry Cox, who have been with her for seventeen years. “You must take care of yourself, Marie!” buzzes in her ears each hour of her waking day, and into the jade and gold nights when she is wooing rest in her Chinese |) bedroom. i Mamie, watchful, guards her mistress; protects her, if [J
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OF YOURSELF, MARIE!” she can, from friends who are trying, earnestly, to protect their Marie from other friends who might tax her pre- cious strength. In Honolulu, where Marie fled to sample the island’s far-famed peace, she met nothing but a full social cal- endar. She was driven back to the noisy, bustling studio for rest. And as she lunched on the broad veranda of the commissary, her meal was punctuated with greetings from bus-boys, waitresses, actresses, actors, executives, writers, the press, assistant directors. Little mumbled greetings, hearty handshakes—sincere, every one of them, cautioning her to take care of herself, and stealing that much of her strength to tell her. But Marie hasn’t the heart not to give her time and energy. Marie gave a tired smile, her hands relaxed: “Why should all this happiness exhaust me so? f Pease ene : ’ S- Pictures specially posed for MopDERN SCREEN I don’t know. But I am as tired now as if I had done a big scene... .” Nor at home is she entirely immune, despite Mamie. “You must take care of yourself, Marie!” is the chorus that is drummed into her ears. “Don’t give so much of yourself to your friends,” said one, perched on the edge of the bathtub, from where she watched the progress of a bran scalp treatment; and, before that, sitting on the edge of the bed, she had watched, chattering, the progress of a massage, adminis- tered for the relaxation of “Queen Marie.” “Good-by, my dear,” she said at last, “Remember . . . you must take care of yourself!” “Good-by,” sighed Marie, weakly. In the middle of a relaxing manicure some moments later, there entered Marie’s good friend, May Robson. ” “Marie, my dear!” breathed May. “How are you? Do take care of yourself. Guard yourself for us. We all love you so. And we don’t want to see you tired and ill. Conserve your strength. . . . Marie, what do you think of these stills from my new picture? Look at them, dear, and give me your opinion. There are only about a hun- dred and forty.” From downstairs, after. May left and Marie was propped up among the cushions of the chaise lounge, came the sounds of ice tinkling in tall glasses, teaspoons against delicate china and the radio. “Tt’s Ethel Levy and her husband, Mr. Grahame-White, and John Roche and Newell vander Hoef, Miss Dress- ler,” said Mamie, at the boudoir door. “Tell them I’ll be down, Mamie. Ill see them down- stairs,’ murmured Queen Marie, clutching her negligée, struggling to her feet and giving a regretful look to her peaceful room. She slowly descended the stairs. “My dear Marie!” her guests chorused at the bottom, “we’ve come to tell you to take care of yourself. Darling, don’t give so much of yourself to your friends... .” “T know, I know,” said Marie, smiling softly, because —after all—she loves this doting clamor. (Left) Just a crowd of Marie’s many friends saying the sentence which Marie knows so well: “You must take care of yourself, Marie!” (Below) A friend comes in to tell Marie to take care of herself and in the same breath asks her to look over some stills—only a hundred and forty of them. without complaining while being manicured. Marie looks at them
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JOHN BARRYMORE With utter sincerity and freedom from bunk, this star tells— According to this author, John Barry- more, who has led a pretty feverish life, believes chastity is the best thing a young person can possess. (Above) In “The Mad Genius.” By WILBUR MORSE, JR. OHN BARRYMORE recently granted me a few hours of his . and the Warner Brothers’ ... time. At the close of the in- terview Barrymore said: “When you've written your story let me see it. A paragraph here or there may open the flood gates and suggest other stuff I’ve not already told you.” This story, then, is a “flood” of John Barrymore’s personality. It is a story about a man who holds a unique position in the maddest town in the world, Hollywood. Here are some of the characteris- tics I learned first hand from the youngest of a family they’ve called royal in the theater: John Barrymore has lived a pro- 66
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a a a i) \ | | TELLS THE WORLD —a few truths which will surprise and delight you all Mae Costello (above) brought up her daughters with a formula the most important item of which was, “be honest.” (Left) Judging by Dolores’ character, her mother’s teaching was practically perfect. miscuous life. He’s been a heavy drinker and played courtier to many women. Yet he believes chastity is the most “exciting” attribute a young person can possess. He’s mimicked a quixotic rogue on the stage, on the screen and in real life. Yet he admires honesty above all other virtues. He detests chaperonage in any form yet he believes foreign govern- ments have a perfect right to pro- test—and censor—insults to their intelligence and national pride cir- culated by certain of our less im- portant movie moguls. He believes the screen is the greatest medium the world has ever known for disseminating education along with entertainment and yet he’s always “out for the day” when studio fuss-bussers start holding conferences on important matters of policy or production problems. 67
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He’s a friend of, and a reader of, Aldous Huxley, yet he knows most of America’s ga-ga cartoonists by their first names and respects their work. He has the dignity of an Indian poobah and the vul- garity of a pair of Siamese twins with Rabelaisian senses of humor. IS own sense of humor is evident in the following story. “Tell me, Mr. Barrymore,” shortly after Al Jolson made his first talkie, are to have talkies, would you be willing to play gushed a chatterer once, “now that we ‘Hamlet’ in modern dress?” “No, madam,” replied Barrymore—very serious- lv. “But if I’m proposi- tioned, I'll play ‘King Lear’ in the nude.” A book could be filled with the likes and dislikes of Barrymore, the odd ambiguities of his keen in- telligence. Personally, this writer would rather report than editorialize. I’ll quote, then, to the best of my ability, what John Barrymore told me one rainy day. The day before I was to see him I asked a dig- nitary of Hollywood what he thought would be the most interesting story a writer could get on the and modern ideas. elusive subject . . . this as possible. man Barrymore who, Hollywood gossips, pre- tends to be intoxicated or makes fearful faces when fat old ladies ask him for stories of his love life. The picture man said: “The fact that John Barrymore, the playboy, has become John Barrymore, Esquire, a proud papa, is the story everyone is eager to read.” John Barrymore volunteered a great deal of very inti- mate, tender details about his domestic life so I didn’t ask him some of the questions a chiseling columnist might have offered the actor. I didn’t inquire as to whether he personally paced the floor with his baby at nights. I didn’t ask him how often he kissed ‘his wife each day or the color scheme of his bathroom. I did ask some per- sonal questions along with queries on subjects of general interest and I learned a little that was well known and a great deal that was new. His mind works like a machine gun. It spits ideas. His voice, as he talked that day, was so quiet that I doubt if the sensitive microphone nearby could have caught the calm, cultured flow of words. But his wise eyes spoke with a raciness, a boldness and a crispness. HEN John Barrymore talks for publication—and that is almost as rarely as Garbo—he neither minces words nor is dainty with his ideas. I leomaed three new oaths and—a lot of common sense. “Dolores Ethel Mae Barrymore is only nine months old now,” said her father, “so I haven't yet entered her at Miss Spence’s select school for girls or hired a duenna for her first trip to France. I haven’t anything written on her birth certificate about the possibilities of her be- coming an actress, either. She’ll choose her own career, [ hope. “Tf she wants to go on the stage when she’s old enough, fine. If she wants to take in tatting or blow smoke 68 John and Dolores are bringing up Dolores Ethel Mae on sane They intend to interfere with her life as little -for the memory of Mae Costello. through her ears at church socials, that'll be her affair. Whatever she does, I'll try and help her to success if I’m still around to be of any use. “But the only problem the child has at present is how often she’s fed and the only pedantic idea I have on bringing up children is to deal with them as human be- ings, be honest, lend what help my own experience offers and then give them their heads. “The youngsters of today have an inherent honesty, a saneness of point of view and a healthiness of attitude on every subject. I’ve no fear about my daughter’s future if she’s always told the truth.” Despite what the crystal gazers of Venice may be predicting for the daughter of John Barrymore and Dolores Costello, the child's parents haven’t begun “guiding” her career except to push the handle of her baby car- riage. Love of truth was a characteristic which marked another forbear of Dolores Ethel Mae Barrymore . . . the gracious, honest- ‘minded lady who was her grandmother and the mother of Dolores Costello. I asked Barrymore for whom the child was named Mae. Ly glad you mention that,” he said. “Tt’s a story you'll enjoy, a story that proves what a myth this mother-in-law business is. “Mae Costello, mother of Dolores, was one of the grandest persons I’ve ever known and one of the dearest friends I’ve ever had. Before I married Dolores, Mae and I talked many a night through. We used to put the kids to bed and sit up and bicker until dawn about old times in the theater, old friends we’d shared, old tales we enjoyed, old experiences we could re- live in the telling. We were gay pals. “Once Dolores asked me: ‘Are you sure it is 1 whom you want to marry and not Mother ?’ ‘*This is a question I'll have to give serious considera- tion, I told her. ‘But it seems to me if I marry you, I'll be able to see a great deal of both of you.’”’ Mae Costello must have been one of those really fine women. There are so few. They usually come only once in every four or five generations of a family but Mae and Dolores Costello are of the same mold. Barrymore has a special corner of his heart reserved He speaks the third of his baby’s names very tenderly. Mae Costello did such a good job in bringing up her daughters and Barrymore feels he can do no better than duplicate her formula and the first of Mae Costello’s rules was “be honest.” Dolores Ethel Mae will have many careers to choose from out of her ancestors’ pasts. Her father was an art student, a testimonial salesman, a cartoonist and a news- paper reporter at various stages of his colorful life. F his newspaper experience, Barrymore said: “You can’t tell me publishers aren’t charitable employers. Arthur Brisbane kept me on salary two years after he | knew he ought to have fired me. Barrymore still talks with the directness of the press | room on the subject of romance. “Sex is an overrated bugaboo,” is the opinion of the man | who has been called one of the theater’s romantic lovers. “Nothing that is honest ‘can harm anyone,” Barrymore believes. “You can’t injure the mind of a child, or an adult for that matter, with anything, be it book, picture or music, if it presents its message or its entertainment honestly. “The Bible, aside from being (Continued on page 93)
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MASQUERADE When Marion Davies gives a costume party, Hollywood's most famous people come arrayed in the finest of the fine. A gorgeous display of movie stars for your delight These pictures especial- ly posed for MODERN SCREEN and photo- graphed by William Grimes. What ho for Douglas Fair- banks, Jr., as a dashing Austrian officer with medals and braid and everything. Yes, even to the neat milit’ry moustache. And wife Joan Crawford in the Empire ensemble is quite something to wire home about. And isn’t her new shade of hair becoming? AT MARION’S 69
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Robert Montgomery and Mrs. Robert Montgomery (above) made a charming picture of the Victorian era. This is one of the few pictures of Bob’s wife ever published. William Haines (right) as an undertaker, Ruth Selwyn and Director Edgar Selwyn seem to know pretty well what it’s all about.
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AE RM ARCAN ET AY ABAD AY AARP AY IA Saal Des Sas toe > : md ie ok : ey} kel : pee iS 3 BP: Ms i but = * mee oF a mG ki 4 rata ee De R Eye : ime 8 a . ae Os _ ead tc € 3 ae oF MBIT Ke é = q € ; p i : ; / 1 $ j Ag RET Me BT IM 0 IE Ee BO ee RE Hea RS AFR eR RR RP j i bef 3 ? » ie ee ee ee eo (Above) Harpo Marx won the prize for the best dis- guise as Kaiser Bill. Marie Dressler’s costume looks familiar. Remember her in that outfit in “Anna Christie?” (Left) Kent Douglass, Leslie Howard, Marion Davies, a non-professional, Buster Collier, George K. Arthur, Ramon Novarro and Eileen Percy. 71
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The Browne boy says that one of his grand- est mistakes was the disregarding of a news scoop which con- cerned Mabel Nor- mand when he was a reporter. Ly a oe MY HOLLYWOOD This chap has been written about by other authors— now he writes about himself for a change | By EDWIN ANTHONY BROWNE Who is said to be “Whitey” of the famous novels, “Queer People” and “Whitey” Hollywood” made its ludicrous, but none the less sensational, début. Nine years; long enough for the Warner Brothers to go from no place to way up there—and back again; long enough tor hundreds of screen luminaries to arrive at fame and fortune and even long enough for Eric von Stroheim to finish two pictures. But my first and only self-conceived and _ self-directed production continues serenely and blithely on its way. ‘Abie’s Irish Rose” should step out and get itself a reputation. [t is asserted that one profits by one’s mistakes. If so, [ am the exception that proves the rule. If there was one-half of one per cent profit in mistakes, I wouldn’t be writing this. I would be at ease on my palatial yacht, ordering another of those long cool somethings from my man Burtis. Does this sound like a complaint? It is not. I have had a swell time in being the most success- ful failure on the Pacific Coast. I even enjoy it when from time to time some ambitious rival threatens. That merely spurns me onward to bigger and better mistakes. Even now instead of basking in my well-deserved glory, | have a half-formed plan for an error that will hit every front page in the country. But to begin at the beginning: [= nine years now since my “Comedy of Errors in Y first few years in Hollywood were spent as a | 4 newspaper reporter. I had at that time never seen a movie, let alone a studio, and didn’t know William S. Hart from Carl Laemmle. That lack of knowledge was, 72 so to speak, an accessory before the fact to my first mistake. My first half hundred. At seven-thirty one typical sunshiny morning I accom- panied a detective who had been called to investigate a death on Alvarado Street. Sure enough we found a dead man. He was lying face down on the floor of the living room of his home. There were no signs of violence. The officer asked a few per- functory questions of somebody or other. The dead man, it seems, was named Taylor. The detective hadn't had any | breakfast yet and neither had I so we didn’t go into any great detail. We mutually agreed that Mr. Taylor had passed in his checks from heart failure. I picked up a phone (later the finger-print experts complained bitterly about that) and called my city editor. I assured him that nothing of importance had happened and went to breakfast. Two hours later, the newspapers (all except mine) an- nounced in startling headlines that William Desmond Taylor, the famous movie director, had been found mur- dered; that his intimate friends, Mary Miles Minter and Mabel Normand, were the last to see him alive. For days, | while looking for work, I kept wishing I had been the victim instead of Taylor... It would have been less humiliating. IME, as only time will, along with other mistakes put that mistake into the background and I was, I believe, on the verge of falling into the rut of a common-
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M PS AKE D eae Among others whom Mr. Browne advised to leave Hollywood were Fay Wray, Janet Gaynor and Dorothy Gulliver (second, third and fourth from right). He considers this one of his best mistakes. place blunderer, when out of a clear sky another situation arose that handed me an out- let to my abilities. This time it was a New Year’s Eve. I had enjoyed the festive occasion in my childish way and was taking a deserved nap, comfort- ably curled on a desk in police headquarters when I was hauled rudely from my sleep and tossed into a police “flying squad” car. ‘“‘Shoot- ing scrape on Vermont Street,” explained a detective, as we sped in that direction at sixty miles an hour. Arriving at our destination, I graciously al- lowed the officers to discover what had hap- pened while i resumed my interrupted nap on the rear seat. Soon I was made to sit up while the car was filled with crying women and stern policemen. I was only half awake, but couldn’t help hearing one of the crying women repeat- ing over and over: “I hope this won’t get’ in the papers.” As I have said, it was New Year’s Eve and I was tired. “Lady,” I rebuked, “will you quit that sob- bing. Don’t vou think papers have anything to print but family squabbles? If you were pretty or famous we might use a picture. As it is you should consider yourself lucky if you get a line.” The sobbing subsided and I went back to sleep. It was not until the next day that the world was informed that a dashing young blood from Denver by the name of Courtland Dines had been shot while entertaining Mabel Normand and Edna Purviance and that the two celebri- ties had been taken to headquarters for questioning. Dines managed to survive and so did I, but neither one of us has had anything to do with the newspaper pro- (Continued on page 91) 73
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LET’S TALK ABOUT. (Left) Peggy Shannon, the lucky girl who got Clara Bow’s part in “The Secret Call’ when Clara broke down on the set. (Right) Mr. and Mrs. Neil Hamilton with their newly adopted baby, Patricia. We mentioned it last month. Remember? \N lately telling of how high-hat he has become. Until yesterday we refused to believe them be- I EW AYRES has borne the brunt of a lot of stories Now it cause we have known Lew a long time. all comes to light : Between pictures, every star in the business is expected to be on call for pictures and interviews with the press. Lew is-only too well aware of this. Well, he has got to the point where he doesn’t want to be disturbed. When the publicity department called him the other day, the phone wasn’t answered. It was found out later that Lew has installed a new gadget on the instrument that won’t allow the phone to ring until Mister Ayres gets good and ready to get out of bed and detach it! ORMA SHEARER has changed—she’s gone sex- appeal. She is quite a changed young lady around the wardrobe department when she is being fitted out for a picture. In place of the very dignified and smart crea- tions she wore in the great hit, “The Divorcée,’”’ we now find her asking the fitters to “cut it down here” and “don’t forget the sex-appeal.” And Norma a mother, too... tsch . . . tsch. When Mary Pickford visited the King of Siam in New York recently, she was asked for credentials by the gate- keeper. “My face is my only card of identification,” our Mary answered. LL the gang in the M-G-M publicity department are bicycle conscious. About half of the personnel rides bikes to work, and others keep them at the studio to ride during the noon hour. We all got a huge laugh the other day when they dared Adolphe Menjou to try his luck. But luck wasn’t with him that day. You should have seen Menjou with spats and wing collar struggling to keep the bicycle upright. Someone wanted to see Mayer and Thalberg do their Are you Hollywood-conscious? 74 FILM GOSSIP OF stuff—but then, executives have a certain prestige to maintain, you know. Bill Oliver, newspaper man about Hollywood, remarks: “I see by the papers that all the studios are going to makeé athletic shorts. Does this mean the producers are returning to the clothing business?” TRANGE as it seems, Mary Brian, Fay Wray and Jean Arthur are being dropped from the Paramount roster. of players. The girls’ contracts were running into the fifth year—-and that means tremendous salaries. Mary has been there ever since doing Wendy in “Peter Pan.” Paramount without the little Brian girl will be like a hen without a baby chick. It didn’t do Joan Crawford much good to have-a second set of passport pictures taken. For months her sailing date was postponed on account of retakes—and now Joan and Doug Jr. won't even see Europe this year. Like- wise Bill Haines. He phoned his antique buyers over in London that he couldn't get away from the studio. HE story is that Lil Tashman happened to be out on the Fox lot around lunch time and decided to drop in Read these pages and
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THE MONTH Il But whom should she find in his dressing room but a very comely young lady, Alona and see husband Eddie Lowe. Marlowe . . . quite alona. Lil immediately read the riot act to the visitor and, it is said, then proceeded to knock her for a loop. though the young lady explained “. . . she had been stand- ing in the sun outside the dressing room when Eddie came out and asked her if she didn’t want to step in where it was cool!” Can this be true? A tiff, no matter how slight, between such a happily married pair has us all a-dither. And this, as the newspaper editor would say, is News! When Charlotte Greenwood’s pet Peke bit Bob Montgom- ery the other day—Bob bit the dog for revenge! EMEMBER Jerome Storm who used to direct Charles Ray, and was one of the biggest directors in Hollywood? At that time he was making one of the largest salaries in the film colony . . . and spending it. Today he’s working as a day laborer at the same studio where he directed some of his most successful pictures. But he hasn’t lost faith in himself. At night he writes. and he'll probably be riding the top of the wave again. Others have been known to do it in the past, you know. Hollywood’s that way! Even. HOLLYWOOD (Left) Lil Dagover, the Cerman actress, who is being signed by Warner-First National. No, they will not make her imitate Garbo, (Right) Remember Johnny Hines? He’s back again with a part in ‘‘Waiting at the Church,” for RKO- Radio. VEN when Cliff Edwards was appearing in court to try and cut down the alimony he is paying his wife (which is a very serious thing to a man who has -paid alimony) he just couldn't keep from cuttin’ up. When the boys from the newspapers came to take his picture in the courtroom, he “mugged” all over the place and even had one pose where he pretended to be asleep! But you have to forgive Cliff—after all, he’s a ukelele player. HE Pauline Starke-Jack White marriage certainly has fallen with a dull thud. After three years of wedded life the Whites decided to part ways—and Pauline filed suit for separate maintenance, asking division- of $100,000 community property and $750 monthly. Then Jack came forth with a full-fledged divorce com- plaint that “‘tells all.” Among other things, Pauline seems to have called Jack a name or two. UESS who met over in Paris quite accidentally ? Aimee McPherson and our own Charlie Chaplin! It seems that they had registered at the same hotel, and they had a grand time talking about Hollywood, etc. Now probably all the newspaper scribes will come forth with the astounding discovery that Charlie’s next leading lady will be a French red-head named Aimee! A, T the Burbank studio commissary of Warner Brothers- First National, four prices are charged for the same luncheon. The prices range from 45c to $1.25. It all depends upon the service vou choose. Your meal at a_ table without a cloth covering is 45 cents ; with a table cloth, it’s 65 cents; in the Green Room, the same food is 75 cents; and in the executives’ corner, it is $1.25. The laugh is that the directors and stars flock to the 45c tables while studio underlings eat at the more expensive ones. LOOK FOR MORE GOSSIP ON PAGES 15 AND 92 astonish your friends with your knowledge of cinema town is)
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HOLLYWOOD Not many frills in Mary Astor's ward- robe—but there’s smart simplicity 76 MARY ASTOR At the left are three of Mary Astor’s coats—light enough for cool days in summer. She is wearing a severe, double-breasted one of green and gray tweed mixture with a beret, equally severe, to match. The light coat is beige, flecked with red and green, and the shawl collar, of course, is lapin. The dark coat next to it is of light-weight green wool, and is completely collarless. Directly below are the shoes she is wearing with the tweed coat: black calf and grey lizard. The other shoe models (reading clock- wise) are embroidered beige linen pumps, plain grey crépe pumps, and a stunning pair of black shan- tung walking pumps. = — ae a re
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WARDROBES Mary Astor at her own dressing table which has all the gay, cos- meticky clutter dear to every girl’s heart. She is wearing a simple pair of lounging pajamas. Note that the trousers are not abnor- mally wide—just comfortably full. The green leaf print gives an air of coolness. The bolero jacket, in plain green, piped in the print, is complemented by a plain green sash. Below, some more shoes: top, light beige suede and dark ‘beige kid; middle left, frivolous black satin cut-out pumps; middle right, brown and white woven leather sport shoes; and bottom, two-tone mules in gold and silver kid. Mary always stuffs her shoes with tissue paper—it’s often better than shoe-trees. Pictures specially posed for MODERN SCREEN and photographed by Robert W. Coburn Mary’s pet pash is shoes—here are-eight good-looking models. Size? Five B
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There are important hints here for that impor- tant vacation wardrobe The large picture in the center of these two pages shows one of Mary’s sim- plest and most becoming chiffons. The black background is scattered with silver flowers, large and small and medium- sized. That's all there is to the dress, except for the knot of black and silver ribbon at the neckline. The cutting looks very simple, but it’s very expert, for all that. Notice that the hem clears the floor by at least three inches. Be- low, Mary is wearing a simple little black velvet throw-wrap.
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These models would suit almost every tall, modern young girl Below, an adorable “spectator’’ sport dress of white silk crépe, beautifully embroidered in pastel flowers. The blouse has the popular cowl neck. With this frock Mary wears a tight little turban of straw cloth and a deep cream polo coat. The two dresses on the hangers are, left, a white crépe frock worn with a navy tie and navy jacket and, right, a light-weight woven wool suit with a mannish blouse in beige crépe. Just severe enough pour le sport without overdoing it.
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Mitzi Green makes a batch of her favorite peanut butter fudge. You'll find the recipe for it in this article. Anita Page knows how to get up a poultry dinner in proper style. In the picture at the right she is shred- ding stale bread for a turkey dressing. In spite of servants galore and four-figure salaries, these stars know how to cook—and frequently do HERE are cooks and chefs in Hollywood draw- ing salaries in four figures every week. They ride around in chauffeured Rolls-Royces, and wear imported French gowns and ermine coats. Dia- monds weighing many carats tire their fingers; and many are courted ardently by the screen’s most glamorous lov- ers. Now, before any girl with a domestic science diploma, or a lad with a Boy Scout’s knack for tossing up flap-_ jacks, throws an apron and a measuring cup into a knap- sack and makes tracks toward Cinemaland, let me hastily explain that this is a story about the off-screen cooks of Hollywood—about the famous stars who have a natural flair and wholesome liking for cooking. [f the Academy of Motion Picture Arts and Sciences gave an annual culinary cup of honor as well as other trophies of achievement, that cup should unquestionably be awarded to Louise Fazenda, filmdom’s foremost oven artist. Oddly, my first meeting was with the cook, not the comedienne. It was on a set at the First National 80 = THEY REALLY CAN COOK By DOROTHEA H. CARTWRIGHT studios, in one of the years B. T. (Before Talkies). Everyone was standing around “between shots” and every- one from prop boy to leading lady was lavishly supplied | with cookies, which were being devoured with an off-_ screen gusto and an on-screen smile. “Why the refreshments?” I snooped. ‘Oh,’ someone | explained, “Louise brought down another batch of her favorite cookies today. She made ’em after she went | home from work last night. Want some? She always | brings plenty. She’s the best cook in Hollywood—and | maybe she’s not popular!” OT long ago an electric cake mixer came to take its place in Louise’s kitchen. There’s an amusing—and rather touching—story behind this gift. A youngster liv- ing next door is one of the comedienne’s greatest ad- mirers. He likes her acting, he likes her delightful off- screen sense of humor and kindliness; and he very par- ticularly likes her cakes. He is her most ardent kitchen
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_him assemble them. Tuesday night in the Bannister household is cook’s night out. Ann Harding always broils a nice big steak on these occasions. critic, and in this capacity, naturally, has to sample all her pastries. One day, noticing that Louise seemed tired from beating a mixture of dough, he begged to be allowed to help. Well, it sure was hard work! Gee, what she needed was an electric mixer! He would buy one for her! But he found that the retail price of a mixer was too steep for his allowance. However, he persuaded his dad, an electrician, to get him the parts wholesale and help It was a generous thought; and if the electric mixer helps Louise make bigger, better, and more cakes for her official sampler—well, isn’t that fair compensation ? OUISE’S favorite cookie recipe is made of two cups of butter and one cup of sugar, creamed. Two un- beaten egg yolks are stirred in; and two teaspoons of vanilla, the grated rind and juice of half a lemon, and one cup of chopped almonds are added. One teaspoon of baking powder and five cups of pastry flour—more if necessary—complete the recipe. These cookies are baked thin in a moderate oven. Warner Baxter seems to be the candidate for Chief Chef of Cinemaland. He enjoys few things more than fussing around a stove, and to have friends drop in of an evening gives him a great excuse to roll up his sleeves, tie a towel around his chest, and make—well, among other things, chili con carne. Into one and one-half cups of hot Olive oil he puts three medium-sized onions, chopped. After simmering them ten minutes, he adds two pounds of ground round steak and one pound of ground lean pork. When this has simmered for twenty minutes, he next adds two cans of tomato sauce, two cups of boiling water, one cup of chili powder, six pods of grated garlic, and salt to taste. For extra flavor he adds three table- spoonfuls of pulverized aregano and the same quantity of kumis seed, tied in a cheesecloth bag and not mixed in with the other ingredients. This recipe must simmer very slowly for another two hours, after which are added a _ pound and a half of Mexican beans that have been soaked Overnight and cooked until tender. If there.is not suff- + cient meat flavor, Warner adds one of the beef extracts. Sometimes, if he has guests who like particularly “hot” Louise Fazenda is one of the best cooks in Hollywood. is her most devoted admirer and official taster. James Gleason is real handy at doughnut making. Even Mrs. G. (no mean cook herself) steps grace- fully aside when Jim gets busy. With her dishes, he adds some chili capenos, either while the mix- ture is cooking, or afterwards to the individual services. S% days Lupe Velez labors, and on the Day of Rest she gets up very early to prepare breakfast. It is an elaborate meal, the most substantial repast of the day, and she usually has several guests to help her eat it. The breakfast consists of something a la Lupe, prepared with eggs and lots of mushrooms. It takes Lupe a couple of hours, at least, to eat her breakfast. Oh, it’s a grand meal! Incidentally, Sunday is servants’ day off in the Velez ménage. It wouldn’t take a clairvoyant to tell that little Mitzi Green’s own special recipe is for fudge! It’s very easy— two cups of sugar and two-thirds of a cup of milk, brought to a boil and cooked until it forms a soft ball when dropped into cold water. The syrup is removed from the fire, and to it are added four tablespoons of peanut butter, one teaspoon of vanilla, and a few grains of salt. It’s the brisk beating until the mixture is creamy that takes real work, but Mitzi usually decides it’s worth it when her candy is ready to eat. No wonder Mitzi is a plump little youngster! She can make drop muffins, too, but somehow her heart’s not in them much! Elissa Landi learned cooking as part of a well-bred girl’s education. Among the dishes she cooks for intimate friends is the famous dish of her country—Hungarian goulash. When I asked for her recipe, she replied in dismay, “I don’t cook by measures, but by instinct.” For example, she takes some stock, in which she has boiled every possible vegetable except potatoes. She fries some onions over a very hot flame and immediately adds the stock, stewing it. Veal chunks, pounded, are next added, with salt and pepper to taste. When the meat is tender Elissa adds enough flour to thicken it a bit, and paprika to give the goulash color. When she wants to make ii extra-rich, she adds a tablespoon of sour cream. Friends who have tasted her goulash pronounce it simply delicious. OU’D be surprised how many men in Hollywood have their own pet recipes. There’s Jimmy Gleason. for example, who is ready to (Continued on page 99) 81
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MODERN SCREEN A FREE SOUL (M-G-M) Aes smashing melodrama for Norma Shearer! | And to assure thorough-going entertainment, they’ve given Norma such favorites as Lionel Barry- more, Clark Gable, Leslie Howard and Jimmie Gleason to assist her. Norma is the daughter of a brilliant, dissipated lawyer who has reared his child to be “a free soul,” untram- melled by conventions. Circumstances make her the mistress of a notorious gambler, and to free her from this liaison, her father promises to drink no more if she will cease her relationship. Both fail. But returning to her lover she sees him in his true character of a miserable black-leg. He attempts to intimidate her and is killed by the boy who really loves her. In a tense court room scene the dissipated father takes the blame. THE COMMON LAW (RKO-Radio) ONSTANCE BENNETT is fascinating as ever in this lavish picture production of the one-time sen- sational seller by Robert W.’ Chambers. The star and an excellent cast imbue the old tale of artists and models with an up-to-date flavor, and the problem presented is one that will ever hold popular appeal. This time it is the girl who objects to, and scoffs at matrimony. While Joel McCrea, as hero, is a stickler for the conventions. When you know that Lew Cody is in the picture, it isn’t difficult to guess that a third party menaces the love of the principals. But after running the gamut of emotions, to say nothing of the gauntlet of experience, Constance changes her ideas and ideals. Among others, Paul Ellis, Marion Shilling and Hedda Hopper are prominently cast. BACHELOR APARTMENT (RKO-Radio) HEN Lowell Sherman invites the ladies to his “Bachelor Apartment,” they always return for | more of his hospitality.. Which makes it very nice for | Lowell, and also renders snappy farce comedy for the paying guests at movie theatres. But when the one-and- | only girl enters the story, complications begin. For Lowell’s girl friends just won’t take the air. There’s Mae Murray, for instance. You might think | she had no home, that is, until her husband calls at the 7 “Bachelor Apartment” for her. And there are Claudia | Dell, Noél Francis, Kitty Kelly—talk about your bevies | of beauties! But in the end, Lowell, who also directed | Mi this picture by the way, convinces Irene Dunne that his | Pe a wild oats are all sown. And so the perfume of orange- . __~COlosssoms clings to the final sequences. a CHANCES (First National) i T seems there was a War. Good old War! What | ~~ would Hollywood have done without it? For one thing, it has provided a pretty good excuse for the ar- | 4 tillery fire which dominates the battle sequences of “Chances.” And makes the triangular romance of Douglas Fairbanks, Jr., Anthony Bushell and Rose Ho- bart, a matter of rather minor moment. In this one, Doug and Tony are brothers. Doug is 7 quite a lion among ladies. But Mr. Bushell has known only one love. And that with his boyhood sweetheart, Rose. But all the same, practice makes perfect. And © when it comes to lovin’ Doug is a cinch at winning the © girl. His rdle robs him of sympathy, which is thrown to Anthony. Both the boys do well—better than Miss Hobart. But the battle scenes are the biggest thrill. & ~~ 4 <i - * .
