Modern Screen 1932-08 Vol. 4, No. 3

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Modern Screen JANET mm =§6CHARLES Niel FARRELL aa PARTNERS IN LOVE AND ROMANCE ) The screen’s most popular sweet- hearts in a tender story of youth during THE FIRST YEAR of married life... Janet and Charlie have never been more captivating than in this, their happiest and sweetest romance. neem @HN GOLDEN Dinected by William K.Howard (RRR Ol Gl ola a: G a

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W)CIB bovvVve q | ae | MODERN SCREEN: FEATURES | Gloria As A Mother Elinor Glyn / The first interview Gloria gave out after the birth of her baby Meet Robert Young Walter Ramsey This new player’s path to success will fascinate you \| Miriam’s Adopted Son Adele Whitely Fletcher 1 The only magazine interview on this subject Miriam Hopkins granted qi | Ten Commandments For Beauty ‘Mary Biddle Hints no girl can afford to miss The Man Without a Heart Nina Wilcox Putnam Why Warren William does not believe in one love alone || A Husband—A Job—Can You Keep Both? Faith Baldwin i } Why a girl cannot successfully have both a husband and a career | } Colleen Is Back! Welcoming the little Irish lass back tc the screen The Truth About Sally Eilers and Hoot Gibson Caroline Somers Hoyt The first Senuine explanation of their marital difficulties The High Cost of Babies Helen Louise Walker The High Cost of Divorce Dorothy Wooldridge Some amazing facts about these two subjects—in Hollywood currency When Garbo Was Late (Illustrated by Jack Welch) Mary Sharon Proving that the great Garbo really has a heart Mary Pickford’s Frankest Interview Hank Arnold Mary is going to do amazing things—both in her private and professional life The True Story of Ricardo Cortez Walter Ramsey Ricardo’s tragic Hollywood experiences Every Brand of Trouble Mary Sharon The heartbreaking story of ZaSu Pitts’ quest for happiness What You Should Know About George Raft Charles Grayson About that newcomer who really has a remarkable resemblance to Valentino The Hardest Job in Hollywood Curtis Mitchell A tribute to those too-often slighted players—the cowboy stars Helen Twelvetrees’ Wardrobe—and Yours Virginia T. Lane Late summer clothes in fascinating detail The Little Girl Who Wouldn’t Cry Shenton Erwin Ginger Rogers has really learned how to ignore the dark clouds DEPARTMENTS | Between You and Me The readers have their say fi Beauty Advice Mary Biddle Unusual beauty problems that you should know about | The Modern Hostess Are you planning a picnic? Ee Modern Screen Directory : Pictures Players What’s what and who’s who In current pictures | All Joking Aside Jack Welch : Still more unbelievable facts about the stars The Spotlight Is On They’re in the news Hollywood Times The latest news and gossip Modern Screen Reviews The new pictures told about in detail Let’s Talk About Hollywood Some more gossip and chit-chat And also: Gallery of Honor, 51; Two Sophisticates, 59; When the Stars are the Audi- ence, 62; Palm Springs, 74; Scoops of the Month, 82 Ernest V. Heyn, Editor K. Rowell Batten, Associate Editor Walter Ramsey, Western Representative } Published monthly and copyrighted 1932 by ues Publishing Company, Incorporated. Office of publications at Washington and South Avenues, Dynellen,/ N. J. Executive and editorial offices, 100 Fifth Avenue, New York, N. Y. H. Meyer, President; M. Delacorte, Secretary and Treasurer. Vol. 4, No. 3, | August, 1932.~ Printed in the U. S. A. Price in the United States, $1.20 a year, 10c a copy. Canadian subscription, $1.70 a year. Foreign subscriptions, $2.20 a year. 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 READ WHAT 50 BABIES TAUGHT TWO SCIENTISTS OF COURSE, you want your baby to be a rosy, healthy baby... taking his food contentedly ... putting on his ounces regularly. Yet you’re hoping even more, per- haps, that he’s building now for future health. Building hard bones, good teeth, strong muscles, sound netves—to make him fit and fine in the years to come. When mother’s milk fails, can any other food build such a baby?... Read of a recent scientific test. World-famous clinic makes feeding test Recently, two infant-feeding specialists made a test with 50 average infants. Into these babies’ bottles — month after month—went a food known for 75 years as a remarkable baby food. Millions of healthy citizens are living testimonials of its benefits. Yet never before had such a thorough, modern test of this food been made. This food was... Eagle Brand Milk. Throughout the test, it was the only milk these babies received. The usual supplementary foods* were used. Every modern means was employed to judge these babies’ progress. X-ray pictures of bones were taken. Tooth formation was watched. Blood tests were made. Weights and heights were charted. And at last came the report. By every known test, these babies showed themselves splendidly nourished. This simple diet—Eagle Brand, with the usual supple- mentary foods*—had proved itself equal to the building of a 100% baby. If you cannot nurse your baby, try Eagle Brand. Next to mother’s milk, it is the easiest form of milk in the world to digest. Send for new booklet, ‘‘Baby’s Welfare,” containing feeding schedules and general instructions on baby care. And we'll be glad to furnish your phy- sician with the report of above test. *The usual supplementary foods (used with any milk diet) are orange or tomato juice, and cod-liver oil or other source of the anti-rachitic vitamin D. * Well-shaped head; sound teeth in well-formed jaw. * Strong back. * Firm flesh. * Straight legs. - - . Points scientists look for in judging a baby. FREE! BABY BOOKLET THE BORDEN COMPANY Dept. D-7, Borden Building 350 Madison Avenue New York, N. Y. Please send me new edition of ““Baby’s Welfare.” Name. Address. City. State. (Please print name and address plainly)

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BETWEEN YOU AND ME . « » Here's your chance, readers. and say what you think about the talkies and the stars. That’s what this page is for Dear Friends: A new type of talkie is being launched. Within the next few months, you will be seeing many films which will be based on Hollywood life or set in a Hollywood locale. There will be, for example, the talkie ver- sion of that ace stage success, ‘Once In A Lifetime. ° Then there is Harold Lloyd's new comedy, ‘Movie Crazy.” And probably you know that Constance Bennett's next picture will have a Hollywood back- ground. It's called "What Price Hollywood?" Tala Birell, Universal's Viennese charmer, will have for her second starring film a picture at present entitled "Broken Dreams of Hollywood." And, of course, there is "Merton of the Talkies''—now retitled ‘Gates of Hollywood” —with Stuart Erwin. Then, too, Columbia is making "Hollywood Speaks” with Genevieve Tobin and Pat O'Brien. Do you welcome this chance to see your favorites against the back- ground in which they work and live? And will you enjoy seeing glamorous, thrilling Hollywood scenes on the screen? Let's hear from He Sniter you. Please address ail letters to The Editor, MODERN SCREEN, 100 Fifth Avenue, New York, N. Y. An interesting opinion. Incidentally, Mr. Van Noy, the review you mention was about "This Modern Age.’ Since that time, Joan undoubtedly has had better pictures In almost all the magazines, copious panegyrics on Greta Garbo dazzle our eyes. Newspapers herald her as “The Great Garbo.”’ Now, I like Miss Garbo and concede her much merited achieve- ment; but, of the two most outstanding queens of talkiedom, I am caused to wonder why the reversed order of pref- erence? Wherein do Miss Garbo’s per- formances excel those of Joan Craw- ford? Except in pathos and love, which Miss Garbo expresses as well, Miss Crawford has no equal, nor has an artist lived who portrayed greater powers of expression. Whether sorrow, pain, joy, or whatever the act demands, Miss Crawford depicts it in face, voice and demeanor, in such naturalness, aptness, grace and genuineness, that one is moved with the emotion and feels and lives it, for the time, in reality. Certainly, in personality, Miss Garbo could hardly -claim precedence. And most certainly not in beauty, for Miss Crawford is very justly acclaimed by many as one of the most beautiful women of the screen. 6 Quoting a MoperRN SCREEN review, August, 1931: “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 a modern maiden misunderstood by a snooty boy friend.” We might obtain the mathematical four by the process of adding two and two by connecting the above with Jack Jamison’s article, “Garbo on the Set,” page 32, MoperN Screen, March, 1932: “You know, without being told, that the best minds in the studio are put to choosing stories for her. You know that gorgeous sets are built, that equally gorgeous gowns are designed for her.” Are like precautions expended on Joan Crawiord’s success? I seriously doubt it. In fact, judging by the first quotation and other information, she accepts what she can get. Yet, in spite of this, Joan Crawford emanates a glamor and sparkle yet to be obtained by other stars of the talkie constellation. JOSEPH B. VAN NOY, SR., Phoenix, Arizona James Cagney is going to return to Warners. See “The Holly- wood Times, page 16 T have been reading for the past few weeks that my favorite, James Cagney, is quitting the screen forever, because his studio failed to raise his salary when he asked for it. Why in the world don’t they raise it? James Cagney is Speak right out the screen’s best actor to my way of thinking. . . . Ii he leaves the screen I shall be heartbroken. He deserves as much salary as the “Glorious Garbo.” I also notice where she is leaving the screen after her contract expires. Well, I won’t be disappointed. But I shall be if Jimmy does. Warner Brothers, can’t you do something about it? MARGUERITE JOYCE, St. Paul, Minnesota reader who just has no nerves at all! Here's a Why did they bill “Murders in the Rue Morgue” as a scary picture? It wasn’t. It was extremely boring and not at all frightening. Ditto “Frank- enstein,” “Dr. Jekyll and Mr. Hyde,” and “Dracula.” Why don’t producers give us scary pictures instead of adver- tising shows as scary and letting us find them very tame? DISAPPOINTED Probably by this time, Barbara, you will have seen "Letty Lynton.'' How did you like it—and Montgomery? I wish to thank Mr. Ramsey for his nice open letter to Robert Montgomery in MopERN ScrEEN. Ever since Robert Montgomery appeared in “So This Is College.” I liked him and watched him forge ahead. What a sensation he was in “Strangers May Kiss” and “The Divorcée”! Then he became a star and after that Clark Gable came along. Although still very popular, something did happen. Of course, I know the public is fickle. However, your letter was the first full length article I have read about him in almost a year. I think he needs more articles like that and, most of all, a different type of picture. He is becoming too William Hainesish if you know what I mean. He’s very good, very clever, but he’s not as thrilling as he was in some of his earlier pictures. Let’s see what “Letty Lynton” will be like. BARBARA CONRATH, Reading, Pennsylvania Boles has a splendid opportunity and makes good use of it in “Back Street’ I cannot let this opportunity pass without offering you my sincere con- gratulations on the article in the June MoperN ScrEEN by Harriet Parsons about John Boles. Those of us who are specially keen about John Boles’ screen career feel we have indeed a spokesman in this article because it ex- (Continued on page 92) N , |

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Modern Screen WEIR D/ Travelers.on a mountain Gee i aaa road overtaken bya thun a MMB der-storm and torrential BEM Zan. . Aa rain, seek shelter in a mysterious old mansion. It‘is full - of queer characters and uncanny ~ happenings. Aremarkable picture with a remarkable cast. : BORIS KARLOFF ‘MELVYN DOUGLAS - CHARLES LAUGHTON — GLORIA STUART a LILLIAN BOND and others Directed by JAMES WHALE | From the novel by J. B. Priestley UNIVERSAL CITY, CALIFORNIA Cari Laemmlie ‘ President

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BEA GE ay AD We Write to Mary Biddle about your own beauty prob- lems. She'll be delighted to help you. However, since Miss Biddle receives so many requests, will you be good enough to ask only one question per letter? You may write more than once if you like. Address Mary Biddle, MMODERN SCREEN, 100 Fifth Avenue, New York, N. Y. Enclose a stamped, self-addressed envelope, please It’s perplexing—the problem of how much to alter the shape of heavy brows! But you might take a hint from Bette Davis’ strongly marked dark brows which are just nicely groomed. FTER I had finished the article, ““Ten Command- ments for Beauty,” on page 32 of this issue, I gathered up all the odds and ends of specialized, individual information which I had relentlessly cut out of it. You see, I wanted that article to be a com- prehensive one—one that would do the most good for the greatest number of people. And, of course, you can’t dis- cuss everything—every tiny, specialized case—in an article like that, can you? Therefore, I have devoted this regular beauty de- partment this month to all the dif- ficult things—to all the questions people write and ask me which make me groan, “Oh, dear! What can I tell her that will do the most good?” There are, for instance, the people who write and ask me how they can grow taller. Queen Mary’s hat! What would you do in a case like that? About all you can say is this: stand straight and stretch your spine as tall as you can. Wear long, straight, simple unbroken lines. Never wear a light blouse or sweater with a dark skirt because it will cut you in two. Sweep your hair off your forehead without a part and steer clear of big, floppy hats, heavy fur pieces and fur trimmings, round chokers and round necklines. As for people who are tall and want to look shorter, I haven’t any patience with them. They can’t look shorter than they are unless they slump and slouch and surely there’s no beauty value in that. I think it’s grand to be tall and tall folks should stand just as straight as they can and hold their heads up proudly. And incidentally, they should never make the mistake of wearing low heels when high heels are required. It will only take the squinchiest bit off their height and spoil the effect of their costume into the bargain. o Mc a7 (Bids ¢ And then there are the people who want to do things about the bony structure of their faces and bodies—mostly about their noses and their ankles. I’d like to make one thing clear right now: if it’s bone formation that makes your nose the way it is and your ankles thick, you can’t do anything about it except resort to plastic surgery. That’s an expensive matter, of course, but wonders are being done these days. No, I will not say that I advise you to go in for plastic surgery. And I won’t recommend a plastic surgeon, either. Don’t think I’m being dis- agreeable, but really and truly, that 1s too individual—and too dangerous a problem.. If I could see and talk to each one of you, it would be different. But I can’t and I refuse to advise on a ticklish problem like that at long distance. t it’s cartilage or flesh that spoils the shape of your nose and ankles, you can do a little something about it. There are certain exercises and what is known as “spot reducing” for the ankles (I refer you to the fifth com- mandment in the article on page 32 for information about both) ; and there is massage for the nose (or chin or facial contour, if you’re worrying about that) and, of course, types of hats and coiffures help a little. If your nose is broad and flat, load up the surface with a rich, gooey cream and, with the three long fingers of each hand gently but firmly lift and press up on the sides of the nose. It may help define the bridge a little bit. A nose- adjuster worn at night will help mold unbeautiful cartilage, too. Never wear off-the-face hats or extreme coiffures. The hair should dip a bit on the forehead and frame the face softly and prettily at the ears. But, honestly, you know, I do think that many people— Difficult beauty problems—you must have one!—discussed this month 8

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especially young people—get all wor- ried and het up about their noses when there is really no need. “Look at my muse!” they cry, Isnt it terrible’? How can I possibly be attractive with a nose like that?” And when you come right down to it, their noses are per- fectly all right. Not classically beauti- ful, of course, but nice, average noses with maybe a slight bump or a bit too sharply tilted tip or slightly pudgy or slightly thin, but nothing to sit down and howl about. One thing, however, all of you can remember: in applying your face powder, start under the chin, not on the nose. The puff, you see, will have a generous amount on when you first press it to the skin and there’s “no sense getting that excess quantity on the nose. Another lovely, difficult, popular question is, “How can I improve the shape of my bust?” There are the large people with undeveloped bust measurements and the tiny people with too full bust measurements and the older women who have lost their figures. Whatever the reason, the bust can be made firmer and improved by calis- thenics. Here are a few: Stand, with the arms raised shoulder height and the elbows sharply bent. Put your left fist firmly into your right palm.. Now push your arms slowly to the right and left. While you’re push- ing left, resist with your left arm and vice versa. Do this ten or twenty times. Then, still standing and with the arms in the same position, grip the hands together and move the arms from left to right, trying to pull your hands apart. You can’t do it, of course, but the idea is to offer plenty of resistence. The head should be held up, in doing both these exercises, and the shoulders should be well kept back. Incidentally, I’ve noticed lately when I’ve been wash- ing out stockings and underwear and blouses and things that wringing clothes —if the hands are held high enough and the wringing done _ vigorously enough—has a definite lifting effect upon the breast muscles. Take note of that, you busy ladies, and wring out a few good-sized pieces with your hands next wash-day instead of putting them through the wringer. HERE are a couple more bust exer- cises—and, by the way, they’re also good for round shoulders and aching backs. Relax your head, shoulders and back forward—quite a bit forward. Now raise your arms at the sides with- out lifting your shoulders. While you’re raising your arms, begin to lift your back, slowly, until it is quite straight and drop your head back, very relaxed. Then pull your shoulders slowly back. Drop forward again and repeat. For the next exercise, get down on your knees and sit back on your heels. Drop your head back and clasp your hands behind you. Shoulders should be well pulled back and the chest expanded just as broad as you can make it. Keep your head, chest and hands in that po- sition and very, very slowly. bend your body forward until your chest pretty nearly touches the floor. Now relax (Continued on page 86) Modern Screen Accept this Gift of a New Chafeless Hygiene Women Everywhere are Adopting (NOTE COUPON) New Discovery Ends All Discomfort and Irritation ... Actually Softer Than Finest Silk Itself...3 tod Times More Effective ape avoid doubt, delay or forgetful- ness, Miss Lucy Costello makes this remarkable gift offer to every reader of this magazine. She’ll send you, as a gift, a special In- troductory Package of the new chafeless way women are turning to by the thou- sands. A way that forever banishes chafing, irritation and embarrassment from hygienic protection. Don’t delay. There’s a coupon at the bottom of this page. Send it to Miss Costello today—by return mail you get the special Gift Package which is our way of introducing this amazing sani- tary invention to new users. The moment you see it, you'll realize that it is in no sense merely another “sanitary pad.” For it is not made from mere layers of crepe paper as are ordinary pads. But is made from an entirely New material—the same that silky underthings are derived from. Thus it is swper-soft—as downy and gentle as fluffed silk. The center of this new pad is completely swathed. Not built up in layers with harsh edges that may harden and irritate. Thus—due to the total absence of edges— it can never ‘‘cut”’ or chafe. Nor can it ever cause discomfort by ‘‘packing”’ while in use. It Differs These 3 Ways Veldown—as this remarkable new discovery is called—differs from ordinary sanitary pads 3 vital ways. First: It is amazingly soft because it is made from Rayon cellulose, downy and gentle as fluffed silk. Second: It is made with a patent inner “wick” which renders it 3 to 5 times more absorptive—safe and effective hours longer. Stop and consider what this means—you may go wherever you please, whenever you please, for as Lona As You Piease—with perfect assurance and poise. Third: Veldown has amoisture-proofed back —invisible, imperceptible, without weight Veldown GIVES WOMEN COMFORT UNKNOWN BEFORE or bulk, yet utterly impervious to moisture. A feature which ends all chance of embar- rassment or need for protective garments. Mail Coupon for Gift Package See for yourself how amazingly different Veldown is. Let Miss Lucy Costello send you the package of six pads so you may try Veldown without trouble or delay and at our expense. Examine this new creation carefully your- self. Feel how velvet soft it is. Test its in- visible moisture-proofed back ...contrast its astonishing features with any ordinary pad you’ve ever seen. Each pad is specially treated with an effective deodorant. Made under strictest medical supervision. Form fitting and disposesas easily as lightest tissue. For your own comfort and safety, mail the coupon today. Find out about Veldown— you'll never return to less modern ways. Veldown Company, Inc., 220 East 42nd Street, New York City. Miss Lucy CostTeELto, R. N., | 220 East 42nd St., New York, N. Y. | Please mail me, in plain wrapper, Veldown Introductory Package of 6 pads. I enclose 10c to cover cost of packing and mailing. City a se Eee Siatemna eee ae ie (This offer good only in U.S. A.) yyy-g | 9

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Sanne ee POODS FOR Tile PerreCcl PICNIC—PLANNED BY Mk. AND INNRS, JOURN BOLES FOR Of course you recognize John Boles—third from the That’s his wife, Marcellite, on the extreme right. right. The others are friends. They're having a picnic at the Boles’ Malibu Beach cottage. The most delicious sandwiches, little cakes and a ham loaf which the Modern Hostess tells you how to make. THE MODERN HOSTESS HERE are two kinds of people in the world— those who like to go on picnics and those who don’t. And it is our private opinion that those who don’t are merely those who have never been on a truly grand picnic. Now if the word “picnic” con- jures up in your mind’s eye visions of hard-boiled eggs, dry sandwiches and soda pop, then you are one of those unfortunates who haven’t been introduced to the right kind of picnics—the kind, for instance, given by John Boles and his wife on the sand in front of their charming beach home at Malibu. After we tell you about the wonderful things we had to eat—and of course the “eats” play a major role in any picnic performance—we feel certain that you will want to plan a picnic @ Ja John Boles for your family and friends at once. But we warn you, it will earn you such a reputation as an expert picnic-planner that the family will probably keep you at it all summer. There are really three essential features to the perfect picnic. One is a good location (and one free from poison ivy, please). Another is the right kind of food, properly packed so that it will reach the picnic grounds in good shape. And the third is to have the proper accessories to make the eating of this food a pleasant and comfortable procedure. Of course, the Boles family doesn’t have to worry about points one and two. All they need do is to walk off their porch onto their beach, and there you are! And there is 10 where we joined them for a merry picnic lunch that was both gay and informal. And what delicious things we had to eat! First, of course, there were sand- wiches. It wouldn’t seem like a picnic if you didn’t have sandwiches. These were made of several different kinds of bread and had the most appetizing fillings. These fillings were all of the chopped or minced variety, a splendid idea since they are so much easier to eat. MODERN SCREEN STAR REGIPES TROUPE URUUUOROUOUO UO CU UUE EEUU EEE HOME SERVICE DEPARTMENT MODERN SCREEN Magazine 100 Fifth Avenue, New York, N. Y. te Kindly send me the recipes for August—at absolutely no cost to me. Namen nnn UE ete eth Bee te ees Hay aia 6-6 (Print in pencil) ANAGFESS.. ic.05 5d BORE Ce eee (Street and Number) ES oii Bet metres citclosy totes iy Eas Seas PPP

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We were particularly keen about the nut-bread sandwiches, which had a filling of cream cheese and straw- berry jam, and we certainly enthused over the devilled egg sandwiches, too. These were made on graham bread. Then there were sandwiches of tuna fish and beets, chopped together to a fine paste, moistened slightly with mayonnaise and served between thin rounds of white bread. The most un- usual sandwiches of them all, how- ever, were made of baking powder biscuits, which had been split and the centers hollowed-out. Into these hol- lows was put a chicken salad mixture. That’s what is known as plenty of va- riety, four kinds of sandwiches and four kinds of bread. ITH the sandwiches there was served a particularly good po- tato salad, in which there were a lot of fresh vegetables. The result was colorful as well as delicious: You really must try it—you'll never be satished with plain, ordinary varie-_ ties of potato salad again. Then, instead of the usual assort- ment of sliced cold meat, the Boles picnic featured a ham loaf. This was cut in fine slices and served with the salad. So good did we find this ham loaf that we plan to serve it often at our house for late suppers and other non-picnicing events. In fact, both the ham loaf and the potato salad are really great dishes for any hot night meal. Of course there must be some sort of liquid served along with any pic- nic meal—and the Boles menu of- fered one a choice—hot coffee or cold fruitade. Personally, we never got ‘any further than the fruitade, which was so good that we wanted nothing else. But we know by experience that, no matter how hot the day, a steaming cup of coffee or cocoa is sure of an enthusiastic reception from the swimmers. For dessert we had little cakes without frosting: This cake-minus- the-frosting idea is particularly good if you have to do much packing, be- cause frosting, if it is good and soft, does not take kindly to packing—and if the frosting is hard and sugary it is really not worth packing anyway! Now, are you beginning to feel that having a picnic is about the grandest thing imaginable? Then you'll surely rejoice when we tell you that we have the recipes for six of the foods served at the Boles-ban- quet-under-the-sky. Yes, that’s right, six. We have had four of these re- cipes printed on filing cards, which you may have free, by filling out and mailing us the coupon on page 10. The recipes on the cards are for the nut bread which makes a treat of any sweet sandwich, the potato salad, the ham loaf and the little tea cakes. Modern Screen After you have tried them all you will understand why we have gone simply picnic-crazy. Nae here are the recipes for the Malibu Punch and the Devilled Egg Sandwiches. Ma.tisu Punch 34 cup sugar 34 cup water % cup lemon juice 34 cup orange juice 1% cups canned pineapple juice 1 pint white grape juice Mint leaves. Put sugar and water in a sauce- pan and stir until it comes to a boil. Boil without stirring for five min- utes. Cool. Add fruit juices and mint leaves. Chill thoroughly. May be diluted with one pint water or ginger ale, if desired. DevILLeED EGG SANDWICHES 6 hard-boiled eggs Y teaspoon salt lg teaspoon pepper 1 teaspoon prepared mustard 2 tablespoons mayonnaise 2 tablespoons chili sauce Few drops onion juice 1 tablespoon chopped green pickle Put the hard-boiled eggs through meat grinder or chop fine in a chop- ping bowl. Add remaining ingredi- ents. Spread between slices of gra- ham bread. Nee on a picnic there should be as little bother as pos- sible. The fewer dishes there are to transport, wash and break, the better. And the fewer things there are to get lost or soiled in the line of silver- ware and napkins the better too. Our recommendation is that you use the paper appurtenances which are so in- expensive, so practical and so attrac- tive. At the very outset provide your- self with a large paper table cloth. This, if laid over an old steamer rug, will not tear, and the crisp, colorful cloth will enhance the charm of your whole picnic spread. To go with the cloth there should be paper napkins, and do be sure to have two or three napkins for each person, for people do seem to use a lot of them. And since you can get napkins and cloth to match, we think it is a very smooth idea to plan on having a color scheme, carrying it out right through, with paper plates, cups and all. Gracious! What are we coming to? Color schemes on a picnic! But why not, since there are such adorable deco- rated paper plates, cups, cloths and napkins in such lovely color tones. Then, too, 1f you are taking along a hot beverage, be sure to get (Continued on page 87) “Tike along

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Together they made a new Garden of Eden T was not the barbaric rhythm of the native dance which fascinated Johnnie—it was Luana, beautiful daughter of the King. Their love needed no voice—no language, and there was neither caste nor race when they looked into each other's eyes. They lived and loved in a blissful South Seas paradise. But evil days were before them—waiting, like the island’s brooding volcano, to engulf their happiness. It isn’t often you encounter as sweet and tender a love story as ‘Bird of Paradise.” Read this vivid island romance in the new SCREEN ROMANCES. It’s illustrated with gorgeous scenes from the actual talkie produc- tion, featuring Dolores Del Rio and Joel McCrea in a beautiful Hawaiian setting. And read, too, the nine other complete stories of the newest talkies in the same issue. SCREEN ROMANCES is absorbing entertain- ment. Ask for it today—at any newsstand! GC reen Romances The Only All-Screen- Fiction Magazine 12 Modern Screen THE MODERN SCREEN’ DIRECTORY (Pictures) . « . If you don’t want to sit through a picture that’s not the type of thing you like, read these reviews and make sure what sort of a story it is before you pay your money ALIAS THE DOCTOR (First National)—A doctor who becomes a surgeon without the legal right to operate. Dick Bzsrthelmess is the doctor. Marian Marsh is the heroine. Good—but chil- dren will be bored. AMATEUR DADDY (Fox)—Four little children be- come the protégées of a male Pollyanna. Warner Baxter is the male Pollyanna. Okay if you like very sentimental stuff—some children may like it. AMERICAN MADNESS (Columbia)—Walter Huston, Pat O’Brien and Constance Cummings in a very real story about the depression. _Good—children will like some of it. Reviewed in detail on page 48. ARE YOU LISTENING? (M-G-M)—William Haines, Karen Morley and Madge Evans in a story about a young married couple and the other woman. A radio broadcasting station plays a part in the tale. Very good—children will like parts of it. ARROWSMITH (Goldwyn-United Artists)—A high- ly intelligent but not very dramatic story taken from Sinclair Lewis’ famous noyel. Excellent if you like serious stuff—but children would be bored by it. ARSENE LUPIN brilliant detective who trapped_him. Barrymore play the two roles. crook and Lionel the detective. children will like it. AS YOU DESIRE ME (M-G-M)-—A clever crook and the The brothers John is the Very good— (M-G-M)—This may _ he Garbo’s last picture. It’s a splendid romantic story. Melvyn Douglas is in it. Excellent—but probably the children will find it boring unless they’re Garbo worshippers, too. Reviewed in detail on -page 48. BACK STREET nant story, Good—and the children may like it. in detail on page 49. BEAUTY AND THE BOSS (Warners)—The homely little stenographer who suddenly blossoms out as a raving beauty when she wants to make her boss fall in love with her is here again. Marian Marsh is the stenographer and Warren William the boss. David Manners has a small role. Good—okay for the tots. BROKEN LULLABY (Taramount)—A_ slow moving story of a French boy who can’t forget the fact that he killed a German during the war. It plays on his mind so that he finally goes to the German boy’s grave—and meets, without being aware of it, the boy’s parents. From then on the dramatic interest mounts. Philips Holmes. Nancy Carroll and Lionel Barrymore have the leads. A bit slow, but interesting—not for children, however. THE BROKEN WING (Universal)—Fannie Hurst’s poig- with John Boles and Irene Dunne. Reviewed (Paramount)—An | American flyer crashes into a Mexican hacienda—and romantic troubles follow. Lupe Velez, Melvyn poueles and Leo Carillo. Good—children will ike it. BUT THE FLESH IS WEAK (M-G-M)—An im- poverished young Englishman decides. to marry for money—and then falls in love with another girl—and finally is faced with marriage to the wealthy girl to save his father from disgrace. Robert Montgomery is the young Englishman. ocd sophisticated stuff—but children may not ike it. CARELESS LADY (Fox)—A young girl—to seem more sophisticated—pretends to be married. Later she meets the man whose name she took tem- porarily. Good—but children will be bored. CHARLIE CHAN’S CHANCE. (Fox)—Once again Warner Oland plays the oriental detective who, with the aid of a few homely philosophies, solves the unsolvable mystery. Good—a little involved for children. CHEATERS AT PLAY when : LA (Fox) —What happens an ex-police chief and a. noted crook meet on a South America bouad liner. Thomas. Meighan is in it. Very good—okay for the kids. COCK OF THE AIR (Caddo-United Artists)— Chester Morris and Billie Dove in. a_ cuckoo comedy about a war pilot whose chiet conquests are made in feminine boudoirs. ood—children will like parts of it. CONGRESS DANCES (United Artists)—Costume musical with some fine mob scenes and a beautiful girl by the name of Lillian Harvey whose charm will fascinate you. The story is weak and somewhat confusing but it’s well worth seeing for the music and for Miss Harvey. Very good—children may be bored. THE COHENS AND THE KELLYS IN HOLLY- WOORs (Wiesel) another of this series ot nearly as good as f S. Rhoeeaniteen itll (1S Gage ee ge BES DANCE TEAM (Fox)—Jimmie Dunn and _ Sally Eilers as two small town hoofers who come to the big city to win fame and fortune. They do—after a series of setbacks. Good if you like sweet stuff—okay for kids. DANCERS IN THE DARK (Paramount)—Dance hall romance with Jack Oakie, Miriam Hopkins and Buster Collier. Good—children will like it. DEVIL’S LOTTERY (Fox)—A man invites the win- ners of a lottery to a house party—to see what effect the good fortune has on each. Elissa Landi is in it. Good—okay for kids. DISORDERLY CONDUCT (Fox)—The police depart- ment’s side of the racket problem. Spencer Tracey, Sally Eilers and Dickie Moore have the leading roles. Good—okay for children. THE DOOMED BATTALION (Universal)—War story of the Alps and the men who fight in snow banks instead of trenches. Good—marvel- ous scenery. Children might like it if you don’t mind their seeing war films. DR. JEKYLL AND MR. HYDE (Paramount)— Robert Louis Stevenson's famous story is here once again—this time with the added attrac- tion of sound. Fredric March is Dr, Jekyll and Mr. Hyde. Very good if you like chills and thrills—better consider before taking the children. EMMA (M-G-M)—Marie Dressler as a lovable old housekeeper who works herself almost to death worrying about those she has to look after. Richard Cromwell is good as one of her charges. Excellent—suitable for children. THE EXPERT. (First National)—The naughty old man who just will get himself_into all sorts of trouble—ably played by Chic Sale. Very good —suitable for the young ones. THE FAMOUS FERGUSON CASE (First National) —How, a famous murder case can affect count- less lives of innocent persons. Very good— not very suitable for the children. FIREMAN, SAVE MY CHILD (Warner)—Joe E. Brown as a fire-fighter who prefers baseball and z, Pines to fire-fighting. Very good—perfect for Ss. FORBIDDEN (Columbia) —Adolphe Menjou and Barbara Stanwyck in a story of unhappy and thwarted love. Good—not suitable for children. FORGOTTEN COMMANDMENTS _ (Paramount)— Quite reminiscent of the silent ““Ten Command- ments.” Fair (except for Marguerite Churchill’s performance which is excellent)—children won't care for it much. Reviewed in detail on page 50. FREIGHTERS OF DESTINY (RKO-Pathé)—Tom Keene in a typical Western. Very good if you like Westerns—grand for the kiddies. GIRL CRAZY (RKO-RADIO)—The famous Ger- shwin musical arrives on the talking screen with Bert Wheeler, Robert Woolsey, Dorothy Lee, Mitzi Green and others. Very good—you can take the children. GRAND HOTEL (M-G-M)—Greta Garbo, Joan Crawford, Lionel and John Barrymore, Wallace Beery and Lewis Stone in Vicki Baum’s master- piece of high-class melodrama. _Excellent—al- though young children may be a bit bored. THE GREEKS HAD A WORD FOR THEM (Gold- wyn-United_ Artists)—Ina Claire, Madge Evans and Joan Blondell as three gold-diggers. David Manners and Lowell Sherman as two. of the men in their lives. Very good—but not for kids. THE HATCHET MAN (First. National—Edward G. Robinson as the leading figure in_a Chinatown melodrama. Loretta Young and Leslie Fenton are also in it. Very good—suitable for children. THE HEART OF NEW YORK (First. National)— George Sidney and Smith and, Dale in an amus- ing and sentimental picturization of Manhattan's lower East Side. Good—okay for children. HELL DIVERS (M-G-M)—Clark Gable and Wallace Beery as two guys in the navy’s air force, who have no use for each other. Wally Beery’s ro- mance with Marjorie Rambeau will delight you. Very good—and grand for the kids. (Continued on page 88)

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ALL JOKING ASIDE—sy JACK WELCH WHEN SHES Nor HAVING GUESTS MARLENE DIETRICH TAKES HER DINNER IN TAE KITCHEN Wri HER Cook AND CHAUFFEUR SoMISmMGTED LILYAN TASUMAN HAS NEVER SMOKED A REAL CIGRREFE. "eS, (masts cogs-SLiK SHE USES IN RicwKES. ) GEE GNRZ0S SHOES AKE NO BIGGER THAN JOAN Gawroeps AWELVETREES KEES GOIDASH - | IN HE SWIM- TE AGEING OF HOME. -Wilree@as Stupio FRop MING POOL. MADE GIN OFTEN REQUIRES = EXPERTS CAN AGE FURNITURE AS LONG AS S MNUTES - 100 YEARS IN 3 MINUTES 13

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THE SPOTLIGHT : —Ann Dvorak, be- cause she is threat- ening to do a Cagney and walk off the Warner lot unless she gets more money. —Robert Mont- gomery because he took up polo for publicity purposes and really learnt the game.—Doug, Jr., because he had two stories pub- lished in national magazines in one week, —Herbert Marshall (above) because Paramount paid thirty-six thousand dol- lars to close his New York show so they could get him for Marlene Diet- rich’s “Blonde Venus.’’—Johnny Weiss- muller because there are rumors of marital trouble which Johnny and his wife claim is an attempt by Hollywood to break them up. 14 1S: AON. —Garbo, because she calmly turned down $14,000 a week in order to return to Sweden. It’s said, though, that she’ll be back by fall to sign a new contract.

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EXTRA Screen’s Last Minute Che Hollywood Times Modern News THE VERY LATEST NEWS VOL. 1, NO. 6 HOLLYWOOD, JULY, 1932 SUPPLEMENTARY SECTION CHATTERTON May Marry George Brent After Final Decree SIs Obtained Abroad It is said that the Warner star will get a divorce while she is in Europe this summer. Former rumors concerning a Chatterton-Forbes divorce were temporar- ily squelched when Ruth undertook half ownership and directorship in a play in which husband Forbes was starred. Now, however, not only does divorce seem immi- nent, but the gossips are saying that Ruth is interested in someone else—in George Brent, whom Ruth has confessed to be her favorite leading man. Some people think they may marry after the divorce. RKO-Radio to Offer Big Prize Money Soon Plans are practically perfected for a gigantic tie-up contest for RKO-Radio’s mystery thriller, “The Phantom of Crest- wood.” The story of this talkie will be broadcast over fifty-two NBC stations in a series of fifteen minute programs. The last installment will be left for listeners-in to write and submit in competition for huge prize money. Directly after the last broadcast, the picture will open in local movie theatres everywhere. The prizes, however, will not be judged by similarity. Doug, Jr., Flies to Catalina for Anniversary Well, we don’t think there’ll be a divorce for the young Fairbankses for a while any- way. You see, just recently their third wedding anniversary came around. Joan was away on location at Catalina. Doug, Jr., was busy at his studio. He wanted to spend the day with Joan and celebrate. His studio said no—too busy. Doug per- sisted and almost had a serious row before the studio bosses let him fly to Catalina. Valli-Farrell Reconciled After Recent Row Virginia Valli and Charlie Farrell have had a tiff. No, don’t look for any divorce rumors, because they’ve made up again and everything’s dandy. Whatever it was that they fought about, it made Charlie march away, good and mad, on a two weeks’ trip by himself. Last year they had a fight—maybe you remember—and. it was Virginia who slammed the front door and stayed away for a couple of days. Many Stars to be Loaned In Exchange Epidemic Many of the Biggest Names Being Farmed Out to Rival Studios—Maybe Even Shearer The exchange idea has hit the Holly- wood studios with a bang. Any number of really big stars are being loaned to rival studios. This is a hitherto unheard of arrangement—big stars have always been considered too valuable to loan around to other companies. One of the most important loans is Joan Crawford to United Artists for “Rain.” Then comes the Gable-March exchange. Gable goes to Paramount for “No Bed of Her Own” while Fredric March goes to M-G-M for “Smilin? Through” opposite Norma Shearer. Lionel Barrymore goes to RKO for an untitled picture. Nancy Carroll to War- ners for “Revolt” opposite Fairbanks Jr. And, perhaps the most important of all, Norma Shearer may be borrowed by United Artists from M-G-M for a new picture as yet untitled. Dorothy Jordan-Don | Dilloway Romance Over Just when everyone was expecting a June wedding, too! But Dorothy Jordan and Don Dilloway have decided they aren’t suited to make a marriage of it. And they’ve called it a day, romantically. Flashes from Here and There Ann Dvorak is having contractitis. She wants to know why Warners will pay her only $250 a week, when they had to pay Howard Hughes, her original contract owner, $1,000 a week for her services. Bebe Daniels’ next will be ‘‘Doubles,’’ lumbia. swimmer, for Co- The story is by Olive Hatch, famous Billie Dove will be with Marion Davies in Marion’s next starring picture. It’s a_ story about the experiences of two ‘‘Follies’’ girls. Norma Shearer will be the hostess for the Olympic swimming and diving contestants. Edna Murphy and director Mervyn LeRoy are divorcing after a year’s separation. LeRoy and Ginger Rogers will probably announce their en- gagement thereafter. The Weissmuller-Arnst divorce rumors strengthen as Johnny leaves on swimming exhi- bition tour without Bobbé. You may be seeing five Barrymores in one pic- ture—John, Lionel, Ethel, and Ethel’s two chil- dren, John Drew Colt and Ethel Barrymore Colt. 5) | | | | | ‘JOHN GILBERT WILL MARRY FOURTH TIME Weds Virginia Bruce About Middle of Next Month. Her FirstVenture John Gilbert will step to the altar for the fourth and, he hopes, the last time, on August 15. Virginia Bruce is the name of the girl Jack is going to marry. Virginia came to the coast when the talkie “Whoopee”. was made a year or so ago. M-G-M gave her a contract some time after her talkie début but she was loaned to Columbia for one picture and Paramount for two before she got a chance to work on her home lot. Her first home picture will be “Down- stairs.” Joe E. Brown in Hospital For Several Serious Operations When Joe Brown arrived in the hos- pital with a spinal injury they trussed him up in a plaster cast and told him to wait for it to get well. Joe got bored and decided he might as well have some other minor alterations done while killing time. So he called the doctors and the nurses to a conference. The outcome of it was that Joe had his tonsils removed while waiting for his spine to heal. He got bored again and had another conference. This time they removed his appendix. Clara Bow’s Rigid Diet Relieves Her of 35 Ibs. When Clara Bow decided to make a movie come-back, they told her she’d have to do some tall reducing—if such a thing is possible. You may remember that the Bow gal always ran to plumpness. Well, Clara went on a diet. And, by the way, we hope to give you the details of it in our fascinating diet article in our next issue. And, by George, Clara slid from one-forty-five to one-ten. Joan Blondell Balks at Separa- tion from Cameraman-Fiance Not so long ago Warners issued in- structions that Joan Blondell was to come to New York to make scenes for her new picture “Central Park.” Joan loves New York and all that but she also loves her boy-friend, George Barnes, Warner cameraman. So Joan ups and says she won’t go unless George goes too. At the moment no decision has been rendered in the fight. 15

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Win le HOLLYWOOD TIMES Walter Winchell’s turned down Universal’s $100,000 offer. Winchell and Buster Keaton, Schnozzle Durante. UY LOMBARDO’S orches- (Ey 5 5 o ARIS Saaiim oo - Bing Crosby . . . the Boswell Sisters! Hollywood seems to have robbed the air of all its talent —at least, for the duration of a pic- ture. There have been many guesses as to what the weekly salary list will read for Paramount's “The Big Broadcast,’ what with Lombardo drawing five grand every seven days, Bing getting five, and Katie Smith her few thousand—plus the remain- der of the long list that will contain most of the important names of the radio world. There are those who think there will be more interest displayed in this galaxy of radio artists on one pro- gram than was shown in “Grand Hotel” with all the high-powered movie stars. But believe us, it will have to be awfully good to top that Hollywood version of power! OAN CRAWFORD appeared in public recently with bangs. Now half the players on the M-G-M lot have adopted the new fad—and all the stenographers. First, Maureen O’Sullivan ap- peared in the studio café with her hair dripping over her eyes in the approved Crawford fashion. The very next day, our favorite red- headed stenographer in the publicity department came to her usual desk with her tresses groomed within an inch of her life to look like the Gay Nineties. We're all beginning to wonder when the rest of the country will be “doin’ the bang.” Let’s hope they hurry, before Joan switches. The peep-hole columnist, Walter Winchell, left Hollywood without making the Universal picture, “Okay, 16 America,” he was slated to do. His salary would have been in the neigh- borhood of $100,000. Before entrain- ing for New York, Winchell stated that he would not make the picture, supposedly based on his own life, be- cause he was afraid it would not be completed in time for him to resume his Lucky Strike contract. Okay, Walter! EFORE his divorce from Ann Harding and the national pub- licity which followed, Harry Bannis- ter didn’t get a tumble from the many autograph seekers that abound in Hollywood. Harry was always with Ann—and Ann was the one who got all the attention. But since his return from Reno, Harry has been much in evidence at the Brown Derby and other popular Hollywood spots. And every time he appears, he’s mobbed by those who want his signature in their autograph books. They say that Nancy Torres (Raquel’s sister) and Bette Davis are engaged tooth-and-nail in cinching the affections of George Brent, Ruth Chatterton’s favorite leading man. OR abhewsicnyob thes Cross Paramount picture which Cecil B. DeMille will direct, the studio is scouring the country for a girl who will agree never to appear in pic- tures again for at least five years. Also, the girl to be chosen must be approved by the church organizations who are taking interest in pictures with religious themes. If they find someone who is the type and she makes good in a big way, it will be a hard blow for her to leave Hollywood and her new suc- cess behind when the picture is com- pleted. The George O’Brien-Cecelia Park- er romance is now two degrees be- low zero. Cecelia was George’s lead- ing woman in his last picture and they seemed very much 1n love, but their amour is quits. And George is again dating Marguerite Churchill, an old flame of his. ENEE ADOREE needn’t worry about a film comeback when she returns from Arizona following her convalescence there. As soon as she hits Hollywood, Rénée will move onto her old lot—M-G-M—and start work in a picture not yet decided upon. Rénée probably has more honest-to- goodness friends in the film colony and especially at M-G-M than any actress who’s been forced to drop out. Ronald Colman wowt do “Way of a Lancer,’ as was announced fol- lowing the discard of “The Brothers Karamazov.” And Sam Goldwyn is now looking for another story in which Ronnie can shine. It is un- derstood that “Way of a Lancer” was discarded in its present version be- cause it would have cost $700,000 to produce—and that’s too much to spend on a picture—even a Colman picture—these days. AVE you often wondered what had happened to Monroe Owsley —the chap who started such a prom- ising screen career as Ann Harding’s brother in “Holiday”? Several months ago Monroe left Hollywood and his career. Stardom seemed within his grasp—yet his health was broken and his doctor insisted that he leave Hollywood. Just a couple of weeks ago, Monroe climbed off the train at Pasadena and headed for Hollywood. He has never felt better in his life. He dropped in at M-G-M (the studio that held his contract be- fore) to talk to the old gang. “Ye gods, Monroe,” the casting director said. “Where’ve you been? We've been looking for you to play a part in ‘Without Shame’. Want it?” “Bet your life,” responded Owsley. And so Monroe Owsley makes his comeback bow. _ The ex-Mrs. Jack Dempsey is tak- ing dramatic lessons from the ex-Mrs. Clark Gable. Which means—Estelle James Cagney and the missus. news is that Jimmie is going to Europe— but we hear he may return to Warners. The

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THE HOLLYWOOD Tor MESS Taylor is studying dramatic technique as a pupil of Josephine Dillon. HERE are those in Hollywood who were amazed at the revela- tions during the Lowell Sherman- Helene Costello recent divorce pro- ceedings. Also, there are those who wonder if Sherman’s career as a director and actor has been fatally injured by the sensational divorce trial. “What Price Hollywood?” com- pletes his acting-directing contract with RKO-Radio studio. And it is rumored other studios will not be willing to overlook the undesirable publicity resulting from the many sensational charges aired in the court- room. OLLY MORAN used to be one of the few people on the M-G-M lot to whom Garbo was always cor- dial. But now, we hear, the Swede passes Polly by with not even a nod. Greta’s chill towards the comedienne is said to date back to Polly’s cracks over the radio at the opening of “Grand Hotel.’’ Among other things, Polly said: “Hello, Garbo! I wish I were in your shoes tonight.” Is it possible the great Garbo can’t take a joke? There was a clause in Paul Lukas’ Paramount contract prohibiting that studio from selling his contract to any other company. So Paramount ups and loans Paul to Universal for the Stu Erwin and June Collyer Erwin will be needing a nursery, so they bought a whole new house at Beverly Hills. remainder of his contract. No sooner was Paul duly installed at Universal than they loaned him to Fox to play with Elissa Landi in “Burnt Offer- ings.” Paul's seriously considering the purchase of a dressing room on roller skates. ALLY EILERS received word of the death of a close relative one recent Saturday morning. Not more than an hour later, the hospital called saying that her father was there —as a result of a serious automobile accident. She rushed to the hospital. When she returned home that eve- ning her colored cook was hilariously drunk and was running amuck with a knife. Sally had to call the police. And all this just a few days after her own auto smash-up and the an- nouncement of her split with Hoot Gibson. As you know, Hoot and Sally are back together again—but Hollywood wonders—for how long? With Johnie Weissmuller in New York personal-appearancing, and wifie Bobbé Arnst here in Hollywood, rumors of the cooling of thew mar- riage are making the rounds. Every- one’s wondering why Bobbie didn't accompany her swimming-champion- actor husband to the Big City, when she must have known the gals would go gaga about the virile Johnie. But —see what Johnme says on our “Spotlight” page (14). ECENTLY Estelle Taylor auc- tioned off the furniture and the nine-room house which Jack Dempsey gave to her at the time of their di- vorce. She said the place was too big, now that she’s alone. So she bought a smaller place down at the beach, but within a few days an- nounced that she’s adding a master bedroom, a bathroom and a dining room to the house. That makes ten rooms all told. Just one more than the “too big” house had. David Blankenhorn, ex-husband of Irene Rich, has again fallen for a lady of the flickers. This time, it’s Minna Gombell and it looks serious. Mo heralded Margaret Perry as a new screen find, having brought her from the stage. Her first picture was “New Morals For Old’—and just as the picture was completed her option expired. Margaret went to the preview of her first (and perhaps only) picture. The next morning she read a critic’s impression of her initial appearance on the screen. In part, he wrote: “Miss Perry is a woeful disappoint- When Margaret Perry saw a notice on her work in ‘New Morals for Old,’ she just packed up and left for Chicago. ment. Photographically, she is a total loss.” The same morning Mar- garet packed her bags and took the first choo-choo to Chicago, without telling M-G-M or anyone else where she was going. Then it was reported that M-G-M was frantic because they couldn’t find Margaret to sign her to a new contract. The rumorers would have us believe, however, that they don’t want to re-sign the lady. How- ever, you never can tell— IMMY CAGNEY’S agent an- nounced that the rebellious Irish- man is all set for a year’s personal appearances and picture making in Europe. Cagney sails from New York August 1, after a motor trip from Hollywood via Lake Banff and points north. Unofficially, however, it is said that Cagney and Warners may come to an agreement after all. EVER IOR Jeanette leon. She’s the gal who played such a part in Paul Whiteman’s picture, “The King of Jazz.’ A few months ago she left Hollywood, vowing never to return! Various romantic reports drifted back to the colony but that was all we heard of the blond beauty. It has just come out that she is singing in the band that Buddy Rog- ers is making such a hit with in New York. Wouldn't it be funny if some producer heard her sing and offered her a new contract? Funnier things than that have happened in Holly- wood ! Jackie Cooper was supposed to re- ceive $5,000 per week (no foolin’) and a certain percentage of the gate 17

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| Peer THE HOLLYWOOD TIMES Teternational Some people seem to think that Lowell Sherman’s divorce (he is shown in court- room) may affect his career. at a large Chicago theatre. The gate was so large that he was handed a check for the neat little swmn of seven grand for the seven days labor! Not bad in these tunes . for a seven year old! ARAMOUNT wanted Herbert Marshall for the male lead op- posite Marlene Dietrich in “Blonde Venus’—the picture that Dietrich and Von Sternberg walked out on for several weeks before they came to terms with the studio. But it hap- pened that Herbert had a run-of-the- play contract in ““There’s Always Juliet” on the legit. So it was up to the studio to buy up his contract from the stage producer. Also, it is said, Paramount had to pay off the entire cast with two weeks’ salary, besides the probable earnings of the play to the producer for five weeks—plus royalties to the author. So when you see the English actor emoting opposite the German Diet- rich, you can imagine how many pen- nies went from the studio coffers to get him for that picture. Marshall, you know, is the hus- band of Edna Best, the gal who ran away from Hollywood and a chance as John Gilbert’s leading lady, to join her husband, then in New York. Maybe Edna will have a second try at screen fame while friend hubby is making love to Marlene for the camera. NROUTE to Europe, san Laemmile, Sr., took ill and w removed to the Johns Hopkins Bect tal in Baltimore. An operation seemed necessary. When Carl, Jr., heard that his aged father might have to go under the surgeon’s knife, he left his busy desk at the Universal studio to go to the bedside of Carl, Sr. For 18 the trip, the younger Laemmle took along his own personal doctor, who is treating him for a bad case of hay fever. This medico goes everywhere that Junior goes, even to parties. NN HARDING was scheduled to do “Bed of Roses,” a story for a glamorous star. Then she balked. Fearing that it would be a bad busi- ness move to change into a sophisti- cated type, just after all the publicity hullabaloo that accompanied her di- vorce from Harry Bannister, Ann announced she wouldn't do this pic- ture. Instead, she’s working with Leslie Howard in “The Animal King- dom,” the play which has been run- ning on the New York stage this last winter. And, it is understood, “Bed of Roses” has been stricken from the list of Ann’s forthcoming pictures. With the arrival of Mrs. Brock Pemberton, the lady with the trés chic ideas on styles, Ann’s studio started a glamor campaign for their glamor- less blond star. Her hair was waved, her make-up watched. Her clothes were designed with a weather eye on sex appeal. But at the present writ- ing it looks as if the studio isn’t get- ting to first base in their attempt to Dietrich-ize Harding. After “The Animal Kingdom,” Ann will co-star with Richard Dix. The picture will probably be “March of a Nation,’ which won’t call upon Ann for any Connie Bennett or Gar- bo characterizations. The Clark Gable divorce rumors will have to wait at least a month. Because Clark and the missus have gone to Del Monte for a month's va- cation... together. When he returns Clark starts work as a full fledged star in “China Seas.” Dee about this and that: After one of the most successful vaudeville tours ever made, Alice White is back in town. Wonder if the movies will give her a tumble ? Lew Ayres was all set to do “Air Mail” when it was decided he wasn’t old enough to look like a seasoned pilot. Ralph Bellamy will do the réle. June Collyer and Stuart Erwin needed a nursery .. . so they bought a whole new home in Beverly! Little things sure lead to big things. Hollywood is offering odds that Crawford will take the place vacated by Garbo... or do you like Shearer? Dietrich decides to fly in the face of providence by not showing close- up of her legs in “Blonde Venus’. How will the customers take that? Here’s your chance to notice how beautiful her face is. Carl Laemmle (second from left) was taken quite ill on his way east for that European trip and sent to Johns Hopkins. OTES from abroad: This may be the answer to the question, “What is Gloria Swanson going to do now?” Our foreign cor- respondent writes that a new film company has just been registered in London—the Gloria Swanson Brit- ish Pictures, Ltd. Negotiations are under way with Basil Dean’s studio’s at Ealing, where Gloria will have her own unit. She has taken a lease on the Viscountess Furness’ charming house on Farm Street, Mayfair, as Madame Glyn tells you in her story on page 26. And apparently Gloria plans to remain for some time in England. A story has already been selected for her first British talkie. It’s titled, at present, “Perfect Un- derstanding” and it’s all about an American heiress in England. “Perfect Understanding” — starts production about the middle of July. The approximate cost of the film will be $450,000—a great deal for a for- eign movie. Gloria admits that she has put quite a large sum of her own money into the venture. From Paris comes the news that George Jessel is taking an extended trip through Europe, Asia Minor and Africa. The purpose is twofold—a vacation and a chance to pick up film and theatrical material in France, Italy, Africa and Palestine. Inci- dentally, Norma Talmadge (she and Mr. Jessel are rumored to be inter- ested in each other) arrived in Paris almost simultaneously with George. No, she’s taken no steps toward a divorce from Joseph Schenck. She’s spending most of her time on the Riviera and is seen often in the com- pany of a wealthy American, Mr. Worthington Hines. Two French film companies have made offers to her and also a London stage produ- cer, but Norma hasn’t accepted.

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Photograph by Gene Robert Richee Gene Raymond has just finished “Forgotten Commandments” in which Sari Maritza, the new importation, plays, Gene lives in an exclusive apartment building and has been passing up the Hollywood girls for the Pasadena débutantes. He puts grease on his naturally platinum blond hair to make it darker. Although he is only twenty- two he is a very good horseman and is particularly skilled at jumping. For some time after he was ‘in Hollywood he kicked around the Paramount lot without doing very much; then they put him in ‘‘Ladies of the Big House’ and he was a success.

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Gwili Andre is her name. And her studio—RKO—is hoping that she will have the same sort of attraction which Garbo has although, they claim, they are not trying to make her imitate Garbo. We put her picture opposite Garbo for you yourself to compare them. We chose them purposely for their identical pose. ‘The Roar of the Dragon’ is the name of Gwili’s first picture in which she appears with Richard Dix. She was born in Denmark twenty-three years ago. Her name is pronounced Jeelee Ondray.

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By Clarence Sinclair Bull Now just who can this be? We'll give you one guess. Garbo has once again scored a triumph. This time in “As You Desire Me.” You've got to see it just for the thrill of beholding Greta in a white wig. There is an insistent report going around that Garbo will stay in Hollywood even if she does desert the screen. This because several of her very dear friends live in the film city. So it seems that the Swedish sphinx isn’t really the friend- less girl she’s been pictured as being. But at that you can’t be sure—not about Garbo. 21

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22 Norman Foster, now free-lancing, will next be seen in ‘Skyscraper Souls” by Faith Baldwin. He is also in Miss Baldwin’s ‘“Week-End Marriage.” Loretta Young plays oppo- site him in it. From now on young Foster will be able to personally give his wife jewelry every day instead of the former all too infrequent occasions when Claudette would make a Hollywood flying visit. They live in separate domiciles—just as they did when they were both in New York. This, naturally, has Hollywood full of quite erroneous divorce rumors.

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Constance Cummings has the honor of having worked in three pictures all at once! ‘“Movie Crazy,” with Harold Lloyd, “For the Defense” and “Faith:’” She is under contract to Colum- bia pictures. She is redhaired and has loads of freckles. She seems to be Carl Laemmle, Jr’s., favorite girl friend at present. She drives a Ford roadster and usually has a Scottie sitting beside her. Lives with her mother and younger brother. She enjoys taking long rides with someone else at the wheel—it gives her a chance to knit, which she loves. i) Ww

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Photograph by Powolny Ralph Bellamy is pinch-hitting for Charlie Farrell in “Rebecca of Sunnybrook Farm” opposite Marian Nixon. This was the picture which was going to be made by Farrell and Janet Gaynor—and was even advertised by Fox. Bellamy is probably the most popular stock player America has ever known. He is married but has no children at present. He has played everything on the screen from heavy to juvenile. He’s a Fox player and has been in ’’Dis- orderly Conduct,” “Young America’ and ‘The Woman in Room 13.”