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Be vit WS The finest guide to current talkies DADDY LONG LEGS (Fox) T’S been a score of years since this vehicle brought i Ruth Chatterton stage fame. And almost as long since Mary Pickford played in a silent screen version of the theatrical hit. But the story’s appeal remains and endows little Janet Gaynor with a greater glory. It is the best thing she has given the screen since the memorable “Seventh Heaven.” The plot holds all the tears and laughter which made the play a success when Miss Chatterton was the pig- tailed girl and Henry Miller the older man whom she adored. The present Daddy Long Legs is Warner Baxter, and following a succession of excessively fictional roles, it is pleasant to see this actor in such a part. You'll simply love Janet, and Warner, too. And you'll have nice things to say about Una Merkel as well. THE MAD GENIUS (Warner) s u po OHN BARRYMORE’S frightening the children again. Fie, fie, John. We’re being deprived of the Barrymore who once created the illusion of romance upon the screen. And given in “The Mad Genius” a Barrymore who gallumphs about as a _ club-footed maestro of the Ballet Russe. There’s very little action in the picture, and a deal of talk, all of which leads to a nice ghoulish finale in which Barrymore’s pate is split with a fire-axe by a rival. Bright spots are provided by Marion Marsh as the feminine half of the young love interest, and the inimitable Charles Butterworth, the drollest Dromio in pictures. Come out from behind those disguises, John! We know you! You're “Don Juan” and “General Crack.”” Be romantic! We like you better that way. THE LAWYER’S SECRET (Paramount) ERE’S Buddy Rogers in his first dramatic role since “Wings.” They cast America’s Boy Friend in a mere featured part, second in importance to that played by Clive Brook. But Buddy makes good by stealing the picture despite an unsympathetic part which portrays a wastrel weakling. Dick Arlen, a stranded sailor, sells his revolver to the wealthy waster, Buddy. In a gambling dive mix-up, a man is killed by a shot from this very gun. Dick is sentenced to die for murder, and Buddy, the weakling, keeps silent. In the end, of course, there’s regeneration. Rogers makes a clean breast of his part in the affair and the real killer is apprehended. Clive Brook is ex- cellent as the lawyer, and both Jean Arthur and Francis McDonald deserve mention. But Buddy is best. a) ee the presence of the ace comedienne, Marion Davies, as star of this drama of the chain-stores, guarantees a leavening of laughter, you'll be surprised to find the charming hoyden of the cinema appearing in an absorbing, exciting, society melodrama. And you'll be surprised at her dramatic talent. Here she is the daughter of Richard Bennett, wealthy owner of five and ten cent stores. Mary Duncan is a particularly obnoxious society bud, who misses no chance to humiliate Marion. Both are in love with the same man. There are some terrific complications and more than one tragedy before the story ends with the promise of future happiness for its heroine. Miss Davies 1s superb, and besides those mentioned, Leslie Howard, Irene Rich and Kent Douglass lend staunch support. es FIVE AND TEN (M-G-™)
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These reviews will save you wasting money on the wrong show ANNABELLE’S AFFAIRS (Fox) OW here’s a film-farce that’s good fun all the way it through. Originally it was a stage hit called “Good Gracious Annabelle.” Since then it has been titled many things—even “She Wears the Pants.” But by any name it’s Hollywood humor at its best, charmingly played by Jeanette MacDonald, Vic McLaglen and Roland Young. The fable doesn’t mean so much. It’s one of those light, laughable mélanges in which the heroine poses as cook in the home of a millionaire in order to secure the missing papers. Naturally enough, there is a merry mix- up all along the line. Thus Jeanette is provided with the opportunity to prove herself one of the first farceurs in filmdom, while Roland Young plays an extraordinary inebriate in a manner showing there is something new under the sun—even in portraying drunks. THIS MODERN AGE (M-G-M) OT that Joan Crawford isn’t one of our favorite 4 movie mimes, and not that she isn’t perfectly grand in “This Modern Age.” But we do wish they’d give our Joan a different story. All that they change is the title. And so we have her again as the modern maiden misun- derstood by a snooty boy friend. Neil Hamilton is the goody-goody who jilts Jcan just because a few of the girls and boys get to whooping it up before his parents. The young folks are very, very Paree, you see. So that oo-la-la stuff comes natural to them. But, shucks, the picture needs surprises. Anyone can tell that Monroe Owsley is going to reform and prove himself worthy of Joan’s love before the end. And that’s just what happens. Joan is best. Then Marjorie Ram- beau. And after them Messrs. Owsley and Hamilton. THE GOOD BAD GIRL (Columbia) NY really and truly film fan is an authority on gangs and gunmen by now. But—ah—what about the woman’s angle on the underworld? Well, here you have it. For Mae Clarke is a gangster’s gal who exchanges a rod for a ring, and quits Gunman Bob Ellis for honest Jimmy Hall. But wedding bells have scarcely quit chim- ing when the ex-sweetie demands a mighty sacrifice. Mae must provide an alibi in swearing that she spent the night of the crime with him. Mae refuses. The gunman goes to jail. The bride- groom’s parents discover all. And the bride goes into the darkness and the storm alone. Then the convict escapes and seeks vengeance against Mae. It’s all pretty thrilling. There is cause to shed a few tears, too. And you're sure to laugh long and loud at Marie Prevost. ea am & UP POPS THE DEVIL (Paramount) T was naughtier as a stage play. But it’s nicer in the movies. Carole Lombard helps to make it so. Carole, you see, is the chic and charming wife of that rising young writer, Norman Foster. And when Nor- man insists that his nassy ol’ job is preventing the com- pletion of the “great American novel,” friend wife sug- gests that she foot the bills while hubby authors. Neither is happy under the regime, and both develop an unreasoning jealousy of intruding third parties. In fact, the green-eyed-monster leads the couple perilously near to Reno. But when it turns out that the bride will soon be a-sewing those tiny garments so popular in pictures, the path is paved for a happy ending. Carole and Nor- man are better than ever. And Skeets Gallagher helps Stuart Erwin endow the film with lots more fun.
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MVODERN BREEN 5 Pomel ER Y ag fo NOR LESLIE HOWARD —whose work adds so much to the artistry of “Five and Ten” and to the drama of “A Free Soul.” - He became an actor because business conditions were so bad following the war. His favorite hobby is tak- ing amateur movies of his friends.
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Photograph by William A. kraker MAE CLARKE —who deserves a place among the big names of film- dom and will get it before long—watch her! Mae Clarke is the mame and she gave a great performance in “The Front Page,” and also in “Good Bad Girl.” Mae has been out in Hollywood since 1929 playing bits in a number of Fox films but it wasn’t until recent- ly that she got her break.
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JAMES KIRK WOOD —whose work as the father in “Young Sinners” is so convincing. James seems to have made a real come- back and now has a Fox contract. He worships James Jr., the child of his and Lila Lee’s marriage. He wanted to be a priest until he started reading Shakes- peare as a boy—from then on it was acting. His next is “Over the Hill.”
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Photograph by Elmer Fryer 88 DOROTnY MACKAILL —who is one of the best portrayers of the modern girl im pictures today. Her “Party Husband” is doing well in the theaters right now and she is preparing to make “As Good As New.” Dorothy’s pet delight is rushing off to Honolulu. Whenever the Mackaill girl is missing from Hollywood you'll probably find her lying on the beach in Waikiki.
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SRE TR AF Photograph by Kenneth Alexander RICHARD ARLEN —who has had the courage to revolt against the ever- lasting Western hero types and now appears in the dramatic “The Lawyer’s Secret,” opposite his old friend, Charles Rogers. Dick and his wife, Jobyna Ralston, live quietly and save their money. He calls her ““Ma’’ and she calls him “Pa.” Joby looks after the family finances. 89
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@GOOPS OF THE MONTH @ From the Harold Seton collection (Above) This was one of those imaginative little things which had to do with the sea and Nep- tune’s daughters and love and sea-weed. The gentleman with the sea-laurel around his head is Jack Mulhall. Yes, really! The girl who is looking into his eyes so adoringly is Louise Lovely. Kindly note the cute method the young man has of carrying spare tire chains on his arm. (Right) This very smart ensemble, worn by Rosemary. Theby, can be used for formal evening wear, a masquerade—even swimming—if you don’t mind people staring at you. If you're tired of this weary old world take a look at these here scoops and die laughing 90
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Mistakes (Continued from page 73) fession since. With Dines it has been a case of his own discretion, With me it has been a case of the editors’. Realizing I needed a larger and more fertile field for my peculiar abilities, I became a movie press agent. I felt, also, that I should begin to learn, by sight at least, these queer people who were giving me such sterling boosts toward my goal of complete failure. The sttidio, for which I was assid- uously turning out press books, staged a nation-wide beauty contest and brought ten of the so-called winners to Holly- wood for a six-weeks’ trial. I was young and had an eye for beauty that has never deserted me although it plays me false every so often. J haunted the dressing rooms of these cute little contest winners and cheered them up considerably when day after day went by without anyone higher than a meoperty boy speaking to them. That I was on friendly terms with nine of the girls. The tenth spent her time foolishly learning something about pic- tures. One by one, my nine protégées took trains back home. The tenth was Dorothy Gulliver. TEs episode in my career made me just a trifle cautious. Whenever I would see a newcomer on the lot I would be very careful to advise her that the movies was no bed of roses. “A good home and a good husband beats struggling around in this busi- ness,” I would tell them, “particularly when there isn’t a chance in nine thou- sand of your getting any place.” I am proud to say that not a few took my well meant advice. In fact, there are only two that were so foolish as to disregard it. They are Janet Gaynor and Fay Wray. I might go on and on like this; how I went to Santa Barbara to put over a dandy publicity stunt for a company on location from my studio and exceeded my fondest expectations only to dis- cover I had joined up with a company from a rival studio; how I once cashed a rubber check and gave the money to Grant Withers on his promise to go back to Colorado and forget pictures and how I helped a Follies girl turn Russian over night and then escorted her to a banquet where she attempted her accent on two former room mates. But I will not go on. I will end this with my greatest mistake to date. A mistake that will take time and pains to top, although I have plans. I met up with two authors, seeking data for a novel on Hollywood. They didn’t look like authors and didn’t act like it either. I was seen with them, ate their meals and drank their gin. Their book came out and was a great success. So great a success, in fact, that I am still in hiding. You see it is a story of a guy that comes to Holly- Modern Screen ROUNDED SUIMNESS im every smart COS TU M E THE new costumes are getting more involved. We must be slender, ah yes! But rounded. We must glow with health while we grope with calories! And after all, what’s the good of losing your health to regain your figure? So simple a thing as the addi- tion of Kellogg’s A1r1-Bran to an adequate reducing diet will work wonders. ALL-BraAn itself isn’t the least fattening. But it adds the “bulk” your system needs to keep it regular and healthy. Nothing causes more unpleasant- ness than improper elimination. Pimples, sallow skins, headaches, wrinkles, backaches, dizziness—are only a few of the most common symptoms. Why not prevent them by enjoy- ing Kellogg’s Att-Bran every day? It is so much wiser than taking dan- gerous pills or drugs. For Att-Bran not only adds bulk—it also contains iron which brings rosy color to the complexion. Many attractive recipes on the red-and-green package. At all grocers. Made by Kellogg in Battle Creek. WRITE FOR FREE BOOKLET “THE MODERN FIGURE” cs Leading motion-picture actresses are shown to you in “fashion close-ups,” wearing the costumes that millions of critical eyes will see on the screen. Everything from sports-togs to evening gowns. Tt addition, the booklet is full of val- Faalsilo information on how to reduce wisely. Free upon request. KELLOGG COMPANY Dept. M-8, Battle Creek, Michigan Please send me a free copy of your booklet, “The Modern Figure.” wood and makes a shambles of the LEILA HYAMS, lovely Were Goldioun: -Mayer player, movie industry at the expense of the wears a three-piece ensemble—with sweater, pleated For riding, she 9 Kirt, d digan jacket for tennis. film folk—and the film folk think I am Se ote ‘short-sleeved shirts tucked under Address Name : z dph that guy because of my few mistakes. Slenmeneina Figo nts 91
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FILM GOSSIP OF THE MONTH HI Usually around three o'clock, if you happen to be in the M-G-M_ commissary, you will have the thrill of seeing Joan Crawford feeding her dog. Woggles is the name of the animile. HE Life of Carl Laemmle,” the bi- ography by John Drinkwater, the famous English writer, proves to be a fascinating life story of the great movie producer. It is delightfully free from the usual hokum present in this kind of thing, being a pretty straightforward account of the manner in which Mr. Laemmle became the great figure in the movie industry which he is today. It you're a movie fan you'll get a lot of enjoyment out of this book. Hagar Wilde, that well known writer and novelist, who has been writing those delightful short stories for MopERN SCREEN, has “gone Hollywood.’ Her novel, “Break-Up,” will soon be a Paramount picture. Miss Wilde has just returned from Hollywood where she has been writing dialogue for Billie Dove’s new. picture, “The Age For Love,’ which (in case you didn’t know it) Howard Hughes will produce. [* the Italian Hospital in London there is a ward which was presented by the Valentino Association—a gather- ing of English fans who want Valen- tino’s name to live forever. The ward is named after Valentino. Every year these fans make gifts to the hospital and give outings for the children at various times. It’s an excellent idea 92 and if you are interested in joining just write to the Valentino Association, 4 Suffolk Square, Cheltenham, Glouces- tershire, England. Well, well, a brand new romance. Wesley Ruggles, who directed “Cimar- ron” and who recently recovered from a nervous breakdown, has fallen hard for little Arline Judge. She's a little New York girl who is trying to make good out in Hollywood im a big way. HE Jack Warners gave a Sunday afternoon party—and everyone had a swell time. Before the barbecue sup- per was served, the guests played golf or tennis, and went in swimming. Then, after eating—bridge, backgammon and other games held sway. The highspot of the evening was when Papa Warner won at cards from his son, Jack. The old gentleman hadn’t been so elated in weeks! .Eddie Cantor and his wife were there. Also Zeppo and Chico Marx— with their better halves. Marian Marx, the wife of Chico, is not only a very attractive girl—but none of the Marx family has anything on her when it comes to funny gags. She’s a riot. Ricardo Cortez arrived late in the afternoon, alone. Cortez has the habit of “stagging it’ to parties around Hollywood—just a lonesome cavalier. “Going to the dogs’ in Hollywood pays! Jules White, who has been di- recting the all-barkie out at M-G-M, has been assigned Buster Keaton's new picture. In it, Jules will use a couple of his talkie-trained hounds to add to the merriment ! RENE RICH went back to Smith College to see her young daughter, Frances, graduate—despite the fact that in so doing she lost approximately $20,000 in salaries. Irene was offered the role of Will Rogers’ wife in his new picture—and when she turned it down, Will and Fox were all upset about it! They couldn’t believe it! But Irene retorted that she expects to work in pictures until she’s eighty— but Frances will only graduate once— and it’s a mother’s place to be at her daughter’s graduation exercises! HE little Filmarte Theater on Vine Street draws some of Hollywood’s most prominent to the first night showings of foreign versions. The other evening when the English picture, “Atlantic,’ opened, there were many celebrities in the audience who never venture to a formal premiere. In the (Continued on page 120)
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Barrymore (Continued from page 68) grand literature, is a valuable book be- cause it doesn’t evade any issue. It comes right out and discusses every phase of life as it is, truthtully.” To illustrate how he feels about real- ism and honesty, Barrymore cited the case of a Pennsylvania censor board, comprised of the sort of elderly gentle- men who, one imagines, must get their sex vicariously. Lionel Barrymore made a picture called “The Devil’s Garden.” “The heroine,’ explained Lionel’s young brother, “was a country girl, married to the postmaster. The villain was the head man of the village. The heroine was offered the choice of yield- ing to the villain or seeing her husband kicked out of his job. She kept her husband working. “But the virtuous gentlemen of the censor board said: ‘Oh, no. This must never be shown. You can have the girl say she’ll give in to the villain and then, after the postmaster has been assured of another four years, tell the politician she was only fooling!” John Barrymore spat at a grasshop- per which passed his camp stool. The Modern Screen BLUE WALTZ PARFUM Irresistible charm can be yours! The smart modern vogue ~ is to have all your toilet- ries bear the fragrance of Blue Waltz... for Blue Waltz alone breathes the spirit of sophistica- tion, charm, and youth. TOILET WATER Exquisite ‘summer deodorant and body freshener | Regular sizes featured by Drug and Department Stores... . Generous in- troductory size at 10c stores. Ee Imparts exquisite lustre tof a 4 PQUORE any hair—non-greasy £ \ 1) 36 ies FACE POUDRE grasshopper spat back. “That sort of morality stinks,’ said Perfect silky texture — clings, but does not clog the pores | Chermingly Scented : Delightful efter the bath " BLUE WALTZ the father of Dolores Ethel Mae Barry- more. ‘That sort of dishonest point of view, that sort of quibbling poisons the mind and does more harm than a real- istic picture of a disorderly house. VERYONE knows there’s sex in the world and it’s only by pussy- footing and penny morality that kids are ever soiled. It’s only by sugges- tiveness or lies about the facts of life that their curiosity is ever excited in a way that’s dangerous.” John Barrymore is married now to a girl who symbolizes sweetness and fineness in all the pictures she has ever made: Dolores Costello. J don’t know what generalities about women Jack Barrymore used to mouth when he was a cartoonist on the New York Evening Journal. Today he likes chaste women. “Chastity is like a bank balance,” he says. “It’s something marvelous to treasure until you’re ready to give it all in one grand gift to the person you really love. It may be fun to spend your virtue in small lots and promiscu- ously give away your life to a variety of people. Personally, as I look at it now after a pretty wild life, I think the youngsters who save up their virtue sacredly and yet gladly ... guard every bit of it with pride ’til they’re ready to give their whole life to one person... are not only happier but also living more adventurously. “Tt’s exciting to be chaste.” John Barrymore has no desire to take Bob Shuler’s place as the guardian of California’s morals. Lest quotes like those above should lead anyone who has ever heard Barrymore tell a story, to think he’s becoming a doddering old Dominie preaching purity, let me inter- (Continued on page 115) ra Joubert Giese ey CoLo N OT 10c Small sizes at all 5 and 10 centstores. Large sizes at your beauty parlor. A SP btapeutn Covel oF licen ca 1 er UNA e nucle A 4 New York City = INSE BEAN Gai R estore the GLOWING GLORY of your HAIR LURING in its sheen of natural, radiant silkiness is the hair that is washed with ColoRinse. There is a tone and tint, a soft, shimmering loveliness, that is youthful and entrancing. Colo- Rinse is just a harmless vege- table color—twelve shades to choose from—you can use it with complete confidence. Made by Nestle, the origi- nators of the permanent wave. 93
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“Spent Bullets,” the new First National production of the war, will have some famous names. Johnny Mack Brown, Elliot Nugent, Frank Albertson, Richard Barthelmess and Helen Chandler rehearsing their lines. The Modern Hostess (Continued from page 13) before the sandwiches are buttered and filled, to avoid waste. The butter should be creamed until very soft and easy to spread. When the sandwiches are made, if they are not to be served at once, they should be packed into a bowl, cov- ered with a damp towel and stored in the refrigerator. In this way they will stay fresh and attractive for hours. There are two ways in which to give your sandwiches the charm of novelty —one is by using unusual fillings, the other is by varying the breads. This latter method is too often neglected, and the possibilities of developing distinctive sandwiches by means of using nut, Bos- ton brown, graham, rye, raisin or orange breads are passed over. Use some of these delicious breads in making your sandwiches, and only the simplest of fillings need be used. Except in the case of sweet sand- wiches most men, as Mr. Dix says, pre- fer their sandwiches toasted. The first principle of a successful toasted sand- wich is to have the toast crisp (but not too crisp!) hot and freshly made. To this end we suggest cutting the bread about three-eights of an inch thick, removing the crusts, and making the toast on an electric toaster right at the table. Fresh bread is not necessary, in fact, it is not even especially desirable. As fast as the bread toasts, make the sandwiches up from bowls of softened 94 butter, prepared fillings and crisp dry lettuce leaves. [E you prefer to make your sandwiches up ahead of time, and to toast them complete, filling and all, select some type of filling which is improved by being heated. Cheese or chopped ham are two such fillings. Sandwiches which are to be toasted whole may be buttered either on the inside or on the outside. If on the inside, they are toasted as usual in the electric toaster or under- neath the broiler flame of the oven. If they are buttered on the outside the butter may be softened and spread on with a knife or melted and brushed on with a pastry brush (whichever method you use, don’t forget what Mr. Dix says, “Use plenty of butter.’’) Sandwiches of this type must be toasted either in one of the new electric sandwich toasters or in a frying pan on the range. The sandwich toasters hold the sandwiches in a horizontal position, toast the sandwiches on both sides at once, and have an adjustable hinge which makes them do a perfect job on sandwiches of any thickness. If you prefer to use the frying pan do not have the heat too high under it, so the butter will have time to fry into the bread, turning it a delightful shade of golden brown. This method of toasting gives you what are known as “Dixie Style Sandwiches.” Either the sandwich toaster or frying pan method will re- ward you with sandwiches of a very different and decidedly delicious flavor. HILE sandwiches are delicious served at luncheon, tea, supper or when-will-you, they really reach the heights of their glory when they are eaten On a picnic. The success of any picnic meal will stand or fall by the excellence of its sandwiches. If you prefer to make up your sandwiches at home, do not make them of too moist fillings, cut them at least in halves, and wrap each sandwich separately in waxed paper. Or if you choose you may simply take along with you sliced bread, jars of mayonnaise, butter, let- tuce, peanut butter, cheese, devilled ham and other desired sandwich fillings and let every one make up his own sand- wiches on the spot. This latter method is especially recommended for “spur-of- the-moment” picnics or when one is too busy to prepare the sandwiches before- hand. It might be mentioned that this is a very popular plan with the men. We suggest to you in passing that your picnic meals can be served more attrac- tively if you take with you lots of paper utensils—plates, cups, napkins, forks, spoons and tablecloth and so on. These will help the picknickers to keep both the food and their fingers clean. So varied are the paper picnic things offered one nowadays that it is even possible to decide on a color scheme and carry it out in its entirety—a little touch that adds definitely to the charm of the occasion. The paper shopping bags with string handles which sell for 10c make excellent containers for both food and accessories. You will find that the Kress and Kresge stores carry a splen- did line of picnic accessories. Whether sandwiches are eaten out under the sky or at the dining room table they must be accompanied by something to drink. This something may be simply iced tea or coffee, one of the bottled carbonated beverages, grape juice or a more elaborate concoction. Don’t forget that there are other garnishes than lemon slices for bever- ages—slices of orange, banana or fresh pineapple, cherries, berries, mint leaves and such are more unusual and very attractive. And please, if there is much fruit included in the drink, serve a spoon with it. It’s very depressing to have to leave a lot of very delicious- looking fruit in the bottom of the glass. Ice cream is good added to lots of drinks, vanilla being usually the safest chaice unless you are sure that some other flavor will blend satisfactorily. For sweetening drinks we recom- mend that you have in the refrigerator a bottle of plain sugar and water syrup. Two cups of sugar and two cups of water boiled together for a few minutes make a good proportion, and should be used for dilution purposes, too. When intended exclusively for sweetening, the syrup should be made much heavier. E have left ourselves very little room for general home making hints, but we must mention two items. One is a new 10c paper shade which
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In Home and Wardrobe Color Greets The Summer! Tintex Colors Brighten @ Everything From Dresses to Drapes One simply must be color- ful this summer to be in the mode! Bright, gay color contrasts mark every smart wardrobe and home! All feminine fabrics—from dresses to drapes must bloom like June gardens to be fashionable. Do you know that there are 33 smart Tintex Colors? That they can give new color-beauty to any washable fabric in a few minutes’ time? Or that Tintex will, if you prefer, restore original color to any faded fabrics? Drop into any Drug Store or Notion Counter today ... see the Tintex Color Card showing silk samples colored with Tintex... The rest is easier than reading about it! ~—THE TINTEX GROUP—. Tintex Gray Box — Tints and dyes all materials. Tintex Blue Box—F¥or lace - trimmed silks — tints the silk, lace remains” original color. Tintex Color Remover— Removes old color from any material so it can be dyed a new color. Whitex — A bluing for restoring white- ness to all yellowed white materials. a On sale at drug and notion counters everywhere TJintex TINTS AND DYES Modern Screen attaches to the rollers of any standard window shade. It is very durable and we recommend it for use in summer the windows are open. These shades, from the ravages of the summer sun and those unexpected thunderstorms which have a gift for coming up when the windows are open. These shades, which come in several.colors, are so in- expensive that they may be thrown away without a qualm when they be- come torn or soiled. As unsightly as frayed shades and a constant source of irritation are trail- ing electric light, radio or telephone wires. To keep these off the floor there is a small but effective device known as the ‘“push-clip.” This slips down be- tween the baseboard or moulding and the wall, and holds the wires up out of harm’s way. Such little details as these improve your home amazingly. If You Met Bob Montgomery (Continued from page 37) grave importance, to self esteem and success, of holding that fancy. When I left him I did permit myself to.ask him if the legendary shyness were a fact. But all he had for me in answer was a very slight smile which was concentrated for the most part in his eyes. But that other young man who made a third in our pleasant party, and to whom I must refer, if only be- cause he is both amiable and charming, replied, with a slight snort: “Shy! Well, he’s human, that’s all!” Human—and modern. That about sums him up, if we add talented and clever. And if you stop to think about it. you must realize that shyness, which is merely reticence and an unwilling- | ness to give one’s self away, is a nor- mal and human characteristic of prac- tically every thinking person who walks this good, but bewildering, earth of ours. I find that I have not added that Robert Montgomery is exceedingly at- tractive. But that’s hardly necessary. You’ve all seen him on the screen and he is, off the screen, not disappointing. I liked him. I like anyone who knows where he or she is going and who is working to get there. I like anyone who has the wit to discern the diffe;- ence between the dream and the reality, between the highroad and the goal, be- tween expectancy and arrival. And I found myself, leaving the hotel, very satisfied with the assignments your editor has given to me. They’re stim- ulating—and a lot of fun. If I were ten or fifteen years younger... But I’m not. And it is a curious quirk of fate that such encounters should fall to the lot of comparatively | ancient and allegedly hard-boiled per- sons, such as myself. By the way, if I were ten or fifteen years younger I would say that Robert Montgomery, as a person, is not only modern and human but—a little bit dangerous. I think I’ll say it, anyway! ‘ear Change It from Drab Darkness to a Cheerful Light Color! Even Black Fabrics Can @ Be Made Light With Tintex Color Remover! Dark colors are out of place in this summer’s wardrobes and in this summer’s homes, too! All dark fabrics, from dresses to drapes, can be easily made gay and bright and beauti- ful with color. First use Tintex Color Re- mover to take out the dark color. After that you can re-tint or re-dye the fabric to suit your- self—either light or dark! There are 33 Tintex Colors from which to choose—from pale pastels to dark gem colors. Just ask for Tintex Color Remover and your choice of Tintex Colors at any Drug Store or Notion Counter . .. and the rest is easy! ~—THE TINTEX GROUP—. Tintex Gray Box—Tints and dyes all materials. : Tintex Blue Box — For lace-trimmed silks — tints the silk, lace remains original color. Tintex Color Remover — Removes old color from any material so it can be dyed a new color. Whitex—A bluing for restoring white- ness to all yellowed white materials. ~ e On sale at drug and notion counters everywhere Jintex TINTS AND DYES 95
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Your Hair Can Make You Beautiful contour of their typical Latin faces, and their smooth black hair itself.” You never see Dolores influenced or even slightly swayed by any of the gay modern modes, by boyish bobs or by long bobs. Often she must admire the unusual way Joan Crawford is doing her hair or that chic, crisp look Norma Shearer achieves. But she is wise enough to realize that these coiffures are for Joan and Norma and not for her. Always Dolores wears her lovely hair the same way. It is straight and long. She parts it carefully in the center, smooths it down over her head, cover- ing her ears, and pins it in a small knot low in her neck. The pity is that others, besides the Dolores Del Rio type, so admire the way ~she does her hair that they must imitate it. Some months ago I talked with Fred, the hair-dresser at the Paramount studios. He deplored the round-faced, young blondes who for some insane rea- son insist upon wearing their hair like Dolores. “Tt just isn’t for them,’ I remember Fred saying. “It is foreign to their personalities. Why, why do they do it?” LORIA SWANSON is another star who feels that no matter how she arranges the ends of her hair, her coiffure must follow the lines of her head. “In the back, especially,” explained Gloria, “I like the hair to have that sculptured look. On the sides it may be a little fuller. But not too full, for fear it will seem untidy.” Gloria prefers a marcel that is not J (Continued from page 50) set on a diagonal line but which follows the lines of the part she wears on the left side. Gloria’s face, you’ll remember, is not wide. And it has _ curious, modeled planes to it. Where a face has a tendency to be broad, a diagonal wave is, of course, preferable. Then there’s Hollywood’s charming sophisticate, Hedda Hopper, who wears her hair as simply as a school-girl—in a softly waved line with the ends turned in a round curl at the neckline. Parted on the side. And of a length to cover the ears. Miss Hopper prefers a water-wave, feeling it is looser looking than a mar- cel. And even after a water-wave, she always brushes her hair vigorously so it never will have a stiff, tight look. The Hopper hair is dark brown and very soft. Every night Hedda rubs a liquid vaseline into the scalp. This, she | insists, gives the hair a lovely, glossy sheen. Another type for ringlets—Nancy Carroll! Nancy likes her hair best as she wore it in “The Night Angel.” Her entire head was covered in ringlets: Then she combed her hair offwher face, pompadour fashion. The. back, how- ever, was allowed to remain particularly fluffy. For this coiffure to be most suc- cessful the length of the hair over the head should not exceed seven inches. ONSTANCE BENNETT, wisely enough, arranges her hair to stress her widow’s peak. And certainly any- body with such a charming little dip in her hair would be very foolish indeed not to make the most of it. nicely © Constance parts her hair very low on the right side. Then she combs the heavier portion of her hair back from her forehead. This, you seé, reveals the widow’s peak in the center. She has no wave placed in the top portion of her hair, the first dip appearing at a level with the part on the right side. On the right side, however, the first wave is placed a little lower than the first wave on the left side. This gives a slight swirl at the back where they meet. There are exactly three waves on the left side and two waves on the right. The ends are brought back and made into flat curls. Ann Harding is able to wear her hair as simply as she does because she has regular and well-defined features—and, most tnportant of all, because her hair naturally falls in curly little tendrils about her face. Without these tendrils, beyond a doubt, the Harding coiffures would seem overly severe and lose much of their charm. So long as her hair is simply ar- ranged Ann says it suits her. However, in lieu of the details of a favorite coiffure she stressed the details of the care of her hair. She has it washed with pure Castile soap and dried in the sun; never by artificial methods... Be- lieves in massage. But never brushes her hair unless it is badly tangled. Ordi- narily a comb with both coarse and. fine teeth suffices. The coarse end, of course, is to remove snarls and the fine end to achieve a smooth effect. Combing the hair vigorously, Ann says, will stimu- late both the scalp and the roots. Which type are you? That’s the question you must settle. THIS WRITER GIVES ADVICE ABOUT INFERIORITY COMPLEXES IN OUR NEXT ISSUE around my head and relax for ten min- utes or so. That’s what I did to Clar- ine, in spite of her protests that New York was hot enough in the summer time without hot Turkish towels being wrapped around the head. Dry the hair in the open air when- ever you can—it adds brilliancy and lustre. Ne™ coming to the subject of wav- ing—Clarine’s hair was the type which will dip prettily around the face but which needs assistance to actually wave. Very few gitls have absolutely straight hair, you know. But very few girls seem to realize that a little bit of waviness will go a long way—if it is properly complemented | with finger- waving, water-waving, and the use of a waveset lotion. I have nothing against permanents—I think they’re a splendid 96 Beauty Advice (Continued from page 12) thing and a boon to the feminine world. But I do think that many girls reck- lessly spend money on a _ permanent when they could wave their own hair less expensively and more attractively. I waved Clarine’s hair with water- wave combs (one doesn’t need to pay a lot for them, you know) and a good waveset lotion. I found a lotion which is absolutely greaseless and does not make the hair sticky. I applied it lib- erally with the palm of my hand, then combed the hair flat down to the head before putting in the combs. ANY girls who write to me say that they would like to wave their own hair with combs but that they can- not get good results. They say that they don’t get waves at all—just a series of unattractive bumps. I admit that it takes a bit of practice, but every girl with ten fingers and perseverance can learn. Here is the way I do it: I part the hair and comb it straight down the side of the head from the part. Now, waving the right side first (it’s easier)—I take one of the combs firmly and draw it through the hair from the part to the temple—then stop. I insert the teeth of the comb well into the hair and give it a push, forward and up. That is my first wave—rather far from the part in order to look most attractive and natural. Then, I pick up the second comb and set if just the opposite way: teeth pointing away from the part and toward the teeth of the first comb; right close to the first comb; and firmly placed, so that the teeth of the two combs interlace or overlap. Now I proceed with the other combs: third one pushed back, fourth (Continued on page 101)
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Modern Screen & ll. BS Find the Twin Pirates to Qualify! O-HO-HO! Pirates bold and a treasure chest. Jewels, gold, silver. Treasure laden ships on the Spanish Main. Thoughts of these, and more, come to mind as you look at this picture of a lone man guarding a chest against a band of ruffians. In the picture are two men who look alike and dress alike. They are “‘twin pirates.’”’ Can you pick them out? Look sharp! Keen eyes will find them, can you: Eisai mil Indiana Farmer Wins $3,500 C. H. Essig, R. R. 3, Argos, Ind., wrote: ‘I wish to acknowl- edge receipt of your $3,500 prize check. I thank you 3,500 times for it Oh, boy! This is the biggest sum of money I ever had in my hands in my life and I am tickled pink over it. When you think of the people who spend their whole lifetime work- ing and in the end never realize such a sum, it is indeed a fortune to win.” Won $650 5 S. H. Bennett, Lynch- South urg, Va., wrote, “I was e more than pleased to re- Carolina ceive the $650.00 prize es check. I am so _ well Minister pleased with the nice Be treatment given me. I Wins found your products all you claim for them.”’ oye, =e 7S Ww Willis, Pastor on $525 of the First A Christian We A RT Church of Columbus, S. C., won a cash prize recently. Hundreds have been rewarded in our past advertising campaigns. Mrs. Edna D. Ziler, of, Kentucky, won $1,950. Miss Tillie Bohle, of Iowa, $1,500. Be prompt! An- swer today! sible to express my sincere appreciation for your check for $525.00 prize. It came when I was out of work, which makes it ‘look like a million dollars,’ ”’ More Than $12,960.00 IN PRIZES If you find the “twins” write their numbers in the coupon or a letter, mail to us and you will qualify for an opportunity to share in over $12,960.00 in Prizes. Besides hundreds of dollars in special cash rewards. This offer is made by a re- liable business house for advertising purposes. You are sure to be rewarded if you take an active part. In case of final ties duplicate prizes will be paid. One hundred and three cash prizes will be given those who write us about this amazing advertising campaign. We will give away $12,960.00 in cash. You are sure to profit if you take an active part. In case of ties, duplicate prizes will be given. You get $3,700 if you win grand first prize. In addi- tion there are 102 other wonderful cash prizes. Grand second prize $1,000 in cash. Grand third prize $500 in cash. Also four other prizes of $500.00 each and many others. All told $12,960.00 in cash. Money to pay you is already on deposit in the Mercantile Trust and Savings Bank, a big Chicago bank. All you do to qualify in this great advertising plan is to send vouranswer. Notapenny of your money is needed now or later. Send the coupon, postal, or letter at once for particulars. Thomas Lee, Mgr., 427 West Randolph Street, Dept. 883, Chicago, III. [ence Se I or CE [ Mer., D - 883 | erWes: Randolph St., Chicago, III. | | The ‘‘Twin Pirates” are numbers... and... I want to win in your | | $12,960.00 Prize Campaign. Send me full information. | V my ! | Name____-------------------------- ------ 2 = == === 9-5 =" 95 -- 55 == == === | Address_.--------------- -- === == = = = = nnn rr | ligveeccmgpr ane 21" * sNeGnmBeanT A eaaMDATe- | | town Bonne Se BSE ae ROS BHU SRe DES SSS SSO SERS SS Sta tesaae ease ne aia | 97
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ln “Young Sinners,” the new Fox picture, some snow scenes were essential Edmund Breese, Dorothy Jordan, Thomas Meighan, Cecilia Loftus and James Kirk- so the company went on location to Lake Tahoe to get them. wood waiting for the camera call. John Blystone directed. Between You and Me (Continued from page 10) We enjoy tremendously your “Scoops of the Month.” But you forgot to tell us who the lady in the upper right hand picture on page 97 of the June issue is. We think it’s Geraldine Far- rar. Can you tell us? MARGARET AND RUTH KOPPENHAVER, Fargo, North Dakota. (That’s right, girls. Geraldine Far- rar as Zaza.—The Editor.) I have just read an article entitled “Secrets of the Hollywood Stylists” in your magazine. I enjoyed it, but I have a complaint to make. Haven’t any of these stylists any consideration for tall girls? I mean extremely tall girls? Five feet, seven and a half, like myself. Miss JoAN LOHMBARD, Oklahoma City, Oklahoma. (Why not write about your partic- ular problems to Miss Virginia T. Lane, in care of MopERN ScREEN, Joan. She will be glad to help youu—The Editor.) Here are three cheers for Elinor Glyn and the beautiful little story she wrote about Clara Bow. It really was won- derful. KATHLEEN H. HopPxKINs, : A Clara Bow Fan, 4 Whitinsville, Massachusetts. T have read the article, “Joan Craw- ford Rebels,” in your magazine... . I, for one, enjoyed it immensely. I ab- solutely gobble up every article on Joan Crawford and I heartily agree with her in so far as rebelling is concerned. It is my personal opinion that if any 98 changing has been done it has been Doug Fairbanks, Jr., who has changed —and who could be a better influence on him than our own dear Joan. Mrs. H. E. Hanson, Chicago, Illinois. More about our Joan It just slays me—the way they keep throwing up to her that she was a chorus girl. . . . The chorus is the best place on earth to find out if you are a dancer... . I hope Joan never changes —and I’m sure Douglas Junior doesn’t want her to. That’s why he fell in love with her. Mance H.., Cleveland, Ohio. Joan likes Greta Garbo, does she? Well, I don’t—I like Joan. She has more real, honest-to-goodness acting ability in her ear drum than Greta will ever have in her entire body. _ Sure, Ill say it again. Yes, I'll meet you in front of the town drugstore if you want to fight it out. ... Take it from me, you people who say rude things about Joan Crawford, that gal has just started her motor—she’s got far to go yet. CLARA CORLEY, Atlanta, Georgia. And more about Greta—and lovely Marlene Now, I am one of those who do not believe that there is much of a mystery about Garbo—save her fine talent, which, after all, is unanalyzable, un- translatable into words. She is a hu- “garters and lace panties? . man being like the rest of us, but a much finer person, morally, mentally and physically... . RicHarp E. Passmore, Media, Pennsylvania. I know you won’t print this—perhaps not read it—but I have got to say it: why not let Greta Garbo go and give beautiful Joan Crawford a chance? IpILLA ALLISON, Detroit, Michigan. In my estimation, all this publicity that is being centered around Garbo and Dietrich is... bunk. .. . It is true they are great actresses, but why not be con- tent to accept their performances in a sane and respectful manner. ... And I can’t understand why we, the American public, seem indifferent to our domestic talent. Lro BURKE, Mason City, Iowa. Please, oh please—isn’t there any- thing to Dietrich’s acting but legs and .. Trying to attach a Garbo personality to a pair of chorus girl legs is a bit incongruous, don’t you think? ELIZABETH SMITH, Washington, D. C. Oh, yes—folks ask funny questions up here, teo, Mrs. Pinkert I used to be a cashier in a theatre and I wonder if you ever get such funny questions asked you as I did. Fans and patrons seemed to think I had an inti- mate acquaintance with the whole movie colony. Why, I’ve only seen four stars in the flesh—Thomas Meigh- an, Gary Cooper, Colleen Moore and Lupe Velez—and they wouldn’t know me from Adam’s house cat! Mrs. Marie PINKERT, Tampa, Florida. We're glad to print a fan letter about a director When it comes to psychological rep- resentation of characters, Von Stern- berg is unique. He is a genius and will create great things in the cinema art. I can hardly await his “American Tragedy.” DIANE T. SCHROEDER, Houston, Texas. Did you read “Up From Heroism’” in the July MODERN SCREEN? Why are not more pictures of Ed- mund Lowe shown? He is in my esti- mation the best actor and the hand- somest. And he is not conceited. Mrs. ELIzABETH FALKENSTEIN, Louisville, Kentucky. There’ll be a Phillips Holmes story in the September issue, Mildred, | promise I’m disappointed! In your May is- sue you said that there was a marvelous Phillips Holmes story coming—and when I bought the June issue, expect- ing it, it wasn’t there. Phillips is one popular boy with everyone I know. Mitprep H. THOMAs, San Francisco, California.
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Reo Modern Screen They Really Can Cook hold a doughnut championship match with all comers! He learned the knack of cooking “holes with frames around ‘em’? when he served with the army in the Philippines. Even his wife, an ex- cellent cook and a former domestic science teacher, isn’t inclined to chal- lenge Jimmy. She sticks to her own specialty, the famous Gleason Hash. Ken Maynard, the Western star, has a “chuck wagon,” which goes with him on location. He is an ace broiler of steaks. He makes delicious spaghetti, too; but every off-screen chef in film- dom swears that his spaghetti would put all the other cooks to culinary shame. If I gave one player’s recipe for the dish, I’d have a score of super- cilious young amateur chefs mention- ing that of course they add a bit of mouse cheese or a soupcon of spices to give it real individuality! So will my readers please buy their spaghetti in cans and save me an argument? At the “Keaton Kennel,” a shack on the M-G-M lot where Buster dons his make-up, he often entertains friends in his off-hours. Here he concocts his famous chop suey—a mixture far too complicated for the average off-screen cook. It starts with peanut oil, flirts with bamboo shoots, salted almonds, OUR LEW AYRES STORY IN (Continued from page 81) bean sprouts, and a dozen other amaz- ing ingredients; adds such things as corn starch and soy sauce; and casually ends by dropping in a whole roast chicken, diced! OIS MORAN is the Fox kitchen champion. She is a very enthu- siastic cook, who learned the art from that very practical woman—her mother. When she knows company is coming in for even such a negligible repast as afternoon tea, Lois rises very early and starts “making things.’ One of her most successful dishes is Baked Pine- apple Tomatoes. First she scoops the centers out of six medium-sized to- matoes, and mixes the pulps with three slices of crispy fried, chopped bacon. One cup of crushed pineapple and one- half cup of bread crumbs are added to the mixture, which is used to stuff the tomato shells. Buttered bread crumbs and grated cheese are sprinkled on top, and the tomatoes are baked in a mod- erate oven for fifteen minutes. It is seldom that Ann Harding inter- feres with the routine of her kitchen; however, Tuesday is the cook’s night out—and the night Ann personally pre- pares her husband, Harry Bannister’s, favorite dish—broiled steak with French fried potatoes. On holidays she always prepares her own special chestnut dress- ing for the fowls. Irene Rich stuffs her turkeys, too; but her real delight is in cooking boxes of goodies for her two daughters. Marie Dressler, one of Hollywood’s best cooks, can make lots of Boston Cook Book folderols. But she has built her culinary reputation on such folksy things as ham ’n’ eggs and toast, served to guests after the theatre when the cook has retired. Oh, there are cooks galore in Holly- wood—Richard Arlen, who has made buttermilk griddle-cakes a by-word to guests aboard his yacht; Janet Gaynor, who can make only one thing, her favor- ite between-meals treat—ice box cook- ies; Charles Rogers, who has an as- tounding recipe for eggs chasseur (which no self-respecting hen would ever recognize!). Bull Haines makes his own coffee; Lawrence Grant, his tea, in the real English manner. Ra- mon Navarro cooks @ la Mejicano, and Fifi Dorsay. does it a la France. Even the irrepressible Jack Oakie shouts for honors in the kitchen: Why, he’s the champion can-and-bottle opener of Hollywood! And what’s more, he'll prove it for you any time. THE NEXT ISSUE WILL THRILL YOU WITH ITS WARMTH | Before MAKES THE NEXT Made by Beech-Nut Packing Company—Also makers of Beech-Nut Fruit Drops SMOKE TASTE BETTER! Buy a package of Beech-Nut Gum when you buy cigarettes or cigars. Chew it between smokes...It has the same effect as a good meal because it stimulates your taste sense...makes each smoke taste as good as the first one after breakfast...makes your smoking always enjoyable. REMEMBER, there is no other gum quite so good as Beech-Nut. Also in Spearmint and Wintergreen flavors 99