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Photograph by Eugene Robert Richee Frances Dee is working in “Gates of Hollywood” opposite Stuart Erwin. This used to be known as “Merton of the Movies.” In it, she plays a somewhat hardboiled réle and is i she glad? She’s been getting very tired of an endless succession of ingenue réles. She is one of Hollywood’s most popular girls. She recently asked her sister and brother-in-law and their two children to come and live with her and her mother. She’s crazy about her sister’s two children. Frances was loaned to Warners for “Love Is A Racket”—with Doug, Jr. 25

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+ + GUO) ae We have the honor of present- ing the first interview with Gloria since the birth of her baby. This famous author gives a vivid picture of the new Gloria and her daughter By ELINOR GLYN HAVE seen Gloria in many moods. Eleven years ago when we first met she was the primitive nature-crea- ture, a little savage; unsophis- ticated, entirely attractive. Her blue eyes were wells of allure- ment, principally physical. There was something wild and untamed about her, which added to her charm. We understood one another always, and have always been friends. I have watched her career through its ups and downs and ups again, and through it all, ex- cept for one short period about five or six years ago, when she was a suppressed wife, she has neyer lost her hold upon the public—she is one of the few stars who have en- dured, and whose magnetic personal- ity will always hold where properly presented. I have seen her with the mysterious quietude of the Sphinx—with the subtle devilment of Cleopatra, and with the wild abandon of a Pan spirit. I have seen her bored and her magnetism nullified by a man who was not mentally worthy to touch the hem of her garment. : I have seen her cheated of her birthright of talent and charm—pitchforked into pictures which were utterly unsuitable to her exotic personality, with everything in them to detract from and destroy her extraordinary draw- ing power. But I have never seen Gloria in herself touched by these outside circumstances. She is always magnetically fascinating and unlike anyone else. She is always Gloria. The name is significant! And now I am going to tell you how she looks as that most glorious thing—a mother. The mother of the sweet- est wax doll of a perfect baby you have ever imagined. 26

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mee OT HER + + yes Gloria, she has been very ill, and I am the first ‘ person she has been allowed to see, propped up with pillows in her charming green silk bed in the house she has rented from Lady Furness, whom many of you will remember in Hollywood as Thelma Converse. It is a wan and spiritual Gloria just emerging from the ordeal of acquiring that mysterious and awe-inspiring state called motherhood. -First I will tell you about her surroundings. The house is one of those tucked away in the heart of Mayfair which are so fashionable now. In the eighteenth century when they were built they were probably part of the stables of some nobleman’s mansion, but are now converted by modern taste into the most cunning and attractive dwellings. A snug hall leads to an old staircase and then up and up to the room where Gloria lies enthroned as a mother. It is a big room all pale green which suggests the spring time. It is very simple and in exquisite (Left) With Elinor Glyn when Gloria was making Mrs. Glyn’s story, ‘The Great Moment” — ten years ago. They are still great friends. (Below) Flow- ers being delivered at the house where Gloria is living in Mayfair, London. Wide World

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taste, nothing instantly suggests that heaps of money has been spent on it, but which subtly convinces the subcon- scious perceptions that everything is right. “Right” being that which demonstrates refined taste and knowledge of how to live beautifully. It costs enormously to those who wish to buy it, but can be procured by anyone with a real sense of the fitness of things—with instinctive good taste. Weelil, Gloria’s bedroom is Sticiit- sbhere is not too much of anything. The flowers are not overdone. Only two great bowls of lilies of the valley. The cur- tains are lustrous green silk. There .is no over embroidery or too much lace on the sheets of her bed, just the finest linen and a simple edging of Valen- ciennes. Simplicity is everywhere. The baby’s cot is simple, too, and all white. None of the fantastic be-ribboned, be-laced things you see in every department store, but fine spotted muslin which can wash, and is always fresh. That it came from the Rue de la Paix and cost a large sum, is no- body’s business! The tiny gossamer sheets and pillow cases have the baby’s monogram, “M.B.F.” embroidered upon them. The blan- kets also, of snowy wool, satin-edged. Every- thing is individual and designed as Gloria wished. And as for the dainty layette of adorable frocks and jackets and even a minute dressing wrapper— well, it would make any young mother crazy with envy could she see it! The garments are— Wide World haa nursing her babe. For ten minutes I did not see anything but a wee, dark, head and sweet profile—with its greedy pursed up tiny mouth. So I could look at and talk to Gloria. We spoke of love and life and of all the years — which have passed since we made “The Great Moment.” And we both came to the conclusion that love, when it | can be of the spirit as well as the flesh, is the only thing really worth having in this world. And I felt that Gloria is happy at last. The dig- nified English nurse then came and took Miss Michaele Bridget Farmer to her snowy cot, and settled pillows — while dull satin and lace garment to keep off draughts. plans for the future ; she is vague about them. Whether she will go back to Hollywood and make a new picture there, or whether she will make one here; or whether she will just enjoy life for a while, she does not yet know. But looking at her there I could not help reflecting how seldom the real beauty and charm of her has been allowed to emerge on the screen. The charm is greater than ever—she has that fas- cination of the eyes never changing, even when she smiles. Her blue eyes look straight into yours with something aloof and mysterious in them—contemplative and even a little sad. And yet she may be talking whimsically of something gay. She never says stupid things, she never giggles like the cot—snowy white and simple in their Michaele Bridget —she never poses—she is just Gloria all the costly purity. time. : : Now imagine the room. At that moment, Mr. Michael Farmer came An old English room decorated by an Tinta in and a pair of lovers’ eyes met, and I artist. All the softest green of a forced lt is a could not help thinking of Paul and lily of the valley leaf. Rather empty but for one or two bits of good furniture and the beautiful flow- ers. The whole place giving a feeling of the spring time. Then think of a “William and Mary” green silk bed; a white quilted satin eiderdown and Valen- ciennes edged sheets help to conceal Gloria! HE is a very fragile Gloria, with blue eyes so circled by shadows that they appear like blue lamps coming from the gloom. She has not the tiniest touch of make- up on, she is a very white pearly crea- ture, with lips no redder than a pale rose. Her hair, which I have seen long, and then bobbed, is now below her shoulders again—it is soft and curly, but in spite of the wanness of recent grave illness, Gloria is more beautiful than ever with some added charm of striking spirituality. We are such old friends that she let me come in just as she was nursing Michaele Bridget, which is the little one’s delightful name. It—she, I mean!—was just cuddled up hungrily and voluptuously enjoying her evening meal. There is no sight so beautiful and holy as a lovely young mother 28 wan and spiritual Gloria just emerging from the ordeal of acquiring that mys- terious and awe-inspiring state called motherhood.” does Gloria’s dear friend, Elinor Glyn, describe her the lady in my “Three Weeks” and Gloria whispered to me— “He has just those adorable ‘ways’ Paul had—do you wonder that I love him!” I did not! He is a tall, dark, handsome young Irishman, with a “look in the eye” and plainly he loves Gloria. Then came a little whimper from the cot and the dignified nurse lifted the baby up—and the two faces together, Michaele Bridget’s and her father’s, were exact replicas of each other. She is certainly the most perfect wee creature I have ever seen. None of the crimson, Thus crumpled ugliness which new born babies — sometimes show, but every minute feature in proportion and exquisite. Then she has-a specially rare thing in these days, flat ears lying close to the head and the stern: nurse means to see that the flatness continues! No thoughtlessness nursemaids will be allowed to lay down this treasure carelessly! Gloria was beginning to look wistful and tired, so I left her then, safe and-happy with husband and child— and as I stood at the door we each blew a good-by kiss. the mother back in her | she put | round her a lovely white | Then we talked of Gloria’s _

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e i k 5 1) Has a five-year contract | | | A year ago he was un- heard of Madea name in “The Sin of Madelon Claudet” and “The Wet Parade” with M-G-M—with options regularly taken up Is six feet tall. Has blue eyes—and a quick smile | Still can’t believe his mar- velous success will last By WALTER Pe MS EY MEET MmOBERT Photograph by Hurrell YOUNG FROM THE WRONG SIDE OF THE TRACKS OB YOUNG is so much like my kid brother, that I’m afraid I can’t write about him. I know ex- actly what he thinks of Hollywood; I realize just what he thinks he’s up against and I know he’s scared to death his good luck will fold up any moment. That’s the way most young fellows would react to fame, | | With Margaret Perry in “New Morals for Old.” This is his fourth picture—all for Metro-Goldwyn- Mayer. especially when they’ve been brought up as Bob Young has. If you knew Bob’s story, it would be easy for you to understand why fame has always been something almost beyond his reach. You’d know why he’s very close to heaven now! Bob Young, (whom I always think of as “Young Bob” because he reminds me of a younger edition of Bob Mont- gomery) was born, about twenty-five years ago, in New York City. On the East side. At the age of ten months, he was transported to Seattle where he spent his earlier gurgling days on the South side! And at a very tender age, he was again transported . this time to Los Angeles, on the East side—which, by the way, is also on the wrong side of the tracks. Bob, however, never realized then that the railroad tracks were a ‘‘dividing line’ . they were just “the tracks” to him. In fact, he decided that he would go down and have a look at them that first afternoon . . . on the way over to the school house. He didn’t want to start school until the following Monday, but he figured he should give the place the once-over just to see what he was getting himself into. Many (Continued on page 97) 29

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MIRIAM’S ADOPTED —HER ONLY WANT to be a good friend to him. And when he can talk I want him to call me by my first name.” Miriam Hopkins was talking of the baby boy she has adopted, to whom she has given the name she has endowed with fame and wealth, and whose future she has protected with | generous 5 trust Gl, = im _ ae terview about her newly when asked if : he had id “ont Mans adopted boy. And she training. You don’t catch Miriam em- chose Modern broiled in a morass of impractical, un- tried theories. You don't find Miriam subscribing to any old-fashioned ideas of maternity with its insistence upon gratitude and respect and its thwarting sentimentality. Knowing about Miriam adopting little Michael, I no longer can insist, as I have in the past, that there’s no such thing as luck. When I think of the hundreds of people who might have adopted this baby, people with less money, people with much less of what the French call la joie de vivre, 1 know him to be lucky without a doubt. From his beautiful mother, Michael will receive under- standing. And always he will be allowed the independence which is every individual’s right but the lot of far too few. I saw Miriam when she was in New York arranging all of the adoption details. She was stopping at a little hotel in the East Sixties. A hotel intimate and exclusive. Her bedroom with its maple furniture and soft rose toile might have been a room in a delightful coun- try house. She was lying in a great four poster bed, a soft throw of peach silk over her. She was wearing a bedjacket of aquamarine blue, the very color of her eyes. Her hair, the color of young wheat, was slightly disarranged and altogether charming. She had been up until very late the night before. After the theatre there had been a party at the Casino. But as she lay there, balancing her grapefruit in its silver bowl of cracked ice, she looked as fresh as a child just awak- ened. We talked of the baby. Naturally. He had been only three weeks old when Miriam had seen him first. Through glass. “You know how scientific hospitals are nowadays,” she explained the glass, with the rush of words that warm her speech. “Quite right, too! Perfect strangers always feel they have every right to kiss a baby. Babies must hate 1t often enough.” Talking about Michael her eyes deepened. “He'll be just two months old when I take him,” she went on. “He has curly blond hair and big blue eyes. I've arranged everything so his people never will know who has him. It’s much better this way. For everyone concerned. For Michael especially. Now his mother is 30 By RE .. » Miriam decided to give out only one magazine in- W H quite willing to have him go. But years change things. Later, if she knew where he was, she might want him. Then he’d find himself pulled in opposite directions.” I asked her about the parents. She told me very little. Who they are, what they are, all the circum- stances of his birth—these things are her secret. T’S enough,” she said, “that I know beyond any doubt that he has an excellent chance to be healthy and happy. It’s my job to give him the environment and in- direct guidance that will develop the best of his natural tendencies.” Gaby, Miriam’s French com- panion, is to have entire charge of the nursery. A long time ago Miriam engaged Gaby with this very post in mind. Just as she rented the house she has taken far down on the beach, an extra twenty minutes ride from the studios, because of the big room with a southern exposure—because of the boy she’d planned to adopt. I asked Miriam about Michael’s training and she told me how she wanted to be a good friend to him and later have him call her by her first name. “Gaby and I are simply going to use what we hope is our common sense,” she explained, “together with what- ever basic knowledge we’ve acquired from our reading and observation. We’re not going to go out and meet : any problem until it arises. There'll be plenty!” A > Esl E She laughed. You always bo Ew ee Y E1-C HE R Screen! feel Miriam is frightfully amused by everything, her- self included. When Miriam gets in- terested in her subject—and she invariably does—she gesticulates with her pretty hands and brushes back her fluffy hair. And all the time she is talking her eyes darken until they become a deep, deep blue. I’m always convinced everything she says is exactly right—even after I’ve left her. Which, you'll admit, is the acid test. And I’ve never been able to deter- mine whether this is because of Miriam having an un- usually clear vision or just loads of charm. It might, of course, be both. This, incidentally, is to be the only story that will ap- pear about Michael. The newspapers, discovering Miriam in court when she signed the final papers, carried a bare announcement regarding the adoption. Nothing more. “One story, however, I think wise.” Miriam smiled meaningly. “I’m hoping it will serve to forestall some of the raised eyebrows, some of the possible unpleasant gossip. ; 5 “don’t want Michael written about or photographed for publicity. I just want him to grow. I've money enough to give him the things that enrich life. Educa- tion. Travel. It will be terribly thrilling to watch him grow and develop. You know it will. “T really think publicity for (Continued on page 104) INTERVIEW ABOUT. at = i i |

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| “He'll be two months old ‘| when I take him,” Miriam | says. ‘He has curly blond ‘| hair and big blue eyes. I’ve arranged everything so his | people never will know who “has him. It’s much better this way. For everyone concerned.” Photograph by Otto Dyar 31

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(Above) Of course, Marlene Dietrich was not massaging her scalp when she had this picture taken. But that’s the right way to start scalp-massage: fingers firmly placed and spread out, to move the scalp itself. (Right) Myrna Loy’s blond wig is dressed in the most attractive way for medium-long, medium- thick hair. A false switch can be arranged like this, too, during the growing-out stage. TEN . . . Packed full of information —yet highly entertaining—this story will tell you how to live up to these ten commandments AS I I SE EE EE By MARY BIDDLE O pretty poetic phrase comes to my mind to start this article going in glamorous style. But I don’t mind—I’d rather not get poetic about beauty problems. I’d rather give as much speci- fic, honest information as I can about blotchy skins and scrawny necks and duffle-bag figures and dowdy hair. I'll do that very thing—and then I'll thank you to re- member that the rest is up to you. To your hard work, your patience and your, faithfulness. The first commandment—and I'll wager you can tell me what it is before I put hand to typewriter—is this: Make and keep your skin beautiful! Once upon a time, people believed that all healthy people had healthy, beatitiful skins. But I’m sure you all can recall among your acquaintances a girl whose health is not good and whose skin, nevertheless, is per- fectly gorgeous. Or you can recall the girls in school who shone in gymnasium work and whose skins were—in spite of all—sallow and dreary looking, if not actually bad. Of course, health is the first factor in beauty. But I think we are all sensible enough to admit that we need some- thing else, too. External enemies like dust and germs, 32 wind, heat and cold and burning sun are things we can- not control as we can control our internal health to some extent. We must put on creams and lotions and things to counteract their ill effects. Some skins need more at- tention—more remedial preparations—than others. And that brings us to the question, “What type of skin have Hee First there’s the normal skin—the most beautiful of all, and the mest rare. A skin like—let me see—like Joan Crawford’s, perhaps. I choose Joan because, to me, she has just about the most beautiful skin on the screen. It’s neither too dry nor too oily. Nor is it so delicate and sen- sitive that it won’t withstand screen make-up and a rea- sonable amount of exposure. It’s so fine textured and clear that even in close-up stills, with the necessary grease-paint smeared on it, Joan’s skin’ gives the appear- ance of smooth marble. This is the treatment which a normal skin like Joan’s should follow: cold cream cleans- ing first; soap and water cleansing after; final liberal dashings with cold water. When applying cream, follow the lines of the little arrows drawn on the three pictures of Frances Dee on page 34. Ii you wish to soften and

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relax your skin with a little home-grown massage, follow || those same arrows, always smoothing and lifting “p— never down. But to get on with the treatment for the normal skin—two or three times a week this sort of skin ‘should treat itself to some remedial preparation. Even normal skins have their bad moments; there may be a sudden, slight excess of oil around the nose and chin. Then, quick, the astringent lotion and a nice clean pad of cotton to pat the shiny areas. Or a drying and drawn- up feeling may set in around the eyes and on the fleshy _ part of the cheeks. Then tissue cream should be patted into the skin and left on all night to smooth up the skin and keep future wrinkles away. Enough, however, of this attention to the normal skin. Let’s tackle something more difficult—and more preva- lent. The oily skin. Spotted with blackheads and pos- sibly pimples. The most exasperating, hardest-to-powder (Above) Joan Crawford scorns the Cupid’s bow. Why be like everyone else? That's the natural shape of Joan’s mouth, cleverly accentuated with lipstick—strong, sensuous and characterful. (Right) That’s what is meant by a ‘deep wave.” Girls who possess truly beau- tiful features, like Mary Astor, and also tall, tailored girls who are smart and wholesome looking should adopt the deep wave rather than wisps and curls, COMMANDMENTS Pao DEAUT Y Sole Obeskin-e | get sso many. letters about: 16! Wy do blackheads and oily skin usually go to- gether? Well, you see, it’s this way: the oil glands ‘in the skin become clogged. They get lazy and no one wakes them up with a stimulant. The opening of each little gland, known as a pore, does its best to throw off the excess accumulation of oil—it opens very wide, which causes large pores—but to no avail. The opening and the gland leading to it becomes clogged with the oil and dirt and perspiration and rubbed-in powder. This worm- like thread ends in a little black lump which we know all too well as a blackhead. Such a skin should be cleansed with something rough and slightly grainy. Such a cleanser, used with plenty of warm water and persuasive friction, will rub away the more prominent blackheads, remove dead tissue and leave the skin soft and stimulated. Then most of the re- maining blackheads can be pressed out (with fingers padded with tissue). Stubborn ones should be left for another treatment. Now the skin is clean and clear, but the pores are still open. Many people rub a fairly strong astringent on to close the pores, which is all very wel! in its way, but after a blackhead treatment a cream is better. It is more soothing and will not irritate any spot which may be sensitive after the scrubbing and the squeezing. A medicated cream that is quite greaseless is the thing. It should be applied at night and left on all night. An efficient simple treatment for a mild case of black- heads is as follows: mix two tablespoons of Fuller’s earth with enough witch hazel to make a whipped cream

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The three pictures of Frances Dee above show, by means ofthe little. arrows, the proper way to apply cold cream and massage the face. First, follow the arrows up and out from the point of the chin. the nose. consistency. Apply it to the face after cleansing and leave it on until it begins to flake. Rinse away with warm water. And here’s another simple—but superficial— remedy: get some powdered pumice from the drug store and a bottle of peroxide. Dip your finger in the peroxide and while it’s still wet, dip it in the pumice. Scour the blackheads with this. Remember, I said it’s a superficial remedy and so it is. But if you want to clear up your skin in a hurry for an evening date, bet- ter do this than resort to fran- tic squeezing without the proper treatment before and af- terwards. ry ILINESS will disappear as the pores are closed. In the meantime, the oily skin should, if possible, be treated with a powder base that is thin, shine-removing and _ slightly medicinal. No cream powder bases for oily skins. Pimples— another pet oily skin evil—may have resulted from in- OM OTS ION DO LCAINI S S fected blackheads or from the wrong sort of food. ° Sweets, starches and fats should be eliminated from shiney-faced people’s diets. Pimples should be removed from the face in’the same way that blackheads are re- moved and the spot afterwards touched with alcohol dusted with boracic powder, or anointed with an acne remedy. Now the dry skin troubles. Dry skin usually looks prettier than oily skin—but it ages much faster. There’s always something! Many girls with dry skin claim that they simply cannot wash with soap and water. They feel “all drawn up.” And’ while I am a firm believer in the use of soap and water on the face—in conjunction with cleansing cream—lI have finally come to accept the state- ment of these young ladies and say, “Well, all right. But be sure to use a mild, slightly stimulating tonic after the cream or you'll be stretching your skin or growing super- fluous hair or something.” If the dry skin can stand a preliminary cleansing with a bland soap and warm water, 34 Second, smooth the cream with the palms of your hands upward and outward over the cheeks from Lift the facial muscles — when you do this and alternate the lifting with brisk, light pats. Third, follow the arrows around the eyes. The skin is sensitive here and so are the membranes under the skin, so go lightly. Gentle massage along those arrows between the brows helps wrinkles. so much the better, I think. If not every day, then two or three times a week. Otherwise, the tonic. And regu- larly—about every other night, say—there should be an application of tissue cream for the dry skinned girl over twenty. Norma Shearer, whose skin is apt to be dry, uses a rich, gooey feeding cream to keep it supple. That's really all there is to the treatment for dry skin until the years advance and wrinkles ap- pear. Then there’s muscle oil. Make and keep your skin beautiful! Guard the beauty of your eyes! Glorify your hair! Keep your hands young and lovely! Take care of your feet! Work hard for a beautiful figure! Study your own color scheme! Be sensible about your make-up! Use perfume—and in the right way! Take baths for beauty! T’S about time I was get- ting on to the second com- mandment. Here it is: Guard the beauty of your eyes! You say your eyes are not beautiful ? Nonsense! Or if they’re not now, they can be. Shape and size and color and long lashes aren’t the only things that make eyes beautiful. Expression makes them lovely and vitality makes them sparkle. Intelli- gence makes them interesting and—but there, I’m just raving and not telling you any- thing. There are three things necessary to eye-beauty: rest, exercise,.and grooming. It’s a fallacy to believe that con- stant use of the eyes weakens them. On the contrary. Just as exercise strengthens other muscles. But there must be a good light coming over the left shoulder. And there must be periods of rest in between the periods of work. I don’t mean sleep—although, of course, that’s of major importance. I mean that you should take your eyes off your work every once in a while and look at something else. Preferably something nice, like a pretty picture or a green tree. Or close the eyes. And remem- ber to blink the eyes frequently, while you're reading or sewing. And exercise them by rolling them in a complete circle in their sockets. Look up as high as you can with- out tilting your head and down as far as you can without bending it. Close the eyes and try to “see black.” And bathe them with a weak solution of boric acid—or a store- bought eye wash. Relax them (Continued on page 112)

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By NINA WILCOX PUTNAM THE MAN WITHOUT fea RT. With his wife. Warren believes that one loves many times—and that “the one love.” In spite of this belief he and his wife are happily married. each time it fs . « 6 Success Means nothing to Warren William—and neither would. failure. This ts not an affectation. Experience has taught him not to care much about anything. AN you imagine an actor to whom his sudden promotion to picture stardom gave no thrill? Can you imagine a successful picture star to whom the sudden termination of a_ brilliant career would mean absolutely nothing? If so, you are seeing Warren William, the latest Warner Brothers sen- sation, the new romantic lover of the screen. It certainly came as a surprise to find that the most romantic, the newest of the great lovers of the screen, whose whole reputation has been built on the portrayal of extremely emotional parts, is in reality, an icicle! It’s easy to be a cool, unaffected, detached personality-—— He arranges his life accordingly if you're born that way. It’s easy to be a man without a heart, if you never had one. But Warren William did have one. His coolness, his utter lack of interest in the things which keep the average Hollywoodite excited, his complete indifference to life itself is a quality that he himself created within himself. Because he had to. IRST impressions, they say, are apt to be correct, and this strange, detached coolness which I had detected in Mr. William the moment I introduced myself to him puzzled me, and as the interview progressed I became in- creasingly anxious to know the cause of it—was it purely 35

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temperamental, a physical His first talkie was “The reaction, an emotional lazi- Honor of the Family’ in ness or the result of some which he played opposite Bebe profound shock? Rapidly Daniels. It was a swashbuck- I ran over the man’s his- ij g sort of thing n r I ° tory, which he told me readily and freely enough. The son of a newspaper owner in Aitkin, Muinne- sota, where he was born and raised, his father had wanted him to follow his own profession. Then it developed that young Warren had fought with his father because of a craving to become a marine-engineer. fishre quarrel between father and son might have be- come serious but for the fact that a greater quarrel than theirs arose to tear the world asunder and Warren joined the army and went to France. When I heard this I began to understand the man bet- ter. He had been sensitive then— young, inexperienced in life and carefully reared in a cultured home. And then turned loose—a boy who was dreaming of boat- building—into the hell of Flanders Fields. Monte Carlo.” OW I knew why Warren William cares for nothing. He had to learn to care for nothing if his soul was to survive at all. The secret of his detachment is the World War. He has learned that if one cares too deeply one is destroyed. But, I began to realize, now, that the capacity for caring still exists down deep in Warren— schooled, controlled beyond belief. Which is, of course, the very finest foundation for the accomplishment of really great work in any line. I asked him what thing in life interested him most. When you ask that of a picture star there are not many possible answers. He, however, managed to give me one I hadn’t thought of. “T think I rather like boats,” he finally said. “But your career!” I had insisted. “Your ambition, your art!” He merely shook his head, faintly amused at my naive 36 (Above) He appeared in Dolores Costello’s recent picture, “Expensive Women.” And also (below) with Lil Dagover’s only American film which was called “The Woman from It was not the sort of pic- ture to make any of its players famous. enthusiasm. At that time I wasn’t sure of his sincerity. Now I know it was sincerity. He would, no doubt, have liked to oblige with some weighty ideals about the screen —about his art. But he couldn't. He hasn't any! To him it’s a job—a job which he performs with remarkable skill and success and without any personal emotion or feel- ing whatsoever. OU see, he actually does think that boats—preferably small sailing boats—are the most interesting thing in the world to him. And why not? When his first ambi- tion was to be a marine-engineer it is not amazing that he still has a passion for boats. . It is far more amazing—and laudable, too—that he has tackled the acting job in the engineering manner. I mean that the engineer is always behind the actor, when Warren William is preparing for a role. It is the engineer who plans, directs, gives the instructions as to how the finely balanced result shall be achieved. It is no slap-bang, hit- or-miss method with him. Every part he portrays on the screen is as carefully thought out beforehand as the blue- prints of a new and expensive yacht. E does not feel the emotions he portrays but keeps a cold, calculating eye on what must be done in order that the audience shall feel—and feel deeply. The ro- mantic, lovable, swash- buckling young count in his) dinst | pietuneys ade Honor of the Family,” was a carefully con- structed figure which could not fail, from Wil- liam’s inception of the part, to achieve the im- pression he had arranged for. Mouthpiece.” No matter how real his character seemed in that dramatic story. it was actually built up step by step in precisely the same manner as all his other roles. It is not an easy manner of play- ing—and, contrary to what one might imagine—is far more effective than the us- ual “temperamental” method of playing a part. AY interesting revelation of this unusual man came It is the same in “The

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when I once asked him if any of his roles had ever really impressed him. Naturally—for by that time I knew his philosophy of life—I expected him to reply that none of them did. A curious look came into his eyes. “Yes,” he said slowly, “one did. When I played the Christ-like character in ‘The Town that Forgot God’!” This, you'll remember, was an old Fox silent produc- tion. I'll bet, though, that you will hardly recall that the part of the carpenter was played by the same man who is now one of Warner’s mainstays. Yes, Warren took a flutter in films some years ago. But his real flight is of recent date. Curious—that that particular role impressed him more than any other. Doesn’t it mean that Warren has been made sophisticated and cool by the effect of the world on him? And not because his nature is naturally so? His views on love are typical of him. “T believe one loves many times,” is what he says. “And that each time it is the real thing. Man changes as he grows older, so why should not each successive love be the only love?” “And what about after marriage?’ was the question I naturally put in reply to his statement. “T believe in careers for both man and wife,” he told me. “It keeps them happier—saner—and helps develop that partnership which is even more basically marriage than is the love-interest of the bar- gain.” Very European, what? Incidentally, Mr. Wil- liam has a wife. They are very happy. And here the cool, aloof War- ren becomes amazingly like you and me for a moment — because he calls his wife “Putts.” Putts is said to be think- ing of doing some acting herself—for which War- ren says she has real talent. IS real name is Warren Krech. He looks less like an actor and more like a casual young millionaire than any other thespian I ever met. His manners are perfect. And, what is more unusual, so is his manner. piece.” The millionaire (Above) With Sidney Fox in “The Mouth- His work as the brilliant lawyer who could always win an acquittal for a guilty man has made him famous. (Below) With Marian Marsh in ‘Beauty and the Boss.” Not as suitable as some of his other réles. impression is heightened when he talks aristocrat With Bette Davis in “The Dark Horse” —a comedy in which Warren plays a campaign manager. Good role for him. political L ; to you. And like a mil- lionaire, he is utterly fa- tigued by life and one feels immediately that somehow, somewhere, he has long ago tasted and, exhausted every gift that lifecan bring. It is not an affectation—he is far too genuine to affect the slightest mannerism— but the result of exper- ience coupled with his rare type of imagination. His hobby, obviously, is boats—and sword fishing. His face—which in profile does _ slightly | resemble John Barrymore’s — is rugged and strong when he looks straight at you. He is gentle, poised, intel- ligent without being intel- lectual and—as you al- ready know—utterly de- tached. I have, though, seen a wistful look on his face when he ordered a mere salad for luncheon. He’s a2 big man—but a slim waist is part of his job and Mr. William invariably lives meti- culously up to the demands of any job he might hold. E has an uncle who 1s a high officer of one of the most respected banks in New York. Although I’m quite sure that Warren would hasten to assure you that it didn’t matter. A curious chap, this Warren William. <A strange mix- ture of simplicity and sophistication. A man with that basic fire and superficial coolness which all women find so attractive. A contradiction all the way through. His pictures have been “The Honor of the Family,” “Expensive Women,” “The Woman from Monte Carlo,” “Beauty and the Boss,” “The Mouthpiece,” and “The Dark Horse.” In “The Honor of the Family” he played opposite Bebe Daniels. In “Expensive Women” opposite Doiores Cos- tello. In “Beauty and the Boss” opposite Marian Marsh. In “The Mouthpiece” opposite Sidney Fox. And opposite Bette Davis in “The Dark Horse.” And remember, when you see Warren William again —that he really is a man without a heart. 37

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Says the doctor (Grant Mitchell) to the young wife (Loretta Young), in ‘‘Week-End Marriage”: ““Men need old-fashioned women looking after their health, nagging them into caution, feeding them properly and giving them families to live for. A great many of these wo- men are just as fitted for business as you are, but they didn’t want it. They put their talents to work instead—in what people now think is a mighty narrow sphere. Well, | don’t think itis. [think it’s pretty darn near the most important sphere of all. Not much recognition in it, perhaps, no spectacular publicity, but it’s built up nations before this and, by heaven, it will build them again!” What do you think? A HUSBAND-—A JOB SS. NE of the most interesting products of our civili- zation is the double pay envelope—in other words, the husband and wife who both have a job. A great deal of typewriter ribbon and lec- ture platforms have been worn out discussing the pros and cons of this subject. It penetrates every walk of life and hits almost equally at the girl who keeps a thirty-five dol- lar a week job and the big career woman who earns twenty times that every pay day. Between the little stenographer rushing to get home and cook her husband’s supper—or stopping off at a con- venient delicatessen—and the Hollywood star with her trained servants, her smooth-running household machine, there is really very little difference. The Hollywood wife has perhaps a little more leisure to spend with her hus- band and certainly more aids to glamor. She doesn’t get ugly hands from dishwashing, nor does she have to do much budgeting in order to meet both ends on her and her husband’s combined salaries. But the difference, basically, isn’t so very great. While the white collar boy certainly 38 resents it if his wife gets a wage raise and he gets a cut, the Hollywood husband, if he, too, is in the movies, feels the superior success of his wife quite as keenly. Holly- wood marriages often go on the rocks not only because of professional jealousy but because the weekly stipend of one member of the family is greater than the other. It does seem as though the happiest marriages in Hollywood are those where there is one pay envelope only. Take for example Dick Arlen and his delightful little wife. When Jobyna left the screen she did a wise and remarkable thing. She endowed her

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husband with the priceless gift of permitting him to support his wife. For no matter how much you laugh that off, it still remains a fact that deep in the masculine make- up is a rooted and very an- Gientuadesizes to abe head) or the house. It’s pretty hard to feel that you are when your wife’s pay equals or doubles your own— whether you live in Hollywood or in a small town or roost in a little apart- ment in a big city. DID not write “Week-End Marriage” about people who earned big incomes. I wrote it about the average boy and the average ‘““Week-End Marriage” concerns a girl who tried to keep a job as well as a husband. Herein, the author of the novel on which the film was based gives her brilliant views on this timely and absorbing subject By FAITH BALDWIN girl, who were a little afraid to get along on the boy’s salary. I wrote it about a girl who wanted a husband and a job and got both, and plenty of trouble into the bar- gain. For the man she loved and married resented the fact that the girl he had sworn to love and cherish must go out to work every day, must hang onto subway straps and could, moreover, dictate to him what should be done with his and her money. Resented, too, the fact of her raise and his cut, and the loss of his own job. It might be said that if he lost his job and she kept hers they were that much to the good; and said with per- fect truth. Financially to the good, yes. But when a man realizes that he is living on his wife’s earnings, his self respect takes a plunge toward zero. And after a while, because he resents it so much, he gets to have a cer- tain bravado about it—to bluff it off. And then perhaps the next time she keeps her job and he loses his, he isn’t in such a hurry to tramp the streets and study the want ads. He becomes accustomed to being supported and she becomes accustomed to being boss. And that’s bad all 39

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around. Nature intended men and women to be partners, each in his own sphere, and not to be superior and in- ferior. This double pay envelope business is affecting the youth of the country. Young men starting out in business con- sider their friends who have married wage-earning wives and consider, too, the extra luxuries which the double wage can bring—the car, the better radio, the better neighborhood. And so they begin to think that perhaps a man is a fool to carry all the burden. He'd better take this new régime and like it. So they go around with girls who work and who expect to go on working after mar- riage and when they marry they marry a working wife— a wife who is working not so much for the good of the family unit as for herself. For girls, many of them, do expect to work. They want their own money. They are used to earning it and aside from the little they pay in at home or toward whatever living arrangements they have made they are free to do with the rest as they please. Also, young people want so much more today than ever before. Stand- FAITH BALDWIN. “THE OFFICE WIFE,” “WEEK- things aren’t a bit better. They have to go out whether they want to or not merely because they are both too keyed up to provide any rest or relaxation for each other; so they go somewhere, anywhere— The average so-called fifty-fifty marriage provides people with very little opportunity to know one another. Most of their conversation is limited to money, budgets and if he starts to tell what a damned old grouch the boss was this morning, she interrupts to go him one better. In my book, “Week-End Marriage”, the young husband informs his wife that she is little better than a legalized mistress. In many cases this is perfectly true. And in the year 1932 I find a number of young people who have gone one step further than the fifty-fifty marriage. They don’t bother with marrying. They are afraid of the ties. They simply pool their financial resources and get an apartment and try it that way. It doesn’t last long. For a fairly obvious reason. Deep in the human heart is the necessity to know as- surance, to have something that endures. It is the only insurance against a lonely old age; it is the only com- ards have changed. They are not interested in the pleasures free to all God’s creatures. They must have theatres and radios and cars and week-ends out-of-town and all the rest. It all costs END MARRIAGE”—BOTH NOVELS OF HERS HAVE ALREADY BEEN TRANS- FERRED TO THE TALKIES. “SKYSCRAPER” IS NOW BEING FILMED forting voice in a silence which prophesies death. So, in the screen play “Week-End Marriage” in which Loretta Young and Norman Foster enact the sometimes tragic and some- money. The average girl pays rather dearly for the privi- lege of running a somewhat makeshift home and a bus- iness “career” as well. She pays in nerve strain and health. The first year of married life is difficult un- der the very best condi- tions. There are physical and mental and emotional adjustments to make. If you add to these the wear and tear of rushing off to business, the trip by car or subway, the rushing home to throw a meal together and the eternal worry over trivial things—it starts to rain, did you close the living-room win- dows?—you are placing a burden on a young woman which is not easy to bear. only.” youth of the country.” HE fear of pregnancy enters in to a large extent. Girls who marry and work can’t afford babies. They can’t afford the time nor the money. Few employers hold jobs open for the minimum length of time required for child bearing and convalescence. Even if they did the average girl and man do not earn enough, combined, to run a house and employ a trustworthy nursemaid. So the little working wife doesn’t have babies. And very often she wants them. That makes it harder. The desire AND the fear. It all adds up. The girl who has the maternal instinct and who loves her man and chooses a typewriter instead of a baby, pays for it, even if a baby is a blessed bother and wears its mother out! A typewriter can wear you out, too, and a typewriter doesn’t grow up and learn to walk and talk and provide you with the endless anxiety, confusion and happiness which is living. In older days a man came home tired. That was cause for a lot of kicking. He didn’t want to go out, he wanted to stay home. His wife who had stayed home all day wanted to step. Now, two people come home tired and 40 “It does seem as though the happiest marriages in Hollywood are those where there is one pay envelope “ , . When a man realizes he is living on his wife’s earnings, his self-respect takes a plunge toward zero.” § P plung “This double pay envelope business is affecting the “Girls who marry and work can’t afford babies.” So says Miss Baldwin in this illuminating article, times humorous and always real roles of my young couple, you will see a por- trayal of modern marriage for the average couple. A portrayal, too, of the hard fact that you can’t have your cake and eat it, too. If you do you will have indi- gestion as sure as God made little green apples. UT don’t think that the fifty - fifty marriages where the money comes in golden floods to both man and woman are much hap- pier. Easier, perhaps; but the problems are very similar. The woman who works in the home, for herself and her husband and children, who manages outside interests to keep herself alert and young but whose great interest is home making and character building, may not get her name in the papers until her obituary, may never make the headlines, may always remain obscure but she knows more about real life than most people. She has a job. The biggest job in the world. And she does it without pay. Without pay? Think that over. The rewards of love, of young eyes that look up in trust and confidence, the reward of having a man say “I couldn’t have made good without you.” An executive of a great company once told me he mar- ried on fourteen dollars a week. He said, “And if in those days my wife had been like the girls of today, going out to work, I would never have gotten anywhere. She was a good business woman. She was my partner. She helped. She reared our children, she looked to me to take care of her and of them. And I did.” There’s no solution to this problem. My novel had to end so I made an ending. There is no real ending. The problem is mostly economic. But whether a wife works because of financial stress, because of unwillingness to go without, because of vanity or selfishness or ambition I can only say: Heaven help her—and her husband.

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. . . It won't be long before you'll be seeing Colleen Moore on the screen again. All of you who have been writing to ask why she left the screen will be happy at last OLLEEN MOORE’S banishment is over! The Lords of Hollywood have decreed, not exactly by proclamation, but by a contract and advance publicity, that the brown-eyed kid who was born Kathleen Morrison is once again to rule over her loyal subjects with the sceptre of charm. M-G-M is the studio whose magic word has made it possible for Colleen to come back to the screen. She now has a long-term contract with them. Colleen’s screen career has had all the elements of a first class roller coaster. Years ago, when a feature pic- ture was something which occupied two reels of fillum, Colleen did extra work at the old Essanay studio in Chi- cago. She wanted to become a movie actress for no better reason than that she was an incurable film fan. Later on, D. W. Griffith, who was a friend of Colleen’s uncle, chanced to meet the little girl at her uncle’s home. She wanted a movie career so badly that D. W. decided to give her a really good start on the road which has so often been described as long and hard. It is, too, for most of them. Colleen went into Griffith's movie stock company in Chicago. She did bits in pictures which had titles like “The Way of a Man With a Maid,” “The Queen of the Train Robbers,” ‘Maggie, the Tenderhearted Flower Girl.”” This went on for some time and then First National put her under a contract. That started a long and glamorous career for her. Still she wasn’t a star. In fact, far from it. It wasn’t until she met John McCormick—who fell in love with and married her—that her real possibilities were realized. It was he, actually, who made her a star. “Flaming Youth” was her first dent on the consciousness of the great American public. It made the whole country Colleen Moore-conscious with a vengeance. Of course you remember her in the pictures she made after that: “So Big” (recently done in the talkies by Bar- bara Stanwyck), ‘Sally,’ “Irene,” “Twinkletoes,” “We Moderns,” “Synthetic Sin,” “Lilac Time.” Colleen and McCormick—he still produced all her pic- tures—seemed to have caught just the right formula for terrifically popular success. That formula lasted until the talkies—then something happened to it. Perhaps the talkies scared Colleen and John. Or perhaps the silent film formula for success was no good for talkie success. At any rate, Colleen made two talkies—‘‘Smiling Irish Eyes” and “Footlights and Fools’—and both were flops. Colleen was let out with an unceremonious rush. At the time her contract was bought up she was making $13,000 per week! And when you stop to consider that eS. uLEEN Garbo has been making less than ten thousand you can just about appreciate the box office value which Col- leen had built up for her- self. | Yet those two talkie flops e put a complete period to Colleen’s brilliant career. Not a studio in Hollywood would consider her as a screen possibility at the salary she demanded. Colleen didn’t exactly starve. She’s worth over a mil- lion dollars. But when you’ve been on the screen for years it’s a time-worn and shiny adage that you hate to quit. It was at this time that her marriage went on the rocks. And also at this time that she made a try at the legitimate stage and failed. All her tragedies came in a bunch. Colleen lived in the Borough of Obscurity for two or three years. Then she struck the headlines a few months ago when her happy marriage to Albert P. Scott, New York broker, was announced. No sooner had Colleen married Scott than she began studying to make another try at the stage. This time she chose a play called “The Church Mouse.” And, finally, after weeks of hard work the play opened at the El Cap- itan Theatre in Hollywood to a pretty critical audience. Colleen won! She even convinced some movie execu- tives that she could act with her voice as well as in pan- tomime. For pretty soon she had received that M-G-M offer. Her salary? It will be $90,000 a year. That’s $2,000 a week for twenty weeks and $2,500 for another twenty weeks. And a pretty good salary these days! 41

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ABOUT AND HEY’RE together again—for the present. And those “in the know” say it 1s only for the pres- ent. Hoot’s little daughter Lois (the child of a previous marriage), whom Sally loves dearly, is said to have brought them together. But—well, here’s the story. There is no “other woman” in Hoot’s life. Nor is Sally interested in another man. Reasons for their quarrel lay in circumstances over which they had no control. And the Hollywood gossips who greeted their wedding with the ominous murmur, “It can’t last,” were quick to shout exultantly, “I told you so!” The set-up was against them from the beginning. Even their closest mutual friends did considerable head shaking. When they were married two years ago at Hoot’s New- hall ranch there was an almost tangible cloud of doubt hovering over the occasion. In spite of the fact that they were so in love they seemed somehow to be tempting fate in embarking on a marriage together. For the cards were stacked before the game started. There was the difference in their ages, in their expe- rience of life; there was the question of their individual temperaments and tastes. Sally was just a youngster— a kid who was not yet through playing. A kid who’d had many flirtations, but never a serious love affair. A gay, vivaciously attractive, happy-go-lucky kid who was al- ways looking for a good time. Hoot was a man of the world, twice married and twice divorced, sophisticated and past believing in romantic illusions. It was a known fact that he had done a good deal of playing around. He was, in fact, regarded as one of Hollywood's leading Lo- tharios—as attractive to women as Sally was to men. How, then, could these two be expected to adjust them- selves to marriage with one another? Sally, innocent, THE PREH SALLY EILERS HOOT GIBSON | “Sally Eilers really loved Hoot Gibson—and Hoot really loved Sally. But when their love was put on the spot they couldn’t take it.” Have they learned? Hollywood Newspictures

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“they faced the situation hand- in-hand, bravely. It seemed to draw them more closely to- gether... Dhen’-~ - something went wrong. It was too bad.” ..- Hollywood is seething with “inside rumors’ about the Sally Eilers-Hoot Gibson break. Here, told with in- finite sympathy is the real truth about the Gibsons By CAROLINE SOMERS HOYT irresponsible, accustomed to having half a dozen youthful swains on the string. Hoot, mature, worldly-wise, used to being his own boss and coming and going as he pleased. The combination was dynamite, Hollywood said. UT for a time it looked as if Hollywood were wrong. Sally and Hoot settled down to matrimony with an amazing lack of trouble. You had only to look at them to know they were happy. Sally assumed the responsi- bilities of wifehood with an ease and grace that aston- ished everyone. Overnight she seemed to change from a frivolous youngster to a level-headed, responsible young woman. And Hoot? Apparently the loss of his freedom bothered him not a whit. The transition irom man-about-town into a devoted husband was seemingly ac- complished without a struggle, without a regret. Even the gossip-mongers were beginning grudgingly to admit that they might have been wrong about the Eilers-Gibson marriage. And then things began to change. The deadly alchemy of Hollywood began to work. Hoot lost his money, and Sally became famous. And in those eight words were tragedy and heartbreak. Oh, it wasn’t all as simple as that, of course. Neither wants to give in to the situation without a struggle. But in the end it may be too much for them. Those recent few months, instead of fighting to- gether to preserve their marriage, they were fighting with one another. You see, when Hoot Gibson married little Sally Eilers he was in a manner of speaking, the town catch. He was known to have a good deal of money. He owned a beau- tiful house, a ranch, a place in the mountains, a plane and several cars. Furthermore, he was decidedly attractive— good-looking and a congenial, (Continued on page 93) 43

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THE HIGH COST OF 5 Aa ES IN HOLLYWOOD Every mother is willing to sacrifice for her child, But the sacrifices made in sake of children will take By MARY SHARON OW much is a baby worth? What would you pay to have a baby? How much actual, personal sacrifice would you make in order to acquire a small son or daughter? I wonder how many parents in other walks of life would give up as much as screen stars sometimes do for the sake of having children. For babies come high in Hollywood. Higher, I believe, than in any other place in the world. Not only by actual cash quotation but more especially in personal sacrifice. They tell me that the current market price here, even in these days, of a first rate baby, equipped, delivered and assembled, is around twenty-five hundred dollars. And after that the upkeep mounts in the most disconcerting fashion. But that is a mere nothing in com- parison with the price that a screen star often ultimately pays. Bebe Daniels’ baby cost her over $150,- Weems aia 000.00 in lost salary! arlene Dietrich Besides that, she gave has always been a year of her precious youth (and youth is never so precious any- where else as it is in Hollywood), a year of her fame, a year of her anxious to bring her child up abroad. What will she even- tually do? (Right— lower) Mae Marsh chance to build a last- gave up her career ing reputation, a year for Marguerite, of her short, short term of activity in pictures, to have that baby. What is more, rumor has had it that it was that loss of time which caused Warner Brothers to fail to take up their option on Bebe. If that is true, then her baby cost her her contract. Norma Shearer, who is a capable young business woman, planned for the advent of her little son with great care. Her schedule was arranged to minimize as far as possible the seriousness of the loss of time involved. But—while Norma was absent from the studio Joan Crawford made a picture called “Paid.” The story had been (Continued on page 103) Brewster and Mary. Hollywood for the your breath away (Top, right) -Dolores Costello Barrymore gave up her career for little Dolores Mae. (Below that) Bebe Daniels may lose her career partly because of the time lost in having Barbara Bebe. (Below again) Mildred Davis Lloyd did likewise for the sake of little Gloria.

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THE HIGH COST OF DIVORCES IN HOLLYWOOD . « e Babies are expensive enough—but divorces! Only in reading these actual cold cash figures can the staggering amounts be realized (Top left) Menjou was al- most left quite penniless by his divorce from his first wife. (Below that) Joan Bennett’s was one of the few small alimony settlements—for the support of her baby. (Below that again) Chaplin’s last divorce cost him something like a nice million. Whew! By DOROTHY WOOLDRIDGE RMINE, sable, mink... Parisian gowns _.. town cars and limousines . . . beau- tiful homes ... servants... gold ina glittering volume . . . garnered in Hollywood’s bountiful Garden of Allah (mony ). I see divorced wives of motion picture stars and directors flashing down the boulevards in high-powered motor cars, exquisitely gowned and looking cool and aloof. I see them at the fashionable restaurants ‘in a huddle,” laugh- ing, exchanging chatter, spending money with lavish hand and earning the appellation “The Merry Widows of Hollywood.” For which the ex-husbands pay and pay and pay. For some it is “not for just an hour, not for just a day, not for just a year, but always.” The best dressed actress in Hollywood is Constance Bennett whose “nest egg” (Left, above) Ronald from Phil Plant was Colman has_ been a million dollars, ac- cording to reports. In addition, she has : earned possibly an- ever since 1925. other million and ac- paying his wife for separate maintenance (Left, below) Thehun- dred-thousand dollar home which Jack Dempsey lost when he and Estelle divorced. quired Gloria Swan- son’s ex-husband, the Marquis Henri de la Falaise de la Coudraye. A year or two more in the studios and Connie probably will sell her home, gather up her Marquis and her millions, throw an affection- ate kiss toward the City of Films, say “Good- by forever, you workshop!” and hit for the Riviera or a villa somewhere in France. She may count her money before she goes and murmur, “Not so bad! Not so bad, for just a few short years.” Which most people readily will admit. Not’ so very long ago I was entering the city’s most expensive restaurant for an inter- view with one of the outstanding stars. It’s a 45

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gilded palace where the handling of silver annoys the waiters. Silver, to them, is so vulgar. It spoils the set of their pockets. Its clinking is offensive. Paper money is so mutch more desirable for tips. Just as I turned in at the door, a magnificent automobile drove up with a liveried chauffeur at the wheel. The footman stepped forward and Lita Grey, fashionably gowned, beautifully coiffed, stepped out. She was lunching alone, that day, but her appearance started a flurry which extended from the head waiter to the “bus boy and the lad with the bucket of cracked ice. “Alone, Miss Grey?” asked the garcon. “Yes, alone,’ she re- plied. A selected table was placed at her service and the attentions began. Not for one moment was she neglected. Always, someone was at her com- mand. As the ex-wife of Charlie Chaplin with his bountiful alimony in hand, she was a courted customer. Lita Grey lived with Chaplin two years. Here is what she got in settle- ment: $375,000 cash. $100,000, September 1, 1928. $100,000, September 1, 1929. $50,000, September 1, 1930. On or before September 1, this year, she will receive an additional $200,000 to be held in trust for her two sons. On this deferred sum, Chaplin has paid 6 per cent interest for five years—$1,000 a month or a total of $60,000. This in addition to the $625,000 individually allotted to Lita. Ouch! But the comedian took it without a whimper. It was the least his wife would consider. The slate will be clean in a month or two now and Chaplin will be out a total of $951,548 after all attorneys’ fees, court costs and alimony awards are settled. Lita’s two years cost him: $475,774 a year. $39,648 a month. $1,321 a day. $55 an hour. And Lita was a school girl who came from a family in moderate circumstances when she met Charles Spencer Chaplin, the king of pantomime! Now she travels to Europe when fancy strikes and lives in luxury. She har- vested well. HERE are other film actors, | know, who virtually have been cleaned dry by their resigning wives. Some of them still are in the process of cleaning. Under court orders, they must carry their alimony crosses—carry them even though at times they irk and gall. Periods of depression make no difference. George Melford, film director, stood before a Los An- geles judge because he was $4,500 in arrears in alimony remittances to his first wife. The Court looked upon him compassionately. “T will admit,” the jurist said, “that this alimony order is outrageous. It is unfair to expect a man to pay $200 a week. But at the time it was made, it was done with the agreement of the defendant. He had his eyes open and knew what he was doing. He made it himself. He must abide by it. It is a cross he will have to carry.” 46 (Left) Helene Costello asked $5,000 a month, $25,000 for court costs and $10,000 for attorneys’ fees. And apparently got it! (Right) Constance Bennett’s million-dollar divorce settlement from Phil Plant is history. So, George shouldered his burden and plodded along. Carey Wilson, scenarist, looked at a document spread out before him awaiting his signature. By it, he trans- ferred to his wife, Nancy, his home in Benedict Canyon which had cost him more than $100,000. In addition, he agreed to pay her $500 per month alimony for a year, give her title to their $18,000 automobile and provide $250 a month for the support of the two children. All he would have left was a $20,000 equity in a piece of real estate. Carey read the agree- ment slowly and care- fully. The love of his wife was gone. Now he was turning his back upon most of his worldly possessions. He must find another place to live. pinto that hones built my dreams,” he re- marked as he reached for a pen. “It is everything to me. It now is my only love, but I’ll give it to Nancy. We both must face about and start life over again.” A scratch of the pen, a heartache and a new chapter in his life had its beginning. Evelyn Brent was married to Bernard P. Fineman in New York, November 21, 1922. They sep- arated in February, 1925, and were divorced in August, 1927. Their total life together was two years and three months. For which, according to an agreement produced in court, she would receive: $200 a week until $52,000 had heen paid. Life insurance policies made out in her favor for $50,000. Jewelry, stocks and bonds in an amount unnamed. Grand total for twenty-seven months—somewhere be- tween $102,000 and—hecause of the stocks and bonds— no one knows exactly what. Except Bernard P. Fineman. Evelyn has since remarried, taking a comfortable little fortune into her new home. Some of the alimony payments in Hollywood are suffi- cient to make the average man and wife dizzy as they contemplate them. Take the case of Josef von Sternberg and Riza Royce, for example. Married in 1926, they quarreled and separated repeatedly, only to go back to- gether again. Riza told a divorce judge that Josef was sullen and often struck her. “He was always looking for a fight!” she contended. The final separation came in 1930 when Riza sought and obtained a full-sized decree. A property agreement was approved by Judge Marshall F. McComb in which Joe agreed to pay Riza $25,000 cash outright and alimony of $1,200 a month for five years, or a total of $97,000. How’s that for a harvest earned spasmodically in less than four years? Ninety-seven thousand dollars! And the Court didn’t mean maybe! Joe was behind in a monthly payment not long ago and Judge Lester Roth fined him $200 for his delinquency. Riza now has her final decree while the $1,200 monthly alimony will continue until 1935. Estelle Taylor's harvest cost Jack Dempsey the $100,- 000 home on Los Feliz Boulevard, $30,000 in cash plus $10,000 for attorneys’ fees, and three automobiles. Jack gave a mortgage on property in Madera, Fresno and King counties, California, and on a building in Los Angeles, to guarantee the payments. They had lived together six years. When Estelle divorced (Continued on page 107)

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By iN AY, It was tragic, her SHARON reason for being late atthe premiere. And it was sort of sad, the things the crowd whispered when she did arrive at last. A stirring incident from Garbo’s life Illustrated by doa e7k. We-l ech Before the chauffeur could get to the limp form, Garbo herself was there—her gor- geous dress trailing in the dust. The poor dog was a symbol to her. A symbol of something that had hap- pened before . . . Harry Bannister—long before they'd thought of divorce. Marie Dress- ESAs © ordinary pre- miére. Anybody could see that, from the tense way in which the curious throng outside the theatre watched the arriving Stars and celebrities. True, all the regular fea- tures of a Hollywood opening were there. Rib- ler was the next arri- val and the crowd ap- plauded when she waved her hand to someone she had glimpsed in the mob. But over that waiting throng hung an atmos- phere of tenseness. The same sort of tenseness as when one waits for a child to be born. For along the sidewalk grape- vine had run a disturb- ing rumor. “Garbo is coming!” Premiere habitués re- bons of light were streaking the California night. Roses were be- ing dropped from the Goodyear blimp, which was circling above the theatre. Lew Cody, master of ceremonies, was greeting each new- membered together the comer cordially, with an last time she had ap- invitation to say some- peared publicly at an thing into the “mike.” But there was something else. A opening. Before life and love had struck her down and vague air of expectancy, that lent color to the evening. forced her into hermitage. She had been a gay, young | As if the crowd outside were waiting for something. Greta then, swathed in a Juxurious white ermine cape, Somebody. with orchids on her shoulder, and clinging to the arm of Joan Crawford and Douglas Fairbanks, Jr., made a_ her lover, John Gilbert. A lot of water had passed under | leisurely entrance, stopping to say “hello” into the the Hollywood bridge since then. Greta had become a | mike, and were followed by Ann Harding and husband, world enigma, a creature of (Continued on page HILL) 47

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ODERN SCREEN PROSPERIT Y Marie Dressler and Polly Moran are at it (M-G- M) again. Their laugh-getting rivalry, this time, results from mother-in-law jealousy when Marie’s son (Wallace Ford) marries Polly’s daughter (Anita Page). Like the title, the story is particularly timely, with its homely little antidote for Old Man Depression. In her more serious: moments, Marie suc- ceeds in re-establishing prosperity in her home-town. When her grandchild needs an operation, she “borrows” the necessary funds and decides to drink poison so that her insurance money can replace — what she has purloined. She takes the “poison” ... but never fear, there’s a happy ending. IS MY FACE A well-told story of the ins and outs of a RED? peep-hole columnist’s life with a newspaper- | 2 : speakeasy-backstage setting. Ricardo Cortez (RKO-Radio) scores (albeit rather mildly, remembering | “Symphony of Six Million”) as the ruthless, | swaggering news racketeer who falls for the good-lookers on Broad- way and Park Avenue. He doesn’t allow his stage-actress fiancée, | Helen Twelvetrees, to interfere with other amorous pursuits. The climax of his dirt-dishing career comes when his column breaks the news of a speakeasy murder, with the murderer out “to get” Cortez. 1 Jill Esmond, the moneyed blue-blood who momentarily finds the | columnist thrilling, proves herself capable of bigger roles. AMERICAN Faith is the theme of this inspired story . which was originally titled just that. With MADNESS the present day giving so much publicity to | (Columbia) the depression, this story of unflagging confi- dence, so imperative for the betterment of cur- rent conditions, comes like a drink to a man dying of thirst. Walter Huston is excellent as the president of a bank whose years of service threaten to topple over when gossip exaggerates a $100,000 loss to millions in the bank’s funds. Depositors are panic-stricken. But Huston saves the day. In Huston’s support, Pat O’Brien, Constance Cummings and Kay Johnson add much. A picture worth your consideration. AS YOU A glamorous star in a glamorous story. E Garbo is framed in a story of romantic intrigue, DESIRE M played against the luxurious background of old (M-G-M) Italy. We finad Zara (Garbo) singing in a café, | the hard-drinking mistress of a diabolical novelist (Eric von Stroheim). She is recognized as the wife of an Italian Count (Melvyn Douglas), who had been kidnapped and maltreated by soldiers ten years previously. Zara is restored to her husband. The Count and his “Countess” are soon bound together by an all-consuming love. Yet the doubt remains—is Zara really Maria, the Countess who disappeared? One isn’t sure. THE Imagine Joe E. Brown as a Texas cowboy with a ten-gallon hat, alone in New York with TENDERFOOT a $20,000 inheritance! Already you know Joe’s (Warners) new one is funny. Immediately he gets mixed up with a shady | stage promoter (Lew Cody) who trades him an interest in his new play plus a desk and a secretary (Ginger Rogers) for his money. The show is a fiop on the road, but with new capital, Joe takes | it to Broadway. The cowboy costumes disappear and they play the show in Shakespearean rig . . . which slays the audience and the show is a hit. : If you like broad comedy and laughs, see this one! |

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R F V i F W S Don’t just “go to the movies.” Read these | reviews first and choose your shows wisely John Boles’ dramatic force, which hasn’t BACK STREET been too evident in some of his screen por- : trayals, shines brilliantly in his role of Walter (Universal) Saxel, whose youthful impatience deprives him _of the right to marry the girl who should have . been his wife. Irene Dunne is the Ray Schmidt of Fannie Hurst’s tenderly tragic story of a life-long love which never culminates in marriage. Miss Dunne scores both as an actress and a beauty. The characters are carried from youth to maturity, and the pro- duction is beautifully executed. Director John Stahl deserves credit for his sympathetic handling. In support are June Clyde and William Bakewell. Like so many others, this title is misleading. SOCIETY || For the story revolves, not around Park Ave- GIRL || nue, but around the fight-ring, with Jimmie Dunn as the white hope, and Spencer Tracy, (Fox) his stalwart manager. The society girl (Peggy Shannon) almost ruins the Kid’s box- ing career when he falls all the way in love with her, only to learn she was “fooling.”” Just looking for a little excitement. However, she proves true-blue, and the fade-out sees Dunn on | his way back to the championship. Jimmie Dunn and Peggy Shannon are both good, but the real acting laurels go to Spencer Tracy. If you liked George Arliss in “The Millon- A SUCCESSFUL aire” you'll revel in his characterization of a powerful financier who longs for simplicity CALAMITY and homely ease in his family life. Upon re- (Warner Bros.) |, turning from a year’s business trip abroad, || Arliss discovers that his young wife, polo-playing son and débutante daughter are growing away from him in the merry-go-round of social engagements. In protest, he informs them that he is finan- cially ruined, hoping to regain the intimacy of the happy family they once were. His ruse is gratifyingly successful. Arliss is Arliss. Mary Astor as his wife, Evalyn Knapp as his daughter and William Janney, the polo-playing son, are excellent. And still Tallulah Bankhead is waiting for THUNDER her big opportunity. Too much dialogue and too little action. BELOW It’s the old triangle—husband, wife and (Paramount) lover—cropping up amid a picturesque tropical locale. The husband (Charles Bickford) becomes blind. Through pity and loyalty, his wife and the man she has learned to love (Tallulah and Paul Lukas) cannot confess their consuming pas- sion to the blinded Bickford. There’s only one way out of her | troubles for Tallulah—suicide. | The three principals turn in some swell acting. But even their ' combined talents aren’t enough to make the picture quite click. i Eugene ON GTS eae te cones oe : STRANGE | woman’s emotional life is definitely beneiitte 1 through its filmization. The most gratifying INTERLUDE accomplishment made by microphone and cam- (M-G-M) era is the dexterity with which the characters’ | thoughts are verbally relayed. is Norma Shearer gives a most interesting performance as the ~ woman with three loves—her husband, her doctor-lover, her friend. ' The artistry of make-up and characterization is a joy to behold. Clark Gable is the doctor; Alexander Kirkland, the husband; Ralph Morgan, the steadfast friend. Maureen O'Sullivan and Robert Young represent the second generation.