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Harry Bannister, Ann Harding and Lee Miles, the pilot, and the new Bellanca in which Miss Harding flew from Detroit to Hollywood. It’s her own plane, you know. She’s a licensed air pilot. Directory of Players (Continued from page 9) GLEASON, JAMES; married to Lucille Webster; in ‘‘A Tailor-Made Man’’ and ‘‘Just a Gigolo,”’ born in Portland, Ore. Write him at RKO- all for M-G-M. - Pathé studio. Contract player. Jim in ‘‘Be- HALL, JAMES; _ divorced from non-professional: yond Victory,’’ RKO-Pathé. Cook Kelley in ‘“‘It’s born in Dallas, Texas. Write him at Warner a Wise Child’? and Eddie in ‘tA Free Soul,” Bros. studio. Free lance player. Dan in | The M-G-M. Third Alarm,” Tiffany. George in ‘‘Divorce GLEASON, RUSSELL; unmarried; born in Portland, Among Friends,’’ Warner Bros. | Male lead in Ore. Write him at RKO-Pathé studio. Free lance “The Lightning Flyer,’’ Columbia. Male leads player. Featured role in ‘‘All Quiet on _ the in ‘‘Mother’s Millions,’’ Universal and Good Western Front,’’ Universal. Russell in ‘‘Be- Bad Girl,’’ Columbia. z yond Victory,’’ RKO-Pathé. Juvenile lead in HAMILTON, NEIL; married to Elsa Whitner; born ‘“‘Laugh and Grow Rich,’’ RKO-Radio. in Lynn, Mass. Write him at M-G-M_ studio. GORDON, GAVIN; unmarried; born in Chicora, Miss. Contract player. Starred in “‘Network,’ Fox. Write him at M-G-M studio. Contract player. Ivan in “The Spy,’’ Fox. Male lead in “‘Strang- The Parson in ‘‘Romance,”” M-G-M. Villain in ers May Kiss,’’ M-G-M. Business man in “The “‘The Silver Horde,’? Radio. Muir in ‘‘The Great Torch Song,’’ M-G-M. Bob in ‘‘Girls Together,’’ Meadow,’’ M-G-M. ; M-G-M. 2 u GRAVES, RALPH; married to Virginia Goodwin; HARDING, ANN; married to Harry Bannister; born in Cleveland, Ohio. Write him at Columbia born in Fort Sam_ Houston, Texas. Write her studio. Contract player-writer. Featured roles in at RKO-Pathé studio. Contract star. The wife “Flight,’’ ‘‘Submarine’’ and ‘‘Dirigible,’’ Colum- in ‘‘East Lynne,’’ Fox. Starred in ‘‘The Dark bia, and male lead in ‘‘Salvation Nell,’’ Cruze- Flame’’ and “‘The Little Flat in the Temple, Tiffany. Co-starred in ‘‘The Great Lover,’’ RKO-Pathé. : M-G-M. HARDY, OLIVER; divorced; born in Atlanta, Ga. GRAY, LAWRENCE; unmarried; born in San Fran- Write him at Hal Roach studio. Contract star. cisco, Cal. Write him at M-G-M studio. Con- Co-starred with Stan Laurel in “Their First Mis- tract player. Tom Warren in ‘‘Sunny,’”’ First take,’’ ‘‘Chickens Come Home to Roost and National. “Be Big,”’ all for Roach-M-G-M. GREEN, HARRY; divorced from Mabel Hurst; born HARLOW, JEAN; divorced from Charles F. McGrew in New York City. Write him at Paramount II; born in Chicago, Ill. Write her at United studio. Free lance player. Herman in ‘‘The Artists studio. Caddo contract player. Feminine Spoilers.”” Maxie Mindell in ‘‘No Limit,’’ Para- lead in ‘‘The Secret Six,’’ M-G-M, and “The mount. Iron Man,’’ Universal. Featured roles in GREEN, MITZI; child actress; born in New York “‘Goldie,’” Fox and “The Greeks Had a Word City. Write her at Paramount studio. Contract--- ~ -~For-It,’’~Goldwyn-United Artists. - .-.. . player. Becky in ‘‘Tom Sawyer,’’ the daughter in HERSHOLT, JEAN; married to non-professional; “Finn and Hattie,’’ featured role in ‘‘Dude born in Copenhagen, Denmark. Write him at Ranch”’ and ‘‘Skippy,’’ all for Paramount. M-G-M studio. Contract player. Herr Schnabel GRIFFITH, CORINNE; married to Walter Morosco: in ‘“‘Daybreak,’’ and Herman in Cheri-Bibi,’’ born in Texarkana, Texas. Write her at Malibu M-G-M. Rudolph Kramer in ‘Transatlantic, Beach, Calif. Free lance player. Temporarily re- Fox. tired from screen. HOBART, ROSE; married to non-professional; born HAINES, WILLIAM; unmarried; born in Staunton, in New York City. Write her at Universal stu- Va. Write him at M-G-M studio. Contract dio. Featured player. Feminine lead opposite star. Brennon in ‘‘Remote Control,’’ stellar rdle Charles Farrell in ‘‘Liliom’* and featured role in 100 “Chances,’’ First National and ‘‘Waterloo Bridge,’’ Universal. HOLMES, PHILLIPS; unmarried; born in Grand Rapids, Mich. Write him at Paramount studio. Contract player. Graham in ‘The Criminal Code,”” Columbia. Male lead in ‘Stolen Heaven’’ and “‘Confessions of a Co-ed.’’ Clyde Griffiths in “The American Tragedy,’’ all for Paramount. HCLT, JACK; married to non-professional; born in Virginia. Write him at Columbia studio. Con- tract player. Starred in ‘‘Flight,’’ ‘‘Submarine,’’ “Dirigible,”’’ ‘“‘Fifty Fathoms,’’ ‘“‘The Mad Pa- rade’ and ‘‘Subway Express,’’ all for Columbia. HOWARD, LESLIE; unmarried; born in Chicago, IIl. Write him at M-G-M studio. Contract player. Dwight Winship in ‘‘A Free Soul,” Dan in “‘Never the Twain Shall Meet’ and Berry in “Five and Ten,’’ M-G-M. HUGHES, LLOYD; married to Gloria Hope; born in Bisbee, Arizona. Write him at RKO-Radio studio. Free lance player. Co-starred in “‘Drums of Jeopardy,’’ Tiffany. Juvenile lead in ‘‘Hell Bound,’’ Cruze-Tiffany. Featured role in ‘‘The Great Air Robbery,’’ Columbia. HURST, PAUL; unmarried; born in New York City. Write him at Tiffany studio. Free lance player. Comedian in ‘‘Kick In,” Paramount, Mezotski in ‘‘The Secret Six,’’ M-G-M, Barten- der in ‘‘The Common Law,’’ RKO-Pathée. HUSTON, WALTER; separated from wife; born in Toronto, Canada. Write him at First National studio. Contract_ star. The General in ‘The Virtuous Sin,’’ Paramount. Warden Brady in “The Criminal Code,’’ Columbia. Star of “Upper Underworld,” First National. HYAMS, LEILA; married to Phil Berg; born in New York City. Write her at M-G-M studio. Con- tract player. Feminine lead in ‘‘Cheri-Bebi,”’ JANNEY, LEON; child actor; born in Ogden, Utah. The kid brother_in “Doorway to Hell,’’ and Bill Emery in ‘‘Father’s Son.’’ Star of ‘Pen- rod and Sam,’’ First National. JANNEY, WILLIAM; unmarried; born in New York City. Write him at RKO-Radio studio. Free lance player. Gordon Scott in ‘“‘The Dawn Patrol,’’ First National. Tommy Brown in “The Pay Off,’’ RKO-Radio. Freddie in ‘Girls De- mand Excitement,’’ Fox. Gregory Brown in “Meet the Wife,’’ Christie-Columbia. JANNINGS, EMIL; born in Brooklyn, N. Y.; edu- cated in Germany. Now in Germany. Lead in “The Blue Angel,’’ German picture now being shown here. Expected to make pictures in this country again shortly. JOHNSON, KAY; married to John Cromwell; born in Mt. Vernon, N. Y. Write her at M-G-M studio. Contract player. Helen Chester in ‘‘The Spoilers,’’ Paramount. Cassy in ‘Passion Flow- er,”” M-G-M. Anna in ‘‘The Spy,’’ Fox. Starred in ‘‘The Single Sin,’’ Tiffany. JOLSON, AL; married to Ruby Keeler; born in Petrograd, Russia. Write him at United Artists studio. Contract star. Stellar role in ‘“‘Big Boy,’’ Warner Bros. JORDAN, DOROTHY; unmarried; born in Clarks- burg, Tenn. Write her at M-G-M studio. Con- tract player. Nancy in ‘‘Min and Bill,’’ Ingenue lead in ‘‘Fore,’’ M-G-M. _ Feminine lead in “Young Sinners,’’ Fox, ‘“‘Shipmates’’ and “A Tailor-Made Man,’’ M-G-M. KEATON, BUSTER; married to Natalie Talmadge; born in Pickway, Kan. Write him at M-G-M studio. Contract star. Stellar réles in ‘‘Free and Easy,’’ ‘‘Dough Boys’’ and “Parlor, Bed- room and Bath,’’ all for M-G-M. KENT, BARBARA; married to Tamar Lane; born in Gadsbury, Alberta, Canada. Write her at Universal studio. Free lance player. Juvenile lead in ‘‘What Men Want,’’ Universal. Barbara in ‘‘Feet First’’ and Billie in ‘“Welcome Dan- ger,’’ both for Harold Lloyd. Young sister in ‘“‘In- discreet,’’ United Artists. KENYON, DORIS; widow of Milton Sills; born in Syracuse, N. Y. Write her at First National studio. Free lance player. Nancy White in “‘Fame,’’ First National. Featured role in ‘‘The Menace,’’ First National. Mrs. Hamilton in “‘Alexander Hamilton,’’ Warner Bros. KERR, GEOFFREY; unmarried; born in London, England. Write him at RKO-Radio studio. Con- tract player. Mr. Kerr is a well known stage actor who will make his talkie début in ‘‘Wait- prea the Church,’’ with Mary Brian, for RKO- adio. KIRKWOOD, JAMES; divorced from Lila Lee, born in North Dakota. Write him_at Warner Bros. studio. Free lance player. Featured réles in “‘The Time, the Place, and the Girl,’’ Warner Bros., and “‘Back Waters,’’ World Wide. Speed Grogan in ‘‘The Conquering Horde,’’ Paramount. KNAPP, EVELYN; unmarried; born in New York City. Write her at RKO-Radio studio. Free lance player. Veronia in ‘‘Fame,’’ First Nationa). Barbara Allen in ‘“‘The Millionaire,’’ Warner Bros. LAKE, ARTHUR; unmarried; born in Corbin, Ky. Write him at RKO-Radio studio. Free lance player. Juvenile lead in ‘‘Indiscreet,’’ United Artists. LANDI, ELISSA; unmarried; born in Venice, Italy. Write her at Fox studio. Featured player. Fem- inine lead opposite Charles Farrell in ‘‘Body and Soul,’’ Lila in ‘‘Always Goodbye,’’ both for Fox. LANE, LOLA; unmarried; born in Indianola, Iowa. Write her at James Cruze studio. Free lance player. Feminine leads in ‘“‘The Big Fight,’’ “The Command Performance’’ and ‘‘Hell Bound,’’ all for Cruze-Tiffany. LA PLANTE, LAURA; married to William B. Seiter; born in St. Louis, Mo. Write her at First Na- tional studio. Free lance player. Featured role in ‘‘Lonely Wives,’’ RKO-Pathé, Diane Churchill in “‘God’s Gift to Women,”’ First National. Gertrude Lennox in ‘“‘Meet the Wife,’’ Christie- Columbia. Feminine lead in ‘‘Arizona,’’ Colum- bia. LA ROCQUE, ROD; married to Vilma Banky; born in Chicago, Ill. Write him at Samuel Goldwyn studio. Free lance player. Title réle in “Beau Bandit,’”’ RKO-Radio. Bob Brown in “Let Us Be Gay.’’ M-G-M. Now in New York. LAUREL, STAN; married to Lois Neilson; born in London, Eng. Write him at Hal Roach studio. Contract star. Co-starred with Oliver Hardy in “The Brat,’’ ‘‘Their First Mistake,’’ ‘‘Chickens Come Home,”’ ‘‘Be Big,’’ and ‘“‘Pardon Us,”’ all for Roach. LEBEDEFF, IVAN; unmarried; born in Uspoliai, Lithuania. Write him at RKO-Radio studio. Contract player. Butch Miller in ‘‘The Con- spiracy.””’ Mischa in ‘“‘The_ Midnight Mistery.” Featured role in ‘‘Kept Husbands,’’ star of “The Spy,”’ all for RKO-Radio. (Continued on page 102)
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Modern Screen Beauty Advice (Continued from page 96) one pushed forward, and so on. The left side is the same—a little more diff- cult to do, that’s all. The water-wave and the finger-wave (done without the aid of combs) are very attractive and natural-looking. For the girl whose hair has naturally very-nearly-perfect waves, finger-waving with a good wave- set lotion is simple and most flattering as to results. Clarine stayed with me over a week and, since I wasn’t satisfied that her hair had regained it’s natural lovely color, I gave her a second shampoo (following the oil treatment again) and finished her off with a mild color rinse —one of the best color-brighteners that I could find. A color rinse is not a dye, remember! It should be used dis- creetly, as all cosmetics should, and so used, it will not change the actual color of your hair. But it will bring out all the lights and tints that your hair nat- urally possesses. LARINE went back to Nantucket with her hair looking civilized again and promised to be a good girl and give herself careful shampoos once a week. Ordinarily, one should not shampoo the hair that often, but in the summer time, it is essential. By the way, here’s a tip for girls with long hair. When you coil your hair in back, twist in with it a fringe hairnet—you'll be surprised what an aid to neatness this is. All those little stray ends will be kept where they belong. And here’s a tip for the girl whose hair “comes out of curl the minute she leaves the house.” Apply brilliantine GIRLS—this new kind of Face Powder restores youthful beauty to sun-parched skins! or your favorite perfume to those little | 7 ends around the ears. Wrap the hair round your finger. Fasten them with pins. Stand in front of an electric fan for a few minutes. Remove the pins. And—voila! You have those fashion- able little side curls—and they'll stay for a surprisingly long time. Another aid to neatness for long and bobbed heads—try one of those ban- dannas made in cap and bandeau and scarf models. There are many gay colors to choose from. They’re a great convenience on the beach, in a car, or in a boat. Write to Mary Biddle about your beauty problems. She will be glad to help you. Address Mary Biddle, Mop- ERN SCREEN Magazine, 100 Fifth Ave- nue, New York City, N. Y., and en- close a stamped, addressed envelope for a personal reply. What About Johnny? (Continued from page 19) have a career in pictures. A few days later Johnny was sur- prised to find himself out at M-G-M taking a “test” to see if he photographed well enough for a chance in the movies. Unfortunately, he did. The studio of- fered him a contract. Johnny was so overcome with the amount of money that could be made in Hollywood (more in one year than he could hope to make in Alabama in five) that he signed up. Not because he wanted to be an actor, but because he couldn’t afford to pass up so much money. First, he was given a small bit in “The Bugle Sounds.” Then followed parts in “Fair Co-Ed” and “A Lady of Chance.” Johnny’s performances were called “adequate” but never anything more. Then he was chosen to play op- posite Mary Pickford in “Coquette.” It was the worst break he could have _had. The reason [ call it a “bad break”’ is because it gave Johnny and the rest of the world a false impression of his worth as an actor. All he had to do in “Coquette” was to play Johnny Mack Brown! All he had to do in the way of talking was to speak like Johnny Mack Brown. HE studio was so pleased with his “acting” in this production that they shoved Johnny from one picture to another. First with Garbo, then with Crawford. They even decided to star Johnny as soon as he was able to carry a picture. They thought he could make his first starring picture out of “The Great Meadow,” inasmuch as he played the part of a boy from Kentucky, with a southern accent. But after the pic- ture was completed—Johnny hadn’t car- ried the picture—and Eleanor Board- man was given top billing. Then came “Billy the Kid,” with Johnny in the title role. He was to have been starred in this picture, but Wallace Beery was much easier to remember after seeing it—so again Johnny wasn’t starred. Next, they handed him the part of a HEPOmLen mnnwbhem Sechetoixean abhere was another reporter in the picture... not so important as Johnny .. . played by Clark Gable. Johnny’s role was supposed to be quite a bit bigger than the one played by Gable, but the audi- ences remember Clark. And so it was, that when “Laughing Sinners” was finished and previewed, | Johnny (who played the part of the Salvation Army boy who was to gain the sympathy of the audience) hadn’t gained the sympathy of the audience at all. As a matter of fact, the audience’s heart went to the very person for whom the author wanted the least sympathy. It was then decided that Johnny would have to step out of the part and make way for Clark Gable (who had over- shadowed Johnny Mack in ‘‘The Secret Six”). Now, while another actor is making something of the role that was too much for him, Johnny Mack Brown is being loaned out to First National (Continued on page 103) Made with a sooth- ing OLIVE OIL base to soften the skin and keep it supple! yous MIRROR is quick to tell you when the sun and wind have made your skin too dry .. . How coarse and “leathery” your face looks, with tiny lines showing themselves around your mouth, under your eyes .. . How taut and drawn it appears—like a mask of brown parchment! There’s a simple way to prevent all this! ... Today—and every day before you go out in the open—use OuTDOOR Girt Olive Oil Face Powder. Notice how this luxurious powder helps your skin retain its clear, youthful freshness . . . its delicacy of coloring . . . its softness and elasticity. OUTDOOR GIRL gives your face a clean, comfortable feeling that lasts all day. Yet in spite of its unusual olive oil base, the powder is as fluffy-dry as any you have known. Try this different face powder today! Dis- cover for yourself how it will protect your complexion and keep it smooth and fresh. OuTpDooR GIRL comes in 7 popular shades, including Lido, Boulevard and Everglades— the lustrous new tone that goes so well with this year’s complexions. Regular size packages of this exquisite powder at 35c and $1.00, together with other OuTpoor Girl Beauty Products, are available at the better drug and department stores. For trial purposes, generous introductory packages of all the OUTDOOR GIRL preparations at 10c each may also be had at the toilet goods counters of leading chain and variety stores. Enclosed in each box is a fascinating leaflet describing the secrets of artful makeup. Crystal Laboratories, 130 Willis Ave., N.Y.C. OUTDOOR GIRL Porte CFuce ODE ee LIGHTEX 2s for Oily iS ; Skins inthe Red Box... With OLIVE OIL for Normal Skins inthe Purple Box 101
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Eight Paramount stars all in a row. were seven. But Jack Oakie changed his lot and then there Groucho Marx, Stuart Erwin, Norman Foster, Skeets Gallagher, Eugene Pallette, Jack Oakie, Carole Lombard and Mitzie Green. Directory of Players : LEE, DOROTHY; married to James Fidler; born in Los Angeles, Calif. Write her at RKO-Radio studio. Contract player. Juvenile lead in ‘‘Rio Rita.’’ Featured role in ‘‘Dixiana.’’ Annette in “Half Shot at Sunrise.’’ Feminine lead in “Hook, Line and Sinker.’’ Starred in ‘‘Laugh and Get Rich,’’ all for RKO-Radio. LEE, GWEN; unmarried; born in Hastings, Neb. Write her at M-G-M studio. Free lance player. Featured roles in ‘‘Our Blushing Brides,’’ and “Caught Short,’’ Anna in ‘‘Paid,”’ all for M-G-M. Featured réle in ‘‘Traveling Husbands,’’ RKO- Radio. LEE, LILA; divorced from James Kirkwood; born in New York City. Write her at First National studio. Free lance player. Feminine lead_in “The Gorilla,’”’ First National. Rosie in ‘The Unholy Three,’’ M-G-M. Now back in Holly- weed after long illness. Featured role in ‘‘Mis- behaving Ladies,’’ First National. LIGHTNER, WINNIE; married to George Holt- rey; born in Greenport, L. I. Write her at War- ner Bros. studio. Contract star. Toots in ‘‘Hold Everything.’’” Flo in “Life of the Party.’’ Win- nie in ‘‘Sit Tight.’’ Nita in ‘‘Red Hot Sinners.’’ ~ Starred in ‘‘Side Show.’’ Title role in ‘‘Gold Dust Gertie,’’ all Warner Bros. LIVINGSTON, MARGARET; unmarried; born in Utah. Write her at Columbia studio. Free lance player. Mae in ‘‘Big Money,” RKO-Pathé. Mabel Robinson in ‘‘God’s Gift to Women,’”’ Warner Bros. Featured role in ‘‘Smart Money,’’ First National. LLOYD, Harold; married to Mildred Davis, born in Burchard, Neb. Write him at Metropolitan stu- Salt Lake City, dio. Paramount contract producer star. Stellar roles in ‘‘Speedy,’’ ‘‘Feet First,’ ‘‘Welcome Danger.’’ Soon to appear in new adventure comedy. LOFF, JEANETTE; divorced from Harry _ Rose- bloom; born in Orofino, Idaho. Write her at Universal studio. Contract player. Greta in “The Boudoir Diplomat,’’ Universal. LOMBARD, CAROLE; unmarried; born in Fort Wayne, Ind. Write her at Paramount studio. Contract player. Feminine lead in ‘‘Racketeer,’’ RKO-Pathé. Feminine lead in ‘‘Ladies’ Man.’’ Paramount. Starred in ‘“‘It Pays to Advertise,’’ Paramount. Leading feminine role in ‘‘Man of the World’’ with William Powell, Paramount. Second lead in ‘“‘The Greeks Had a Word for It,”” Samuel Goldwyn-United Artists. LOVE, BESSIE; married to William Hawkes; born in Midland, Texas. Write her at M-G-M sfudio: 00! Free lance player. Feminine leads in News,’”’ M-G-M, and ‘‘The Conspiracy,’’ RKO- Radio. Ellen in ‘‘See America Thirst,’’ Uni- versal Now on the Los Angeles stage. LOWE, EDMUND; married to Lilyan Tashman; born in San Jose, Calif. Write him at Fox stu- dio. Contract star. David Cresson in ‘‘Good In- tentions.’’ Sir John Usher and Dakin Barrolles in ‘‘Scotland Yard.’’ Jim Murdock in ‘‘The Shep- 102 (Continued from page 100) per Newfounder.’’ Starred in ‘‘Don’t Bet on Women.’’ Co-starred in ‘‘Women of All Na- tions,’”’ title réle in ‘‘The Spider’? and Monty Greer in “Transatlantic,” all for Fox. LOY, MYRNA; unmarried; born in Helena, Mont. Write her at Fox studio. Contract player. Mary in “‘The Devil te Pay,’’ Sam Goldwyn. Featured réle in ‘‘Women of All Nations,’’ Fox. Alice Lester _in ‘‘Body and Soul,’’ Queen Morgan in *“‘The Connecticut Yankee,’”’ and Kay Graham in “‘Transatlantic,”’ all for Fox. Evie in ‘‘Rebound,’’ RKO-Pathe. LUGOSI, BELA; unmarried; born in Lugos, Hun- gary. Write him at Universal studio. Contract star. Title roéle in ‘“‘Dracula,’’ Universal. Tar- neverro in ‘“‘The Black Camel,’”’ Fox. Title réle ” in ‘‘Frankenstein,’’ Universal. LUKAS, PAUL; married to non-professional; born in Budapest, Hungary. Write him at Paramount studio. Contract player. Berci in ‘‘Grumpy.’’ Gustave Saxon in ‘‘Anybody’s Woman.” Carl Heiden in “Unfaithful.”’ Heavy in “City Streets.” Male lead in ‘“‘Women Love Once,”’ Paramount. LYNN, SHARON; unmarried; born in Weatherford, Texas. Write her at Fox studio. Contract player. Edith Laverne in ‘‘Up the River.’’ Feminine lead in ‘‘The Vamp.’”’ Mrs. Lowe in ‘‘Lightnin’,’’ all for Fox. Featured role in “‘Laugh and Get Rich,’’ RKO-Radio. LYON, BEN; married to Bebe Daniels; born in At- lanta, Ga. Write him at First National studio. Contract player. Male lead in ‘‘Indiscreet,’’ United Artists. Co-starred with Dorothy Mackaill in ‘‘Party Husbands,’” Warner Bros. Jack Hack- ett in ‘‘Broadminded,’’ First National. Co-starred with Bebe Daniels in ‘‘Her Past,’’ Warner Bros. Male lead in ‘‘Night Nurse,’’ First National, and “Bought!” Warner Bros. LYTELL, BERT; married to Grace Menken; born in Newark, N. J. Write him at Columbia studio. Free lance player. Title réle in ‘“‘The Lone Wolf’’ and dual réle in ‘‘Brothers,’’ both for Columbia. Male lead in ‘‘The Single Sin,’’ Tiffany. MACDONALD, JEANNETTE; unmarried; born in Philadelphia, Pa. Write her at Fox studio. Con- tract player. Helene Mara in ‘‘Monte Carlo,’’ Paramount. Carlotta in “Oh! For a Man!”’ Fox. Feminine lead in ‘‘Don’t Bet on Women,’’ Fox. Starred in ‘“‘Two Can Play,’’ Fox. MACKAILL, DOROTHY; _ divorced from Lothar Mendez; born in Hull, Eng. Write her at First National studio. Contract star. Diana Barry in -“Once a Sinner,’’ and ‘Emily in ‘‘Fhis Modern World,’’ both for Fox. Starred in ‘‘Kept Hus- bands,’’ RKO-Radio. Laura in ‘‘Party Husbands.’’ Warner Bros. Starred in ‘‘The Reckless Hour’’ and ‘‘As Good As New,’’ First National. MANNERS, DAVID; separated from Suzanne Bush- nell; born in Halifax, N. S. Write him at First National studio. Contract player. Artie in “‘Mother’s Cry,’’ First National. Joe Copeland in “The Right to Love.’’ Paramount. Bill Merrick in “The Millionaire,” Warner Bros. Juvenile lead in ‘‘Upper Underworld’’ and ‘‘Spent Bullets,” First National. Male lead in ‘‘The Miracle Wo- man,’’ Columbia. MARCH, FREDRIC; married to Florence Eldridge; born in Racine, Wis. Write him at Paramount studio. Contract player. Dan O’Bannon in ‘‘Man- slaughter.” | Lockridge in ‘‘Laughter.’’ Tony Cavendish in ‘‘The Royal Family of Broadway,” all for Paramount. Lead in ‘“‘Honor Among Lovers’’ and ‘‘The Night Angel,’”’ Paramount. MARIS, MONA; unmarried; born in Buenos Aires, Write her at Fox studio. Contract player. Fem- inine leads in ‘‘The Arizona Kid,’’ ‘‘Sez You, Sez Me’’ and ‘“‘The Seas Beneath,’’ all for Fox. MARSH, JOAN; unmarried; born in Porterville, California. Write her at M-G-M studio. Con- tract player. Featured roles in ‘‘Dance, Fools. Dance,”” “‘A Tailor-Made Man’’ and ‘‘Shipmates,’’ all for M-G-M. MARSH, MARION; unmarried; born in Trinidad, British West Indies. Write her at Warner Bros. studio. Contract player. She appeared for the first time in an important réle as Trilby in “Svengali,’’ opposite John Barrymore. Feminine lead in ‘‘The Mad Genius,” also with John Barrymore and ‘‘Co-Respondent,”’ all Warner Bros. MEIGHAN, THOMAS; married to Frances Ring; born in Pittsburgh, Penna. Write him at Fox studio. He returns to the screen, after a long absence, in ‘‘Two Can Play,” with Jeannette MacDonald. MENJOU, ADOLPHE; married to Kathryn Carver; born in Pittsburgh, Pa. Write him at M-G-M studio. Contract player. Lee Bissiére in ‘‘Moroc- co,’’ Paramount. Featured réle in ‘“‘New Moon.’’ M-G-M. Villain in “The Easiest Way,’’ M-G-M. Managing Editor in ‘‘Front Page,’’ Caddo-United Artists. Tony in ‘‘The Great Lover,’”” M-G-M. MERCER, BERYL; divorced from Holmes Herbert; born in Madrid, Spain. Write her at Warner Bros. studio. Free lance player. Martha in ‘‘In- spiration,””» M-G-M. Mother in “‘The Public En- emy,’’ Warner Bros. Featured role in ‘‘East Lynne.’” Mother in ‘Always Goodbye,”’ Fox. MILJAN, JOHN; married to the former Mrs. Creigh- ton Hale; born in Leeds, S. D. Write him at M-G-M_ studio. Contract player. Prosecutor in “The Unholy Three,” Prof. Kruger in ‘‘Remote Control.’’_ Inspector Burke in ‘‘Paid,’’ all for M-G-M. Featured role in ‘‘The Iron Man,’’ Uni- _ versal. Colimo in ‘‘The Secret Six’’ and Florie in ‘‘A Gentleman’s Fate,’’ both for M-G-M. MILLER, MARILYN; divorced from Jack Pickford; born in Evansville, Ind. Write her at First Na- tional studio. _Contract star. Title réles in “Sally’”’ and ‘‘Sunny,’’ First National. MONTGOMERY, ROBERT; married to Elizabeth Allen; born in Beacon, N. Y. Write him at (Continued on page 104)
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Modern Screen What About Johnny? (Continued from page 101) Studio for a role with Dick Barthel- mess in “Spent Bullets.” And after that, to Universal for the second lead in “Lasca of the Rio Grande.” Then, where? ie is the hope of those in Hollywood who love Johnny that he will take his sweet little wife and their darling baby and leave for home the day that M-G-M decides not take up his option. Johnny isn’t for Hollywood . . . and Hollywood isn’t for Johnny. He never had any desire for a dramatic career. He never had the self-confidence of a born actor. Johnny still drives the de- ‘lapidated little car that he had when he first came to Hollywood! Until very recently, he lived in a very small house, just as he would have done, had he stayed in Alabama! He still loves to eat green onions and southern-fried chicken. He gets a huge kick out of knocking down those little clay pigeons This Man Has in the shooting galleries at the beach. He is continually bringing home “mut” dogs and keeping them as long as they will stay ... just as he would have done in Alabama. He, unlike most persons in pictures today, loves to have the studio take publicity pictures of his wife and baby. His idea of an exciting evening is to go over to George Faw- cett’s house and have a quiet game of checkers with his old friend! Not ex- actly a wild Hollywoodite. There is not one characteristic in Johnny’s entire make-up that stamps him as a part of Hollywood. Will there ever be another picture like “Coquette” for the boy who has a rich southern ac- cent but little innate acting ability? Probably not. Alabama is the place for Johnny... the place where he can be normal and happy ... may he go there and find con- tentment. Here’s luck to the boy who never should have come to Hollywood. Known Terror (Continued from page 41) on the trampled snow. That child was George E. Stone! “When I regained consciousness,” says Georgie, “I was in a dungeon. I[ don’t know how I got there. There was a great wound on my head, the scar of which [I still carry. Sick, cold and hungry I lay on the bare stone floor for three days. I don’t know how I kept alive. It was dark, too, and I was frightened, of course. When a jailor at last let me out, I was so weak I could hardly walk but somehow I man- aged to make my way home to my mother and sisters who thought, of course, that I had been killed in the pogrom.” Driven out by the constant persecu- tion, the father had gone to America to make a home for them. Saving all he could for their passage, there was little to send home to Poland. When at last the money came, they were overjoyed, but their troubles were not yet over. Unable to secure passports from Poland, they were smuggled into Germany to take the boat. “First we were put in a wagon, be- neath a load of hay,” Mr. Stone’s eyes seemed to be far away. “Then we walked for hours through the snow and twice we waded streams, my mother carrying me through the icy water which reached above her waist.” Arriving in America they were turned back at Ellis Island because of an afflic- tion of the eyes suffered by a younger sister ! THE heartbroken journey back to Poland and again the long wait. Again they were smuggled through and again turned back as happiness was in sight. The hardships of long poverty and those two desperate and cruel trips was too much for the mother. She died soon after their return. “People in America don’t know what poverty is,’ George smiled at the memory. “In Poland, even the most ordinary luxuries were unkown to us. Once my father sent a pineapple from America, the first we had ever seen. It was so great a treat that we kept it for months, each of us children being given a small piece, the size of a finger, every Sunday.” Again—traveling alone this time—the children started for America. They landed on Decoration Day. The bands were playing, the flags flying, the peo- ple marching. They thought that every day in the new land was like that, a féte day. When the father met them, he brought a bag of fruit and gave little Georgie his first banana. He tried to eat it, skin and all! “Tt had taken us more than a month to make the passage. Conditions were terrible in the steerage. We were crowded in filth with the sick lying on the floor. Our food was thrown to us as if we had been animals.” HEN came George FE. Stone’s first public appearance. Able to sing, he induced a sailor who owned an ac- cordion to accompany him and on the upper decks they entertained the first class passengers, with the money which they tossed to him, he bought better food for himself and his sisters. “But for that,’ he admits, “I think two of them would have died.” A few months in America, a smat- tering of English and of new ways and customs. A cruel step-mother made life at home unbearable. “T thought it was an easy day when I wasn’t kicked and beaten before bed time!” He spoke without rancor. (Continued on page 105) For more enjoyable evenings Here is a bath to relieve after-work weariness. Especially helpful in summer. Starts warm, ends cold (see booklet). Makes you look better, feel better. An early morning eye-opener The “wake-up bath” is particularly refreshing after sultry summer nights. Similar to the after- work bath above, see page 6 of booklet below. After strenuous exercise Depend on this one throughout the year! For, as our free booklet explains, hot water relaxes muscles, relieves fatigue, prevents soreness. This interesting book is FREE! The summertime baths above are just three of the many helpful suggestions contained in The Book About Baths. Send for your copy of this unusual and interesting booklet. It is free. CLEANLINESS INSTITUTE Established to promote public welfare by teaching the value of cleanliness MM8-31L CLEANLINESS INSTITUTE, Dept. J8 45 East 17th Street, New York, N. Y Please send me free of all cost, “The Book About Baths”.