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er] Ann Harding fans will welcome the physical change in their favorite, heretofore unbeautified for the camera. Her hair is waved, her gowns striking, for the role of a woman who divorces the man she loves passionately, under the pressure of clashing temperaments and poverty. She finds well-being and contentment with a second husband (Irv- ing Pichel). But always the fight against remembering her first love is a losing one. Laurence Olivier attains almost co-starring proportions as the handsome “first love’ Ann cannot forget. ALL NEW Saal Jimmie Cagney plays the uncouth, roughneck boxer who has bright-lighted himself out of the lightweight championship. Recuperating out West, he falls for a widow (Marian Nixon) who is flat broke. For her, he fights the Mexican champion. He vows he'll send for her after his come back in the Big City. But a New York blonde (Virginia Bruce) almost spoils his promises. Then the fade out, in which he kicks the blonde in the bustle and flys home to Marian. As the title suggests, you will see the police at work tracing criminals with the aid of radio cars. Robert Arm- strong and Russell Hopton are fellow officers in love with the same girl (Lila Lee, who never looked better.) The story takes these two through police training school to exciting days as members of the force fighting gangdom. This marks Lila Lee’s first screen part since her re- turn to health. June Clyde and Andy Devine are effective in smaller parts. Armstrong and Hopton add much to an unpretentious entertainment natural. 50 WESTWARD PASSAGE (RKO-Pathé) WEEK-END MARRIAGE (Warner Bros.) WINNER TAKE (Warner Bros.) FOR OLD RADIO PATROL (Universal) FORGOTTEN COMMAND- (Paramount) A story of a Boy (Norman Foster) who didn’t make enough money to marry the Girl (Loretta Young) unless she kept on working .. . so she did. _ When the Boy has to pass up his big chance—an op- portunity to go to South America—because of the ties of marriage, things get steadily worse. You'll love the scene in which Loretta tricks Norman into proposing. In fact, Loretta’s sincerity and Foster’s humanness~ carry this picture to some real dramatic heights. Faith Baldwin’s story is well directed. MORALS (M-G-M) | There’s a definite moral written into the well worn theme of modern children breaking away from home ties to their personal detriment. So if you come, bring the family. The if lies in the picture’s general mediocrity. Robert Young does well as the youth who, contrary to his mother’s wishes, goes to Paris to study painting. Another “modern, wilful child” is portrayed by a new actress, Margaret Perry, who is only fair. Lewis Stone and Laura Hope Crews as parents give what really good acting there is in the picture. MENTS The title proves that the studio didn’t think you would remember “Ten Commandments” ... from which this one is made. But we’re sure they’re wrong . . . in fact, we are sure youll recognize some of the scenes. This picture, half old-timer and half modern, doesn’t rate much of a rave as far as entertainment goes .. . but it does accomplish two things: A chance to judge the new importation, Sari Maritza—and probably find her “just fair.” Plus the opportunity of watching some real swell acting by a beautiful girl: Margaret Churchill.

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MODERN SCREEN'’S GALLERY OF HONOR Photograph by Powolny We honor Marian Nixon for being her own very sweet self in “Rebecca of Sunnybrook Farm.” Si

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& Photograph by Hurrell We honor Melvyn Douglas for the thrill of his exciting new personality in “As You Desire Me.” 52

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Ferenc Photograph by -end Marriage.” “Week val = 2 2s) is) co 4 = iss} LL = 33 ~~ 2) 2 ke 7) Ae J 2) es Oo iS 3 o = is = o bes fo} —) 30 = trigu in ingly increas We honor an 53

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FRANKEST T was to get a true estimate of the Pickford-Fair- banks domestic situation that I went to talk with Mary Pickford the other day. I found that: Mary intends to lead her own life and not to be “bossed” by anybody. And that “anybody” includes Douglas Fairbanks. She never had any intention of joining Fairbanks in Papeete, in fact had deliberately come to New York and taken a three months’ lease on an apartment. She is willing to look the problem of complete divorce in the face, if necessary, and will stake her future on the common sense of the American public as to its effect on her future career. She wants Clara Bow to play with her in her new picture and if Clara is good enough to steal it, so 54 - : = og Mary . » « From now on will not be bossed by anyone at all. She would like to have Clara Bow in her next picture. These and other startling announce- ments are in this refreshingly frank and honest feature— By HANK ARNOLD Mary would like to have Clara Bow play with her in her new picture. Mary no longer wants to be the sole star of a picture. MARY PICKFORD’S INTERVIEW much the better for Clara, Mary would generously agree. She never was in favor of much of the entertainment of royalty which has gone on at Pickfair these many years. All these and many other interesting, to me at least, vignettes of the Pickford character were picked up the other day on a blue covered chaise longue on the 21 floor of the Sherry-Netherlands Hotel in New York City where Mary had been living since one week after Douglas de- parted to play Crusoe in a Tahitian jungle. “You know,” said Mary with a rush, as we sat down, “all my life I’ve been bossed. I was the baby of the family, always someone to be petted and guarded. First it was mother, then Jack and Lottie, and finally even the public. Someone has always told me what to do and what to wear and even discussed whether I should bob my hair.

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ts Even when mother died and I became the head of the family, there was always someone bossing me.” The famous Pickford chin came up firmly. “Well it’s all over and no one —no one—is going to tell me what to do or how to do it. I’m going to belong to myself again. All to myself.” When I had last seen Mary on the United Artists lot in Hollywood some three months before there had been great dark circles under her eyes and she had looked tired and strained. Today the new Pickford showed all the signs of the final making of a great and important decision. She looked girlish and lovely; the sort of girl that a college senior would be only too happy to take out for an evening. When. I first came in she had laughed and chuckled as we indulged in reminiscences of Holly- wood people and Hollywood things. SAT TD RAN Rie oe IEE eS Noe Meiigea? a ee RE Ln DS SS AP RTA Dg TEE Maes ERE te ELD BS UR conversation turned to the reasons behind her coming to New York. “Yes,” she said frankly, “I took a three months’ lease on this apartment as soon as Doug- las decided to go to the South Seas. No, I never had any intention of joining him there. That was a }) statement given out without my knowledge or au- || thority. “He writes that he can’t even get the necessaries of }| life there. I imagine he will be happy to get home.” He }| was too. See his expression in the picture (right). 1 She expressed no bitterness over the fact that Mr. }| Fairbanks has been at Pickfair scarcely three months }| during the past year, but after mentioning him she || switched the conversation almost unconsciously to the }| subject of divorce. She mentioned a recent article about || herself by Judge Ben Lindsey of Denver. }| “I believe he is absolutely right in his opinions,” she }| said. “If two people have ceased to love each other, the }|, position they occupy in the world is no reason why they should not be divorced. I believe if I make good pic- }| tures the world will not care whether I am married or }| single and if I make bad pictures it won’t make any dif- || ference anyway. }| “I am not living my life for the public and they have }| no reason to expect*me to do so. All I can do is to work “my very hardest to entertain them and I believe that |! is all they expect.” _ The writing of our talk at this point becomes very diffi- “cult because so much was said that was considered confi- ‘ i Pe gE aT 7G Rae “I believe that the truth if honestly meant and honestly || spoken, can never hurt anyone with the American public,” || she said. “I know that recently I have made too few pgs, and many of them have been bad. ‘Kiki’ was & a great mistake. I believe I know the reasons why my || pictures have been bad and can remedy them. I realize : | that the next few months will decide my career. | “I know, too, that some of the publicity given out about me has been false and misleading. There have been too many lies and half lies told about myself and every other || star in the motion picture business. I want to let the ‘|| public know all about me and I will never consciously try || to conceal anything from them. I am perfectly willing || to be judged as to myself.” And she meant it. Acme (Left) Wel- coming husuand Doug Fairbanks back from his South Sea trip, Al- though he has only been at Pickfair three months out of the past twelve Mary doesn’t seem to mind. Does that imply divorce? ROM that point we went into a discussion of her new picture as yet untitled, which Frances Marion is writ- ing. Although by the time this is published the film will be well along in production, Mary did not want too much publicity about it. Briefly it is a story of two sisters who fall in love with the same man. And for the role of the other sister Mary would like to have Hollywood’s sexiest red-head, Clara Bow. “It might even be advisable to co-star us,” she said. “I think the world has treated Clara very unkindly. She is a very great actress and her only trouble has been that she hasn’t known enough about life to live it the way she wanted to live it. I would-be proud to have her in a picture with me and if she can steal it, she well de- serves to do it. “Anyway, I am finished with these starring pictures. I am going to hire the very best casts I can and I want every one of the actors to feel (Continued on page 96) 55

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THE TRUE S$1ORT RICARDO € OR TES Photograph by Ernest A. Bachrach By WALTER RAMS EY ICARDO CORTEZ was born thirty-two years ago—on July 7, 1900. He was known as Jacob Krantz—as we told you in our !ast issue. His childhood was spent on New York’s Upper East Side—now a fashionable, then just a fair-to- middling neighborhood. A rather pathetic, reserved little boy, Rueanel literally could not conform to the East Seventy-Ninth Street boys’ “gangs” and their rowdy ideas of what was fun. He had a lonely childhood, brightened only by his adored mother’s sympathetic understanding. Ric loved plays and the opera and concerts. Every spare 56 Cortez’ movie career has been more full of unex- pected successes and unex- pected failures than almost any other player’s in Holly- wood, When he began to slip in Hollywood he went to France and made a pic- ture on a small salary—with the prospect of getting the profits of its American re- lease. But it was a silent picture and just at that time talkies came in! (Below) In “Her Man’’—the picture in which he made _ his American come-back. penny went for tickets. He left school early—so that he could quickly make money and be successful. A series of poorly paid jobs finally brought him into contact with the movies. He got a small role in a picture and was to start work the following day. That night his father died. Two days later, his sister was taken. Ric was the head of the family. The poor little movie job went to someone else. Ric took any work he could find. Clerking in Wall Street. Extra bits in plays and pictures. One day, delivering some securities to Manuel Goldstein of Universal, he learned that Universal was looking fora leading man for

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(Right) With Helen Twelvetrees in his newest RKO production, ‘Is My Face Red?’”’ Don’t be annoyed if they've changed the title by the time it plays your favorite theatre. (Above) With Wally Beery in “Pony Express.” It was a Paramount picture and was made in 1925. (Below) Ric being directed ‘ by Raoul Walsh for a scene in “The Spaniard,” (1925). At the extreme right you'll find Gilbert Roland. Von Ric Norman Kerry, whom he knew, and offered to find Kerry Stroheim’s “Merry-Go-Round.” suggested and act as go-between. His offer was accepted—and he was to be paid a commission if he would accompany Kerry to Hollywood and deliver him to the studio. Naturally, he eagerly accepted this first real break. . «+» When Ricardo got his first chance to go to Holly- wood he was supremely happy. But if he’d known the heartbreak and the dis- appointments in store for him—would he have gone? (Left) With Irene Dunne in ‘““Symphony of Six Million.” Ric secured his part in this picture by mak- ing a test of himself for the réle. HE humming of the train which carried Ricardo Cortez and Norman Kerry towards Hollywood seemed to sing a song of future success in Ric’s ears. It was the first time he had ever been more than thirty minutes from New York—everything was exciting, thrill- ing. And their destination, Hollywood, would be the open sesame for good fortune and success; of this Cortez was certain. He had everything before him, his big chance. Seven years later, making a return trip from Holly- wood to New York to fill a vaudeville engagement, this same man was contemplating suicide because of this “good fortune and success” he had found in Hollywood. Those seven years between contained a whole lifetime of experience for Ric. Norman Kerry and Ric were whisked from the rail- road station to the Beverly Hills Hotel, where they had been registered with expenses paid by the Universal company. The hotel with its sweeping lawns, palm trees 57

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Culver Service and profusion of terraced flower gardens seemed amaz- ingly beautiful to Ric. He and Kerry hurried to their room, took a hasty shower bath, put on fresh clothes and were driven to Universal in a studio car. They were shown into the presence of Eric von Stroheim and Irving Thalberg, then general manager of that studio. Von Stroheim took Kerry to the wardrobe department, and Ric was left alone with Mr. Thalberg. Ric realized that having delivered Kerry to the studio, his job was over, with $300, a free trip to Hollywood, and a week’s hotel expenses to the good. But now? He knew he did not want to go back to New York and he frankly told Thal- berg that he would like to remain in California, asking the youthful executive’s advice as to his prospects of clicking as an actor. Ric did not ask for a job. Never in his life has his aloof, retiring nature permitted him to ask anyone, stranger or intimate, for work. _ Thalberg must have realized the restrained appeal back of Ric’s casual questions, for he said: ““There’s a ‘heavy’ role in Hoot Gibson’s next picture. Not much of a part but it would pay about $125 a week. Would you be interested ?”’ Interested? Not until that fateful picture was finally completed and Ric could see his own shadow on the screen at the studio preview, did he really believe his good fortune. And in Ric’s first pay envelope, instead of the $125 he was expecting he found $175—thanks to Thalberg. 2 wasn’t long after the expiration of that first free week at the Beverly Hills Hotel that Cortez realized it was far too expensive for him. He had heard of the Christie Hotel on Hollywood Boulevard, where people of the film world gathered, the place to be seen if one wanted to get ahead in the picture game. So he moved to a $30 per week room there. Two weeks had passed since completion of the Hoot Gibson picture and still no sign of another job. Ric visited all the casting offices hopefully but always the reply was the same: “Nothing doing.”’ He didn’t let the discouragement he felt creep into those glowing letters he wrote to his mother, telling her of the promising offers he was getting. At the hotel he struck up nodding acquaintances with several film folk—William K. Howard, then an assistant director, Shirley Mason, a popular star, and Jack White, who was directing comedies. Cortez was in a peculiar position: he wanted work, any work. Stunts or even slapstick comedy. But his well-groomed appearance, his air of dignity and aloofness kept any such offers from 58 Ricardo once had the (Extreme left) In the days when he played opposite Dorothy Mackaill. (Second left) With Bebe Daniels in ‘Argentine Love” (1924). (Left) With Maria Corda in ‘‘The Private Life of Helen of Troy,” (1927). honor of playing opposite the great Garbo. It was Garbo’s first picture—and playing opposite her wasn’t quite the honor then that it is now. “Torrent,” the picture ‘was called, and it was made in 1926. Culver Service coming his way. Once Jack White asked him, “Do you know any fellow who would take some falls in a comedy today for $50?” “Yes, me,” Ric replied. “Don’t kid me,” answered Jack with a laugh. Ric’s pride prevented him from explaining his financial pinch to the few friends he had made around the hotel. Long weeks of nothing to do when Ric felt he should be working toward his goal—stardom. To pass time he would take the street car to the beach almost every day, but always he was back in the hotel lobby at six o'clock for that was the hour of the return of the directors and writers from the studios. There was always that possi- bility that they would see him and “discover” him for a big role. = morning a young actor told Ric there was extra work to be had at the Goldwyn studio in a Mae Murray picture. Mae’s husband, Robert Leonard, was directing it. Back in New York Ric had frequently worked “extra” for Leonard, but even so he was sur- prised when the director cordially recognized him. “You can be Mae’s dancing partner in this tango scene. Hurry and get into your full dress suit,” said Leonard. Ric’s face fell. He had no full dress suit and no possi- bility of getting one. His keen disappointment must have been more obvious than he supposed, for Leonard had no more than turned away when a young fellow walked up to him. “Got a dress suit?” asked the boy. “No,” answered Ric. They both grinned. “My name is William Haines,” the other introduced himself. “I’m on a stock contract with the studio. . . doing extra work to get used (Continued on page 99)

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VERY} Says this author: “If a, person can go through the / fires of Hollywood with- | out being changed or dis- || torted, it’s a pretty good sign that he or she is’ made of the real stuff. H ZaSu is.” (Below) With h her little girl, Ann. By MARY SHARON . . . Just as the characters she portrays on the screen are always thwarted in their quest for happiness, so ZaSu Pitts is thwarted in real life AVE you ever noticed that those persons who her. Yet she is uncomplaining. She even makes light have the right to quarrel with life usually are of the things that have happened to her—the tragic things the ones to scoff at their own troubles and help that would have wrecked an ordinary girl. But there is shoulder those of the other fellow? ZaSu Pitts the secret. ZaSu is not ordinary. is this sort of person. There is hardly a single brand of It. is twelve years since I met her and my first im- trouble and unhappiness that has not, at some time or pressions of her still stand, which is saying a great deal. another, fallen upon her slim shoulders. Culminating in If a person can go through the fires of Hollywood—its her recent divorce which, it is said, was a great blow to success and fame, its disappointments and struggles— 60

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| good sign that he or she is made of the real , ence from it-for herself and little ones. without being changed or distorted, it’s a pretty stuff. ZaSu is. At this moment, I can think of only three girls who have ventured into Hollywood’s melting pot and have emerged without losing some of their substance and ZaSu is one of them. I’ll save the other two for some other time, for this is ZaSu’s story. It's a plain tale, too, of a fight against great odds, a battle that is still going strong. ZaSu was given her first intro- duction to the world on a little farm in Kansas. When she was a year old the family moved to Santa Cruz, California. - Her. mother was Irish. Her father was an ex-soldier of American stock. ZaSu was born under an unlucky star, but she had gifts from both of her parents that were to prove invaluable. From her father—dreams. From her mother—courage. Her father La Barbara was a mellow old soul, who was always visualizing things || that never came to pass, and dreaming dreams that never came true. He lived in the future, while his wife strug- gled to ease her brood through a fearsome present. At || last, he caught up with his future and his dreams ended. Then the government turned his pension of $25 a month over to his widow and she managed a precarious exist- She somehow held the home together and put her children through school, but there was never enough of anything to go around. S the next to the oldest child, much of the burden fell upon ZaSu’s slim shoulders. She had a bicycle and by delivering packages for the neighbors managed to sup- plement her mother’s pension. But she never quite fitted | in with the rest of that little, wanting brood. Like most persons of genius, she was misunderstood. More than anything else, she longed to be one of them, but she re- mained an alien to the family. Life was hard on her from ZaSu is in Universal’s big special, ‘‘Back Streets.”” Dunne with her. You'll see ZaSu, too, in “West- ward Passage” with Ann Harding. (Above) As Trina in Von Stroheim’s ‘Greed.”’ put ZaSu among those at the top of the list. Tom Gallery, ZaSu’s husband whom she recently divorced. With him is the little son of Marr ZaSu adopted. That’s Irene the first. Grade school was not so bad, for children are not so particu- lar, but in high school, she was utterly alone and lonely. There were so many places for young folks to go, so many things—happy things—for them to do. But ZaSu was always on the outside looking in. She was never asked to any, except the formal, class affairs. The boys never asked her for a date, and she missed out on every- thing because she did not have good That enough clothes to go. Sa child, she was unlovely— lean, lanky and big-eyed. She grew even more lean and lanky, if that were possible, as she grew older. But she had a certain grace of movement which she had gained from her cycling. Her ankles were nicely slim and her hands beautifully shaped. But it was her eyes, even then, that one noticed first and last. Large, brooding eyes that dominated her small, oval face. They held the wistful intensity of a soul starving for companionship and understanding. Tragic eyes. Only one bright spot stands out in her entire high school career. She played the leading role in a play put on by her graduating class. The billing read: “ZaSu Pitts in Fanchon and the Cricket.” Friends, who wit- nessed her first starring effort, advised her to try for an- acting career, but ZaSu did not succumb to its lure im- mediately. Her mother finally persuaded her to try her luck in the movies. She came to Los Angeles alone, secured a cheap room. at the Lankershim Hotel and set out immediately to con- quer Hollywood, which was then little more than a suburb. Those first few days proved a nightmare. She made the rounds of the studios every day, then, when she returned to Los Angeles, instead of resting for her tramp on the morrow, she devoured the city sights. She did not speak to a single soul in the hotel. She only slept there. Every waking moment that she could (Continued on page 106) 61 (Left) whom

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WHEN THE STARS ARE THE AUDIENCE Al. dete RINGSIDE (Right) Claudette Colbert and Norman Foster. They’re still happily mar- ried in spite of the fact that they prefer to keep separate establishments — in Hollywood. If you remem- ber, they did the same stunt in New York—we had a story about it some time ago. (Upper right) Jimmie Dunn and Maureen O'Sullivan. Maureen is Jimmie’s newest romance. (Left) Pat O’Brien—the man who always gets cast as the cub re- i porter—and his pretty young wife. | (Below, left) George Barnes, the i famous cameraman, and Joan | Blondell. Lots of rumors about | their being secretly married and | all that—but as far as we know i} they’re still just romancing. (Be- low) He-man Charlie Bickford. 62

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WHEN THEY’RE WATCHING INSTEAD OF PERFORMING (Starting at the top and reading clock-wise.) 1. Richard Arlen right smack up at the ringside. i 2. Frank Fay and Barbara Stan- | wyck. There’s talk of Fay’s going back into pictures. 3. A somewhat amazing picture of Jack Oakie. Who says he couldn’t play a villain and sneer beautifully? 4. Spencer Tracy with thoughtful mien. The gentleman with the dark glasses ) in the background isn’t George | Bancroft. 5. The exterior of the Hollywood Legion Stadium— where the fights are held every Friday night. These fights are one of the most popular Holly- wood weekly events with the players. Pictures on these and subsequent pages by Hollywood Newspictures

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PeneN THESSTCARS ARE THE AUDIENCE Edward G. Robinson Joan Marsh At the top of the page we have Maurice Chevalier. The pictures above show | (left) Conway Tearle and Ricardo Cortez and (right) George Raft. Some | of the ringside shots on this and the previous two pages were taken at the i Hollywood Legion Stadium and some at the Olympic Auditorium. |

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SIT BESIDE YOUR FAVORITE PLAYER-BUT DON’T STARE! tg We TRE aes BET Robert Coogan and his pére. TR. | Of course you've heard about Agua Caliente (Hot Water). And do the stars hate it! (Above left, reading left to right) Gilbert Roland, Larry Kent, a lady friend and Buster Keaton. (Above right) Keaton again and Dot Lee. 65

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WHEN THE STARS=ARE. THE. AUDIENCE AT THE RODEO Amid the thundering of the horses’ hoofs and the yelling of the cowboys, the stars join in with a chorus of audience approval (Above) Do we have to tell you who that is? It’s his wife with him. (Above left) Sally Eilers and Hoot Gibson, the main riders of the show. | This was taken before their separa- tion, of course. Did you read the i| story about their separation on page | 42? (Extreme left) Donald Dilloway | and Dorothy Jordan. They’re still rumored engaged, but they have not made any official announcement. (Above) No doubt William S. Hart is well able to give some construc- tive criticism about these doings at the rodeo. The youthful admirer’s mame is unknown. You can call him Joe. (Right) Big Boy Williams and Will Rogers. Maybe it’s pea- nuts Will is wolfing. 66

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YOU COULDN'T GET AS CLOSE TO SO MANY STARS IF YOU WERE REALLY THERE (Above) A general view of the grand stand where the rodeo was held. See Hoot over there ‘by the telegraph pole? No? Well, neither can we, but he’s there, somewhere. (Extreme right) Marian Nixon, Fox’s newest bet for big pictures | and réles. You'll see a new picture of her if you turn to our Gallery of Honor, starting on page 51. (Right) Tom Mix and his family. Would you reckon Tom knows anything about horses and rodeos? (Left) Reginald Denny and his wife, Barbara Denny. Reggy has temporarily given up acting and is directing short com- edies for M-G-M—to whom he’s under contract. (Above, left) No. 36 goes through his paces. Will he stay on or will he fall off? You tell us. (Above right) Will you just look and see what being on location in Honolulu did to Joel McCrea? Some tan—that makes a chap look so dark. 67

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WHAT YOU SHOULD KNOW ABOUT FOS Mg RENT ON DSS PSEA DSL Re E is five feet ten inches tall and weighs 165 pounds. His hair is black and seal smooth, his eyes light brown. Like Jimmy Cagney he grew up in Hell’s Kitchen in New York, and like Jimmy he does not use liquor in any form. The result of years of life in night clubs, his skin has a dead white pallor. George Raft is his real name. He made Hollywood sit up with a gasping “Look at that!” in “Scarface,” and repeated immediately with his swell portrayal of a killer in “Dancers in the Dark.” Overnight he was made. Paramount beat the other studios in signing him to a long term contract. And now they are as full of plans for him as the proverbial early bird is of worms. He was born September 27, 1904, on 41 Street be- tween 9 and 10 Avenues, one of the toughest districts in the world. A lot of his playmates turned out to be gangsters, racketeers, jail-birds of all forms. George has a cigarette case which is a gift from the Prince of =e PRE RS OSS De NE ESS ae ae PE EORGE By CHARLES GRAYS ON RAF Wales. He still, however, “cherce” for “choice.” He attended Public School 169 in New York, and later St. Catherine’s. After school and during summer vacations he worked as an electri- cian’s helper. He earned four dollars a week. It wasn’t enough. Then, as now, he was crazy for clothes. His grandfather was that joyous German who first introduced the merry-go-round into this country. The same enter- prising gentleman also prospected for gold in the early days of California, and made several small strikes. But little of this money came to George. And he did want clothes. A retired pugilist named Bert Keyes had a ring set up in a vacant lot near George’s home. There the boys of the neighborhood watched the professionals work out and often staged bouts of their own. George was fast and strong. At fifteen he decided to enter the profes- sional game. The next two years, as a bantam-weight, he fought twenty-five times. (Continued on page 109) says Rudy Valentino wanted George Raft to be his double! 69

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LET’S TAER ABOUT H ©O L bee | LARA BOW won't get that $75,000 offered her to star in “Children of Manhattan,” for Co- lumbia, before starting in “Call Her Savage” for Fox. Although Clara is eating with both eyes glued on the calorie chart and is undergoing daily work-outs with a irainer, she couldn’t lose enough pounds to look sylph- like for the camera earlier than the date for production to start on “Call Her Savage.” So they had to get another gal for the leading réle in “Children of Manhattan’—and. Clara loses out on the $75,000. However, there’s the possibility that Clara may play in a picture with Mary Pickford, no less! (See story on page 54.) i ARY COOPER is taking the baby chimpanzee he brought from Africa to board- ing school. Gary wants his pet to be well-behaved. “Tol- uca’ is the name he’s finally bestowed on his pet. That wasn't what it was christened, though! And while on the subject of Gary—one of the most amus- ing little intrigues was broken up when Gary Cooper came on to Hollywood from New York, bringing with him the Count- ess Frassco (Dolly Taylor). New Yorkers were getting plenty of tee-hees out of Gary’s predicament. You see, Gary’s been heavily attentive to the Countess, while Bert Taylor, the Countess’ brother, has been hot-and-heavying-it with Lupe Velez. Lupe’s idea of a good joke was to check up on where Gary and the Countess would appear on a certain evening. Then she’d make her entrance with Taylor and seat herself at a table adjoining Cooper’s. The only one who seemed to enjoy the joke was Lupe . with the others hemming and hawing uncomfortably. Wide World Angeles. Another of the big stars to willingly take a cut in salary is George Arliss. The ante for his appearance per picture has been reiuced from $50,000 to a mere $60,000. And Dick Barthelmess is mak- ing three pictures for the former salary for two. 70 Billie Dove and Bebe Daniels were among the list of prominent players at the reopening of Jack Dempsey’s Hotel Barbara at Los Estelle Taylor was there but she and Jack still insist no reunion. So ... Lupe’s joke on Gary. George Arliss A miniature fight in the | Are Mary takes a cut. Daniels-Lyon household. Brian and Ken Murray still that way? Tashman’s new clothes—and other news WOOE HE “Grand Hotel” premiére turned out to be a lucky break for a lot of independent producers. They set up their cameras and shot all the big stars as they arrived. And this footage will be incorporated in a dozen or so independent productions based on the Hollywood scene. From Tahiti, Doug Fairbanks brings the news that the paradise house which the late director, Murnau, built al an approxunate cost of $40,000 rents for a mere $40 a month! N honest to goodness fight threatened the Daniels- Lyon household—between little Barbara Bebe Lyon and her young guest, Irving Thalberg, Jr., to whom Norma Shearer is just mama. Barbara had a bracelet of her mother’s and Junior Thalberg wanted it. Barbara held on for dear life. And open battle was averted until Norma instructed her son not to forget he was a little gentleman. And that was that. There’s romance in the air over at First National. On adjoining sets, Mary Brian and Ken Murray are working. And if you haven't heard, Mary and Ken are supposed to be engaged since they did that vaudeville tour to- gether. Ken seems to be taking his movie career seriously now. He has a publicity agent, lives in the swank- lest apartment house in Hollywood and is in love with one of our most beautiful young actresses. Rumors are strong that the Fox. studio will merge with Warner Brothers. those _ high-salaried stars, Chatterton and Bill Powell will become Fox players—if the merger goes through. Elissa has splurged to the tune of $60,000 for a new home, for her husband, John Lawrence.