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Directory of Players M-G-M studio. Contract star. Wally in ‘‘War Nurse.’’ André in “‘Inspiration.’’ Male lead in “The Easiest Way” and a leading role in ‘‘Stran- gers May Kiss.’’ Starred in ‘‘Shipmates,’’ all for M-G-M. MOORE, GRACE; unmarried; born in Philadelphia, Penna. Write her at M-G-M studio. Contract star. Leading role in ‘‘A Lady’s Morals.” © can- cess Tanya in ‘‘New Moon,’’ both for M-G-M. MOORE, MATT; unmarried; born in County Meath, Ireland. Write him at Columbia studio. Free lance player. Character part in ‘‘Coquette,” United Artists. Male lead in ‘‘The Squealer,” Columbia. Reporter in “‘The Front Page,’’ Caddo- United Artists. MOORE, MICKIE; child actor; born in Los Angeles, Calif. Write him at Universal studio. Free lance player. Featured boy roles in ‘‘Passion Flower’’ and “The Squawman,’’ M-G-M, ‘‘Aloha,’’ Tiffany, ‘‘Seed,’’ Universal, and ‘‘Helga,’’ Radio. MOORE, OWEN; married to Kathryn Perry; born in County Meath, Ireland. Write him at Univer- sal studio. Free lance player. Fingers O’Dell in ‘“‘Outside the Law,’’ Universal. Featured role in ‘‘Hush Money,’’ Fox. MORAN, LOIS; unmarried; born in Pittsburgh, Pa. Write her at Fox studio. Contract player. Stel- lar réle in “True Heaven.’’ Diana in ‘Play Called Life.’’ Starred in “‘Blondes’’ and “‘Trans- atlantic,’’ Fox. MORAN, POLLY; unmarried; born in Chicago, III. Write her at M-G-M studio. Contract player. Polly in ‘‘Remote Control,’’ Polly in ‘‘Reducing,”’ maid in ‘‘The Bachelor Father,’’ and Polly in “Politics,’’ all for M-G-M. MORENO, ANTONIO; married to Daisy Canfield; born in Madrid, Spain. Write him at M-G-M studio. Free lance player-director. Featured roles in ‘‘Synthetic Sin’’ and ‘‘Careers,’’ First National, and ‘‘Night Court,’’ Paramount. MORLEY, KAREN; unmarried; born in Ottumwa, Iowa. Write her at M-G-M studio. Contract player. Liane in ‘‘Inspiration’’ and featured role in ‘‘Never the Twain Shall Meet.’’ MORRIS, CHESTER; married to Sue Kilbourne; born in New York City. Write him at United Artists studio. Contract star. Male lead in “‘The Bat Whispers’’ and ‘‘Corsair,’”’ Both United Ar- tists. MORTON, CHARLES; unmarried; born in Vallejo, Calif. Write him at Fox studio. -rree sance player. Featured roles in ‘‘Christina,’’ Fox. “Caught Short,’’? M-G-M. Mert in ‘‘The Dawn Trail,’’ Columbia. Richard Williams in ‘‘Check and Double Check,’’ RKO-Radio. MULHALL, JACK; married to Evelyn Winans; born in Wappinger’s Falls, N. Y. Write him at RKO-Radio studio. Free lance player. Johnny Quinlan in “‘The Fall Guy,’’ RKO-Radio. Comedy lead in ‘‘For the Love o’ Lil,’’ Columbia. ~ Fea- tured role in ‘‘Reaching for the Moon,’’ United Artists. Male lead in ‘‘Waiting at the Church,’’ RKO-Radio. Co-starred in ‘‘Lover Come Back,” Columbia. MUNI, PAUL; married to Bella Finckle; born in Vienna, Austria. Write him at Fox studio. Free lance player. Featured roles in ‘‘The Valiant’’ and ‘‘Seven Faces,’’ Fox. Gangster in ‘‘Scar- face,’’ United Artists. MUNSON, ONA; separated from Eddie Buzzell; born in Portland, Oregon. Write her at First National studio. Contract player. Feminine leads in ‘‘Go- ing Wild,’’ ‘‘The Hot Heiress,’’ ‘‘Broadminded,’’ all First National. MURRAY, CHARLES; married to non-professional; born in Ireland. Write him at Universal studio. Free lance player. Co-starred in ‘‘The Cohens and the Kellys in Scotland’’ and ‘‘The Cohens (Continued from page 102) and the Kellys in Africa,’’ both for Universal. Co-starred in ‘‘Caught Cheating,’’ Tiffany. Now starring in series of two-reelers for Universal. MURRAY, J. HAROLD; married to non-professional; bern in South Berwick, Maine. Write him at Fox studio. Featured roles in ‘‘Tonight and You’’ and ‘‘Women Everywhere,’’ both for Fox. McCREA, JOEL; unmarried; born in South Pasa- dena, California. Write him at RKO-Radio stu- dio. Contract player. Boyd Emmerson in ‘The Silver Horde’’ and Dick in ‘‘Kept Husbands,’’ RKO-Radio. Harry Craig in ‘‘Born to Love,” acl Neuule in “‘The Common Law,’ RKO- athé. McKENNA, KENNETH; married to Kay Francis; born in New York City. Write him at Fox studio. Contract player-director. Victor in ‘‘The Virtuous Sin,’”’ Paramount. Gaylord Stanton in ‘Sin Takes a Holiday,’’ RKO-Pathé. Capt. Traselau in “The Man Who Came Back,” Fox. McLAGLEN, VICTOR; married to non-professional; born in London, Eng. Write him at Fox studio. Contract player. Stellar roles in ‘‘Hot for Paris,’’ ‘‘Painted Women,’’ ‘‘Women of all Na- tions’’ and ‘‘Not Quite A Gentleman,” all for Fox. Russian spy in ‘‘Dishonored,’’ Paramount. . NAGEL, CONRAD; married to Ruth Helms; born in Keokuk, Iowa. Write him at M-G-M studio. Contract player. Stephen Ferrier in ‘‘Free Love,” Universal. Husband in ‘“‘East Lynne,’’ Fox. Dick Lindley in ‘‘Gambling Daughters,’’ Univer- sal. Male lead in ‘‘The Reckless Hour,’’ First National. Male lead in ‘‘Helga,’’ RKO-Radio. NISSEN, GRETA; unmarried; born in Oslo, Norway. Write her at Fox studio. Contract player. Greta in ‘“‘Women of All Nations’’ and Sigrid Carline in ‘‘Transatlantic,’’ Fox. NIXON, MARIAN; married to Edward Hillman; born in Superior, Wis. Write her at Warner Bros. studio. Free lance player. Muriel in ‘‘Courage,’’ Warner Bros. Romantic lead in ‘‘The Lash,’’ First National. Feminine lead in ‘‘Ex-Flame,’’ Liberty. NORTON, BARRY; unmarried; born in Buenos Aires. Write him at Paramount studio. Contract player. Starred in Spanish version of ‘‘The Benson Mur- der Case.’ featured role in ‘‘Dishonored,’’ and male lead in ‘‘The Comedian,’’ both for Para- mount. NOVARRO, RAMON; unmarried; born in Durango, Mexico. Write him at M-G-M studio. Contract star. Stellar rdles in ‘‘Devil May Care,’’ ‘‘In Gay Madrid,’’ ‘‘Call of the Flesh,’’ ‘‘The Stu- dent Prince,’’ and ‘‘Daybreak.”’ NUGENT, EDDIE; married to non-professional; born in New York City. Write him at M-G-M studio. Contract player. Featured role in ‘‘Ship- mates,’”” M-G-M. Eagan in “Night Nurse,’ Warner Bros. NUGENT, ELLIOTT; married to Norma Lee; born in Dover, Ohio. Write him at M-G-M_ studio. Free lance player. Featured réles in ‘‘The Un- holy Three’? and ‘‘Romance,’’ M-G-M. Sandy in ‘‘For the Love o’ Lil,’’ Columbia. Title réle in ‘‘The Virtuous Husband,’’ Universal. Fea- tured role in ‘‘Spent Bullets,’’ First National. NUGENT, J. C.; widower; born in Niles, Ohio. Write him at M-G-M studio. Contract player- writer. Featured roles in ‘‘Those Three French Girls’’ and ‘‘Remote Control,’’ M-G-M. Schofield in ‘‘The Millionaire,’” Warner Bros. Mr. Olwell in ‘‘The Virtuous Husband,’’ Universal. OAKIE, JACK; unmarried; born in Sedalia, Mo. Write him at Paramount studio. Free lance star. Starred in ‘‘June Moon,’’ ‘‘Gang Buster,’’ and Miss Negri which he recently painted. 4 ~ Pola Negri and Tade Styka, the famous artist, with the portrait of ononamenie ry The Negri fans are still anxiously awaiting the title of her come-back picture. 104 “Dude Ranch,” all for Paramount. Title role in “‘Mr. Noodle,’ Paramount. OLAND, WARNER; married to Edith Shearn, born in Umea, Sweden. Write him at Paramount stu- dio. Free lance player. Fu Manchu, in ‘‘The Return of Dr. Fu Manchu,”’ and featured role in “‘Dis- honored,” both for Paramount. Villain in ‘Drums of Jeopardy,’’ Tiffany. Title réle in ‘‘Charlie Chan Carries On,’’ and leading réle in ‘“‘The Black Camel,”’ Fox. O’BRIEN, GEORGE; unmarried; born in San Fran- cisco, Calif. Write him at Fox studio. Contract star. Stellar réles in ‘‘Rough Romance,”’ “Fair Warning,’’ ‘‘Rainbow Trail,’’ and ‘‘The Seas Be- neath,’”’ all for Fox. O’BRIEN, PAT; married to non-professional; born in New York City. Write him at United Ar- tists studio. Caddo contract player. Hildy John- son in “Front Page,’’ Caddo-United Artists. Male lead in ‘‘Personal Maid,’’ Paramount. O’SULLIVAN, MAUREEN; unmarried; born in Dub- lin, Ireland. Write her at Fox studio. Con- tract player. Juvenile leads in ‘‘So This Is Lon- don’’ and ‘‘Song o’ My Heart.’”’ Princess Louise in “‘The Princess and the Plumber.’’ LN-16 in “‘Just _Imagine,’’ feminine lead in ‘‘The Connec- ticut Yankee,’ all for Fox. PAGE, ANITA; unmarried; born in Flushing, N. Y. Isabelle in “The Little Accident,’’ Universal. Joy in ‘‘War Nurse,’’ Vivian in ‘‘Reducing’’ and featured roles in ‘‘A Gentleman’s Fate’’ and “The Easiest Way,” all for M-G-M. PAGE, PAUL; married to Edith Allis; born in Chica- go, Ill. Write him at First National studio. Free lance player. Alan Ward in ‘‘The Naughty Flirt,’’ First National. Juvenile lead in ‘‘Palmy Days,’’ Sam Goldwyn-United Artists. PALLETTE, EUGENE; divorced from non-profession- al; born in Winfield, Kans. Write him at Para- mount studio. Contract player. Doc Brady in “Santa Fé Trail,’’ Hycincth Nitouche in ‘‘Sea Legs.’ ‘‘Seth_in Fighting Caravans,’’ and com- edy lead in ‘‘Twenty-Four Hours,’’ all for Para- mount. PICKFORD, MARY; married to Douglas Fairbanks, Sr., born in Toronto, Canada. Write her at United Artists studio. Contract star. Title role in ‘‘Coquette.’’ Co-starred with Doug in ‘“‘The Taming of the Shrew.”’ Title role in “Kiki,’’ all for United Artists. POWELL, WILLIAM; divorced from Eileen Wilson; ‘ born in Kent City, Mo. Write him at Warner Bros studio. Contract star. Jim Nelson _in “Shadow of the Law.’’ William Foster in “‘For the Defense.’’ Hero of ‘‘Man of the World,’’ all for Paramount. Stellar role in “‘Co-Respondent,”’ Warner Bros. PRINGLE, AILEEN; married to non-professional; born in San Francisco, Calif. Write her at M-G-M studio. Free lance player. Featured role in “Dream of Love,’’ M-G-M. Feminine lead in “Subway Express,’’ Columbia. QUILLAN, EDDIE; unmarried; born in Philadelphia, Pa. Write him at RKO-Pathé studio. Contract star. Stellar role in ‘‘Up and At ’Em.”’ Will Musher in ‘‘Night Work.’’ Eddie Martin in ‘“‘Big Money,’’ all for RKO-Pathé. Title réle in ‘‘The Whoop-Te-Do Kid.’’ RKO-Pathé. RAMBEAU, MARJORIE; divorced; born in San Francisco, California. Write her at M-G-M _ stu- dio. Featured player. Belle in ‘‘Min and Bill,’’ Lulu in ‘‘Inspiraiton,’’ and featured roles in “Strangers May Kiss,’’ “‘Imposter,’’ ‘“‘The Secret Six’’ and ‘‘Torch Song,’’ and Diane in ‘‘Girls To- gether,”’ all for M-G-M. REVIER, DOROTHY; married to Harry Revier; born in San Francisco, Calif. Write her at Columbia studio. Free lance player. Feminine leads in “Ficht,’’ ‘“‘Ladies of Leisure,’ “‘Submarine,’’ and “The Avenger,”’ all for Columbia. RICH, IRENE; married to David Blankenhorn; born in Buffalo, N. Y. Write her at RKO-Radio stu- dio. Free lance player. Mother in ‘‘Check and Double Check,’’ RKO-Radio. Mother in ‘Beau Ideal,’””’ RKO-Radio. Mother in ‘‘The Mad Parade,”’ Liberty. Cella in ‘‘Strangers May Kiss,’’ and Jenny in ‘‘Five and Ten,’’ M-G-M. ROBINSON, EDWARD G.; married to non-profes- sional; born in Chicago, Ill. Write him at First National studio. Contract star. Dominic in “‘The Widow from Chicago,’’ Rico Bandello in ‘“‘Little Caesar.”’ Russian ballet master in “Smart Money,’’ and leading réle in ‘‘Five Star Final,’’ all for First National. 5 ROGERS, CHARLES; unmarried; born in Olathe, Kas. Write him at Paramount studio. Contract star. Jerry Downs in ‘‘Follow Thru.’’ Stellar role in ‘‘Heads Up.’”’ Larry Brooks in ‘Along Came Youth.’’ Star of ‘‘Manhattan Musketeers,” and ‘“‘The Lawyer’s Secret,”’ all for Paramount. ROGERS, GINGER; divorced from Jack Pepper; born in Independence, Kas. Write her at Para- mount studio. Contract player. Puff Randolph in ‘‘Young Man of Manhattan.’’ Polly Rockwell in ‘‘Queen High.’”” Ellen Saunders in ‘ From Syracuse.’’ Mary in ‘‘Manhattan Mary.’’ Comedienne in ‘‘Honor Among Lovers,’’ Para- mount. Now on New York stage in “Girl Crazy.’’ ROGERS, WILL; married to non-professional; born in Olagah, Okla. Write him at Fox studio. Con- tract star. Stellar rdles in ‘‘They Had to See Paris.” “So This Is_ London,’’ ‘“Lightnin’,”’ “The Connecticut Yankee.’”” and “Young As You Feel,’’ and the title role in “‘The Ambassador for U. S.’’ all for Fox. ROLLINS, DAVID; unmarried; born in Kansas City, Mo. Write him at Fox studio. Contract player. Juvenile leads in ‘“‘The Black Watch,’’ ‘“‘Love, Live and Laugh,’ ‘‘The Big Trail’’ and “The Seas Beneath,”’ all for Fox. ROTH, LILLIAN; unmarried; born in Boston, Mass. Write her at Paramount studio. Cora Faulkner in ‘‘Honey.’”’ Arabella Rittenhouse in ‘‘Animal Crackers.” Adrienne in. “‘Sea Legs,’’ all for Paramount. SCOTT, FRED; unmarried; born in Fresno, Calif. Write him at RKO-Pathé studio. Gerry in “Swing High.’’ Featured réle in ‘‘Beyond Vic- tory,’’ both for RKO-Pathe. SEBASTIAN, DOROTHY; married to Bill Boyd; born in Birmingham, Ala. Write her at M-G-M studio. Free lance player. Featured roles in “Our Blushing Brides,’’ M-G-M, “Officer O’Brien,’? RKO-Pathé and “The Utah jd.”’ Tiffany. Lead in “‘The Lightning Flyer,’’ Columbia. (Continued on page 106)
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Modern Screen This Man Has Known Terror (Continued from page 103) A He ran away to New York and there obtained a place in a hat factory at a wage of $5.00 a week. Two dollars of this went for a room and out of the re- maining three he saved a little each week, Always he was on the alert to improve his English and to take a step upward. One day while making a de- livery on Sixth Avenue, he passed a labor agency which advertised for a page. “T thought a page was a bell-boy,” he smiles, “and I had heard they got good tips.” He applied, paid a fee of five dollars and was sent to the Lamb’s Club as a page. I WAS so ignorant that I almost lost my job but they let me stay. I was thrilled to serve the many famous actors who came there, but William Farnum was my favorite. One morning when sent to his room with a breakfast tray, I was so nervous that I shook most of the coffee from his cup. He laughed, talked to me and soon after- ward got me a job as an extra in the old Fort Lee studios. The seven dollars a day was wealth beyond dreams to me.” From that time on, George E. Stone has followed a professional career. A while in pictures as an extra, then into vaudeville and then musical comedy. He came to Hollywood in 1927 as master of ceremonies for “The Planta- tion,” a supper club near the film capi- tal. His re-entrance into pictures came with “Seventh Heaven.” That picture proved to be the hit of © the year but it was nine months before Mr. Stone obtained another part. Since then he has appeared in many pictures; as “Sparrow” in “Tenderloin,” as “Slinky” in “State Street Sadie,” “Monkey Face’ in “The Redeeming Sin” and “Orto” in “Little Caesar.” THOUGHT I was going to play gangsters always,” he confesses, “When one night I happened to attend a bridge party at which Wesley Ruggles was present. Again an unexpected break.” “T saw Mr. Ruggles watching me narrowly and as I had been kidding with the girl who was with him, I wondered if I had made him angry. When he suddenly threw down his cards and walked over to my table I didn’t know what to expect. ““T want you to come over and make a test for the part of ‘Sol Levy’ in ‘Cimarron’ he said, and I breathed a sigh of relief. “As soon as I read the part I knew I wanted it more than anything in the world. I could ‘feel’ the role of the little Jewish peddler and was overjoyed when it was given to me, but then the trouble began. They wanted me to make him a ‘sheeny’ Jew with a comic dialect, hand waving and all of that. I knew ‘Sol Levy’ was not that type of character and refused. [I thought for awhile that they would replace me but when we shot the first scene, where I break away from ‘Lon Yontis’ and fall across the scales, I knew I had won. When the rushes were shown, Mr. Rug- gles, Richard Dix and the others put their. arms around my shoulders and told me to go ahead with my own ‘Sol DO) Levy’. OR those who know the gentleness, the sweetness and the quiet humor of the man, it is difficult to say when “Sol Levy” began and “Georgie” Stone ended, for they are much the same. Millions who see the picture will re- joice in the little Jewish peddler of “Cimarron” as Georgie Stone saw him. Casting “The Front Page,” Lewis Milestone was quick to see that no other man in Hollywood could so well portray the fear-crazed, persecuted little communist, “Earl Williams.” The per- formance which Georgie turned in more than justified Milestone’s judgment for every heart in the audience went out in sympathy to the bewildered little wretch, caught in the grasp of a law he did not understand. It is a far cry from the snow covered streets of Lodze and the thunder of Cossack hoofs to the palm shaded vistas of Hollywood and from a tenement crust to luncheon at the Brown Derby, and the marks of that long and perilous climb are etched deep upon the sensi- tive soul that looks out from the gentle eyes of Georgie Stone. Perhaps it ex- plains “Sol Levy” and “Earl Williams” —two perfect characterizations. Long Live Charles Rogers (Continued from page 47) Was that the real Rogers? Had I been right in thinking him to be a fine ex- ample of young America? Were these later “cute young boys” with the smiling pans and weak backs only a mistake? I couldn’t answer the questions ... so I decided to see for myself. “Hello,” he said, as I walked in the door of his Beverly Hills home. “Haven't seen you since that time we were first introduced over at the studio. Must have been at least two years ago, wasn't it? Why haven’t you been around to see me since then?” And then I did it. I told him exactly why I hadn’t been to see him . and I used the same words that I’ve just used in telling you. “Buddy” took it standing up. When I’d finished my little speech, he looked real hard at my face and then looked away. “Sit down, will you,” he managed, in- dicating a chair. (Continued on page 114) ASK FOR MODESS INDIVIDUALS AT 5 AND 10¢ STORES ODESS is the safest, softest, M coolest, cleanest sanitary protection you have ever experi- enced. Ifyouhaven’t used Modess, try a few of these Modess In- dividuals. You'll be a confirmed Modess user ever after. By actual test, Modess is five times as protective as it need be. It is so soft that it never causes physical discomfort. Modess easily shapes itself to the natural figure line. It will never be conspicuous. And Modess is deodorized—disposable. Buy a supply of Modess Individuals. 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A couple of free-lance players sandwiching in a few days’ rest between pictures by getting some of that healthful air at Malibu Beach. Lloyd Hughes and Laura La Plante. Lloyd’s latest is “The Great Air Robbery.” Laura’s ts “Arizona.”” Directory of Players (Continued from page 104) SHEARER, NORMA; married to Irving Thalberg; born in Montreal, Canada. Write her at M-G-M studio. Contract star. Jerry in ‘‘The Divorcée.”’ Betty in ‘‘Let Us Be Gay.’’ Starring role in “Strangers May Kiss’? and “A Free Soul. M-G-M. Now vacationing in Europe. SIDNEY, GEORGE; unmarried; born in Hungary. Write him at Universal studio. Free lance player. Co-starred with Charles Murray in ‘‘The Cohens and the Kellys in Scotland’’ and ‘‘The Cohens and the Kellys in Africa,’’ for Universal, and “Caught Cheating,’’ Tiffany. Now making two reelers for Universal. b SKINNER, OTIS; married to non-professional; born in New York City. Write him at First National. Contract star. Stellar réle in ‘‘Kismet.’’ Soon to do an original story. s SMITH, STANLEY; unmarried; born in. Kansas City, Mo. Write him at Paramount studio. Con- tract player. Jerry Hamilton in ‘Love Among the Millionaires.’’ Dick Jones in ‘‘Queen High. Featured role in ‘‘Manhattan Mary,’’ all for Paramount. Now on New York stage. STANWYCK, BARBARA; married to Frank Fay; born in Brooklyn, N. Y. Write her at Warner Bros. studio. Contract star. Leading feminine roles in ‘‘Ladies of Leisure,’’ ‘‘Illicit,’’ Warner Bros., and “Ten Cents a Dance,’’ Columbia. Title réle in ‘‘The Miracle Woman,’’ Columbia. STONE, LEWIS; married to Hazel Wood; born in Worcester, Mass. Write him at M-G-M studio. Contract player. Morado in ‘‘Passion Flower,’’ M-G-M. Male lead in ‘“‘Office Wife,’’ Warner Bros. Deval in ‘“‘Inspiration,’’ M-G-M. Maitland White in “‘You and I,’’ First National. Featured role in ‘‘Always Goodbye,’’ Fox. Costaud in “‘Cheri-Bebi,’” M-G-M. 5 STUART, NICK; married to Sue Carol; born in Roumania. Write him at Mack Sennett studio. Free lance player. Juvenile leads in ‘‘Joy Street,’’ Fox and ‘‘Grandma’s Girl’’ and ‘‘Television.’’ Mack Sennett. Now on vaudeville tour. SUMMERVILLE, SLIM; unmarried; born in Kansas City, Mo. Write him at Universal studio. Con- 106 SWANSON, GLORIA; tract player. Featured roles in ‘“‘Troopers Three” and ‘‘All Quiet on the Western Front,’’ Univer- sal. Co-starred in ‘‘See America Thirst,’’ Uni- versal. Sam in ‘‘Gambling Daughters,’’ Universal. divorced from the Marquis de la Falaise de la Coudray. Born in Chicago, Ill. Write her at United Artists studio. Con- tract star. Stellar roles in ‘‘The Trespasser,’’ “‘What a Widow!”’ “‘Indiscreet,’’ ‘‘Rockabye’’ and “‘Love Goes Past,’’ all for United Artists. _ SWEET, BLANCHE; divorced from Marshall Neilan; born in Chicago, Ill. Write her at RKO-Radio studio. Free lance player. Tommy Harris in *“‘Show Girl in Hollywood,’’ First National. Queenie in ‘‘The Silver WHorde,’’ RKO-Radio. Now on_ vaudeville tour. SYDNEY, SYLVIA; unmarried; born in New York City. Write her at Paramount studio. Featured player. ' Formerly with the Theatre Guild. Fem- inine lead in ‘‘City Streets’’ opposite Gary Cooper. Featured réles in ‘‘An American Trag- edy”’ and ‘‘Shop Girl,’’ Paramount. TALMADGE, NORMA; married to Joseph Schenck; born in Niagara Falls, N. Y. Write her at United Artists studio. Contract star. Stellar roles in ‘‘The Woman Disputed,’’ ‘‘New York Nights’ and ‘‘Du Barry,’’ all for United Artists. TASHMAN, LILYAN; married to Edmund Lowe; born in New York City. Write her at Para- mount studio. Contract player. Cicily in ‘‘The Cat Creeps,’? Universal. Fritzie in ‘‘Queen of Scandal,’”” Sam Goldwyn. Vamp in “‘The Mad Parade,’’ Liberty. Featured role in ‘‘Women ; Love Once,’’ Paramount. ‘ < TAYLOR, ESTELLE; separated from Jack Dempsey; born in Wilmington, Del. Write her at Radio studio. - Free lance player. Vamp in ‘‘Where East is East,’’ M-G-M. Featured role in ‘‘Lil- iom,’”’ Fox. Dixie Lee in “Cimarron,’’ RKO- Radio. Vamp in ‘‘The Unholy Garden,’ Sam Goldwyn-United Artists. TEARLE, CONWAY; married to non-professional; born in New York City. Write him at Warner Bros. studio. Free lance player. Featured rdéles in “Evidence” and ‘‘Gold Diggers of Broadway,” Warner Bros. and ‘‘The Truth About Youth.”’ First National. Now appearing on London stage. TIBBETT, LAWRENCE; married to Grace Mackay Smith; born in Bakersfield, Calif. Write him at M-G-M_ studio. Contract star. Yegor in ‘The Rogue Song.”’ Lieutenant in ‘‘New Moon.’ Far- rady in ‘‘The Prodigal,’”’ all for M-G-M. Now in New York. TOBIN, GENEVIEVE; unmarried; born in New York City. Write her at Universal studio. Contract star. Leading feminine réle in “‘A Lady Sur- renders,’ ‘‘Free Love,’’ ‘‘Fires of Youth,’’ “‘Seed,’” and starring role in ‘‘Boulevard,’’ all for Universal. TOOMEY, REGIS; married to J. Kathryn Scott; born in Pittsburgh, Pa. Write him at Para- mount studio. Contract player. Bob Drexel in Light of Western Stars,’’ Tom in ‘“‘The Shadow of the Law,’’ Regan in “Scandal Sheet,’”’ all for Paramount. Breezy Russell in ‘‘The Finger Points,’’ First National. Featured role in ‘‘Kick In,”’ and ‘‘Twenty-Four Hours,” Paramount. TORRENCE, ERNEST; married to Elsie Reamer; born in Edinburgh, Scotland. Write him at M-G-M studio. Contract player. Singing teacher in_“‘Call of the Flesh,’’ M-G-M. Bill Jackson in “Fighting Caravans,’’ Paramount. Featured réle in_‘‘Shipmates,’’ M-G-M. TRACY, SPENCER; unmarried; born in New York City. Write him at Fox studio. Contract player. Deproy in ‘‘Riding for a Fall’’ and Bill in “Goldie,” Fox. Male lead _in ‘Ground Hogs,” Caddo- United Artists. Featured réle in ‘‘Quick Mil- lions,’’ Fox. TREVOR HUGH; divorced; born in Yonkers, N. Y. write him at RKO-Radio studio. Free lance Gregory Sloan in ‘‘The Midnight Mys- tery.”” Lieut Jim Reed in ‘‘Half Shot at Sun- rise.” The prince in ‘‘The Royal Bed,’’ at for RKO Radio. TWELVETREES, HELEN; married to Frank Woody; born in New York City. Write her at RKO-Radio studio. Contract star. Annabelle West in ‘“‘The Cat Creeps,” Universal. Mary Ellen in ‘‘The Painted Desert,’’ RKO-Pathé. Starred in ‘‘Millie,’”” RKO-Radio. Starred in “The Registered Woman,” and ‘“‘A Woman of Expe- rience,’’ RKO-Pathé. VALLI, VIRGINIA; married to Charles Farrell; born in Chicago, Ill. Write her at Fox studio. Free lance player. Featured réles in “The Isle of Lost Ships’? and ‘‘Mr. Antonio.’’ Starred in “‘Guilty,’’ Columbia. e VARCONI, VICTOR; married to non-professional; born in Kisward, Hungary. Write him at Warner Bros. studio. Free lance player. Title role in “Capt. Thunder,’’ Warner Bros. Featured roéle in ‘‘Doctors’ Wives,’’ Fox_ Indian chief in ‘‘The Squaw Man,”’ Robert Fyfe in “The Black Camel,”’ Fox. VELEZ, LUPE; unmarried; born in San Luis Potosi, Mexico. Write her at Universal studio. Con- tract player. Starred in ‘‘Hell Harbor,’’ United Artists. ‘“‘The Storm’’ and “East is West,’’ Universal, and co-starred with John Boles in *‘Resurrection,’’ Universal. Indian girl in “‘The Squaw Man,’’ M-G-M. WARNER, H. B.; married to non-professional; born in London, Eng. _ Write him at First National studio. Free lance player. Raymond in ‘“‘Ex- pensive Women,” First National. Major Schmidt in ‘tA Woman of Experience,’’ RKO-Pathé. WHEELER, BERT; married to _ non-professional; born in Paterson, N. J. Write him at RKO-Radio studio. Contract star. Sparrow in ‘‘The Cuckoos.”’ Pewee in ‘‘Dixiana.’”” Tommy in “Half Shot at Sunrise.’’ Co-starred in ‘‘Hook, Line and Sinker.’’ Starred in “‘Too Many Cooks’? and “If I Were Rich,’’ all for RKO-Radio. WHITE, ALICE; unmarried; born in Paterson, N. J. Write her at First National studio. Free lance player. Stellar réles in ‘‘Show Girl in Holly- wood,’”’ and ‘“‘The Widow From Chicago,’’ both for First National. WHITE, MARJORIE; married to Eddie Tierney; born in Oklahoma City, Okla. Write her at Fox studio. Contract player. Totsy in ‘‘Stolen Thunder.”” D-6 in “Just Imagine,’’ both for Fox. Penelope in ‘‘Broadminded.” First National. WHITING, JACK; married to the former Mrs. Doug- las_ Fairbanks, Sr.; born in Philadelphia, Pa. Write him at First National studio. Featured roles in ‘‘College Lovers,’’ ‘‘Top Speed’’ and “Men of the Sky,’’ all First National. WILLIAM, WARREN; unmarried; born in Aitken, Minnesota. Write him at Warner Bros. studio. Contract player. Mr. William is a well known stage actor who will make his talkie début oppo- site Dolores Costello in ‘Expensive Women,’’ for Warner Bros. WILSON, LOIS; unmarried; born in Pittsburgh, Pa. Write her at Warner Bros. studio. Free lance player. Feminine leads in “‘Conquest” and ‘‘Kid Gloves,’’ Warner Bros., ‘Once a Gentleman,” Cruze-Tiffany, and ‘‘Temptation,’’ Columbia. Peggy Carter in ‘‘Seed,’’ Universal. WITHERS, GRANT; separated from Loretta Young; born in Pueblo, Colo. Write him at Warner Bros. Free lance player. Angel in ‘‘Penny Arcade.’’ Bob Lawrence in ‘‘Scarlet Pages.’’ Bill in “‘The Steel Highway,’”’ all for Warner Bros. Male lead in ‘‘The Age for Love,’’ Caddo- United Artists. WOODS, EDWARD; unmarried; born in Los Angeles, California. Write him at First National studio. Contract player. Featured réles in ‘Mothers Cry’’ and ‘‘The Public Enemy.’’ WOOLSEY, ROBERT; married to non-professional; born in Oakland, Calif. Write him at RKO- Radio studio. Contract star. Prof. Bird in ‘‘The Cuckoos.”’ Ginger in ‘“‘Dixiana.”’ Gilbert in “Half Shot at Sunrise.’’ Co-starred in ‘Hook. Line and Sinker,’? and ‘‘Too Many Cooks.” Starred in ‘‘Everything’s Rosy,’’ RKO-Radio. WRAY, FAY; married to John Monk Saunders; born in Alberta, Canada. Write her at Paramount studio. Contract player. Feminine lead in ““Cap- tain Thunder,’’ Warner Bros. Helen Pierce in “Dirigible,”” Columbia. Anastasia in ‘‘The Con- quering Horde,’’ Paramount. Caroline Walker in in “‘The Finger Points,’’ First National. Feminine lead in ‘‘The Lawyer's Secret,’” Paramount. player. ~ YOUNG, CLARA KIMBALL; married; born in Chi- cago, Illinois. .Write her at RKO-Radio studio. Free lance player. .She returned to the films in her first talkie, ‘‘Kept Husbands,’’ an RKO-Radio production. YOUNG, LORETTA; separated from Grant Withers: born in Salt Lake City, Utah. Write her at First National studio. Contract star. Claire Mc- Intyre in “Big Business Girl,’’ First National. Feminine lead in ‘‘Upper Underworld,” and “I Like Your Nerve,’’ First National.