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Acme | (Right) We seem to remember Esther Ralston aboard the S. S. Paris as she left for Europe. Yes, that’s her baby she’s holding. In private life Esther is the wife of Webb Frey, Englishman. She’s going abroad for a seasonal vacation. a chap by the name of Will Rogers who once made an awful fuss about getting dolled up in a dress suit. And will you look at what they’ve done to him now? And he isn’t even registering a squawk. That’s what Hollywood does to you. He’s coming all the way from England to see his actress-author wife. Ruth Chatterton is planning a three-month European vacation . . . without Ralph Forbes. Ruth must know that this will give new impetus to those divorce rumors that have been hanging fire despite her and Ralph's de- mals of any domestic difficulties. [' Nancy Carroll wants to stay on at Paramount, she'll have to take a straight salary of $1000 per, with no bonuses in the immediate offing. The $1000 weekly has been Nancy’s contract figure for a good many months now —but when she got sort of Garbo-ish at the box office, the studio added some big bonuses to her weekly stipend. Now that Nancy has lost some of that box-office come- hither she’ll take the $1000 and like it . . . or else! “Num- ber 55,” with George Raft, is slated for her. Billie Dove and ex, Irvin Willat, may have stopped to chat together several times of late—but that doesn’t mean there’s a re-romance between these two or anything like tt. ey are friendly ... speak to each other .. . but that’s that. EOPLE are laying bets as to whether or not Lil Tashman can maintain her title of ““The Best-Dressed Woman in Hollywood” with her latest sartorial splurge. The fourteen trunks which Lil brought back from Paris and New York have Hollywood gasping. She has sports clothes of satin and silk—and evening gowns of cotton. Her new hats sit on one side of the Tashman head with everyone on pins and needles waiting for them to slip off. They're called saucer hats, and Lil says you.can buy them anywhere from fifty cents to fifty dollars—the tinier the costlier. She has sweaters with décolleté backs—and an evening wrap fashioned of woven straw! Her sports coats are of brilliant hues, padded as much as a man’s top coat. June Collyer Erwin is preparing for a visit from the stork sometime in the fall. And are June and Stu happy! Wee DRESSLER splurged and bought the King C. Gillette estate in Beverly Hills. It’s one of the show places of Southern California, built in Georgian style. There are gorgeous grounds and elaborate flower gardens, and the house has fourteen rooms. (Below) Arlene Judge and Roscoe Ates parade in the latest beach at- Miss Judge’s costume is one of the snappy 1932 models. Mr. Ates’ is also very smart—quite the thing to wear if you want to get a lot of attention and neck craning. Does your neck crane? tire. 71

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Hard indeed is the job of filming an exciting Western drama. This magnificent shot shows the “Hello Trouble’’ company at work. Buck Jones and Lina Basquette are in it.

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| | : Sie PA SE aE George O’Brien Buck Jones Tom Keene : HUNDERING ; - hoofs, hear them? ‘ Snorting bronesand Fe squealing calves, the yip-yip of cowboys, the > rat-a-tattoo of exploding jsix-guns, these are the | sounds of the “horse opera.” And the “horse _ opera” or Western picture, -if you don’t know, is a grinding, grueling cinema _ mill that takes women and breaks them, that takes 'men and makes them—and | fills their laps with gold _and gold and gold. _ It is the stellar réle of _ these sagebrush sagas that represents the hardest job in _ Hollywood. ___ King of all the cowboys was Tom Mix that summer | noon he rode Tony, his wonder horse, through the grand om of the Astor Hotel in New York City. Call it a madcap prank or a publicity stunt, it was typical of its time. The western picture with its hard-riding, straight-shooting hero was America’s favorite form of | entertainment. And Tom Mix’s salary was the unbe- | lievable sum of $17,000 a week. That is a salary, that $17,000—especially when you re- member that Metro-Goldwyn officials have been wooing Greta Garbo with a mere $10,000 a week, and Garbo is just about the biggest name on today’s cinema billboards. The other side of the picture, though, is different. While Mix in ten gallon hat and dinner suit of white buckskin and silver studded boots was waltzing Tony across the Astor’s ballroom, a cowgirl from Montana named Lena Holquist—she never played under that name —was swallowing veronal in a Tia Juana honky-tonk. Why? Because a half-dozen seasons in the saddle under sun and wind had crisped her complexion and knotted her muscles until her only future was back in the tumbleweed waste whence she came. She hadn’t learned what Holly- wood expresses today in the adage: Once a cowboy, al- ways a cowboy—or cowgirl. DFTs ee TE By CURTIS _ Generally, for a woman to work in Westerns is to enter the quicksands. Lillian Gish and Mabel Normand were cinema cowgirls but their tremendous talent saved them. More recently, Loretta Young and Sally Eilers, threatened with--oblivion, successfully fought their way to finer ‘parts and pictures. But the others, all those others who ave donned Stetsons and buckskin skirts, where are they? . . « Hats off to the Western stars— those men of steel who brave hazard — after hazard for the sake of putting genuine realism into their screen efforts THE HARDEST JOB IN BOLLYWOOD Tom Mix Hoot Gibson Ken Maynard They are forgotten, lost in a limbo that is crowded with anonymous lovely la- dies who furnished “love interest” for six-gun super- men from Bronco Billy and William S. Hart right down to George O’Brien and Tom Keene. RA CTI GAIL Y , the Western picture is a man’s picture. Whirlwind pursuits and surging stam- pedes leave little space for * dainty femininity. Or art, for that. matter. Its one purpose is to entertain— and if you want to know how much it entertains, just ask the little boy next door to name his film favorite. In certain circles, however, it has become fashionable to greet the mention of a cinema cowboy with curled lip and lifted brow. The inference is that he is an unlet- tered roughneck or a tailor’s dummy dressed in chaps and sombrero. Is either inference true? Rise up, you Western fans, and hurl your deny. The man in the cinema saddle is a better man, nine times out of nine, than his brother in the business who sticks to drawing room and boudoir scenes and sneers at break-neck chases along the Tonto Rim. He has to be better in order to hold his job, for his public is the most merciless in the world— and I’m still talking about that little boy next door. But what about this stellar role, this star’s job that is the hardest job in Hollywood? Listen. . What other actor must absorb the punishment of bare- back rides, dives off cliffs, slugging matches, and knock- out punches in picture after picture? What other actor must work on locations where, invariably, the sun is hot- test and the wind strongest? What other man in pictures dares broken legs, arms, or neck so often? Only the cow- boy! He is a perennial daredevil. Check off the magic names. ... Tom Mix, Hoot Gib- son, Ken Maynard, Buck Jones, George O’Brien, Tom Kkeene, Tim McCoy. Drawn from the four winds, their collective hold on the minds of thirty millions of Ameri- can youngsters is unrivaled. Oddly but logically enough, whether ranch or town-bred, they share a similarity of background that is amazing. Invariably, they were ad- venturous wanderers before they struck the gold lode of Hollywood; invariably, they were ready to fight at the drop of a hat. (Continued on page 88) 73 MITCHELL

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(Starting above and reading counter clockwise) 1. Regis Toomey and his wife. 2. Sari Maritza, that new im- portation. 3. George Ban- croft. 4. Paul “Lukas, a friend and Wally Beery. 5. Lukas and Mrs. Toomey. Pictures by El Mirador Hotel

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(Starting above and reading by the clock) 1. Florence Lake and Mae Clarke. 2. Virginia Valli, Lydell Peck, a friend and Charles Farrell. 3. James Cagney. 4. Lucille Powers and Ken Maynard. 5. “Schnozzle’” himself.

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HELEN. | WE ee Write to Virginia T. Lane about your own particular ward- robe problems. Address her in care of MODERN SCREEN, 100 Fifth Avenue, New York, N. Y. Please enclose a stamped, self-addressed, envelope. She'll be glad to help you (Above) It gives height, that evening gown of dove-grey crépe roma on the left. Its lines help, of course, being long and unbroken, with just enough graceful fullness achieved by a center godet. Helen gives the dress a gay accent or two with a buckle of sapphire and crystal and a tricky blue braided silk necklace. (Above, right) Helen puts on a beige crépe dress with brown linen fixin’s. The length of the dress and the simple lines give her height. (Right) A charming gown for formal afternoon or informal evening. The plain black chiffon lines are given distinction by means of a surplice closing and sash of white satin and black ciré ribbon, By VIRGINIA T. LANE HEN you go out to visit Helen Twelvetrees at WW her beautiful new Brentwood home, you find yourself playing ping-pong with an adorable youngster. Golden curls tossed about by the four winds, wide, innocent blue eyes, and brilliant red pajamas that don’t look like pajamas at all. They’re knitted and they have short, skirt-like trousers and a middy blouse. Then a couple of nights later she invites you to dinner. It’s a surprise party. A surprise on you. Because the Helen you thought you knew has disappeared. In her 76

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WA ren. OBE— anid YOUS OW CAN | ee Rh, IM AKE MYVSELE COOK DETIVE HELEN FWELVETREES Reeser OL SOEVYE THIS 7PROBLEM place is a ravishing young moderne. . Sleek coiffure, drop earrings that dazzle, a gown that says its wearer knows all the smartest and most interesting things to do. It’s puzzling—this dual personality of Helen’s. And gentlemen love puzzles. “They like variety,’ Helen stated when we went into conference on this clothes matter in a corner of her living room. “That's why no woman can afford to set- tle into one mold for a life- time. Of course, she must continue dressing according to her type, following the lines that are best suited to her ; but she can still alter her appearance whenever she cares to. There’s no type that doesn’t permit of variation. You may have to stick to long, simple lines as I do but that doesn’t mean your wardrobe has to be standardized year in and year out. “Two years ago I suppose I would have laughed at the idea of wearing small sailors. I can just hear myself say: ‘What! Fancy me in such hats! Well, today I’m wearing them—and liking ’*em! I have several and I consider them about as smart as anything I own. For one thing, the upward tilt at which they’re worn gives me height. That’s an advantage. And then they’re so right with these new suits. Just tailored enough. novelty pins. can see Helen in a pair Two shades of blue and (Above, left to right) The sort of a suit that’s just grand to wear in the summertime. is light-weight wool and the jacket ties with an amus- ing red bow. Next, Helen’s best pajamas—black velvet trousers and a silver lamé jacket. The trousers are cuffed at the ankles—a nice idea for small people, since it adds to the general cute effect of the ensemble. The jacket fastens at neck and waist with a pair of And now on the extreme right, you of quite tailored pajamas. the blouse is white satin. BOUGHT a black sailor of shiny straw with a wide band of black, grey and white ribbon not long ago. It was to wear with a grey suit of light weight wool that I have. (There’s a pic- ture of suit and hat on page 79.) It turned out to be such an attractive outfit that I wore it in ‘State’s Attor- ney. The suit is softened somewhat by a rolling sur- plice collar and tiny cuffs of white crépe. The coat’s double breasted and has big patch pockets and an epaulet arrangement on the shoul- ders. That gives me the effect of a nice wide top. Clever, isn’t it, this new cut of clothes? A tremendous help, too, to small girls with that difficult combination of narrow shoulders and a well developed bust.” Oh, my dears, did that last register properly? It’s one of the most outstanding features of summer 1932 style. You absolutely have to give your shoulders that wide look, either with trim little epaulets like Helen has on her suit or with capes. Scarfs will do it, too—those that are draped like a folded handkerchief and flung over one shoulder. And yokes made in one with the sleeves offer their assistance. It’s the greatest boon we women have had in years because all too many of us have developed wrinkles wondering how on earth to overcome that 77 The material

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(Right) No, it isn’t a coat—it's a sutt. One of those dress-up, ‘‘after five o'clock’ suits. Very sheer black wool, with shawl collar and deep cuffs of ermine and rhinestone-edged black buttons. The length is just right for the rather formal sort of suit that it is. (Below) First, a group of black and white accessories. The little hat is stitched white piqué with a black grosgrain bow. Second, a pair of brown and beige oxfords and a brown bag. pinched-in top, large “buzzoom” and thick waist effect. Now our worries are over—for a season or two at least. Capes are such gracious things—and comfortable. You have them of chiffon for evening wear and they add a note of mystery to your backless gown. Then again they may be of linen, cut in an amusing military fashion, to go with a sports outfit. : Just observe that brown linen cape that enlivens Helen’s suit-dress on page 76 for a moment. Isn't it the last word in chic? The dress itself is of beige crépe matmira —a fascinating new material. Those scallops; around the upper part of the skirt, and the cape help to give it the appearance of having a jacket. Cavalier cuffs of the brown linen flare at the elbow and buttoned wrist bands of the crépe add to their smartness. The bodice is fitted and buttoned up high on a slant. Helen’s hat is a modi- fied brown derby with a touch of the beige crépe and a wisp of a veil. (You can see the hat in more detail on page 79.) Her kid gloves and her big brown bag match it. The oxfords she has selected to carry out the color scheme are very new. They lace on the sides unex- 78 4

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* (Left) A suit of light-weight wool that can be either very sporty or dressed up a bit (as Helen has done it) with patent leather pumps and a black shiny straw sailor. The epaulets widen the shoulders nicely. (Below) First, two perfect ducks of hats— a brown grosgrain derby with a bit of beige spliced in, and a black Milan with grosgrain bows, Second, brown afternoon accessories; the hat and purse are of matching roshanara crépe. pectedly and there’s open-work across the toes. There’s a picture of them on the opposite page. RS. BROCK PEMBERTON, style specialist ex- traordinary to the theatrical world, says that Helen is at her best in straight, slim lines and in simple things with soft details. ‘‘Brockie,’ as she is affectionately known to her friends, is the foremost fashion arbiter in America. She has costumed more than six hundred plays on Broadway and three months ago RKO captured her. “There's something ethereal about Miss Twelvetrees,” she said to me once. “You cannot put gaudy colors on an ethereal character in real life any more than you can in a play. She reacts to blue—feels more at home in it than in any other shade. That’s natural, with her blond hair and blue eyes. If she had grey eyes or was dark she’d have to be a bit more careful about wearing it. Blue, you know, reflects itself. It draws from the natural color of the face and accentuates the lines. That's why touches of white are so excellent with it, especially for older women. It’s wise to use special (Continued on page 95) 79

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With her “Leelie’”” Rogers. It’s from her that Ginger gets her “‘It's-better-not-to- cry” attitude. mother, (Right) With Joe E. Brown in ““Tenderfoot.” (Below) The Rogers’ lass when she was three years old. Even then she didn’t bawl. By SHENTON KNEW her when she was a freckled-faced, long- legged, eleven-year-old with red hair and so much personality none of the neighborhood mothers could get their children home at meal time! They were all having too much fun “play-acting” in Ginger Rogers’ backyard! I knew Ginger when she used to act in all the school plays and show my little sister and the other children the latest dance steps to our victrola. That was when Holly- 80 When she was a kid Ginger Rogers learned it's better to forget your (Left) On vacation | at the El Mirador | Hotel, Palm | Springs. (Below) A | photographic study Y taken at the age of eighty-four + months—or, if you i prefer, seven years. < IRWIN wood and stardom was just a misty dream back of her | blue eyes. And when she set Forth Worth agog by win- | ning the Charleston contest in 1925 and signing up for | the Keith-Orpheum circuit. Everybody was glad because | everybody liked Ginger, and we all predicted great things for her. But I doubt if any of us realized then just how important those things would be. I remember Ginger Rogers best as the little girl who) wouldn’t cry. There were never any tears shed when

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jishe hurt herself because “if you don’t cry and if you don’t look at the hurt place it gets well lots quicker.” | I recall one day my little sister came home with the | story of how one of the children had accidentally slammed he car door on Ginger’s hand. _ “Oh, it was awful!” she said, big-eyed. “It left a terrible gash right across Ginger’s four fingers. But she ‘didn’t cry. She just got sort of white and said, ‘Let’s don’t “anybody look at it.’ And we didn’t.and pretty soon she as playing with us again. Wasn't that brave?” Ginger is still like that. The freckles are gone and in ‘place of the long-legged awkwardness there is poise and ‘beauty, but Ginger still doesn’ t cry over the “hurt places.” You have only to meet “‘Leelie,’’ Ginger’s mother, to realize where Ginger gets her never-say-die spirit. It has pees Mrs. Rogers’ own “courage that has been a guide since Ginger was a tiny girl, her unflagging optimism that has kept Ginger going when things looked darkest. VISITED the Rogers’ New York apartment the other evening. Leelie proudly showed me the scrapbook in which she ' has kept the pictures and “mementos of her daugh- _ter’s career that all moth- | ers love to cherish. On the first page was a pic- ture of Ginger at the age of three, long before they came to Fort Worth. _ “This was taken just before my baby was kidnapped,’”’ Mrs. Rogers explained. _ Here was something that, long as I had known the Rogers, I had never heard! Kidnapped? - It seems that Ginger’s mother and father were not happy together and separated soon aiter the child’s birth. The father felt the child should belong to him and, balked in other attempts, proceeded to steal her from her home. _A frantic three weeks elapsed before Mrs. Rogers could trace her. And then she was forced practically to kidnap the child back again. _“T1l never forget that mad ride over miles and miles of Texas dirt road, Ginger huddled on the seat beside me, never crying, never whimper- BRA : (Above) Seven-year-old Ginger. | (Right) Ready for a ‘‘She’ll Be Comin’ ‘Round the Mountain.” (Extreme right) After she had won the Charleston contest. $3 € ® |e | ‘i Dra Sapa ite ee mae LYTLE OULON # oe CR Ye | wouble than to cry about it—she still lives ing, as I tore along,’ Leelie went on. “I felt she should belong to me, her mother. So I simply went and got her. It was exciting, I suppose, but it wasn’t very pleasant.” It was only after a long fight in the courts that she was officially granted the custody of the child. We turned another page, and there was Ginger at six and some pages of childishly scrawled writing. There was a story to that, too. It was during the long years of the war that mother and daughter were separated again. Mrs. Rogers went to Washington to do her bit, leaving Ginger with her own mother in Kansas City. The “bit” consisted of recruiting with the marine corps, to do publicity work and learning to fly. Mrs. Rogers, incidentally, has the proud distinction of being the first woman ever to fly an airplane under government orders. Ginger, at home, was doing her bit by writing to mother. Mrs. Rogers passed the little letters around the office, and soon even the gray-haired offi- cers were calling her “mother.” Can’t you see \V/ H the little redhead strug- gling over this? Dear Mama I get your letter yesterday 1 am wate- ing for you. to day I. heard the tran com- mening in and I sead to myself. on that tran is my mama wiell granddaddy and me made a garden and put onions and pets and radehas and that is all we had in the garden and haf of it is mine. Mama I want a big doll. and I want a Bugay too if you can’t get the doll are if you cant bring the Bugay netr. it is all rite wiell I must leve so love and Kisses vour baby ‘Virginia HEN Leelie came back home, Ginger used to fly with her. That was before the days of commercial flying and she was one of the first children to go up. Ginger insists she was never afraid because she knew Leelie was with her. After the Armistice, times were hard and jobs were scarce even for a woman with a seryice record like Mrs. Rogers’. She was forced to do almost anything to sup- port herself and Ginger. “We lived on five dollars a week for a while,” Mrs. Rogers told me. “And then on twelve. I shall never forget my raise to eighteen. A princely sum !” All the while, in childish fashion, Ginger had her mind on (Cees on page iy) up to It 81

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SCOOPS OF ‘TUE ON TEL Culver Service Ah, young love is here again. It is spring! The birds are twittering in the trees. The hero and heroine tiptoe through the dan- delions. While: in the background, the wicked villain lurks, thinking of another kind of spring. The girl? Fanny Ward. Globe Photo (Above) Before the days when Connie Bennett was known as the “sophisticated Constance.” The house apron—with Connie behind it —was for a scene in “My Son” with Nazimova. (Left) Ain’t Bill Powell cute as an historical character? Not surprising that Dorothy Gish’s mouth dropped open.

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WHAT A ANT BLAME HER for decking out C that neat little foot in a good- looking shoe! But people always have considered and always will con- sider a face more important than a foot! If she doesn’t do something to get those soft gums firm and healthy, there may come a day, and soon, when she'll be afraid to smile! Think this over: gums need stim- ulation—they need work. But the foods of this day and age allow them — = 2 as) oF =e Ca € rm cae kz ro ee OS Modern Screen FOOL SHE IS! to sit idle. Gradually they lose their firmness. The walls weaken. There’s a trace of ‘‘pink’’ on your tooth brush. And “‘pink tooth brush’’ tends to make the teeth ‘“‘foggy’’—ugly. It often leads to gum troubles as serious as gingivitis and Vincent’s disease. (Sometimes even to the dread but far less frequent pyorrhea!) And it can threaten the soundness of your teeth. Don’t let ‘‘pink tooth brush’’ go on and on. Get a tube of Ipana Tooth Paste. Clean your teeth with it. (Ipana is first of all a splendid mod- \\ AY ern tooth paste, and cleans the teeth thoroughly and brightens them.) Each time you clean your teeth, put a little extra Ipana on your brush and rub itinto your gums. Don’t rinse it off. For there’s ziratol in Ipana, and this splendid toning agent aids the massage in bringing the gums back to healthy hardness. Use Ipana with massage regularly —and you won’t be bothered with “pink tooth brush.’’ You’ll be through with it. And your smile will still be attractive years from now! BRISTOL-MYERS CO., Dept. K-82 73 West Street, New York, N. Y. Kindly send me a trial tube of IPANA TOOTH PASTE. Enclosed is a two-cent stamp to cover partly the cost of packing and mailing. 83