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Modern Screen Joan Bennett’s Future (Continued from page 61) of conditions surrounding her in mar- ried life when she takes that important step again. ER ruler in her house of marriage indicates more, for it shows that she needs a husband who will in many ways be a repeat of herself; seeing things from the same slant and appre- ciating the same qualities and values in all .their then mutual surroundings. Uranus is the ruler of her seventh, and Uranus is a shifting and change- able influence; indicating that she wouldn’t have much use for a man who -didn’t keep up with the times in his chosen line, which would probably be something along aviation, invention, transportation or some other mechan- ical calling. Because Uranus is in Capricorn, its twelfth house-sign, it would be better for Joan if he were in some confidential position, especially if connected with the picture business in some way. He might also be a man who had previously been through a di- vorce with a former wife, for such 1s the personal indication of those typified by Uranus when they are related to one’s seventh division, as is the case with her. A remote possibility is that he would be a medical man or one who had at some time had leanings that way. Her motive for marrying him would not be an ordinary one and the circum- stances surrounding her wedding could well be expected to be other than the conventional. There, that looks like about enough qualifications for a hus- band to make Joan think it over seri- ously; for they certainly don’t fit very many of the men she meets. SUE has Neptune in the eleventh house at birth; this is the location of friends and throughout her entire span it will bring her many valuable acquaintances and a few real compan- ions who will prove of great help to her, particularly in the film profession. Neptune is always an emotional influ- ence in all our horoscopes, no matter where it is placed and no matter in what sign it was at birth; but in her case it is more so than usual, for it is in an emotional house, it rules an emo- tional house and it is in an emotional sien, Cancer. All this makes Joan one who can be more than a good actress, for she has the equipment with which to make herself a great actress, ranking with the top four or five of the present and the best ten in the history of the screen. But don’t think it will be easy, or that she can coast to fame on the labors of any but herself. And she is right now on the threshold of the first big test of her career, for there are celestial forces swinging into action at present that will do everything they can to make her defeat her own best interests. I am glad that she has a contract, for it will carry her through some business and legal mistakes that she might otherwise make. Neverthe- less, this influence of which I speak, which is mostly that of Neptune in Virgo, where it will be for some years to come, must be guarded against by controlling the feelings and emotions at their source. EPTUNE is now coming into the Opposition aspect with her Sun position, and this is always a tempta- tion to get married or to get a divorce, according to which situation you are in. It is an upsetting influence, for it be- clouds the mental connection between the feelings and the ordinary good judg- ment that folks possess. In Joan’s case, as we have already seen, it is a friend- ship influence in the natal chart; now this has come around to the point where it is psychologically a desire to marry, all the more so because the Sun in any woman’s life represents men in close relationship. All of which leads me to the opinion that she will want to make an alliance with a man who will not mean enough to her in the long run, for he will be one of her good friends instead of the real lover, companion and partner that she ought to have as a husband. For the benefit of other readers, let me mention the influence of Neptune in this regard for all born in Pisces— all who now have the opposition of this emotional planet, as well as those who will have it in the years to come. Generally speaking, without getting down to the finer points of months and days for each degree and date, those born in the first third of Pisces, from February 19 to 28, which includes Joan Bennett’s birthday, must be careful not to act impulsively on hunches and emo- tional problems between now and the -middle of 1936. Those in the second third of Pisces, born between March 1 and 10, must use caution in the same type of affairs from now till the middle of 1941. Those of the last third, born between March 11 and 21, should heed the same warning from 1937 to 1944. These are long stretches and full of temptation, be- cause Neptune is the slowest moving planet of which we know anything definite—but any common sense you can bring to bear on the matters that arise at these times will be well repaid in comfort and happiness. ETTING back to Joan in a more personal way, she must pay atten- tion to that elevated position of Saturn in the ninth house, the house of philos- ophy and religion. It is in Taurus, its fifth house-sign, again showing that she can act and also promising success in a big way at the end of her journey through life if she does the right things. But it is also a warning not to take externals as the real things; she mustn’t make the mistake of thinking physical possessions are more valuable than men- tal possessions. This is important for her to master, for, while she is one who can make a great deal of money with her talents, she is not one who instinc- 4 Hard Wass to End Fat No longer necessary Under old ideas, the ways of fighting excess fat were hard and slow, and very often harmful. Abnormal/exercise and diet were required. But science discovered, a few years ago, that a certain gland largely controlled nutri- tion. Its chief function is to help change food into fuel and energy. When it is de- fective—weak—too much food goes to fat. So modern doctors, the world over, are now combating that condition. They are feeding to the over-fat what that weak gland is failing to supply. The results are now seen in every circle. Excess fat has been fast disappearing. Youthful figures, new vitality take its place, as you see everywhere. A Convenient Form Marmola prescription tablets offer this modern method in a convenient form. 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She may want to put aside something regularly, but there is usually something attractive that she wants to own and she is more apt to make it hers than not, putting off till later the systematic saving plans that she occa- sionally hopes to carry out. Mars rul- ing her fourth, the house of accumula- tions and estate, is located in the fifth, and occupies its own third and tenth House-sign. This makes her very sure of herself in an occupational way and will probably bring her to a resolution to produce for herself at some stage of her development. I must earnestly reg- ister a dissenting voice on anything like that for her, for, in this respect she is situated in some ways like Gloria Swan- son, whose ventures have brought per- haps valuable experience but not much comfort. Joan, if you aren’t particularly im- pressed by my remarks here today, do yourself the favor of tucking them away where you can look them over at least once a year. They will mean more and more to you as you develop in both your personal and your professional careers. How Constance Spends (Continued from page 31) servants takes care of about one-third of my yearly budget. Isn’t that a per- centage recommended by our leading economists ? “For personal spending money I allow myself $100 per week. Ever since the time I was living with my family, before my marriage, I have al- lowed myself $100 for pocket money. I still do! If I had the income of mil- lions, I would not increase this amount I have allotted myself. Out of this sum I take care of such incidental ex- penses as luncheons, theater or small café parties, tips to waiters, manicures and bridge debts. If I foolishly spend too much of my pocket money the first part of the week, I economize until the next ‘pay day.’ In other words, I don’t borrow from myself beyond that figure. When it’s gone... I’m broke!” AN you imagine Constance Bennett making a luncheon date at the Em- bassy Club with sister Joan and then having to cancel it because she had run out of money? “I’d do it,” insisted Connie, “really I would. Or else I’d get her to take me.” And I believe she would . . . Con- nie’s Scotch, you know! We had worked down to the subject of automobiles by now. I had always thought she owned about a dozen of them in all sizes and colors. “Not at all,’ she explained. “I buy a new motor car.on an average of one every two years ... and turn the old one in, of course. Figuring the cost, depreciation and upkeep I would say that this item costs me about $5,000 yearly. I also keep a car in Paris to be used while I am in Europe, but it is kept in ‘dead storage’ at a cost of about ten dollars a year.” Connie, who had been counting off the items on the fingers of one hand that peeked from the wide sleeve of a pair of pale-green lounging pajamas, said “clothes” . . . touched the fourth finger tip... and made a wry little face. ue sure modistes must have been more shocked than anyone else to read that I spend ‘$250,000 yearly on clothes’ ” she laughed. ‘““They must have wondered where in the world I was getting them. As a matter of real, honest-to-goodness truth, my clothes run about $1,000 monthly. That would be $12,000 yearly ... not $250,000! It is difficult to put an actual figure on one’s wardrobe, for certain years it will run less than others. Shall we compromise and say that I spend be- tween $10,000 and $15,000 for my clothes? And as I said before... that’s plenty! “The other day I purchased a very plain little sport ensemble. And while it cost $150, it maintained simple lines throughout. It could easily have been copied by a clever seamstress for about $17.50... but as I am mot a clever seamstress, I could never have remem- bered its lines well enough to enable me to tell a dressmaker how to duplicate it. However, once- I have purchased such an item for my wardrobe, I very often have it copied in other colors for a fraction of the original cost. Thus from one expensive model, I may have three or four outfits. “Of course, in comparing my budget for clothes with that of another, one must bear in mind several things. Women in both the social and theatrical worlds are often placed in the position of setting the styles . . . not following them. And whereas I have never had any particular desire to set the styles, it has always been my custom to wear original models. I buy almost all in Paris ...and if other women like them, and want to copy them, all well and good. If no one copies them I am still satisfied . . . because I wear them merely to please myself. “But, you say, original models cost a great deal of money... how do [ do it even on $15,000 a year? That is a fair question and an easy one to an- swer. I buy nearly all my clothes in Europe. I am of the opinion that French designers are the finest in the world. Contrary to general opinion, gowns bought in France are not priced exorbitantly. Even original models are purchased at a figure far below their cost of purchase in America. One may buy a beautiful original evening gown in Paris for $350 and even lower. The duty brings the cost up... but here again one may use the seamstress to advantage. Copies may be made in varying colors and the average cost of the gowns so obtained is really quite reasonable. The highest price I ever paid for an evening gown was $500. And the one time I spent that much was in New
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York! Each time I wore the gown I felt terrific remorse. I never really liked it. In order to cost that much money, a dress generally has a fur trim- ming or is heavily beaded. It is usually sO unique that it can be worn but once or twice... after that it becomes a total loss, hanging in the wardrobe. Sometimes, however, a very simple gown costs quite a great deal . . . this is because of its new and clever lines. Personally, I would rather pay more for lines and less for beads and fur trim- ming .. simplicity in line makes for the greatest smartness in my Opinion. “To the girl who has less money to spend on clothes, I can think of nothing better than ‘looking around’ in the smarter shops, remembering the details of the styles and having them copied by a dressmaker. No girl earns so little that she need shop from the “‘wniform styles’ on the bargain counters! “Shoes, hats and bags have always been little pet extravagances of mine. I very often buy as many as three hats and as many pairs of shoes and bags to go with one ensemble. But the added accessories change the appearance of the ensemble and allow its use for a longer period . . . so they become a sort of an economy rather than a luxury.” Now that the subject of clothes was covered, Connie was holding up the last, the little finger, for what was sup- posed to signify travel expenses and in- cidental spending. “T like one grand vacation every year,” she went on, “usually a European holiday. It’s a pretty expensive jaunt,” she laughed, “but then I think we should all get away from Hollywood once in a while to get our perspective back. I usually set the $10,000 it costs me to travel ten weeks in Europe Modern Screen down as one of the necessities of keep- ing one’s balance. It costs almost the entire ten thousand for actual traveling expenses. I have a villa in Biarritz—a gift from my former husband, which is usually my headquarters while I am in Europe. If I should stay there during my sojourn, the cost is figured in the ten thousand used for the entire trip. If I do not, then it costs but $40 a month for a caretaker for the villa. The apartment I own in Paris is closed during the time I am in America and costs nothing except for care and taxes. Of course, insurance and income taxes come in for quite heavy amounts, but one could hardly call the money so used as ‘spent.’ S for jewelry—I have all of it I shall ever want—also gifts from my former husband. Occasionally I have a piece re-set in a more modern style, but jewelry is a very incidental luxury with me.” “There’s one more item,” I said as Connie tapped off the little finger sig- nifying she had come to the end of her list—“and that is charity.” Connie shook her hand. “There are certain things I love to do that I don’t care to talk about at all,” she said firmly. “Of all the facts and figures I’ve given you—surely you'll let me keep that one little secret to myself.” Just between ourselves, I happen to know that the “secret item” in Connie’s budget would be a swell yearly salary for most of us! So now .. . if we knew what Connie spent for insurance and income taxes, we might be able to figure out what she actually spends! If we knew that, we could multiply the total of all she spends—and get the approximate amount she saves! Beautiful and dumb? Not this lady! Secrets of the Stylists (Continued from page 58) well as her daytime frocks to give a little loose effect to the bodice. “The two taboos with Connie are severely tailored clothes and an exces- sive amount of jewelry. She has a small silver bracelet on her wrist con- stantly, but she rarely appears in dia- monds. If she uses jewelry at all, pearls are her choice. JI have never seen her with earrings; she says they broaden the face. She likes pins and shoulder clips and real flowers, especially gar- denias. “In ‘The Common Law,’ Connie wears a cheery suit of cream chonga cloth that has a voluminous red fox collar. It’s the kind of suit that says, ‘Hello! I’m glad to know you!’ while you're still a half block away. Another of her costumes is of apple green wool crepe, trimmed with silver buttons set in black buttonholes. It has a detach- able scarf of black and white and a nar- row black leather belt. “Blue and white are, naturally, the fitting colors for a yachtine outfit and Connie appears in one of these, too, in ‘The Common Law.’ The dress is of white crépe de chine bordered in blue, and the four-button jacket of blue flan- nel has wide white revers. It’s the un- expected note of red in the scarf and cap which gives it character.” (Sketches of these three costumes are shown on page 57.) N the way of footwear, Connie pre- fers pumps with a medium vamp and sandals with a T-strap. Personally, I think plain pumps are the most be- coming sort of slipper a person can adopt. They slenderize the foot with- out drawing notice to it the way fancy shoes do, and there are so many varieties now, they can be made to blend in with any kind of costume. “Really, accessories should be chosen with as much care as the dress itself. They can so easily add to or spoil one’s appearance. Take gloves alone. Those with elaborate backs are enough to mar any smart ensemble. Gloves should sup- plement a costume in a quiet, effective way instead of detracting from it by their obviousness. Stitching or buttons are the only trimmings on gloves a truly clever woman permits herself. It is chic at present to let the hand look large for | Clean-limbed Loveliness HERE is no uncertainty in re- moving hair with X-Bazin... its action is sure, safe and quick. This creamy depilatory leaves your skin smooth, white and hairless instead of with the blue, shaved look of the razor. The future growth of hair, too, is definitely discouraged. Insist on X-Bazin—accept no substitutes. At drug and department stores —50c in large tube; sample tubes 10cin 5and 10 cent stores. X-Bazin is the reliable hair remover for legs, arms and under-arms that expect to be seen! Hall & Ruckel, Inc. Est.1848 Bklyn., N.Y. 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She Thought He Loved Her until that bitter moment when her world erashed about her! ... And then —she sent Bob away, forever! Diane fought desperately to save her daughter’s happiness. But it was Tony, who for years had adoringly followed her about Europe, who startlingly solved Valentine’s prob- lem! Joan Crawford is Valentine, the fascinating heroine of this dramatic story, “This Modern Age”. Monroe Owsley is Tony, Neil Hamilton is Bob Blake, and Marjorie Rambeau is Diane. Do not miss this stirring drama in fiction form, profusely illustrated with scenes from the screen play, in the August issue of SCREEN RO- MANCES, on sale July second. In this issue you also will find a complete novelette—‘‘Night Angel,”’ starring Nancy Carroll, ‘‘The Mal- tese Falcon,’’ a great mystery story, starring Bebe Daniels, ‘‘The Law- yer’s Secret,’’ which has an all-star cast, ‘‘Big Business Girl,’’ starring Loretta Young, ‘‘Just a Gigolo,” a brilliantly clever story starring William Haines, ‘‘A Woman of Ex- perience,’’ starring Helen Twelve- trees, and ‘‘Always Goodbye,”’ which stars Elissa Landi. And in addition to these fascinating stories; many other interesting features. Don’t forget the magazine is = Komances ON SALE AT ALL NEWSSTANDS hereon can keep them safe and = enjoy them always. 5 Engel S Styles [Art Corners] Colors | are on sale at Photo Supply and Album counters everywhere. They i. are the only Quick Easy, Antisticd of No Paste ‘0 Fold. way to moun lo Kodak Prints. A dime brings 100 and Samples to try. Write Buys “ENGEL MEG. Co. 400 Dept. 63-V Chicago KILLS ALL INSECTS MILLIONS OF HOMES ARE NOW PROTECTED BY THIS FAMOUS SPRAY 110 Modern Screen in mannish stitched gloves which are far cooler than tight fitting ones. I do not like those of silk because of their high sheen. “One can, you know, be too painstak- ing in selecting color combinations for dress accessories. If you have a black and white suit and purchase a black and white bag, a black and white hat, black and white gloves, and black shoes com- bined with white . . . it’ll be just a bit too much! Rather have an all black hat, white gloves, a black bag with per- haps a green clasp, and black slippers with just a thin piping of white. “But one cannot be too painstaking in tidiness! It is perfect grooming that lifts the stars out of mediocrity and makes them the most envied women in the world. Their hands are cared for, stray wisps of hair are tucked into place, their clothes are brushed and have the look of being put on hangers cor- rectly when taken off. “Too many of us strive for outstand- ing effects—and forget to wear the right shade of stocking! HAT is one of the things which causes Constance to be looked upon as a fashion model—this thought she gives to the small details of her dress She told me that even as a little girl in a French convent she made them sponge and press her uniforms twice a week! Hers is the golden blond type with warm golden skin while Helen Twelvetrees is a reddish blonde. They are both five feet five inches tall and very slender, but there the similarity ends. “Helen ‘is like an old master’s in- terpretation of the Madonna. She is extremely young and innocent looking. Fragile. As yet she is in a potential state, undeveloped. She has a heart- shaped face and most remarkable eyes. She is one of the very few people I know who graces a ruffled crinoline costume as well as an abbreviated bath- ing suit, and she can wear any color with the exception of orange. Dash- ing colors such as skipper blue, emerald green and flame red make her a glamor- ous creature; pastels change her into an ethereal sprite. She is at home in sports clothes and chiffons, trailing skirts and ‘shorts.’ I usually give her long lines because they’re more graceful. The majority of her picture wardrobes have been ‘character’ stuff like the one she had for ‘Milly’; however, I hope to put her in modern clothes before long for they are vastly becoming to her. WE say of some women that they are born with intuition about style and Ina Claire is foremost among them. She has cultivated that sense during her years on the stage until there is very little she doesn’t know about the art of dressing. Watch her on the screen—the way she wears her clothes. She’s a model worth imitating. In ‘Rebound’ she dons a_ flesh-colored chiffon, unornamented, that molds her figure and then breaks into tiers on the lower part of the skirt (see page 57). She reminds you of a pale Greuze lady who stepped into moonlight in it. Of course, it is a gown for only the slender and rather tall type. YOUR SERVICE DEPARTMENT EAR Miss LANE; Clothes are so beautiful now, but if you’re only an $18-a-week clerk as I am, all you can do is admire them! The stars can afford to buy anything . they want, so naturally they look nice. The average girl hasn’t a chance to com- pete with them. Take me, for instance. I’m five feet, three inches in height, weigh 114 pounds, and have light brown hair and gray eyes. But what does it matter ow I look if I can’t buy the right clothes? Oh, I admit I’m dis- couraged about this dress problem. That’s my reason for writing you. I’m in hopes you will be able to help me. Sincerely, AGATHA S, New York City. Dear AGATHA: It seems to me you haven’t the right viewpoint on clothes. If you have read this series of fashion articles I’m afraid you’ve missed the whole point of them, my dear. It isn’t the money you put into your wardrobe that counts. It’s the taste you use in selecting each outfit. Motion picture stars appear well not be- cause they have unlimited means, but because they give careful thought to their clothes. I have known girls living on your in- come who dressed with as much chic as a fashionable débutante. They did it by watching for bargains in the better stores and by cooperating with a clever dressmaker. Often they picked up very attractive frocks for as low as a sixth of their original price in the basements of large stores. You can do the same— especially in New York where you're living. If you don’t sew for yourself you can get a good seamstress for five dollars a day or less and in that time she will be able to make you a smart summer frock. The popular dotted swiss, silk rayons, batiste and voile may be had for about eighty-five cents a yard and you would need only three yards unless you want an exceptionally full skirt. Bargain hunt for your accessories, too. There are several young screen players who make a game of it. One of them—and she is considered extremely chic—boasts that she never spends more than fifteen dollars on any dress. As Miss Wakeling points out in the above article, half the battle in being smart and attractive is the will to be. A slender purse won’t hinder you. Good luck, Agatha, and don’t be dis- couraged ! Dear Miss LANE: I’m going to the seashore the latter part of August on a vacation for which I’ve saved during the entire year. I am having all my clothes made at home and I do so want to look my best. Won't you help me? I am a redhead, the kind with waxy skin and gréen eyes and I’m five feet, six inches tall and weigh 130 pounds. Thank you! ELIZABETH T, DEAR ELIZABETH: For a vacation at the shore I think
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TV’d concentrate on very good-looking beach pajamas and evening clothes. You'll be living in one or the other most of the time. Linen overalls that have white polka dots on a yellow background and a huge muslin frill are extremely popular. Wear a gay green scarf with them. For evening, a white crépe Elizabeth combined with black lace would be stun- ning on you. The lace should be placed in wide bands on stiffly laid tiers in the lower skirt and the dress should Modern Screen follow a princess line. Complete it with long black gloves and black satin san- dals. Another evening frock that would be- come you greatly is of brown lace worn over a foundation of which the bodice top and deep hem are bright green and the center section brown. The full lace skirt and the section of the slip are set on in points. A white dress worn with a billiard green coat and black hat is excellent for luncheon and street wear. The True Story of Norma Shearer (Continued from page 46) poems she had either written or received and then hold her sides with the laugh- ter inspired by the tender sentimental verses that sometimes failed to rhyme. “But everybody falls in love,” Athole would protest, rescuing her poetry from the scoffing gaze of her sister. “Not I,” Norma would reply cockily, “Tm going to be too busy.” “Doing what?” from Athole. “Why, becoming a movie actress, of course.” A? Norma grew older the talent that had first exhibited itself in im- aginative games turned her interest to amateur school theatricals. Norma never did the leads in the school plays but no matter how small or large her part, she devoted as much study to it as she does now to the scripts of her new starring pictures. Athole would cue her in her lines, and very often Norma learned parts which she was not to play, just for the practice. “Just imagine,’ she would breathe te Athole, “how wonderful it must be to be a real actress—in a real show on Broadway. Or being a movie actress would be even more wonderful.” During this stage of her life Norma became an avid reader of movie maga- zines and devoured the Cinderella stories of girls who were picture stars, hour upon hour. Her eyes glistened as she imagined herself in their place—with furs, and jewels and maids. It was her firm belief that one became a movie actress like Norma Talmadge or Lillian Gish by merely presenting oneself at the studio, signifying an intention of be- coming a star—and then stepping into the roles. “Movie actresses are much richer than stage actresses,’ Norma would ad- vise Athole in their frequent girl-to- girl talks in their room. ‘Movie ac- tresses have jewels and limousines and houses with twenty-four rooms and lots of servants. Imagine how wonderful it would be to have all the clothes you wanted and lots of maids to take care of them for you and plenty of money to travel and meet kings and princes and crowds of people.” It is strange that the girl who is now known as the hard- est worker in the picture business never contemplated the, idea of hard work in her first dreams of the movies. For the next three years Norma nursed the luxurious ambitions of a career aS a movie queen. At first her family laughed at her proposed plan of journeying to New York as soon as her high school days were finished, so that she could be in a position to storm the movie portals of New York and New Jersey. But as time drew on and Nor- ma’s pleas began to shape into deter- mined plans for her future, her family became more sympathetic. Her father promised, “I will give you enough money for a fair chance at this, Norma—when that is gone I shall ex- pect you to come home like a sensible girl.” Norma said she would—but then and there she realized that she was not coming back home—she knew she could make a success. And so, on a certain summer morning in the year 1920, Mrs. Shearer, Athole and the seventeen-year-old Norma ar- rived in New York—magic home of Cinderella stories—portal of luxurious ‘dreams! ROM the start New York was a broken dream to the idealistic Norma Shearer. Her little family was un- known in the great metropolis; had neither friends, relatives nor any means of gaining entrée to the studios. There was no one to offer advice. No one to make the way just a little smoother. The telephone directory was their only guide to the magic and well-guarded doors of filmdom. The Shearers settled in a_ bleak, brownstone rooming house in the Six- ties near Ninth Avenue. After the com- fortable, spacious rooms of the family home in Canada, life for three of them in one crowded room was almost un- bearable. And as the residential dis- trict that borders on Ninth Avenue in the Sixties is hardly known for its rambling garden plots, or lazy river banks—this adventuring little trio missed the greenness and coolness of the country in which they had been raised. "T HEIR poundings on studio doors proved no open-sesame. 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WAY, INC. 1048 Hofmann Building Detroit, Mishigaa Flat chested? Do you want to fill out your figure? To develop the rounded, fem- inine curves now in vogue? My wonderful new Miracle Cream Method fills out the contours to firm rounded lines. FILL OUT YOUR_ FIGURE THIS NEW EASY WAY It is so easy to have the lovely, rounded form that fashion demands. Complete Instructions Just a few minutes a day at home will work wonders! Send only $1.00 for Large Jar of Miracle Cream and I will include complete instructions FREE. Everything comes to you in plain wrapper. Accept this Special WRITE TODAY Offer. Send $1.00 with name and address AT ONCE. NANCY LEE, Dept. MR-8 816 Broadway, New York, N. Y. 112 Send today for Free ‘Booklet’ Modern Screen For six months Norma and Athole visited the studios every day without managing a single day’s work as extras. For six months the daily expense of three meals a day and a roof over their heads eked away the small capital in Mrs. Shearer’s purse. At last when the money was so low that she considered the situation dangerous she suggested they go back home. Even Athole had lost confidence in Norma’s glamorous career. Norma, however, was adamant —a characteristic trait often evidenced in subsequent crises. “I’m going to stay,’ she would cry. “Nothing in the world could make me go home!” She would rather starve in New York than go back home to Montreal a fail- ure. Mrs. Shearer sighed. Athole cried a little bit. But they stayed in New York. A second triumph for the determined Norma, who was going to be a movie star! HEIR heavily reduced finances made it necessary to take an even cheaper room. They finally found them- selves living in a cubicle hall-bedroom, cooking eggs over the gas jet, doing their laundry in the general bath tub. Day in and day out Norma and Athole tramped from studio to studio, hoping for a chance to get a day’s work. Rain or shine, sleet or storm, they walked from one casting office to an- other. By this time they couldn’t afford rubbers and the paper-like soles of their slippers became thinner and less com- bative to the winter chill and wet. The girls devised the idea of slipping card- board into their shoes to protect the worn soles. But through all the weary days and the many disappointments Norma was never too tired to press her blue serge suit when she came home at night, to launder her trim white blouse, to rinse out her stockings and polish her “sole- less’? shoes. An actor’s agent who met Norma Shearer during this stage of her battle for a career once told me: “Even when I knew Norma Shearer had no more than a thin dime in her pocket- book, she was always a picture of trim- ness and style. There was something in the way she wore her clothes that made you stop to look at her the second time. Of the two girls I thought Athole the prettier—but Norma had more distinc- tion.” O NE of the many things Norma Shearer learned during her six jobless months in New York, was the existence of actors’ agents. She found that even extra players sent from an agency had a far better chance at a day’s work than a novice at the studio gates. It lessened her carfare and ferry boat expenses quite a good deal. All of the agencies were in the heart of New York and she switched her daily visits from the studios to the agencies. One day there came a magic call from one of these agents that Norma and Athole might expect a day’s work by presenting themselves at a certain com- edy studio to see the assistant director. It was like manna from heaven. Nor- ma and Athole fairly flew to the desig- nated address. Twelve girls were needed for the “call.” Sixty had reported. “Athole and I were jammed behind the others and I knew the assistant director wouldn’t even see us,’ Norma relates. “Eleven girls were picked and we still were crowded into the back- ground. I said to myself: ‘Norma, think fast! Think fast!’ So in desperation I coughed loudly—I coughed so loudly that it sounded almost like a bark—and the assistant’s attention was turned in my direction. I smiled in my best apolo- getic manner and he nodded his head, ‘All right, sister—you'll do,’ he said. I was selected but Athole wasn’t. “We waited around until the other girls were gone and then I cornered the assistant and persuaded him he really needed thirteen girls. When we finally left the assistant, he said to me, ‘You should be a saleswoman, sister, not af extra.’ That job, our very first, lasted three days!” OLLOWING this slight break, things began to look up for Norma Shearer. From her frequent visits the New York agencies were beginning to know her, and they admired her courage and determination in making the rounds. She -had often stopped to talk with the girls in the outer offices at the desks and they liked her well enough to let her in on some “calls” that came through the offices. Norma and Athole began to average three or four days of extra work per week and often their mother was called. They all three wore blue evening gowns on the “dress sets” and many directors and-assistants began to refer to them as “the three little girls in blue.’ The youthful appearing Mrs. Shearer was never believed to be the mother of the two girls who accom- panied her. At first Athole was con- sidered to be the best bet of the two girls. Her type of beauty was consid- ered more photographic than Norma’s. Once, during an interview for a small part with D.-W. Griffith, the famous director told Norma, “You’re wasting your time on a career in the movies. You haven’t.a photographic face.” Florenz Ziegfeld was another impre- sario who turned down Norma Shearer because he did not believe her to be up to his beauty standards! When I met Ziegfeld last year in Hollywood he laughed about that story. “I must have been blind,’ he chided himself. “TI think Norma Shearer is one of the love- liest women on the screen today.” VEN in the face of these discour- agements, Norma’s inexhaustible pluck was not to be downed. She worked tike a Trojan for every little bit that came her way. Soon it began to be known about the studios that one of those little girls in blue was a very good trouper. Once she bounded into a leading lady part in a Western pic- ture at a salary of $100 weekly. The “weekly” lasted for one week—then extra. work again. As a result of extra parts, bits and meager roles in various films, Norma finally managed to get fairly good fem- inine leads with established companies, having made the discovery that it is