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THE MODERN SCREEN DIRECTORY (Players) MARRIED; IF SO, TO WHOM; BIRTHPLACE AND DATE; WHERE TO WRITE THEM, STUDIO; CURRENT AND FUTURE ROLES-BROUGHT UP TO DATE EACH MONTH COMPLETE STUDIO ADDRESSES Columbia Studios, 1438 Gower Street, Hollywood, California. Educational Studios, Santa Monica Boulevard, Hollywood, California. First National Studios, Burbank, California. Fox Studios, Movietone City, Westwood, California. Samuel Goldwyn Studio, 7210 Santa Monica Boulevard, Hollywood, California. Metro-Goldwyn-Mayer Studios, Culver City, California. Paramount-Publix Studios, Hollywood, California. RKO-Pathé Studios, 780 Gower Street, Hollywood, California. RKO-Radio Studios, 780 Gower Street, Hollywood, California. Hal Roach Studios, Culver City, California. Mack Sennett Studios, Studio City, North Hollywood, California. Warner Brothers Studio, Burbank, California. United Artists Studios, California. 1041 No. Formosa Avenue, Hollywood, Universal Studios, Universal City, California. ALBERTSON, FRANK; married to Virginia Shelly; born_in Fergus Falls, Minn., February 2. Write him at Fox studio. Free lance. Featured in “Speed Crazy,” Universal; “Huddle,” M-G-M. ALBRIGHT, HARDIE; unmarried: born in Charleroi, Penn., December 16. First National player. Featured in ‘A Successful Calamity, “The Jewel Robbery” and “Night Flower,” First National. ALEXANDER, BEN; unmarried; born _in Los Angeles, Calif., May 26- ‘Write him at Universal studio. Free lance. Featured in * h Pressure,” First National; ‘Tom Brown of Culver,” Universal. ARLEN, RICHARD; married to Jobyna Ralston; born in St. Paul, Minn., September 1. Paramount star. Featured in ‘Sky Bride,’ Paramount. Working in ‘Tiger Shark,” First National. Next is “Hot Ice," Paramount. ARLISS, GEORGE; married to Florence Montgomery; born in Lon- don, Eng., April 10. Warner Bros. star. Starred in “Man Who God” and “A Successful Calamity.” Next is “Rise and ARMSTRONG, ROBERT; divorced from Jeanne Kent; born in Sagi- naw, Mich., November 20. RKO-Pathe player. Featured in ‘Lost Squadron,” RKO-Radio; “Radio Patrol,’ Universal; “Is my Face Rediis RKO-Radio. Working in “Madison Square Garden,” ogers. ASTHER, NILS; married to Vivian Duncan; born in Stockholm, Swe- den, January 17. M-G-M player. Featured in “But the Flesh Is Weak” and “Letty Lynton.” Working in ‘‘ Washington Whirl- pool.” For M-G-M. ASTOR, MARY; married to Dr. Franklyn Thorpe; born in Quincy, Tll.. May 3. Write her at RKO-Radio studio. Free lance. Fea- tured in “Lost Squadron,” RKO-Radio; ‘A Successful Calamity, Warner Bros. Temporarily retired awaiting birth of child. ATES, ROSCOE; married to Ethel Rogers; born in Hattiesburg, Miss., January 20. RKO-Radio player. Featured in ‘Young Bride,” “Roadhouse Murder” and “Hold 'Em Jail,” RKO-Radio. Mak- ing personal appearances. ATWILL, LIONEL; married; born in Croydon, Eng., March 1._ Write him at First National studio. Free lance. Featured in “The Si- lent Witness,” Fox; Dr. X,” First National. AYRES, LEW; married to Lola Lane; born in Minneapolis, Minn, December 28. Universal star. Starred in “Impatient Maiden” and “Night World.” Working in “Laughing Boy.’”’ For Univer- sal. BAKEWELL, WILLIAM; unmarried; born in Hollywood, Calif., May 2. M-G-M player. ‘Featured in “Cheaters At Play,” Fox; ‘‘Bac Streets," Universal. BANCROFT, GEORGE; married to Octavis Boroshe; born. in, Phila- delphia, Pa., September 30. Paramount star. Starred in ‘World and the Flesh.” Working in “The Challenger.” For Paramount. BANKHEAD, TALLULUH; unmarried; born in Huntsville, Ala., January 31. Paramount star. Starred in “Thunder Below” and “Devil and the Deep.” Next is ‘Blood and Sand.” For Para- mount. BARRYMORE, JOHN; married to Dolores Costello; born in, Phila- delphia, Pa., February 15. M-G-M star. Co-starred in "Arsene Lupin” and “Grand Hotel’? M-G-M; starred in “State's Attor- ney,” RKO-Radio. Next is ‘Moon and Sixpence,” RKO-Radio. BARRYMORE, LIONEL; married to Irene Fenwick; born in Phila- delphia, Pa., April 28. M-G-M star. Co-starred in ‘Arsene Lupin” anos pera Hotel.” Working in “Washington Whirlpool.’ For BARTHELMESS RICHARD; married to Jessica Sergeant; born in New York City, May 9. First National star. Starred in “Alias the Doctor.” Working in ‘Cabin in the Cotton.” “For First Na- tional. BAXTER, WARNER; married to Winifred Bryson; born in Columbus, Ohio, March 29. Fox star. Starred in “Surrender,” “Amateur Daddy” and “Man About Town,” Fox. BEERY, WALLACE; Married to Rita Gilman, Born in Kansas City, Mo., April 1. M-G-M star. Starred in ‘Hell Divers’’; co-starred in “Grand Hotel.” 84 BELLAMY, RALPH; married to Catherine Willard; born in Chicago, Ill, June 17. Fox player. Featured in “Young America,” ‘Woman in Room 13” and “Rebecca of Sunnybrook Farm.'’ Next is “What Price Glory?” For Fox. BENNETT, CONSTANCE; married to the Marquis de la Falaise; born in New York City, October 22. RKO-Pathe star. Starred in “Lady With a Past’ and “What Price Hollywood?,” RKO- Pathe. Working in “Two Against the World,” Warner Bros. BENNETT, JOAN; married to Gene Markey; born in Palisades, N. J., February 27. Fox player. Featured in ‘‘Careless Lady,” “Trial of Vivienne Ware” and “Week Ends Only,’’ Fox. BENNETT, RICHARD; married; born in Beaconmills, Iowa, May 21. Paramount player. Featured in “Arrowsmith,” United Artists; No Greater Love,” Columbia. Working in “Sporting Widow,” Paramount. BICKFORD, CHARLES; married; born in Cambridge, Mass., Janu- ary 1. Write him at Paramount studio. Free lance. Featured in “Scandal For Sale,’ UniversaJ; “Thunder Below,’’ Paramount. BIRELL, TALA; unmarried; born in Vienna, Austria, September 10. Universal star. Featured in “The Doomed Battalion.” Working in “Broken Dreams of Hollywood.” BLONDELL, JOAN; unmarried; born in New_York City, August 30. Warner Bros. player. Featured in “The Crowd Roars,” ‘‘Famous Ferguson Case,” “Miss Pinkerton” and “Big City Blues,” Warners. Working in “Gates of Hollywood,” Paramount. Next is “Three on a Match,” Warners. BOLES, JOHN; married to Marcellite Dobbs; born in Breenville, Texas, October 27; Fox star. Featured in *'Careless Lady,” Fox; “Back Streets," Universal. Making personal appearances. BOW, CLARA; married to Rex Bell; born in Brooklyn, N. Y., July 29. Fox star. Starts soon in ‘Call Her Savage,’’ Fox. For Universal. BOYD, BILL; married to Dorothy Sebastian; born in Cambridge, Ohio, June 5. Write him at RKO-Pathe studio. Free lance. Starred in “The Big Gamble” and “Carnival Boat,’”’ RKO-Pathe. Will do series of Westerns for Darmour. BOYD, WILLIAM; divorced; born in New York City, December 18. Write him at Paramount studio. Free lance. Featured in ‘“The Wiser Sex,” Paramount; “‘State’s Attorney,” RKO-Radio. BRENDEL, EL; married to Flo Bert; born in Philadelphia, Pa., March Be Hoxeul ayers Featured in ‘‘Delicious” and ‘‘Disorderly Con- i” Ox. BRENT, EVELYN; married to BEE Edwards; born in Tampa, Florida, October 20. Write her at Columbia studio. Free lance. Fea- tured in “High Pressure,’’ First National” and “Attorney for the Defense,’’ Columbia. BRENT, GEORGE; divorced; born in Dublin, Ireland, March 15. First National player. Featured in ‘Rich Are Always With Us,” Miss Pinkerton,"’ ‘‘Week-Bud Marriage"’ and “Night Flower.” Working in “Children of Pleasure.” Next is ““They Call It Sin.” For First National. BRIAN, MARY; unmarried; born in Corsicana, Texas, February 17. Write her at First National studio. Free lance. Featured in ‘It’s Tough To Be Famous” and “Blessed Event,” First National. BROOK, CLIVE; married to Faith Evelyn; born in London, Eng. June 1. Paramount player. Featured in “Shanghai Express’ and ° Man From Yesterday.” Working in ‘Lives of a Bengal Lan- cer.” For Paramount. BROWN, JOE E.; married to Kathryn McGrau; born in Holgate, Ohio, July 28. First National star. Starred in *'Fireman Save My Child’ and “The Tenderfoot.” Working in “You Said A Mouthful.” For First National. BROWN, JOHN MACK; married to Cornelia Foster; born in Dothan, Ala., September 1. Write him at Universal studio. Free lance. Featured in ‘‘Lasca of the Rio Grande,” Universal; “Fatal Alarm,” Trem Carr. Working in “Vanishing Frontier,’’ Darmour. BROWN, TOM; unmarried; born in New York City, January 6. Uni- versal contract star. Featured in “Famous Ferguson Case,” First National; ‘Fast Companions,” Universal. Working in “Tom Brown of Culver,’”’ Universal. BRUCE, VIRGINIA; unmarried; born in Minneapolis, Minn., Sep- tember 29. M-G-M player. Featured in “The puesere Man” and “Sky Bride,” Paramount. Working in “Downstairs,” M-G-M. BUTTERWORTH, CHARLES; unmarried; born in South Bend, Ind., July 26. Write him at First National studio. Free lance. | Fea- tured in “Beauty and the Boss,” First National. Working in “Love Me Tonight,’’ Paramount. BYRON, WALTER; unmarried; born in Leicester, Eng., June 11. Write him at Paramount studio. Free lance. Featured in ‘‘Sin- we iO Sun,”’ Paramount; ‘Society Girl’’ and “‘Week Ends my, Ox. CAGNEY, JAMES; married to Frances Vernon; born in New York City, July 17. Warner Bros. Star. Starred in “The Crowd Roars” and “Winner Take All,’ Warner Bros. CANTOR, EDDIE; married to Ida Tobias; born in New York City, January 31. United Artists star. Starred in “Palmy Days.’’ Work- ing in ‘Kid From Spain.” For Goldwyn-United Artists. CARRILLO, LEO; married; born in Los Angeles, Calif., August 6. Write him at Universal studio. Free lance. Featured in “Girl From the Rio,’’ RKO-Radio; ‘‘The Broken Wing,” Paramount. CARROLL, NANCY; married to Francis Bolton Mallory; born in New York City, November 19. Paramount star. Starred in “Broken Lullaby” and ‘‘Wayward,” Paramount. CAVANAGH, PAUL; play born in Chiselhurst, Kent, Eng., December 8. Fox player. Featured in “Heartbreak” and ‘‘Devil’s OR Fox. Working in “Children of Pleasure,” First Na- tional. CHAPLIN, CHARLIE; divorced from Lita Gray; born in London, Eng., April 26. Write him at Charles Chaplin studio, Hollywood. Producer-star. Starred in “City Lights.” Now in Europe. CHASE, CHARLIE; married to Bebe Eltinge; born in Baltimore, Md., October 20. Hal Roach star. Starred in ‘‘Nickle Nurser,” “Balmy Days’ and “First in War,’ Roach-M-G-M. CHATTERTON, RUTH; married to Ralph Forbes; born in New York City, December 24. Warner Bros. star. Starred in “Rich Are Always With Us.” Working in “Children of Pleasure.” For Warners. CHEVALIER, MAURICE; married to Yvonne Valee; born in Paris, France, September 12. Paramount star. Starred in “One Hour With You” and “Love Me Tonight.” Next is ‘The Way to Love.” Fer Paramount. CHURCHILL, MARGUERITE; unmarried; born in Kansas City, Mo., December 25. Write her at Fox studio. Free lance. Featured in “Riders of the Purple Sage,’’ Fox; “Forgotten Commandments,” Paramount. CLAIRE, INA; divorced from John Gilbert; born in Washington. D. C., October 15. United Artists star. Starred in “The Greeks Had ‘A Word For Them,” Goldwyn-United Artists. Appearing on the legitimate stage. CLARKE, MAE; divorced from Lew Brice; born in Philadelphia, Pa., ‘August 16. | Universal player. Featured in “Reckless Living,” “Tmpatient. Maiden” and “Night World,” Universal. Now re- cuperating from neryous breakdown. (Continued on page 90) HERE ARE THEIR BIRTHDAYS FOR JULY AND AUGUST— WHY NOT SEND THEM A BIRTHDAY GREETING? July 3 July 7 July 10 Wynne Gibson Ricardo Cortez John Gilbert Irene Dunne Barbara Stanwyck James Cagney Lupe Velez Richard Dix Clara Bow July 14 July 16 July 17 July 18 July 18 July 29 August August August August August August August 10 August 13 ‘August 30 Dolores Del Rio Leo Carrillo Ann Harding Sylvia Sidney Dorothy Jordan Charles Farrell Norma Shearer Gene Raymond Joan Blondell

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Lola and Ken found it didn’t last very much longer than its name. . . E gave up an opportunity for promotion in South America to marry her. He swallowed his pride when his cut salary forced her to continue working as a secretary—and when a raise made her earnings larger than his own. But a slovenly house and delicatessen fare eventually drove him from home to the poor consolation of a speakeasy—and wild company. Was this to be the end of their pathetic “‘week- end marriage’? Find the real, human story of Lola and Ken—‘‘*Week-End Marriage”—in the August SCREEN ROMANCES. You’ll like it— every line of it—because it’s the story of people you know—of the people next door—perhaps even your own story. Don’t miss it! And don’t miss the nine other absorbing talkie stories in the same issue—all liberally illustrated with rotogravure “stills” from the actual Hollywood productions. Today—at any news- stand—ask for the latest Romances THE 10 BEST TALKIE STORIES OF THE MONTH! Modern Screen ow long could YO stand “WEEK-END MARRIAGE”? Look for the COMPLETE STORIES of these late pictures in the August SCREEN ROMANCES: WEEK-END MARRIAGE: Loretta Young and Norman Foster. WHAT PRICE HOLLYWOOD?: Constance Bennett and Neil Hamilton. BIRD OF PARADISE: Dolores Del Rio and Joel McCrea. WINNER TAKE ALL: James Cagney and Marion Nixon. BACK STREET: Irene Dunne and John Boles. A SUCCESSFUL CALAMITY: George Arliss and Mary Astor. REBECCA OF SUNNYBROOK FARM: Mar- ion Nixon and Charles Farrell. HUDDLE: Ramon Novarro and Madge Evans. LOVE IS A RACKET: Douglas Fairbanks, Jr. and Ann Dvorak. MERRILY WE GO TO HELL: Fredric March and Sylvia Sidney.

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It’s Easy to Change DARK Colors to LIGHT Colors —with wonder-working Tintex Color Remover oe 1 _ upposing you havea dark dress (or any other dark-colored article) and are pining for a lighter-colored one ... . 2 Tintex Color Remover will safely and speedily take out all trace of color (including black) from BV IEINAE 6 6 o° 6 G 0 9 O , Then the article or fabric can be redyedor tinted with Tintex Tints and Dyes in any new shade to suit yourself —either light or dark, On sale at drug and notion counters everywhere Tintex COLOR REMOVER Modern Screen Beauty Advice (Continued from page 9) completely—drop the head, droop the shoulders and let the abdominal muscles go. Then move by slow stages back to your first position-—-abdominal muscles in first, back raised and straightened next, shoulders pulled back third, chest expanded again fourth, and _ head dropped back fifth. These exercises—repeated with un- flagging faith every day—will improve the posture and firm up a flabby bust. Also, simply rotating the shoulder joints will help—one shoulder at a time, then both together, then with the arms down at the sides, stretched out at shoulder level, or raised to shoulder level and bent upward at the elbows. There now—that’s quite a few exer- cises to go on with. And I have some more—some of them worked out by a well known beauty expert and some ot my own. I'll gladly send you a mimeo- graphed copy of whichever set you want (hips, stomach, bust, shoulders, feet or whatnot) if you'll write to me. I’d set them down here except for the fact that exercise descriptions do take up so much space. Another problem which I left out of my article was the freckle problem. There are two kinds of freckles—tem- porary and permanent. The temporary freckles are the ones which startle you out of your wits when you look into the mirror after your first day on the beach. I know. The sun does me that way. And I’ve made a point of plaster- ing myself with a good bleach cream the minute I return from a swim—and I refuse to look in the mirror for one solid hour! Temporary freckles will disappear—honestly and truly—if they are constantly daubed with a freckle re- mover or bleach cream. As the old song went, “It may be for years and it may be forever,” but they really will go away. Permanent freckles—the ones which have been left untreated for years or those which have pierced too far down for ordinary bleaching agents to reach—are something else again. Per- sonally, I think that if sensitive skinned folks will just keep chasing each sum- mer’s batch of freckles away with bleaches, the few permanent freckles left are attractive and piquant and not a bit disfiguring. There are, to be sure, peeling preparations on the mar- ket which will even take those off. But I frankly state that an efficacious peel- ing preparation is as expensive as plat- inum, practically. A very small treat- ment costs in the neighborhood of ten dollars and that’s a heap of money these days. PEOETE who freckle and burn easily should treat themselves to a sun- burn oil or cream. There’s no fun at all in getting a blistering red that never turns to tan and a remedy really comes under the head of a skin medicine rather than a cosmetic. The top to the beach pajama should be a turtle necked sweater for such people and the beach hat should be a large; friendly, floppy one. Another beauty problem that Id like to say a word about is eyebrow-pluck- ing. People write and ask me whether they should or should not pluck their eyebrows, whether they should arch them or keep them the natural shape. Now, I ask you? How can I] tell? Ex- cept that I can—and always do—advise against changing the natural shape of the brows. True, a change of eyebrow does give an entirely different expres- sion to the face and add a certain zest to life sometimes. But for girls in ordi- nary walks of life I think it’s a mite silly—not to mention a great deal of trouble. I do think that shaggy brows should be groomed—stray hairs tweezed out, | mean, and a neat, smart appear- ance strived for. But I don’t always hold with plucking heavy brows. No, sir! There’s nothing that gives strength and character—yes, and beauty, too—to a face more than strong- ly marked brows—if they are neat and tidy. Especially brunettes. And de- cided blondes with definitely marked dark brows are lovely, too. Look at Bette Davis on page 8. She would be just another pretty blonde without those good looking dark brews. They’re groomed nicely, but their shape isn’t altered one iota. NO’. a word to young girls. Don’t —please don’t—get so morbidly worried about yourselves! Some of your letters would have me in constant tears if it weren’t for the fact that I know you exaggerate your problems. “Dear Miss Biddle,’ some of you say, “T don’t know what I’m going to do. I wish I could die. My skin is terrible. My hair is a horrible color and I can’t fix it any way at all. No wave will stay in it. I’m so fat (or so thin) that all my friends make fun of me and I never have any dates. Please tell me what to do. I’m just desperate.” Now, of course, [’m exaggerating a little bit, but you get the general idea. Young girls seem to go through this stage when they’re at the in-between age— neither little girl nor young lady. It’s a tough time, I admit. But please just try to think of this period as a prepara- tion time for the day when you're going to blossom out as a really lovely per- son. Spend your time experimenting and trying hard to have a nice skin and pretty hair and a beautiful figure. And if your friends laugh at you—then they're not real friends. And if the boys don’t keep your telephone ringing —well, don’t bother about the silly crea- tures. In a couple of years they'll be positively pestering you to death for dates and then you can just lift a super- cilious eyebrow at them and say, “‘Sor- reh, but I’m afraid I’m busy tonight. No, I’m busy tomorrow night, too. Well—let me see—I’ll save a week from Thursday for you, if you really want to see me!” That’ll fix ’em!

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The Modern Hostess (Continued from page 11) some of the new hot beverage cups which also come in a choice of colors. These special cups will hold hot drinks without melting or leaking, which is something the ordinary paper cups were not designed to do. And speaking of cups, bake those little individual cakes for which we are giving you the re- cipe in this month’s booklet in indi- vidual crinkle cups. They are easier to pack and eat than a single large cake, and look dressier in the bargain. OUBTLESS you already know about the paper forks, spoons, straws and plates, and other paper pic- nic helps. But if you don’t you had better look over the surprisingly large variety now available. The Kress and Kresge stores carry a large and attrac- tive assortment. We want especially to call your attention to the little serving dishes which are ideal for individual serving of salads or for holding pickles and other condiments. And, when you are picnic shopping, be sure to pick up plenty of waxed paper in the form of bags as well as rolls or sheets, in which to wrap the sandwiches and cakes. For packing the food and the eating equipment we recommend those ten cent paper shopping bags. They are so con- venient and so easy to carry. In fact, you will find that the arranging of any picnic can be much simplified if you plan to have on hand, during the sum- mer months, one or two of these shop- ping bags well stock with paper picnic aids. In this way you will always be ready to start off on a picnic on very short notice. Large mayonnaise or preserve jars are ideal containers for the salad—and be sure*to carry the lettuce separately in its own jar if you want it to arrive at the picnic fresh and attractive. And just to remind you! Before you start out on your picnic, remember to put in the picnic bag a sharp knife, a long handled spoon, an anchor bottle opener and the salt and pepper. Be sure to send for this month’s Star Recipes for the favorite picnic foods of John Boles. They will go far to- wards helping make any picnic a thor- oughly enjoyable event. We hope that this summer’s picnics will be the best you have ever attended. And they will be, if you follow the John Boles formu- la, which reduced to its simplest terms is merely good food, attractively served, amid pleasant surroundings. Come to think of it, that is the formula for mak- ing any meal a success, isn’t it? Next month the Modern Hostess will talk about afternoon tea parties and tell you how to serve them on the veranda or in your living-room. Clive Brook was kind enough to give us some really splendid ideas for this one which you'll enjoy—so, don’t miss it! Modern Screen _ Easy Tintex and Save Money! o Perfect Professional Results Assured a No Muss—No Fuss—No Spots—No Streaks Go over your wardrobe today! Pick out all the faded “washed-out” garments or those with unfashionable, unbecoming colors. ;. In just a few minutes, and at next to no cost, Tintex will restore all their original color- freshness or will give them new and different colors, if you wish! And it will do the same for household x fabrics,too! Curtains, table-runners, -~.\ bed-spreads...any decorative fabric > may be made to bloom with bright <\\ new color easily and quickly. See the Tintex Color Card at any drug or notion counter. 35 beautiful colors from which to choose! Marvelous results assured from your very first trial! Tryit today! 2~—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 dark color from any material so it can be dyed a new light color. Whitex—A pring for restoring white- ness to all yellowed white materials. notion counters everywhere Jintex TINTS AND DYES 87 On sale at drug and

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| | } } Directory of Pictures IMPATIENT MAIDEN (Universal)—Lew Ayres as a young hospital interne. Mae Clarke as the young girl who falls in love with him. Good— okay for kids. IS MY FACE RED? (RKO-Radio)—Ricardo Cortez and Helen Twelvetrees in a story based on the life of a Winchell. Good—a mite risqué in spots for the children. Reviewed in detail on page 48. IT’S TOUGH TO BE FAMOUS (First National)— How a man’s life—when he suddenly becomes a national hero—can very uearly be ruined. Douglas Fairbanks, Jr., is the national hero. Fair. LADIES OF THE JURY (RKO-Radio)—Concerning how a jury came to their verdict—with Edna May Oliver as_the most obstreperous member of said jury. Good—kids will like some of it. LADY WITH A_ PAST (RKO-Pathé)—Another young lady who pretends to have had a glamor- ous past in order to impress the man she loves. Constance Bennett is the young lady and David Manners the boy she is trying to impress. Good—kids will like some of it. LETTY LYNTON (M-G-M)—Joan Crawford as a girl who loves and leaves. Nils Asther is the one who is left—and tries blackmail. Robert Montgomery is the man to whom Joan really gives her heart. Very good—but not for the young ones. LOST SQUADRON (RKO-Radio)—Richard Dix, Joel McCrea, Mary Astor, Robert Armstrong and Eric Von Stroheim in a story of the stunt aviators who risk their lives for thrills for the camera in Hollywood. Excellent—okay for children. LOVE AFFAIR (Columbia)—An_ heiress falls in love with an aviator—and finds many difficulties besetting the path to happiness. Dorothy Mackaill has the leading réle. Fair. MAN WANTED (Warner)—Kay Francis as a mod- ern business woman and David Manners as the man who becomes her secretary and, of course, falls in love with her. She is unhappily married —so the plot thickens. Fair—dull for children. THE MAN WHO PLAYED GOD (Warner)—George Arliss as a brilliant pianist who loses his hear- ing in an accident and who—after an unsuccess- ful attempt to commit suicide—spends his life doing good to. his neighbors. ood, if you like sentimental drama—all right for the kids. MATA HARI (M-G-M)—Hollywood’s newest ver- sion of the famous war spy. Greta Garbo and Lionel Barrymore have the leading _ roles. Ramon Novarro is the young lieutenant who falls for Garbo’s charms. Excellent—but not for children. MICHAEL AND MARY (Universal)—Pleasant little English story, written by ; Milne, played by an all-English cast and imported by Uni- versal. Very good if you like English characters and speech—children may be bored by it. THE MIRACLE MAN (Paramount)—Chester Morris, Sylvia Sidney, Hobart Bosworth and John Wray famous _ silent in in a talkie version of the which Lon Chaney made his name. Very good —children should like it. MISS PINKERTON (Warner)—Thrilling mystery story with Joan Blondell and George Brent. Good—children will find it exciting. THE MOUTHPIECE (Warner)—The story of a lawyer who, because he unwittingly sends an innocent man to the electric chair, becomes the mouthpiece for crooks and makes a mame for himself in securing sensational acauittals. Warren William plays the lawyer with fine feel- ing and excellent humor. _ Aileen MacMahon is his secretary and Sidney Fox the girl he really falls for. Very good—older children will like it. MURDERS IN THE RUE MORGUE (Universal)— A Hollywood version of _the famous dgar Allan Poe story. Very good if you like horror pictures—better not take the kids. NEW MORALS FOR OLD (M-G-M)—Another story about the younger generation. Robert Young is good. Good—the children could find a profitable lesson in it. Reviewed in detail on page 50. ONE HOUR WITH YOU __ (Paramount)—Ernst Lubitsch bedroom musical with Maurice Chevalier, Jeanette MacDonald, Genevieve Tobin, Roland Young and Charles Ruggles. Excellent sophisti- cated stuff—kids probably won’t like it. THE PASSIONATE PLUMBER (M-G-M)—Buster Keaton and Jimmie Durante in a_ slapstick (Continued from page 12) comedy which was taken “Her Cardboard Lover.’’ for children. PLAY GIRL (First. National)—Loretta Young, Norman Foster and Winnie Lightner in a mod- ern romantic story. Good—children may like parts of it. POLLY OF THE CIRCUS (M-G-M)—Marion Davies and Clark Gable in a story with a circus back- from—of all things— Very funny—excellent ground. Clark Gable plays a he-man minister, Good—okay but not very entertaining for the offspring. PRESTIGE (RKO-Pathé)—Ann Harding and Melvyn Douglas as a young married couple. whose troubles begin when they have to go and live in a penal colony because the husband has been ordered there for duty—he is an army officer. Fair—children will be bored by it. PROSPERITY (M-G-M)—Marie Dressler and _ Polly Moran in another hilarious comedy. Excellent— and by all means take the children. Reviewed in detail on page 48. RADIO PATROL (Universal)—Robert Armstrong and Lila Lee in a story about the men who chase crime in the radio cars. Good—and children will find it exciting. Reviewed in detail on page 50. THE RICH ARE ALWAYS WITH US (Warner)— Wealthy married woman’s love problem when she falls in love with another man. Ruth Chat- terton, George Brent and John Miljan head the cast. Good—but youngsters will find it dull. RIDER OF DEATH VALLEY (Universal)—Tom Mix in his second come-back picture. This was erroneously reported in our last issue as his come- back picture. Good—fine for children. ROADHOUSE MURDER (RKO-Radio)—A murder story with an unusual twist to it. Eric Linden and Dorothy Jordan have the leading roles. Good—okay for children. SCARFACE, SHAME OF THE NATION (United Artists)—The last of the honest-to-goodness gang films. Paul Muni and George Raft. have important parts. Ann Dvorak is also in it, Full of shooting and excitement—and a_ good deal of preaching. Very good—not for children. SCANDAL FOR SALE (Universal)—Newspaper yarn with Pat O’Brien, Rose Hobart and Charles Bickford. Fair. SHANGHAI EXPRESS (Paramount)—Exciting go- — ings-on which almost all take place on Shanghai Express. Marlene Dietrich, Anna May Wong, Warner Oland and others are all very good, But the locomotive almost steals the picture. Very good—children will like the action scenes. SHE WANTED A_ MILLIONAIRE (Fox)—Joan Bennet as the girl who decides that money is more important in marriage than love. Fair. SKY BRIDE (Paramount)—A story of a stunt flyer who loses his mnerve—until the appropriate dramatic moment arrives. Jack Oakie and Rictond Arlen are in it. Very good—kids will ike it. SKY DEVILS (Caddo-United Artists)—Spencer Tracey, William (Stage) Boyd and Ann Dvorak in an amusing air comedy. Very good—great for boys. SO BIG (Warner)—Edna Ferber’s famous story in talkie form with Barbara Stanwyck in the leading role. Very good—suitable for children. SOCIETY GIRL (Fox)—Jimmie Dunn, Peggy Shan- non and Spencer Tracy in a_ prize fight story. Gcod—take the children. Reviewed in detail on page 49. SPEED CRAZY (Universal)—Frank Albertson, Slim Summerville and Louise Fazenda in an auto- mobile story. Good—okay for kids. STATE’S ATTORNEY (RKO-Radio)—Another story about the brilliant lawyer who spends his time securing acquittals for guilty criminals. John Barrymore and Helen ‘Twelvetrees have the leading roles. Very good—older children will like it, too. THE STRANGE CASE OF CLARA DEANE (Para- mount)—Something like “Madelon Claudet’’ with Frances Dee, Wynne Gibson and_ Pat O’Brien, Good—a little sad for the children. STRANGE INTERLUDE (M-G-M)—Eugene O’Neill’s psychological study of a woman’s life and loves emerges beautifully on the screen. Norma Shearer, Clark Gable, Alexander Kirkland, Ralph Morgan, Maureen O’Sullivan and Robert Young. Excellent—but much too grown-up and sophisti- cated et the children. Reviewed in detail on page 49. THE STRANGE LOVE OF MOLLY LOUVAIN (First National)—Ann Dvorak, Richard Crom- well.and Spencer Tracey in a love and mother- love story. Good—children may like parts of it. A SUCCESSFUL CALAMITY | (Warners)—George Arliss in a story about a millionaire who plays poor to reunite his family. Mary Astor, Evalyn Knapp and William Janney are in_ it. Good— children will like it. Reviewed in detail on page 49. SYMPHONY OF SIX MILLION (RKO-Radio)— Ricardo Cortez as a young doctor of the Ghetto who rises to great heights and forgets his former ideal that money means _ nothing. Irene Dunne plays opposite him. Excellent sentimental type of story—splendid for the children. TARZAN, THE APE MAN (M-G-M)—Johnny Weiss- muller as Tarzan. His magnificent physique will inevitably win your admiration. Neil Hamilton and Maureen O'Sullivan are also in the cast. Very good—fine for the kids. THE TENDERFOOT (Warners)—Joe E. Brown in a very funny comedy about a cowboy who comes to New York with his big inheritance. Good—and children will just love it. Reviewed in detail on page 48. THIS IS THE NIGHT (Paramount)—Amusing comedy about a fe i timid man who gets himself into a jam with t another man’s wife and gets still more mixed up in trying to extricate him- self. Roland. Young, Charles Ruggles, Lily Damita and Thelma Todd are in it. Good—chil- dren will be bored. TONIGHT OR NEVER Swanson in love comedy with Excellent—but not for children. THUNDER BELOW (Paramount)—Tallulah Bank- head, Paul Lukas and Charles Bickford in a triangle story. Good—children won’t care for it much. Reviewed in detail on page 49. THE TRIAL OF VIVIENNE WARE (Fox)—Thrill- ing court-room melodrama handled with imagina- pion and skill. Good—all right for the young OLKS. TWO SECONDS (First National)—Edward G. Robinson in the exciting story of a man’s re- view of his life as he is about to die. Excellent —but not the right entertainment for children. UNEXPECTED FATHER (Universal)—Slim Sum- merville and ZaSu Pitts in an amusing comedy of errors. Wery good. WEEK-END MARRIAGE (Warners)—Loretta Young and Norman Foster in a story about young love and its difficulties. G children. may like parts of it. Reviewed in detail on page 50. WESTWARD PASSAGE (RKO-Pathé)—Ann Harding, Laurence Olivier and Irving Pichel in another triangle story. Good—but children would be bored. Reviewed in detail on page 50. THE WET PARADE (M-G-M)—Walter Huston, Lewis Stone, Robert Young and others in a story about prohibition and pre-prohibition days. Very good—children will like parts of it. WHEN A FELLER NEEDS A FRIEND (M-G-M)— Jackie Cooper in another kid picture. Very good —great for kids. WINNER TAKE ALL (Warners)—Jimmie Cagney and Marian Nixon in a_prize fight story. —children will like the fight scenes and Cagney’s roughneck acting. Reviewed in detail 198 page 50. THE WOMAN IN ROOM 13 (Fox)—A slightly_out- (United _ Artists) —Gloria Melvyn Douglas. moded murder story with Elissa Landi, Ralph Bellamy and Neil Hamilton. Fair—children would be bored. THE WORLD AND THE FLESH_ (Paramount)— Russian revolution, story. with George Bancroft and Miriam Hopkins. Good—children will find it exciting. YOUNG AMERICA (Fox)—Story dealing with the modern youth problem. _ Spencer Tracey an Doris Kenyon are in it. Good—fine for children. YOUNG BRIDE (RKO-Pathé)—The troubles of a young married couple—the husband of which is a terrible bluff and show-off. Helen Twelve- trees and Eric Linden are the couple. Fair—okay for the kids. The Hardest Job in Hollywood OR instance, Tom Mix. Not many persons know the story of his really amazing career. Or that he is part Indian. Or that he carries a half-dozen lead slugs in his body as souvenirs of gun fights that were not fought before cameras. Born near El Paso, Texas, fifty years ago, with a father who was a captain of U. S. Cavalry, he learned to 88 (Continued from page 73) ride as soon as he could walk. At eighteen, he followed his first glory trail to war. Old Spain and America had come to grips in Cuba. He fought through the Battle of Guaymas, helped the Rough Riders at Christobel Hill, and was a scout for Theodore Roosevelt until a guerilla shot him through the mouth. Next, the Philippines. And then China—with a battery of United States artillery. During the siege of Peking, a Chink shell stripped his skull of skin from eyebrow to crown. One would think that he had seen enough of the world and war, but his discharge from a military hospital saw him off to South Africa to join the British. Home after the Boer surrender, he returned to our own southwest. In