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better to pay a booking agent ten per cent of your earnings than have no earnings to share with anyone, includ- ine a testy landlady. Her first two pictures with screen credit were “The Stealers,” produced by Robertson-Cole, and “Channing of the Northwest,” which was filmed by Selznick. In the meantime, Athole’s interest in pictures had waned consid- erably. She had accepted an engage- ment in a musical comedy and before the first year of their New York ven- ture was Over, was married. Norma was neither starred nor fea- tured in the above mentioned pictures— but they were to play a very important part in her professional and private life —they brought about the connection through which she climbed to stardom. They also brought her to the attention of Irving G. Thalberg, who is now her husband. Norma loves to remember this particular phase of her career. She tells the story in her own words: “T was thrilled beyond words when I was notified by a booking agent in New York that Universal had wired about signing me to a contract. I was told that a ‘Mr. Thalberg,’ the general man- ager of the studio out in California, had instructed his New York office to locate me. “When I visited the New York Uni- versal office I felt very confident and buoyant but somehow we just were not able to come to an agreement on the terms. I would have been glad to spring at almost any definite figure but I had struggled so hard I didn’t want to sign myself for a long time without getting what I wanted—whether I be- lieved myself capable of actually earn- ing a large sum or not. You see, I had been reading publicity stories of motion picture salaries. FTER several discussions, the ne- + % gotiations failed. They simply made an offer and stuck to it. I could take it or leave it. I left it. But I felt so badly about it that I wrote the gen- eral manager, the ‘Mr. Thalberg,’ thank- ing him for the offered contract and expressing the hope that at some future time we might come to a satisfactory agreement. “A short time later—and I was still rushing from one casting office to an- other—I received another offer from a Hollywood company. I was about to accept it when another offer came through from a new company, the Louis B. Mayer organization on the West Coast. “T was somewhat dazed by this sud- den attention Hollywood producers were giving me.” At that time Norma did not know that a certain “Mr. Thalberg” had switched his general managerial duties from Universal to the Louis B. Mayer organization. It would have surprised her even more to know that it was not Hollywood producers but a Hollywood producer who was besieging her with contracts. She was to learn that fact sometime later—much to her embar- rassment. The Mayer office carried little more Modern Screen in a monetary offer than had the Uni- versal contract—but production in the New York studios was on the wane— and Norma was more receptive to the idea of working in Hollywood. ITHOUT any further delay she signed the contract with the Mayer company though it did not contain a long-term clause. Norma was an “op- tionite.’ If she made good, she could stay. If she failed, she could consider herself six months’ salary ahead. The company paid the traveling expenses of Norma and her mother to the Coast. “Tf they hadn’t,” she laughs, “we might still be sitting in New York, for we couldn’t afford the train fare at that time. “T had been reading in the movie books about the big receptions new film people were accorded when they landed in Hollywood and I was up early the last morning of the trip, primping and fussing with my clothes so I would look my best for the swarms of newspaper people and photographers I expected to be on hand. “At last the train pulled into the depot. There were no bands, no flow- ers, no cameras. There wasn’t even a representative of the company to pilot us to a hotel. FELT like crying. My professional dignity had been affronted. If I had had the money I would have taken the next train back to New York. But there were bags and things to be taken care of, so mother and I placed our- selves in charge of a porter and wound up at a little family hotel where we put up for the night. Early next morning I inquired my way to the Mayer studio. At that time Mr. Mayer had not yet merged with the Metro and Goldwyn organizations—his studio was near an ostrich farm far out in the outskirts of Los Angeles.” The long, dusty trip only added to Norma’s disappointment in her Holly- wood reception. By the time she reached the studio she was not in the best of humor. In the reception room of the front offices she was met by a good-looking young man who invited her to “Step this way, please.’ Norma _ thought, “Well, at least they have very nice polite office boys out here.” She foi- lowed in his path. When they came to quite an elaborate office at the end of the hall, he motioned her in, calmly shut the door after her, strolled over to a massive desk and sat down—swing- ing his feet—on top. “T’m waiting,’ said Norma severely, “to see Mr. Irving Thalberg. Will you please tell him that I am here... I’ve come from New York.” That ought to squelch this imperti- nent upstart. “T know,” said the black-haired young man behind the desk with just the sug- gestion of a smile on his lips. “I know you are from New York and I know you are waiting for Mr. Thalberg. You see, I am Mr. Thalberg!” (To Be Concluded) VCE... TO WOMEN a generous sample of this new liquid cleansing cream... A perfect cleansing cream in new convenient liquid form! Wonder- ful for the complexion. Cleanses the skin like magic—penetrating to the pores and removing the hidden dirt that is always there. Only a liquid cream can penetrate so quickly and so deeply. Inex- pensive. Only 50 cents at drug and department stores. Mail the cou- pon now for free trial bottle. Wild- root Co., Dept.CM8, Buffalo, N.Y. WILDROOT Liquid CLEANSING CREAM WILDROOT CO., INC., Dept. CM- 8 Buffalo, N. Y- Please send me free, a trial bottle of Wildroot Liquid Cleansing Cream. Name Address Good and Good for You. 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Long Live Charles Rogers As I sat down I took a good look at the man whose birth record will prove to be almost twenty-seven years old. I had pictured him at least six or seven years younger from his more recent pic- tures. But he is not only twenty-seven years old... he looks it! A set and determined look about the eyes. Dressed in a conservative double-breasted suit. He appeared, in a word, just as I would have visioned him off the screen after seeing ‘‘Wings.” “Tm tired of everything . sick of the whole deal ... fed up and al- most licked!” He looked long and hard at me. Then he said, “You're the first person who has ever had the nerve to tell me just what he thought . . . to my face. I’m glad to hear what you think because I agree with you!” “But you say you're tired of every- thing. Of what in particular?” I asked. H, all the things I’m supposed to be and all the verses and slogans and things like that which have been written about me... “T’m tired of being called ‘America’s Boy Friend.’ “Tired of being called ‘A Rover Boy’ 52) (lor ISO 7 255 2 DretHy Ova et 2 ee CULE nD OVaeEennE a mmETUIGe IO, 2 6 “Honestly, I’m ashamed—actually ashamed—of the farce that ‘Buddy’ Rogers has developed into on the screen. I’m forced to play a character, year in and year out, that I don’t be- lieve or like. “T have to come home at night and attempt to live down the results of the work I’ve just completed at the studio, to ease my own conscience. I think the ‘Buddy’ Rogers of the last two years in motion pictures is a weak, fluffy, insuf- ferable nothing! He lacks sincerity. He lacks real personality. And he has no spine! So I’ve killed him. There is no such person as ‘Buddy’ any more. Buddy Rogers is dead—from now on it’s Charles Rogers or nothing!” “But,” I remarked (thanking — the good Lord that I had been right about Charlie Rogers of “Wings” and wrong about “Buddy”), “it must have been partly your own fault—all this that’s happened.” “You're wrong about that,” he an- swered in a strong, even tone. “It (Continued from page 105) wasn't my fault until now... and now that I realize what has happened, the change has already taken place. I came from Olathe; went to school there and made the boxing team of the Uni- versity I attended. I wasn’t a howling success at it but I reached the semi- finals in the championship bouts, and believe me I took an awful beating in that last one. No one who knew me then would have thought I would ever come to the role of ‘Buddy’ Rogers. “Then, out of a clear sky, I was transplanted to Hollywood and offered the astounding sum of $60.00 a week to play in pictures. That was the height of salaries to me at the time. But the atmosphere of my new sur- roundings—well, frankly, it scared me. I had been used to a small town in the Middle West with its friendly, rural atmosphere. So, as I’ve said, Holly- wood put me a little off balance. “Then came the start of the publicity that has been following me ever since. I was really sort of proud of it at first. It was something for the folks at home to read and compare with what they read about Hollywood in general. I liked it. “T had another drawback that I’ve never spoken of before: when I was signed on a five-year contract, I was warned that the single reason for my being signed was that I typified the American Youth. I was told quite candidly that if I ever lost the appeal I had when I arrived or if I ever stopped smiling that I was through! “Ts it any wonder that I went out of my way to avoid any hint of anything but ‘nice’ publicity? I liked my job... especially after ‘Wings,’ and I was willing to forego pleasure and romance and everything that a young fellow enjoys, just to keep it. I shunned the public at all times so that my name would never reach print in any other fashion than ‘nice.’ I tried to keep the smile and the personality that the studio were good enough to warn me was the only reason why I had been contracted. HEN about a year ago, the thought came to me that the studio had for- gotten my best work. They had for- gotten ‘Wings’. Suddenly I realized that I had been doing the same picture for three years! Always three or four girls in the cast, at whom I’d smile for four reels and act like a silly ass, and then in the end I clinch with the best looking one. Just so much hokum. “Even my fans, who had been coming back to see me for all those terrible years of atrocious pictures, wrote me and said the same thing. They said they were sick of waiting for me to do another real and sincere part . . . such as the boy I played in the aviation pic- ture. For myself, I can’t understand what has caused my fans to hang on as long as they have. Certainly my pic- tures have been anything but fine. “As you know, I’m through with those silly roles. My part in ‘The Lawyer’s Secret’ is a dramatic one and all my parts will be dramatic from now on.” He paused and grinned. “I’m going to start living. I’m going to do all the things I’ve always wanted to do. I’m going to go the places [ want—with people whose company I enjoy. I shall make no attempt in the future to keep my name out of print—even if the pub- licity is not always ‘nice’. F I ever find another woman that I can like as well as I did Claire Wind- sor I’m going to stick with her in spite of hell, ‘friends’, and a world of ‘good advice’. I let them talk me out of a fine friendship once . . . never again! And while I have every respect for choir boys as a class, I shall never again de- pict one on the screen or in my own per- sonal life. I’m going to try to learn how to be real again after a five-year lay- off ! “And since you’ve been kind enough to tell me to my face the very things I had already realized, would you do me another favor ?” “Gladly,” I said. And I meant it. “Go back to your office, Walt, and write exactly what I’ve just told you. Tell my fans that. I’m through playing the half-baked ass in pictures and that I’m going to start a career to my own liking both on the screen and off. Tell those writers who have been picturing me as a nit-wit high-school brat, that the game is over. Tell them to call off their dogs . . . tell them I’ve come to my senses.” And what you’ve just read is my an- swer to Charles’ request. Marriage a la Colbert blessing, they continued to live apast. “T might never have found the cour- age to start out like this if we hadn’t - been married secretly,” Claudette ad- mits. “But now that I know how per- fect it is, I wouldn’t want it otherwise. Neither would Norman. “Tt wouldn’t be practical for every- body, of course,” she said. “There’s the economic side of things to be consid- ered. But for professional people with 114 (Continued from page 40) individual incomes, separate establish- ments seem to me ideal. “There are, unfortunately, bound to be some bad nights. Off nights at least. At such times—if either of us are tired from the day’s work, say, or if we're preoccupied about the work we're to do the next day—Norman and I don’t see each other. I know the old theory about love being a balm at difficult times. But I prefer to struggle through bad hours alone. I’d rather not tax love. : ND it’s turned out to be such fun to live as Norman and I live. When Norman is in New York and he’s coming over for the evening it’s quite as exciting as if we were engaged. I dress up. And then I sit and wait for him and play wretched solitaire in my (Continued on page 121)
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Modern Screen Barrymore Tells the World (Continued from page 93) rupt my lecture with a slide. Heywood Broun, Charles Butterworth and Raymond Griffith stopped by to chat with Barrymore the day I spent with the star on the set. THE newspaperman, the actor and the comedian-writer are famous for the blue streak in their humorous stories. Barrymore topped them all and it’s only because this magazine will be distributed through the United States mails [ can’t repeat the yarns the four exchanged. Barrymore’s moods change faster than a weathercock on a windy day. As suddenly as he’d broken into chuckles after talking about Dr. Albert Einstein’s studio tours, Barrymore be- came serious again. He summarized all he had told me about his ideas on courage and fineness and honesty and merit. He was speak- ing oi the point of view he holds and the attitude on virtue and life he hopes his daughter will assume. He said: “Oliver Wendell Holmes, the Su- preme Court Justice, the Holmes who’s living now into a sweet, sane old age, put it all better than I can. He wrote: ‘The essence of all this morality is like the effervescence of well rememberéd champagne: It goes flat when it hits the air.’ 7 Barrymore thought a minute about that one. He smacked his lips. In memory of that “well remembered champagne” .. ? In reminiscence of his own life... ? It’s All Greek to Me (Continued from page 44) sort of, and this morning .. .” here he gulped. “I walked around a corner and that fathead was kissing her and she was liking it.” “Kissing her?” Frank said. “Don’t you know what it is?” Larry said. Pvesmusaid rank Oh, “yes, ~] know.” “Well, that’s it.” “Oh,” Frank said. “Well, that’s too bad.” “Tsn’t it!” Larry said fiercely, and jabbed at the tablecloth with his fork. “And with his reputation, she ought to know better.” “Well, now,” Frank said, ‘““why don’t you tell her about his reputation?” “Larry laughed. It was a_ hollow sound. “I suppose you think I haven't,” he said. “Women are funny.” "Ves,”’ Erank said. “Her used to get ideas, too.” “T don’t understand it,’ Larry said, shaking his head. Frank waited for an appropriate pause. “It’s all Greek to me,” he said. “That's not funny when you feel the way I do,’ said Larry. Frank toyed with his fork and felt disap- pointed. They finished their luncheon and Larry plunged off back to work, still mumbling that it was a darn shame when a nice girl... RANK wandered, solemnly lone- some, down the street. He stood on a street corner awhile, staring at things. The hotel room was pretty lonesome and Priscilla was too busy to see him. He didn’t know anybody and he wished that a stranger with a nice face would come along so that he might pick up a conversation with him, but he was in Hollywood, so no stranger did. When he was ready to move on to another corner and stare, a roadster drew up to the curb with a loud screech and Devon piled out in an awful hurry. He dashed into a drug store. Frank mother didn’t have anything to amuse him, so he wandered in curiously after the young man. The door to one of the telephone booths slapped shut. Frank tried to think of somebody to call up. He couldn’t, so he just went into the next telephone booth and didn’t call anybody. He stood there with the re- ceiver against his ear, no nickel in the slot, and tried to look as though the Hollywood operators were worse than those in New York. Devon’s voice came clearly through the thin partition. He was talking to a girl named Sally. “T’m sick and tired of your whining,” he said. “You haven’t got a thing on me-and you know it. Letters? Saving what? Don’t be a fool. You can’t hook me that way. Well, what if I am crazy about her? Aren't you getting a little good Samaritanish all at once? She can take care of herself. Sure she knows about it. I told her myself. Now listen, Sally . . . No, now listen . well, listen, will you? I'll see you tonight—but you can’t stay long. Yes, Ive got a date. Sure it’s important. That’s none of your business. All right, try and make trouble . . . Oh, I'll see vou all right. Be at my apartment at eight o’clock. We'll have an hour be- fore [ have to leave. Oh, be yourself, will you? At eight and be on time !” He hung up. Frank jiggled the re- ceiver hook thoughtfully. A man out- side was peering in at him with sus- picion. Frank thought he couldn't prove anything just by peering in. Devon’s voice came again and Frank stopped jiggling to listen. Devon was talking to Priscilla. “Darling,” he said, “I’m sorry to bother you, but we'll have to take a later train. You don’t mind, do you? Well, the nine-thirty, I’m afraid. You be all ready and I'll pick you up at nine-ten. Business, dear. Now, don’t get jumpy. 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Di rectory of Pictures Helen Chandler and ing story. Bela Lugosi, Very good David Manners have the chief roles. but hardly suitable for children. THE EASIEST WAY (M-G-M)—The famous stage play which concerns the life of two sisters, one who is good and the other who goes wrong— for her mother’s sake. Constance Bennett plays the sister who goes wrong. Good—but not suit- able for children. EAST LYNNE (Fox)—The famous old melodrama which the old-timers loved is with us once more —this time in talkie form with Ann Hard- ane and Conrad Nagel in the leading roles. Very Zo FIGHTING CARAVANS (Paramount)—Gary Cooper and Lily Damita in another “‘epic.’’ Fair. THE FINGER POINTS (First National)—Richard Barthelmess as a reporter who takes money from the gangs in exchange for keeping dark their activities. Regis Toomey is good in a small réle. Good—but not suitable for children. FINN AND HATTIE (Paramount)—A_ newly rich American family go to Paris and much fun ensues. Mitzi Green, ZaSu Pitts and Leon Erroll have the chief rdles. Good—suitable for children. FIVE AND TEN (M-G-M)—Reviewed in this issue. A FREE SOUL (M-G-M)—Reviewed in this issue. FREE LOVE those (Universal)—Another one of films about the troubles of a young married couple. Conrad Nagel and Genevieve Tobin are the young man and wife. Fair—children won’t like it. THE FRONT PAGE (United Artists)—A realistic story of newspaper life. _Adolphe Menjou, Pat O’Brien, Edward Everett Horton, Walter Catlett. Mary Brian, Matt Moore and Frank McHugh are in it. Mae Clarke does a marvelous bit. Excellent. GENTLEMAN’S FATE a member of the underworld. (M-G-M)—John Gilbert as Somehow or other John is not quite convincing as this character. Louis Wolheim is seen in his last rdéle. Gond. Marilyn Miller recently returned to the coast to appear in “Our Own Social World.”” 116 (Continued from page 11) GIRLS DEMAND EXCITEMENT (Fox) — John Wave and Virginia Cherrill in a college yarn. ood. GOD’S GIFT TO WOMEN (Warner)—There is not quite enough of Frank Fay’s own_ brand of comedy in this film. On the other hand there are several beautiful young ladies and some more GSS amusing dialogue. Good—not suitable for children. GOOD BAD GIRL issue. THE GREAT MEADOW (M-G-M)—An epic of the days. of Daniel Boone. Plenty of Indians and fighting and a married-couple-other-man theme besides. Johnny Mack Brown, Eleanor Board- man and Gavin Gordon. Good—children will like parts of it. GUN SMOKE (Paramount)—Something new in West- ern stories—all about how a bunch of gangsters go West and try their tactics on those hairy- chested Westerners. Richard Arlen is in it. Good—children will eat it up. HALF SHOT AT SUNRISE (RKO-Radio)—The ad- ventures of Robert Woolsey and Bert Wheeler in the A. E. F. Dorothy Lee is also in it, of course. Very good—suitable for children. HELL BOUND (Tiffany-Cruze)—AlIll about a kind- hearted gangster and a_girl whom he loves but who doesn’t !ove him. She marries him because— but that’s telling. Leo Carillo does very well as the kind-hearted gangster. Very zgood—more suitable for children than most gang pictures. HELL’S ANGELS (Caddo-United Artists)—You must know all about this, it had so much advertising. Very good—children will find it enthralling. HOOK, LINE AND SINKER (RKO-Radio)—Those three funsters, Bob Woolsey, Bert Wheeler and Dorothy Lee again. Good—suitable for children. THE HOT HEIRESS (First National)—A story with a Slight touch of incidental music—about a riveter who falls in love with a romantic heiress. Bey Lyon does well as the riveter. Ona Munson is the heiress. Very good—children will like parts of it. (Columbia)—Reviewed in this ILLICIT (Warner)—A very modern story of a couple who believe that. marriage ruins love and_hap- piness. Barbara Stanwyck, James Rennie, Ricardo Cortez and Natalie Moorhead. Barbara Stan- wyck is excellent. Very good—but children won’t care for it. INDISCREET (United Artists)—Gloria Swanson as a_ lady who loved once too well and not so wisely. The plot concerns her endeavors to tell her real love about her past. There is also a sister with whom Gloria’s former sweet- heart falls in love. Gloria sings a song or two and wears the usual gorgeous clothes. Ben Lyon is excellent as the man she loves. Monroe Owsley is the man out of her past. Very good. Children will like much of it. INSPIRATION (M-G-M)—Greta Garbo as a sort of modern Camille. Greta is better in this than she has been in any of her talkies. Robert Montgomery plays opposite her in a very un- convincing part. Wery good—but children won’t like it much. THE IRON MAN (Universal)—How a prize fighter’s wife can ruin her husband’s career. Lew Ayres as a prize fighter and Jean Harlow as the wife. Very good. IT’S A WISE CHILD (M-G-M)—Marion Davies in a somewhat naughty comedy. Quite a num- ber of the lines and situations are amusing but what you might call risqué. Very good—keep the children at home. KEPT HUSBANDS (RKO-Radio)—The old story— with new trappings—of the poor young man who marries the rich young girl. Good—but children won’t care for it. KIKI (United Artists)—Mary Pickford foregoes_mod- esty and becomes a_ rollicking little French chorus girl. Very good. LADIES’ MAN (Paramount)—William Powell as the gigolo whom all the ladies fall for with a bang. Kay Francis and Carole Lombard are two of the ladies. Fair—not for children. LAUGH AND GET RICH (RKO-Radio)—Dorothy Lee in a story about a middle class family who makes ends meet by taking in boarders. Hugh Herbert and Edna May Oliver are in it, too. Very good—suitable for children. THE LAWYER’S SECRET (M-G-M)—Reviewed in this issue. LITTLE CAESAR (First_ National)—More gangster stuff with Edward Robinson and Douglas Fairbanks, Jr. As_an underworld picture_ it stands out as one of the best of its kind. Ex- cellent—but better not let the children see it. LONELY WIVES (RKO-Radio)—A somewhat sophis- ticated version of modern. marriage. Edward Everett Horton and Laura La Plante are in it. Good—not for children. THE MAD GENIUS issue. THE MAN FROM CHICAGO (British International) —What happens when an American crook goes to England, It’s done by an English company and the accents will take away some of the (Warner)—Reviewed in this reality for you but otherwise it’s okay. Good. MILLIE (RKO-Pathé)—The famous best selling novel in talkie form with Helen Twelvetrees as “the good girl who knew the wrong kind of men. Good—but take the children to some other show. THE MILLIONAIRE (Warner)—George Arliss is an American business man who retires due to _ill- health only to find that retiring doesn’t he!p much. David Manners, Evalyn Knapp and Mrs. Arliss help things along nicely. Very good— suitable for children. MIN AND BILL (M-G-M—Marie Dressler and Wallace Beery in a picture which allows them both to _be delightfully comic and highly dra- matic. Very good—children will like it. MR. LEMON OF ORANGE (Fox)—El Brendel in a comedy of gangs and gangsters. Good. MY PAST (Warner)—Bebe Daniels as a_ wicked woman who falls in love with a pure love. Lewis Stone and Ben Lyon do the best. they can in rather unconvincing rdles. Good—better not take the children. NEW MOON _ (M-G-M)—Lawrence Grace Moore in a tuneful operetta. for children who like fine singing. OTHER MEN’S WOMEN (Warner)—In spite of the title it’s a railroad drama_with incidental love interest. Grant Withers, Mary Astor and Regis Toomey have the leading réles. Very good—great for the kids. PARLOR, BEDROOM AND BATH (M-G-M)—The latest effort of Buster Keaton. It’s all about a chap who becomes, quite unwittingly, a great lover. Good—suitable for children. THE PUBLIC ENEMY (First National)—Still more gangster stuff with the inimitable James Cagney in the leading réle. Excellent—but don’t let the kids see it. Tibbett and Very good— RANGO (Paramount)—Some more jungle stuff. Good —particularly for children. REACHING FOR THE MOON (United Artists)— Douglas Fairbanks and Bebe Daniels in a dra- matic comedy of modern life. Excellent. REDUCING (M-G-M)—Marie Dressler and Polly Moran in another of their team comedies. This one is mostly about the goings on in a béauty parlor. Excellent—by all means take the kids. RESURRECTION (Universal)—The rather drab story of Russia with Lupe Velez and John Boles. Fair—not suitable for children. RIVER’S END (Warner)—Charles Bickford in a dual-réle story of the great Northwest. Fair. SCANDAL STREET (Paramount)—George Bancroft as a_ruthless newspaper editor. _Kay Francis and Clive Brook are in it, too. Good. THE SECRET SIX (M-G-M)—Thrilling gangster story with Wallace Beery and Clark Gable. Excellent—better leave those children at home. SHIPMATES (M-G-M)—Robert Montgomery as a gob in his first_ starring picture. Dorothy Jor- ganeaag Eddie Nugent help things along. Very £00 SIN TAKES A HOLIDAY (RKO-Pathé)—Constance Bennett as a stenographer who married her em- ployer. Good—but children won’t like it. SKIPPY (Paramount)—A _ kid story with Jackie Cooper, Jackie Searl. Mitzi Green and Robert Cee Excellent—don’t let the children miss this. STRANGERS MAY KISS_ (M-G-M)—A sophisti- cated story of modern life with Norma Shearer. Neil Hamilton and Robert Montgomery. Very good—but not for children. SUBWAY EXPRESS (Columbia)—Murder in a crowded subway train. Exciting mystery drama with Jack Holt in the leading role. Good. SVENGALI (Warner)—John Barrymore in the title role. It’s the old Trilby story with a new title. Marian Marsh as Trilby is very sweet. Very good. TARNISHED LADY (Paramount)—Tallulah Bank- head, Paramount’s new find, does not get a good break in her first picture. The story is weak and the dialogue weaker. Clive Brook tries hard but the story is too much for him, too. Fair. Children won’t like it. TEN CENTS A DANCE (Columbia)—Barbara Stan- wyck as a dance hall hostess who falls in love and marries a weakling, Ricardo Cortez and Monroe Owsley are in it, too, and both give excellent performances. Stanwyck is_grand and the direction pretty nearly perfect. Excellent. TABU (Paramount)—The stories of the natives on a South Sea Island. Very good—fine for chil- dren. THIS MODERN AGE (M-G-M)—Reviewed in this issue. TOO YOUNG TO MARRY (Warner)—Loretta Young and Grant Withers in a story of young married love. Poor. TRADER HORN (M-G-M)—The jungle and trials of Africa pictured in all its thrilling vividness. Don’t miss it if you like stories of the jungle. Very zgood—fine for children. UP POPS THE DEVIL (Paramount)—Reviewed in this issue. YOUNG SINNERS (Fox)—The wild younger_gener- ation again—with the usual trappings. Fair.
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Modern Screen The Right to Dream (Continued from page 59) rioting old Atlantic. Boisterous water leaped and heaped itself into white- maned breakers that raced toward him- until their green tons collapsed at his feet. Fingers of wind clawed at his clothes and thundered a challenge in his ears. He looked into the east, thrilling to the passionate sea and the bitter taste of salt on his lips, and his eyes. filled with the steely sparkle that was later to bring him fame in gangster roles. “Some of these days .. .” he said. “Some of these days... .” Some of these days, what? Who knows what he had in his mind? He was still a kid, barely old enough to shave. Weekdays, he attended an art school where it was his habit to start a drawing by signing a sweeping “Morris” before he ever began to draw. Some of these days, what? I can hear him, as the gale drives around his strong’, young body, promis- ing himself that some day he will get a boat and launch it on the shoulders of the wildest sea he can discover—and fight that sea until he beats it. Was it destiny or accident that finally pitted him against the ocean? Few peo- ple know how it happened. ONE day Morris heard that United Artists had bought “Corsair,” a roaring story of modern piracy, and that he was to have the lead with Ro- land West to direct him. “What do you know about this sort of part?” West asked. “Ever been to sea?” Morris remembered that day on the Jersey shore. “Listen, Chet,’ said West. “You're due for a vacation. Why don’t you take it on a freighter?” “But—but—” “Do that and you'll really know how to play this part, see.” West’s eyes fixed Morris. “I'll bet you’re too soft to ride a freighter to Europe.” “Watch me,” said Chester. That evening, he told his wife what he meant to do. Sue Kilbourne heard him out. A trip on a freighter, eh? She had seen freighters—ugly, greasy little ships with cut-throat crews. Dreams ! They tumbled down through her mind. The fiords and castles of her glamorous holiday van- ished under the rusty prow of a patched- up craft that wallowed from port to port where stinking cargoes were slung into the hold. “T’ve got to do it, Sue,” said Chester. “T need the experience.” “Of course you must do it,” she said. “Tm going with you.” “But it’ll be stuffy and—maybe dan- gerous. I can’t let you.” “T’m going, Chester.” That settled it the way both of them really wanted it settled. If Sue Kil- bourne could not have her dream, at least she could have her man. Neither of them had any way of foreseeing the flood of life into which this choice would pour them. Probably, it was written in the stars. When the M. V. Oakland steamed out of Los Angeles harbor for a run to Bremen, Germany, they were aboard her. That first night, they stood on the bow together. “Think you'll like it?” Chester asked. “Tm with you, aren’t [?” The deck lifted and sank in the grip of resistless rhythm. She was think- ing of southern France and the hope- lessly wrecked itinerary of their tour. He was thinking of another ocean. This was the Pacific, quiet and sleepy. The thresh of the propeller was a song of power. Here was his ship but this wasn’t his sea. He remembered that stretch beyond the Jersey coast. SOME days later, the freighter crept through the Panama Canal toward the gay Caribbean. While Sue taught contract to the officers, Morris tramped the bridge. The skipper taught him to shoot the sun, to stand a watch, and to handle the mahogany wheel in the pilot house. Chester gloried in that. but a place for tourists. Cristobal a stop for a shore-cooked dinner. Then their rusty forefoot plowed into the same azure waters that had floated the fighting frigates of Henry Morgan and Mansfield, lineal ancestors of the free- booter Morris was to play in ‘“Cor- sair.” You must see the Caribbean to be- lieve it. Its days are gold and blue and its nights are silver and gray. Trade winds smooth the surface most of the year until the hurricanes come booming down the latitudes. At night, Chester and Sue leaned on the rail together and tried to probe the mystery of the horizon. The old ship poked ahead, snail-like. “How are things?’ he asked her. “Having fun?” Panama was She smiled at him. He was so busy learning the business of sailing that he had no time to understand the monotony of playing the same game with the same people for weeks on end. “Tm fine.” she answered. She was fine. She was near her man and these magic nights made her forget the air castles in those gaudy travel folders back home—almost. THE ship plowed through the chan- nel between Cuba and Haiti into the North Atlantic, mother of storms. Blue skies turned white and flung down the sun like the reflector of a search- light. “Heavy skipper. That night, a heavy roll slammed Morris against the side of his bunk. He sat up, eyes straining. The night was alive with strange sounds. There was the interminable rush of water beyond the closed port, and the thresh of the screw—and there was more. The ship was talking in every joint weather ahead,” said the The Commonsense Way To LOSE FAT Woman Loses 15!4 Lbs. In 2 Weeks! A half teaspoonful of Kruschen Salts in a glass of hot water every morning before breakfast provides a GUARANTEED safe, quick and pleasant way to obtain slenderness. Mrs. M. C. Taylor of Lewisburg, W. Va. writes: “I’m not quite 5 feet tall and weighed 175 lbs. D’ve been taking Kruschen 2 weeks and now weigh 15914 Ibs. and never be- fore felt so strong and energetic.” Kruschen is a superb combination of 6 SEPARATE minerals which help every gland, nerve and body or- gan to function properly—that’s why health improves while ugly fat disap- pears. (You can hasten results by go- fatty meat An 85c bottle lasts 4 weeks and is sold in every drugstore in the world. ing lighter on potatoes, and pastry). It’s the little daily dose that does it Freckles VANISH LIKE MAGIC REMOVE those embarrassing freckles. Surprise your friends with a new velvety soft, crystal clear complexion. You can — with Stillman’s Freckle Cream. It bleaches them out while you sleep. Done so quickly and easily —secretly too. The first jar proves its magic worth. At all drug stores. Stillman's Al}: Freckle Cream /' Removes Freckles—Whitens Skin i Be ee ee The Stillman Company, Aurora, Hll., U.S.A 12 Beauty Dept., send free booklet. Tells why you have freckles—how to remove them. / OU hGESA san nem shades botLouss sooccHdgadobEDoG De a lee 117
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Nancy Carroll and Fredric March in “Night Angel”. “YT WANTED this ... I wanted you to kiss me—I wanted you to love me! I used to lie awake, there at the hospital, planning to hurt you! I hated you—but I couldn’t stop thinking about you! I prayed never to see you again... And now—you must go—because —hecause I don’t hate you!” She was Yula, the lovely and bewitch- ing daughter of the wicked old Countess von Martini, whom he had sent to prison—and he was the young and earnest Public Prose- cutor of Prague! Read this powerful and enthrall- ing full-length wovelette, fully illustrated with scenes from the sereen-play, in the August issue of SCREEN ROMANCES, on sale July second. Also, in this same issue, you will find “This Modern Age’’, in which Joan Crawford is the fascinating heroine; “‘The Maltese Falcon’, a thrilling mystery story, in which Bebe Daniels plays the leading role; ‘The lLawyer’s Secret”, a dramatic story with a great all-star east; “Just a Gigolo”, starring Wil- liam Haines; “Big Business Girl’, starring Loretta Young; ““A Woman of Experience”, which stars Helen Twelvetrees, and “Always Good- bye”, in which Elissa Landi plays the leading réle. Many other un- usual features contribute interest and variety to Screem a Romances ON SALE AT ALL NEWS STANDS 118 Modern Screen and hinge. “Sue |? “Chester !” They both knew the old tub was in for a battle. Their cabin was pitchy and choked with ominous sounds—but it was rather grand. “You're all right?” he said. eaiesta, “Tm going on the bridge.” “All right.” Minutes later, he was there. It was a perch for the gods. Ocean and sky were a depthless immensity out of which careened cliffs as black and hard as obsidian. Racine and raging, they struck with all their weight and ex- ploded into deadly fragments that smashed rails and ventilators. This was the ocean he remembered. He felt a small hand slip under his arm. Sue was there, eyes agleam. “You shouldn’t be here,” he said. “You're here,” she answered. "THE tempest sprayed them with salt. The boatswain stood at the wheel, watching the storm. The captain’s face was a yellow blob behind the canvas weather strip. No lights were allowed here lest they blind the lookout to other ships ahead. Tons of water smashed over the bow, burying the forepeak. For one fleeting instant, while the craft stood on her beam-ends, a flame speck gleamed through black water. j Morris saw it, or thought he did until he looked again. Then, there was nothing but a night full of thunder and wind and water. He glanced at the boatswain and captain. They peered out, unheeding, and the ship lunged on. Again, the wet wink ahead. He dashed spray from his eyes and tried to probe the impossible. The captain went into the chart room. The boat- swain’s shoulders bulged with the labor of controlling the big wheel. This was a fight. “Did you notice anything?” he turned to Sue. Wind whipped her answer away and lifted the ship over a rolling tide. And Morris saw his light again. No wink, now! Instead, the warn- ing gleam of a schooner’s riding lights. And she was dead ahead. Within seconds, the freighter’s forefoot would trample her. The wheel was a yard away and he threw himself at it. “Hard a-port!” The ship shuddered and her deck tilted. The nose yawed as a wave struck home and then she answered the rudder. Hard a-port! The little schooner showed briefly under the counter like a scared wet hen and slid down the sideplates to the stern. The skipper staggered from the chart room in time to put his craft back on her course. ORRIS stayed on the bridge through the night. And Sue stayed there with him. They saw dawn bring a rain that beat the combers flat. Then the captain ordered them below to get some rest. When the ship nosed into her home port at Bremen, they had been thirty- one days on the water. Patis and Lon- don with all their wonders were ahead. And a quick trip abroad a luxurious passenger liner to New York. But they hated to leave the storm-stained tub they had ridden to Europe, Morris to!d his sea-dog skipper. “You've got salt in you, you two,” said the German. “It’s the curse of this blasted life. We can’t stay away from the sea. We try to quit but we all come back. You'll come back, too.” Chester Morris came back in a talkie called “Corsair.” In a sleek privateer that made him the buccaneering bad boy of the Atlantic rum fleet. If you see him and wonder how a boy born on Broadway comes by that deep-sea sailor- man’s gait, you will know that it was honestly earned somewhere between *Frisco and Bremen. And if you wonder about Sue Kil- bourne who faced that Atlantic hurri- cane at his side, you can find her pre- siding over the Morris home in Holly- wood where she snatches moments be- tween work and play to read in travel folders of the Orient and its tiered pagodas. She believes that a woman who is also the wife of a talkie star has the right to dream. But she is ever ready to for- feit her dreams for Chester’s. Tragedy of Mae Murray (Continued from page 63) the beauty of the very young beauty girl. M4. today, after two decades in the public eye, still behaves like a girl of sixteen. She is still the Brinkley girl of twenty years ago—still pursing up her mouth in the manner that made her bee-stung lips world famous—still conscious of her lovely body. And the amazing part of it is that she actually believes that she is a young girl. There is no more telling proof of this than the fantastic story of the con- cealment of her child’s birth. In 1928 everyone was startled to learn that Mae Murray had a sixteen-month-old son. For almost a year and a half the existence of a Mdivani heir had been kept secret from all but a few inti- mate friends. When the story became public Mdivani told reporters rather pathetically that he was proud of the boy and had not wanted to hide him from the world but that Mae had feared the effect on her career. After twenty years on stage and screen Mae feared that the news that she had an infant son would make her appear old in the eyes of the public! She was actually terror-stricken at the thought. Certainly there is pathos in that. Mae Murray has become a complete slave to her own physical loveliness. Her own beauty has become a mill- stone around her neck. Wrinkles, fat and other visible signs of age are the dragons which she is continually fight-
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ing. One can’t help admiring the single-minded and dauntless manner in which she works to preserve a youth- ful face and figure. Diets, massage, beauty lotions—nothing is too unpleas- ant, too difficult or too expensive. HEN she went on tour in vaude- ville a few years ago she took along a masseuse to keep her thin. It was said that she submitted to four hours of strenuous massage every night—no matter how many perform- ances she had given during the day. Funny stories? Pitiful, I should say. Living in constant fear of the encroach- ing years, studying the mirror every day with beating heart, pretending to look and feel sixteen when one is past forty must be a pretty ghastly existence. Yet Mae could no more stop fooling herself than she could stop breathing. She had been fooling herself too long —about life, about herself, about every- thing. Someone once said of her that she was the kind of actress who believed everything her own press agent wrote about her. It was uttered as a wise- crack—but it is too true to be funny. Mae Murray has never in her whole Modern Screen life faced reality and there is, it seems to me, a world of pathos in her struggle to avoid the truth. Don Quixote, tilting at windmills was funny—but he was tragic, too. HINGS are breaking well for Mae right now. Oil was recently dis- covered on her beach property and it is said that her young husband, with sur- prising business acumen, has made a good deal of money for her. She seems happy in her marriage. And to top it all she is making a come-back in pic- tures. Lowell Sherman gave her a part in “Bachelor Apartment” work so well that he put her in two of his succeeding pictures. RKO-Radio liked it so well that they gave her a con- tract. Her figure is as lovely as that of any young girl in pictures—and her face is still beautiful and amazingly youthful for her years. But it is that phrase “for her years” which tortures Mae Murray and keeps her from being happy although she has everything a woman could desire. Prob- ably Mae will be angry at me for say- ing so, but I think she is greatly to be pitied. The Wittiest Man (Continued from page 33) are old friends, I foregathered fre- quently with Lowell Sherman and his lovely young wife, Helene Costello. I found him unchanged. I found him the same Lowell, the great artist who, always, in his profession, will give un- stintedly of his best, who will work hard, and play as hard. The man who, in the evening, when the long, gruelling hours in the studio are over, will be host—splendidly and generously—to his few, carefully chosen friends; who will hold forth, with the soundness of an ex- pert and the knowledge of a connois- seur, on Chinese art and first editions; who will toss off a bon mot, a spiced jest, a wise-crack, a grimly sardonic re- mark, or a wise reflection which, pres- ently, of course with no credit of authorship given, you will come across in newspaper gossip columns and comic strips, on the vaudeville stage and the legitimate theatre. [t is hard to choose amongst the many things I have heard him say—say, mind you, on the spur of the moment. But it was he who opined, referring to a man whom we both knew, that he is like the Ten Commandments: always broke. He who, one evening, when we were dining with a Mexican talkie star whose breeding is more primitive than refined, commented that a bird in the hand is bad table manners. He who called a certain sweetie-sweet, butter- will-not-melt-in-my-mouth screen no- table, “the Mother of All Actors.” He who, when the conversation turned on a much-married Hollywood actress, an- nounced that she had obtained her most recent divorce on the ground of extreme ukulele. He who advised a young man that there are two ways Of winning a woman’s love: the one is to lie to her, and so is the other. He who accused a famous motion picture magnate of looking like the stuff banquets are made of. He who said that it is divorce which keeps the women in circulation; who told me that it is usually a chicken which cooks a man’s goose, and that a certain “heavy’—name mot on request _—is the sort of man whom one wishes drunk when he is sober and sober when he is drunk. | OW BIL, as I mentioned before, has his serious side. And this serious side is a good half of him. He is cul- tured, well-read. He has a great love of the beautiful and—foremost and chiefly—a great love and fine under- standing of the theatre He is no longer on Broadway. And Broadway is the loser, while Holly- wood—and the country at large—is the winner. For, today, he brings his splen- did gifts into every picture which he directs, and in which he acts, for RKO. He is well known; indeed, famous. He is not as famous as he deserves to be. And—according to how you look at such things—you must praise him for it, or blame him. For the man is independent, his own master, straight through, the moment he leaves the studio. His private life is his own. He does not believe in paid publicity or a hired, noisy clique. He does his work, to the best of his very great ability, and says no more about it. For Lowell Sherman is, primarily, an artist—who lives for his work, not for the praise which it may bring. and liked her. 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lt’s All Greek to Me . .. no, I haven’t got the license yet, but . . . now look, sweetheart, you’re not to worry. I’m sorry about this conference, but . .. yes, yes... all right. You be ready at nine-ten.” The booth next door shook with his sudden departure and the man out- side, after peering in at Frank more suspiciously than ever, dived into it and called his wife. Frank replaced the re- ceiver and strolled out to the sidewalk again. He stood on the corner and stared at things for awhile. T seven-thirty, Larry had a tele- phone call from Frank. “Look,” Frank said. “I’d suggest that you sort of come over to Priscilla’s house tonight at about nine o’clock, er maybe a little earlier.” “What for?” Larry said. “Oh, I don’t know. I was just sug- gesting it.” “We-ell,” Larry said. He’d cooled down a little and was feeling lost and empty inside. “That’s fine,” Frank said, and hung up. He went to see Priscilla. Pris- cilla was awtiully nervous, and kept looking at the door and then the clock. Frank sat comfortably in one corner of the davenport. “Too bad about that young fellow getting hurt,’ he said. “The one that was here last night, I mean.” “Larry?” Priscilla jumped to her feet with a terror-stricken gasp. “No, I mean that other one. The dark one.” “Joe? What do you mean? Joe wasn’t hurt.” “Oh, wasn’t he? I thought I heard somebody talking about it this after- noon. It sounded like his name. May- be I was wrong.” “Devon? Joe Devon?” Frank puckered his brow. “Sounds like it,” he said. “Frank, are you sure?” i “No,” Frank said truthfully. “Prob- ably it wasn’t him at all. Probably it was somebody else.’ (Somebody in Hollywood must have been hurt that Film group attending we saw Dick Barthel- mess and his wife. With them was Hollywood’s recluse, Ronald Colman. Bill Powell brought Carole Lombard. And Kay Johnson was accompanied by her director husband. Marlene Dietrich came with Josef Von Sternberg. These two seldom go anywhere without each other. Ukulele Ike (Cliff Edwards to you) rides a bike to work every morning while his Lincoln trails behind... . just in case! At the opening of Warner Brothers’ 120 ° (Continued from page 115) afternoon. ) Priscilla flew to the telephone. With the receiver off the hook, she paused. “Tf he’s hurt,” she said, “I oughtn’t to be ringing the telephone, ought 1?” “No, I don’t think you ought,” Frank said. She grabbed up her wrap. “I'll go ” over there,” she said. “It’s just around the corner.” Frank picked his hat up. “Tll go along,” he said. “Maybe there’ll be something I can do.” She clung to his arm all the way over to Joe’s. Frank felt a little sneaking, but he ploughed on. She might be pretty sore at him. Well, could he help it if he made a mistake in names? He’d stick to that if things came out wrong. S HE pressed the doorbell of Joe’s apartment and Frank stood twist- ing his hat and staring at the molding around the walls: Joe came to the door. He was in his shirt sleeves and looking pretty angry. Inside, there was the unmistakable sound of feminine sobbing. Joe said: “What the devil?” “Joe!” Priscilla cried. “You're all right ?” “Sure I’m all right,” he said. Priscilla stepped past him into the room, laughing shakily. “I heard that. _ 2 she stopped short and stared at the blond bundle that raised itself from the davenport to glare at her. The blond bundle looked as though she’d been doing a lot of crying. “You'll find out,” she said. “He did just the same thing to me, and I’ve got letters to prove it, and believe me, he’s going to pay for them, and pay plenty . and if you haven’t got any letters, you'd better stick around for awhile and get them before you go with him. I. ” “Business,” Priscilla said, looking hard at Joe. “Listen, honey, I... “A conference,” Priscilla said. She turned on her heel and took Frank’s arm. ‘“‘Take me home, Frank,” she said. ” Joe grabbed her arm. Frank took his hand away, smiling gently. “Pris- cilla thinks maybe she wants to go home,” Frank said. She hurried almost as fast going home as she had going over there. “And if it hadn’t been that you mis- understood a name,” she was gasping, “right now I’d be waiting for him and .. ” she looked sidewise at Frank, a little, frightened child, “Oh; Frank.” she said, “if you hadn’t come, I’d’ve gone on being the same little fool .. .” “Now, honey,” Frank said, “you couldn’t be a fool . . .” “Oh, I have been. I have been! I’ve been angry at Larry because he called me a little fool and I...1I1 almost went away with Joe, and I’d’ve been sorry all the rest of my life, and... I’m so glad you came, Frank. God must have sent you.” She was cling- ing harder than ever to his arm, and crying. “And God must have made you misunderstand that name just so I wouldn’t .. .” “Funny thing, me misunderstanding that name,” Frank said thoughtfully. PRISCILLA clung to his arm across the threshold and came to an abrupt halt. “That’s Larry’s hat,’ she said. “He’s here! He said he was never coming again, but that’s his hat.” “Maybe he left it last night,’ Frank said politely. “No, he’s here!” She tore out of his grasp and ran for the living room.. Frank picked Larry’s hat up and exam- ined it for initials. He tried it on. It was a trifle too large for him. Care- fully, he placed it on the table once more, and his own beside it. He wan- dered in. Priscilla was crying in Larry’s arms, and Larry was looking puzzled. Frank returned his stare blandly. “How in the devil?” Larry said, over Priscilla’s shoulder at Frank. Frank shrugged. “It’s all Greek to me,” he said. “The way I feel,’ Larry said, grin- ning, “that’s funny.” Gossip of the Month (Continued from page 92) new theater, the Warner Beverly, Alan Mowbray got off one of the neatest of nifties. He was attempting to show that Englishmen have a sense of humor . you can be the judge! “T was called by the studio,’ says Alan (who is one of the most English Englishmen), “to play in George Arliss’ picture ‘Alexander Hamilton.’ I asked them what part they had in mind for me and they replied, ‘The part of George Washington.’ ” EW CODY’S favorite story is about two drunks that visited the wres- tling matches. They arrived just in time to see one of the contestants get a headlock on his opponent. But after a struggle the other managed to break the hold, and for the next half an hour the two wrestlers rolled and ranted to no avail. Finally the same fighter got another headlock around the other’s bull neck. Just then one of the drunks got up and said in a loud voice: “Let’s go. This is where we came in!” What's happened to the Mae Busch- John Holland romance? John 1s step- ping out frequently with beautiful Bar- bara Bedford—to theaters and such.
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A la Colbert (Continued from page 114) ” impatience for the doorbell to ring. Recently Norman Foster has been working in California and last month when both he and Claudette found them- selves with two weeks’ holiday at the same time they arranged to meet in Chicago. “Tt was like a rendezvous,” Claudette said gaily. “It was fun getting our tooth brushes mixed up. But it prob- ably wouldn’t have been if we’d been living together in the same house and getting one thing or another mixed up every morning for three years. “TI suppose I’m an incurable romantic but I wouldn’t want the thing Norman and I know to become less, to settle into a series of staid habits. If it ever should come to this in spite of our mod- erm arrangements, or if Norman ever should cease to care for me I do hope I won’t try to hold on, but that I will have the courage to call quits. Not spoil all that has gone before and ruin what might otherwise live as a beau- tiful memory .. .” Her voice grew soft. “I can well imagine how very difficult it might be to do this,” she said. “It is to be hoped Tl never have to...” It would be a girl like Claudette Col- bert who, admitting love to be far and away the most important thing in life, would discard the traditions of marriage to work out a new pattern. Like her, her entire life is unusual. Overnight she made her name one to be reckoned with on Broadway. In one picture she proceeded to establish her- self as a preeminent screen actress. She chose to spend a long holiday on a tramp steamer rather than on a de luxe liner. A product of this modern age, she, nevertheless, thinks people who keep on being divorced and married and divorced and married again are not happy. And rated one of the smartest dressed women on the screen, with her popularity based upon her appearance in society dramas, she finally has be- euiled the monarchs of Paramount to allow her to play the cabaret singer in “Twenty Four Hours.” Because it is parts like this that most interest her. Oh, Claudette knows what she wants. And it isn’t necessarily that upon which the world puts the highest price. She’s the sort far more likely to set fashions than to follow them. SONGS TO LISTEN FOR “Now You’re In My Arms” (The best number im months) “Shoutin’ To The Sun” “Come To Me” (from “Indiscreet’’) “Tf You Haven’t Got Love” (from “Tndiscrect’ ) “T’ve Got A Communistic Feeling For You” “Close To Me” (from “The Woman Between’) “Someday I’ll Find You” (from the New York play, “Private Lives” “Two Hearts” (from “Two Hearts In Waltz Time,’ the German operetta) Modern Screen INOUR NEXT ISSUE HOLLYWOOD KILLS _ PEOPLE! A thrillingly unusual story of the film city DYNAMIC DOLORES By the same author who wrote the startling article on John Barrymore —Dolores’ husband—in this issue HARRIET PARSONS WRITES ABOUT HELEN TWELVETREES This story will grip you—it is in this author’s best vein CHARLESON GRAY WRITES ABOUT PHILLIPS HOLMES Will give you fascinating lights on the Phillips Holmes you don’t know Develop the ed Flesh-Colored 18 inches. ° SIXTY-SEVEN WALL STREET, ITS SIERILIZ\G) “THE BEST AT ANY PRICE” Leading Skin Specialists say, STEP-IN HIP REDUCER Do away with immoderate dieting. You can be as slender as fashion demands by using our Reducer. Made of fine Natural-Colored Rubber. Easily washed. No bones and odorless. Send waist and hip measurements. ANKLE REDUCER ing our Reducer under your hose. Sup- ports the arch, relieves varicose veins and swelling. Made of fine Para Blend- and calf measurements, also length re- quired. 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Single room, private Bath $4.00 and Breakfast in your | room without charge. Write for Booklet ‘“‘F”’ about Double rooms and weekly rates. C. A. Berry, Owner H.L. Fairbairn, Mgr eT as real fun doing it. WANT SOME MONEY? Here’s A Wonderful Way To Get It! Yes, you can—anybody can make a lot of money right at home, and what’s more, have We show you how, we furnish everything necessary on an easy basis. COSTS NOTHIN to learn about our - plan, all details are given you free, Write today for beautifully u- lustrated idea book telling all about our methods which have made so many women independent. Learn how easy it is to make from $10 to $25 per week in the most delightful home work you can imagine. Don’t miss this opportunity. Write Now---It’s FREE! FIRESIDE INDUSTRIES, Dept. 147-K, Adrian, Mich. ——— — FIRESIDE INDUSTRIES Dept. 147-K, Adrian, Mich. 2 Please send me, FREE, the #4 bookon Fireside Industries show- | 7 ing how toearn money at home by Ayan! ¥Y decorating Giftwares.
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ain F only you could take a peek through the tele-_ scope with Leo, what a thrill you would have watching M-G-M’s brilliant stars, directors, La writers and technical experts—all busy on the Leo’s crown fits him ~ > greatest production program in the history of | ; = on this company. Week after week during the com- ing season new M-G-M hits will come out of that miracle. city known as the M-G-M Studio. | Mighty productions that are destined to take — their place with such M-G-M triumphs of past seasons as “The Secret Six,” “Reducing,” “Our Dancing Daughters,” “Anna Christie,” “The Divorcee,” “Min and Bill,” “Paid,” “Strangers May Kiss,” “Trader Horn.” It’s written in the stars that Metro-Goldwyn-Mayer will again prove during 1931-1932 that it is the greatest | producing organization in motion pictures. better than ever!
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PUA ——————— y “Cawrence TIBBETT Alfred LONI a) Lynn FONTAINE is i r ‘ ie A Le Go ESS ai | ~ 4 ‘ _ Ramon Wi eves Buster KEATON re et Pb, 06 The Theatre 4 ; Guild Stars FS baa | Lad 3 { 1 x it UR ANS | 7 | 3 i You’ll Soon “APPLAUD Marion DAVIES in “Five and Ten” Norma SHEARER in “A Free Soul’” Marie DRESSLER Polly MORAN in * Politics” Robert MONTGOMERY in “*The Man in Possession” Greta GARBO in “Susan Lenox, Her Fall and Rise’ and many others
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