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those days, cattle rustling was rife. He undertook to stamp it out with such success that he became successively Sheriff in three separate states, U. S. Marshall in Montana, New Mexico, and Arizona, and finally a Texas ranger. It was he who went alone into the desert after the notorious Shonts_ ban- dits, who was shot in the back by an Indian woman during the chase, who outfought and outwitted the badmen and then, despite his wound, brought them back to jail. Again, while ar- resting three rustlers in Colorado, not many months later, he stopped a load of buckshot—but he got his men! Along the way, at various western round-ups, he won every title a cow- boy could own... roping, riding, bull- dogging. Which brought him to the attention of the famous old Selig com- pany, pioneer movie makers, who per- suaded him to sign a contract. But the first booming of guns in the Madero Revolution in Mexico drew him like a magnet and he had a final fling at war until a leg wound sent him back to Hollywood to become a Selig star. Tom Mix’s gift to the screen was a robust personality and rich experience. The public was weary of the synthetic thrills of that smart little Broadwayite named Max Aronson who called him- self Bronco Billy. It welcomed Mix with open arms. They knew, beyond doubt, that his riding and roping be- longed. Always, the popularity of western pictures has depended upon the person- ality of its stars. What a tribute to Modern Screen Tom Mix that he started and main- tained, with the help of such stars as Hoot Gibson, Ken Maynard, and Buck Jones, the vogue for virile westerns. BUCK JONES, who is under a Co- lumbia contract, has had a life that rivals a Horatio Alger hero’s. It started after he ran away from home to become a Montana cowboy. An en- listment in the U. S. cavalry took him to the Philippines where he learned the ins and outs of jungle death. On his return to America he became a trick rider for the famous “101” Ranch Wild West Show. The World War was his oyster. He wanted to fly and fight but appoint- ments were slow and red tape was end- less so he joined the air corps as a lowly mechanic. Before the armistice was signed, he had become a pilot with the famous American 17th Pursuit Squadron on the Picardy, Somme, and Flanders fronts. After the war, he was showing the crowned heads of Europe his brand of horsemanship when William Fox saw him. A fountain pen, a dotted line, and Hollywood had gained a brand new hero. Ken Maynard, recently a Tiffany star but now producing his own pic- tures, also carries out the Mix tradi- tion. Born a Texan, he was _ only twelve when he ran away from his home ranch to join a circus. Even then, he was a cow punching prodigy. It was four years before Mr. Maynard, Sr., found him and persuaded him to enroll in the Virginia Military Institute. Ken left V. M. I. with a diploma and training for the engineering profession. Ahead, he glimpsed the bright lure of tanbark and horseflesh or the excite- ment of building bridges and damming rivers. He chose his old love, the cir- cus, and abandoned engineering until during the war when a busy govern- ment submerged him at Camp Knox, Kentucky, and told him to build roads and forget about horses. He forgot, as ordered, until Armistice Day—and his first week out of uniform saw him go- ing back to the show business as head rider for Ringling Brothers circus. Hoot Gibson is a cowboy who is proud of it. With Mix, he has been turning out clean, fast yarns for young Americans since that remote day when a string of rodeo and round-up cham- pionships won him a motion picture contract. Beside his business, just one thing absorbs his interest—sheer, blind- ing speed. Just to show you, he owns a motorcycle that can better 100 miles per hour, a racing car that he threatens to drive at the Indianapolis speedway this year, and an airplane that he himself piloted to victory in last year’s National Air Races. Yearly, he stages a gigantic round- up. Yes, his own, personal, private round-up. To it come the greatest and the least of all those who make West- erns. Yearly, he sends an invitation to that dusty hostelry just off Sunset known as the Cowboy Hotel and in- variably its high-heeled, sombrero- wearing residents pack their boots and Joubert Ge’ 71 Fith Ave, New York TOILET WATER FACIAL CREAMS CREAM ROUGE TALCUM all 5 & 10c stores. MORNING AFTER [hat your gown was pretty and matched your eyes... that your had a bewitching curl... that you danced divinely. . . nain only vague impressions in his mind. But—you are remem- ed as a vision of loveliness which lingers long in his memory ed by that romantic, irresistible fragrance of Blue Waltz. have an alluring fragrance predominate, you must ensemble t toiletries. The smartest modern vogue is to have them all »ar the fragrance of Blue Waltz, for Blue Waltz is the key to | emory’s door. $1.00 Everywhere ... Convenient purse sizes at | vEnee i a eaaeanentettn eng ae 255 Zh BRILLIANTINE POWDER LIPSTICK FACE POWDER PERFUME 89

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saddles and respond. They know that this may be the break that will start them to the top for they will have chances at outlaw broncs and untamed steers under the eyes of the biggest personages in Hollywood. Nobody who is anybody, they know, ever misses a Hoot Gibson Round-up. The advent of talking pictures dis- rupted the development of the old-time silent slam-bang saga. And it cast, al- most immediately, the Western tilm into the doldrums. What to do, Hollywood wondered. Was the Western doomed? Cautious producers curtailed production plans. [Ne just to confound them, there appeared a gentleman with a long upper lip whose first role was a cowboy “bit” in’ “The Winning of Barbara Worth.” Within months, a new West- ern star was flaming in the sky. People who had wearied of cowboys came back to see him. Production plans had to be expanded to new proportions. Once again, the cowboy star rode _ high. That’s what Gary Cooper did for Westerns. Of course, Gary went on to other things. And again Hollywood won- dered what would happen. Today has an answer in two young men who represented a new type of Western hero. They are men who were cowboys before they were actors and actors before they were cowboy actors. Tom Keene, the RKO star, is one. George O’Brien, of Fox, is the other. Tom was born, of all places, in Sleepy Hollow, New York, but went west while still a youngster. Nebraska prairies were his kindergarten and an ill-tempered cayuse was his hobby horse. While still in his ’teens, he grad- uated to the wider ranges of Montana and the Dakotas where he varied cow punching with driving a government stage. When America’s declaration of war found him two years too young for service he went further west to do his bit in the Seattle shipyards. Here was his first taste of cities, and he found that he liked it. He saved his money and went to night school. Re- turning to the east of his boyhood, he went to Carnegie Tech to study drama. And then he tackled Broadway. His first rdle was a line in “Madame X.” A year of stock experience prepared him further. The big break came when he won the lead in “White Cargo” and played it around the world. Cecil DeMille introduced him to pic- tures. Who remembers George Dur- yea, as he was called then, in that stir- ring film called “The Godless Girl’? Who remembers him with Lon Chaney in ‘Thunder,’ or as the brother in “Tol’able David’? That was six foot, blue-eyed Tom Keene, today’s cowboy star, before RKO _ discovered his horsemanship and dexterity with six- guns... and before he got the new name that he is making famous. We all knew George O’Brien long before Fox made him a cowboy. His roles in “The Iron Horse” and “Sun- rise’ are unforgettable. Of course, he never was a cowboy in the sense that he grew up on a ranch, but a cowboy cop who was riding instructor for the San Francisco police force of which O’Brien’s father was chief taught him the business while he was still a kid. Sports were easy for him, particularly the three R’s of his cowboy mentor, “ridin’, ropin’, and rasslin’.’” When Uncle Sam declared war in 1917, he was one of the first to enlist in the Navy where he fought his way to the light-heavyweight boxing championship of the Pacific fleet. T was Tom Mix himself—and who can fail to see Fate’s finger here— who later picked O’Brien from a group of Santa Clara college kids to work as an assistant cameraman, and who finally saw that George got a chance to play a minor role on the Fox lot where he himself was kingpin . . . and where George would some day succeed to his position after Mix had passed on to other undertakings. With a bent for natural, vigorous acting and a superb physique, George O’Brien was an inevitable selection when Fox looked about for a man to build into a Western ace. His “Lone Star Ranger” and “Last of the Duanes” confirmed their choice. All over the country, kids took him to their hearts —and O’Brien found himself launched on a new career. These two men, O’Brien and Tom Keene, are new faces in the Western film, new faces that were badly needed. Their contagious charm and enthusiasm is again accomplishing what Gary Cooper accomplished several years ago. Together with Mix, Gibson, Jones, and Maynard, they have accepted the hard- est job in Hollywood and are sweep- ing public interest to new high levels. Perhaps the pictures they make are 6“ ” not “art.” Certainly, as individuals, they can never aspire to the serious dramatic heights of a Barrymore or an Arliss. But they can, thank Heavens, give us more of those death-defying, heroic pictures which hypnotize our sons and daughters . . . yes, and our sons’ and daughters’ fathers and mothers, too. Now here is Tim McCoy, authentic gentleman of the old West and as dash- ing a horseman as ever spurred a bronc over a cliff. But he is more than an ordinary cowboy, much more. For one thing, he can throw lead faster than any man in the movies. ‘Chain light- ning with a six gun,” they say of him. His record is drawing a gun and firing six shots through a half dollar at ten paces. Try to tie that some dull after- noon. For another thing, he knows more about Indians than most anyone you might mention. Remember those furious scenes in “The Covered Wagon” where embattled white settlers fire between the spokes of their wagon wheels at hordes of at- tacking Redskins? Tim McCoy was behind all that. He had brought those Indians from their reservation near his 7,000 acre ranch in Wyoming, had per- suaded them to don warpaint and feathers, and set them on the wagon trains. His title, just for the record, was technical director for the “Covered Wagon” company. E was only eighteen when he left home in Saginaw, Mich., to get a cowpuncher’s job in the West. His range, it happened, was near an Indian reservation, and he made it a point to study them and their sign language. Presently, when he could talk fluently, they became his friends and companions. When he asked them to go to Holly- wood with him, they trusted him and went. During the filming of “The Covered Wagon,” he had to cover a lot of ground at breakneck speed. His riding was phenomenal and thrilling. Metro- Goldwyn-Mayer offered him a leading part in a series of Westerns . . . just because he could ride so well. He took it, and became the idol of millions al- most overnight. Today, he is still rid- ing. His latest picture is ‘“Two-fisted Law” for Columbia. And Tim McCoy fits the title. A six-footer with brown hair and flashing blue eyes, he is any- body’s idea of a two-fisted man—just another doing the “hardest job.” Directory of Players CLYDE, JUNE; married to Thornton Freeland; born in St. Joseph, Mo., December 2. Universal player. Featured in “Steady Com- B CODY, LEW; widower of Mabel Normand; born in Waterville, Maine, Write him at First National studio. Free anos: ‘irst Na- France, September 13. ‘arg Sex’ and ‘Misleading Lady." Working in ‘'Man From Yesterday.” For Paramount, ES ; iy COLLIER, WILLIAM, JR.; unmarried; born in New York City, Febru- ary 12. Write him at Paramount studio. Free lance. Featured in’ “Dancers in the Dark," Paramount; “Handicap.” Chadwick; ‘Phantom Express,” Educational. Appearing on legitimate stage. Oo For d COMPYON, JULIETTE; married in Columbia, Georgian, May 3. Para- mount plaver. Featured in ‘Strangers in Love,’ Paramount; ‘“West- rite him at Paramount studio, Free lance. Featured in “Tom Sawyer" and “Huckleberry Finn," Paramount. Attending military acad my. COOGAN, ROBERT; boy actor; born in Glendale, Calif., December 90 (Continued from page 84) 3. Paramount player. Featured in “The Miracle Man” and “Sky ride,’’ Paramount. : COOK, DONALD; divorced; born in Portland, Ore., September 26. Writ2 him at First National studio. Free lance, Featured in ‘‘Man Who Played God,” First National; ‘Trial of Vivienne Ware,” Fox. COOPER, GARY; unmarried; born in Helena, Mont., May 7. Para- mount star. Working in ‘‘Devil and the Deep,” Paramount. COOPER, JACKIE; boy actor; born in Los Angeles, Calif., September 15. M-G-M player. Featured in ‘The Champ” and ‘When a Feller Needs a Friend.’ After personal appearance tour wi!l make “The O'Shaughnessy Boy." For M-G-M. ‘ CORTEZ, RICARDO; widower of Alma Rubens; born in New York City, July 7. RKO-Radio star. Co-starred in “Symphony of Six Million.” Working in “Is My Face Red?” For RKO-Radio, CRAWFORD, JOAN; married to Douglas Fairbanks, Jr.; born in San Antonio, Texas, March 23. M-G-M star. Starred in “Grand Hotel” and “Letty Lynton,” M-G-M. Working in "Rain," United Artists. CROMWELL, RICHARD; unmarried; born in Long Beach, Calif., Jan- uary 8. Columbia player. Featured in “‘Emma,'’ M-G-M, “'Strange Moe of Molly Louvain,” First National; *‘fom Brown of Culver, niversal. CROSBY, BING: married to Dixie Lee; born_in Tacoma, Wash., May 2. Write him at Mack Sennett studio. Contract player. Featured in “Dream House” and “Bill Board Girl,’ Sennett. Working in “The Big Broadcast.’ Paramount. CUMMINGS, CONSTANCE; unmarried; born in Seattle, Wash., May 15. Columbia player. Featured in “The Big Timer,” Columbia; “Movie Crazy," Lloyd-Paramount; “Attorney for the Defense and “American Madness,” Columbia. Working in “Murder of the dy,"’ Columbia. P. ar. DANTELS, BEBE; married to Ben Lyon; born in Dallas, Texas, Janu ary 14. Warner Bros. star. Last picture was “Honor of the Family,” next ‘Radio Girl.” For Warners. | DAVIBS, MARION; unmarried; born in Brooklyn, N. Y., January 1. M-G-M stur. Starred in “Polly of the Circus.” Working in “Good Time Girl.” For M-G-M. . DAVIS, BETTE; unmarried; born in Boston, Mass., April 5. Warner Bros. player. Featured in “Rich Are Always With Us" and “The Dark Horse.”” Working in “Cabin in the Cotton.” Next is “Three on a Match."’ For Warners. . ; DEB, FRANCES; unmarried; born in New York City, November 26; ver. Featured in “Strange Case of Clara Deane, Paramount; Hore Is A Racket,” First National. Working in DELL, CLAUDIa; divorced; born in San Antonio, Texas, January 10. Write her at Universal studio. Free lance. Featured:in “Scan- the Rio” ond “Bird of Paradise.” Next is “Moon and Sixpence” For RKO-Radio. 7 = y é i DIETRICH, MARLENE; married to Rudolph Seiber; born in Berlin, Germany. December 27. Paramount star. Starred in “Shanghai

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ess." Working in “The Blonde Venus.” For Paramount. DILLOWAY, DONALD; unmarried; born in New York City, March 17. Write him at RKO-Pathe studio. Free lance. Featured in “Miss Pinkerton’ and “Strange Love of Molly Louvain, " First National; “Attorney for the Defense,” Columbia; “Pack Up Your Troubles,” Roach-M-G-M. DIX, RICHARD; married to Winifred Coe; born in St. Paul, Minn., july) 18, RKO-Radio star. Starred in “The Lost Squadron.’”” Work- “Roar of the Dragon.” For RKO-Radio. DORE, ADRIENNE; unmarried; born in Fort Sherman, Wash., May 22. First National player. Featured in ‘Famous Ferguson Case,” “Rich Are Always With Us” and ‘‘Street of Women,” First National. DORSAY, FIFI; unmarried; born in Montreal, Canada, April 16. Write He at Fox studio. Free lance. Featured in “Young As You Feel,” x. Touring in vaudeville. DOUGLASS. KENT; unmarried; born in Los Angeles, Calif., October 29. Write him at Universal studio. Free lance. Featured in pz tence Bridge” and ‘A House Divided,” Universal. Appearing the legitimate stage. DOUGLAS, MELVYN; married to Helen Gahagan; born in Macon, Ga., April 5. Goldwyn- United Artists player. Featured in “The ee Sex” and ‘The Broken Wing,” Paramount; “As You Desire M-G-M; ‘‘The Old Dark House,’ Universal. DOVE, "BILLIE, divorced from Irvin Willat; born in New York City, May 14. Caddo contract star. Write her at 7020 Romaine St,, Hollywood. Starred in “Age For Love” and “Cock of the Air,” Caddo-United Artists. DRESSLER, MARIE; unmarried; born in Coburg, Canada, November 9. M-G-M star. Starred in ‘Emma’ and “Prosperity,’”” M-G-M. DUNN, JAMES; unmarried; born in New York City, November 2. Trox player. Featured in “Dance Team” and “Society Girl." Work- ing in “Walking Down Broadway." For Fox. DUNNE, IRENE; married to Dr. E. F. Griffin; born in Louisville, Ky July 14. RKO-Radio star. Co-starred in ‘‘Sy mphony of Six Mi lion,” RKO-Radio; “Back Streets,” Universal. Next is ‘Nurse Smith,” RKO-Radio. DURANTE, JAMES; married; born in New York City, February 18. M-G-M_ plaver. Featured in “Are You Listenin, and ‘‘Wet Parade.” Working in ‘Speak Easily." For 1 DVORAK, ANN; married to Leslie Fenton; born in Los Angeles, Cali August 2. First National player. Fe.tured in “The Crowd Roars, “Strange Love of Molly Louy: ain,” “Love Is a Racket,’ “Without Consent and “The Crooner.” Working in “Rev: olt."”. All for First <a National. BILERS. ‘SALLY; married to Hoot Gibson; born in New York City, December 11. Fox player. Featured in *’Dance Team” and *‘Dis- orderly Conduct." Working in “Walking Down Broadway.” For Fox. ERWIN, STUART; married to June Collyer; born in Squaw Valley, Calif., February 14. Paramount play. er. Featured in “Strangers eo Love” and “N lisleading Lady.’” Working in “Gates of Holly- ‘ood.’ Next is “The Big Broadcast.” For Paramount. EVANS, MADGE; unmarried; born in Los Angeles, Calif., July 1. Write her at M-G-M studio. Free lance. Featured in “Lovers Courage- ous,” “Are You Listening?” and_ “Huddle,” M-G-M. Working in Al Jolson’s untitled picture at United Artists. FAIRBANKS, DOUGLAS, JR.; married to Joan Crawford; born in New York City, December 9. First National star. Starred in ‘It's Tougzh To Be Famous” and “Love ls A Racket.” Working in ‘‘Re- volt.’ For First National. FAIRBANKS DOUGLAS, SR.; married to Mary Pickford; born in Denver, Colo., May 23. United Artists star. Working in “Robin- son Crusoe. of the South Seas,” United Artists. FARRELL, CHARLES; married to Virginia Valli; born in Walpole, Mass., August 9. Fox star. Starred in “After Tomorrow.’ Co- starring in ‘The First Year.’’ For Fox. FAY, FRANK; married to Barbara Stanwyck; born in San Francisco, Calif. November 17. Write hira at Columbia studio. Producer- star. Produced and starred in “A Fool's Advice.’ FORD, WALLACE; married to Martha Halworth; born in England. Birthday unknown. M-G-M player. Featured in “Beast of the City oa Enea kes “Are You Listening?”’, ““Wet Parade’’ and “'Pros- rity, —( FOSTER, "NORMAN; married to Claudette Colbert; born in Richmond, Ind., December 13. Write him at Universal studio. Free lance. Featured in “Steady Company” and * *Cohens and Kellys In Holly- pioodia Universal; “Week-End Marriage,” First National. Work- ing in “Skyscraper Souls,” M-G-M. FOX, SIDNEY; unmarried; born in New York City, December 10, Universal player. Featured in ‘‘Murders in the Rue Morgue,” Universal; “The Mouthpiece,” First National. Working in “Once in a Lifetime,” Universal. FRANCIS, KAY; married to Kenneth McKenna; born in Oklahoma City, Okla., January 13. Warner Bros. sta Starred in “Man Wanted” and * “Street of Women,” Co-starred in “The Jewel Rob- bery.””. Working in “One Way Passage.” For Warner Bros. GABLE, CLARK; married to Ria Langham; born in Cadiz, Ohio, Feb- ruary 1. M-G-M player. Featured in “Polly of the Circus" and “Strange Interlude.’ Starring in ‘‘China Seas.’ For M-G-M. GARBO, GRETA; unmarried; born in Stockholm, Sweden, September 18. -G-M star. Starred in “Mata Hari,” “Grand Hotel” and “As You Desire Me,” M-G-M. GAYNOR, JANET; married to Lydell Peck; born in Philadelphia, Pa., October 6. Fox star. Co-starred in “Delicious.” Working in “The First Year.” For Fox GIBSON, HOOT; married to Sally Eilers; born in Takoma, Neb., August e Write him at Tec-Art studio, Hollywood. Contract star. Starred “Local Bad Man,” “Spirit of the West” and ‘A Man's Land,’ Allied Productions. GIBSON, WYNNE; divorced; born in New York City, July 3. Para- mount player. Featured in “Strange Case of Clara Deane.”” Work- in "The Challenger.” For Paramount. GIL BERT, JOHN; divorced from Ina Claire; born in Ogden, Utah, July 10. M-G- M star. Starred in “West of Broadway.” Working in “Downstairs.” For M-G-M. GLEASON, JAMES; married to Lucille Webster; born in New York City, May 23. Write him at RKO-Pathe studio. Free lance. Fea- tured in “Fast Companions,” Universal;*’The Challenger,’ pennant Next is “Madison Square Garden,’’ Charles Rodgers Prod. GOMBELL, MINNA; unmarried; born in Baltimore, Md., May 28. Fox player. Featured in “After Tomorrow,” “Careless Lady” and “Bachelor's Affairs,’ Fox. GRANT, CARY; unmarried; born in Bristol, Eng., January 19. Para- mount player. Featured in “This Is the Night, ” “Sinners in the” Sun” and “Devil and the Deep.’”” Working in ‘‘The Blonde Venus.’’ Next is “Blood and Sand."’ For Paramount. GRAVES, RALPH; married to Virginia Goodwin; born in Cleveland, Ohio, January '23. M-G-M layer-writer. Weatured in ‘‘When a Feller Needs a Friend” and “Huddle,” M-G-M. GREEN, MITZI; child actress; born in New York City, October 19. Write her at RKO-Radio studio. Free lance. Featured an “Girl Cra Next is “Little Orphan Annie.” For RKO-Radi HAINES, “WILLIAM; unmarried; born in Staunton, Va. Sanuecy 1. M-G-M player. Featured in ‘‘Are You Listening?’ -G-M. HAMILTON, NEIL; married to Elsa Whitner; born in Athol, Mass., September 9. Write him at M-G-M studio. Free lance. Featured in “Tarzan,” “Wet Parade,” “Are You Listening?’ M-G-M; “Woman in Room 13," Fox; “What Price Hollywood?” RKO-Pathe. Working in “Two Against the World,” First National. HARDING, ANN; divorced from Harry Bannister; born in Fort Sam, Houston, Texas, August 7, RKO-Pathe star. Starred in ‘Prestige’ and “Westward Passage.” Por RKO-Pathe. HARDY OLIVER; divorced; born in Atlanta, Georgia, January 18. Hal Roach star. Co-starred with Stan Laurel in “County Hos- ita',” also in feature length comedy, “Pack Up Your Troubles.” ‘or Roach-M-G-M. HARLOW, JEAN; divorced from Charles F. McGrew; horn in Kansas City, Mo. br March 3. M-G-M player. Featured in “Beast of the City.” Starring in “Red Headed Woman.” For M-G-M. HAYES, HELEN; married i Charles MacArthur; born in Washington, D. 'C., October 10. M-G-M star. Featured in ‘Arrowsmith,’ Goldwyn-United Artists. Next. is “Farewell to Arms,’’ Paramount. HERSHOLT, JEAN; married; born in Co Speman. Denmark, July 12. M-G-M player. Featured in “Grand Hotel,” ‘Night Court,” “New Morals for Old.” Working in “‘Skyseraper Souls.”” For M-G-M, HOBART, ROSE; married; born in New York City, May 1. Write her at Universal studio. Free lance. Featured in “Dr. Jekyll and Mr. Fee Paramount; “Scandal for Sale,'’ Universal. Working in Kkyscraper Souls,” M-G-M. HOLMES. PHILLIPS; unmarried; born in Grand Rapids, Mich., July 22. Paramount player. Featured in “Broken Lullaby” and “Two Kinds of Women,” Paramount; “Night Court,” M-G-M. Next is “70,000 Witnesses,” Charles Rogers Prod. HOLT, JACK; married; born in Winchester, Va., May 31. Columbia, pars Starred in ‘‘Maker of Men’’ and “Behind the Mask.” Work- “War Correspondent.” For Columbia. HOPKINS, MIRIAM; divorced from Austin Parker; born in Bainbridge, Ga., October 18. Paramount player. Co-starred in “Dancers in the Dark” and “World and the Flesh.”” Next is ‘Not Married.” For Paramount. HOPPER, HEDDA; divorced from DeWolfe Hopper; born in Holidays- pure) Pa., June 2. M-G-M nae, Featured in “Night World” “As You Desire Me,” M-G-M. Working in “Speak Easily.” HORTON EDWARD EVERETT; unmarried; born in Brooklyn, N. March 18. Write him at RKO-Radio studio. Free lance. Featured in ‘But the Flesh is Weak,’’ M-G-M; ‘Roar of the Dragon,"’ RKO- Radio. Appearing on the legitimate stage. HOWARD, LESLIE; married; born in England, April 24. Write him at RKO-Pathe ‘studio. Free lance. Featured in “Devotion.” Working in “Animal Kingdom.” For RKO-Pathe. HUDSON, ROCHELLE: unmarried; born in Claremore, Okla., March 6 RKO-Radio Laver. Featured in “Sunrise Trail” and “Hold Em Jail.’ Working in “Is My Face Red?" For RKO-Radio. HUSTON, WALTER; married to Nan Sunderland; born in Toronto, Canada, April 6. M-G-M player. Featured in “Wet Parade” and “Night Court,’" M-G-M; “American Madness,” Columbia. Working in “Rain,” United Artists. EOLA, LEILA; married to Phil Berg; born in New York Citys May M-G-M eae Featured in ‘Freaks.’ Working in "Red Headed Woman” G-M. JONES, BUCK; married; born in Vincennes, Ind., December 12. Co- lumbia star. Starred in “South of the Rio Grande” and ‘Hello Trouble.” Working in “McKenna of the Mounted." For Columbia. Modern Screen uess Who? HE boy, of course, is Jimmy Cagney. Though the attitude’s Victorian, the smile is unmistakable. But the lass? Ah, well, that’s something else again! ... Give up?... Well, don’t let the brunette wig fool you—it’s Joan Blondell. Of course you should have known—who could forget those great big beautiful eyes? These two help to put the fun in FILM FUN—the magazine that turns Hollywood into Hollerwood! Laughs ... all the latest news and intimate gossip of the screen colony ... scores of attractive pictures of your movie favorites . . . and more laughs—that’s FILM FUN. Find out for yourself today—from any newsdealer! mi Fon HUNDREDS OF HOLLYWOOD HOWLS!

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SOR DEN DOROTHY; unmarried; born in Clarksburg, Tenn., August 9. M-G-M player. Featured in “Wet Parade,’” M-G-M; “Lost Squadron,” ‘‘Roadhouse Murder,” RKO-Radio; * “Down to Earth,” Fox. Working in “Cabin in ie Cotton,” First National. JUDGE, ARLINE; married to Wesley Ruggles; born in Bridgeport, Conn., February 21. RKO-Radio player. Featured in “Girl Crazy,” “Young Bride” and “Is My Face Red?” Working in “Roar of the Dragon.” For RKO-Radio. KARLOFF BORIS; married; born in London, Eng., November 23, Universal player. Featured in_ “Frankenstein,” “Night World” and “fhe Old Dark House.” Next is “The Invisible Man.” For Universal. KE STON, BUSTER; married to Natalie Talmadge; born in Pickway, Kan., October 4.. M-G-M star. Starred in ancy jee Plum ber.” Working in “Speak Easily.” For M-G-M. KEENE, TOM; married to Grace Stafford; born in “smoky Hollow, ves December 30. RKO-Pathe star. Starred in “Ghost City,” Nuntise Trail” and “Gun Law.” Working in “The Law Rides.” For RKO-Pathe. KENYON, DORIS; widow of Milton Sills; born in Syracuse, N. Y., ‘ September. 5. Write her at First National studio. Free lance. Fea- tured in “Waterloo Bridge,’ Universal; “Young America,” Fox. KIRKLAND, ALEXANDER; unmarried; born in Mexico City, Sep- tember 15. Fox PIS ver Featured in ‘Devil's Lottery,” Fox; “Strange Interlude,” M-G-M. Working in “Undesired Lady,” Fox. ENAPP, EVALYN; unmarried; born in New York City, June 17. Write her at First National studio. Free lance. Featured in “High Pres- sure,” “A Successful Calamity” and “Big City Blues,” First Na- tional. Working in “The pos Widow,” Paramount. LANDI, ELISSA;_ married to J. Lawrence: born in Venice, Italy, December 6. ' Fox star. Starred in “Devil's Lottery” and “Woman in Room 16.” Working in “Undesired Lady.” For Fox. LAUREL, STAN; married to Lois Neilson; born in Ulverston, Eng., June 16. Hal Roach star. Co-starred with Oliver Hardy in unty Hospital” and in the Ene length comedy, “Pack Up Your Troub- les.” For Roach-M-G-M. LEE, DOROTHY; divorced from_James Fidler; born in Los Angeles, Calif., May 23. Write her at RKO-Radio studio. Free lance. Fea- tured in “Peach O’ Reno” and “Girl Crazy,” RKO-Radio. Appear- ing in vaudeville. LEE, LILA; divorced from James Kirkwood; born in New York City, July 25. Write her at Universal studio. Free lance. Featured in Radio Patrol.” Universal. LIGHTNER, WINNIE; married to George Holtrey; born in Green- port, L. I., August 17. Write her at Warner Bros. studio. Free lance. Starred in “Manhattan Parade”; featured in “Play Girl.” For Warners. 1 LINDEN, ERIC; unmarried; born in New York City, July 12. RKO- Radio player. Featured in ‘‘The Crowd Roars,” First National; etoung Bride” and “Roadhouse Murder,” RKO-Radio; * ‘Big City Blues,” First National. Working in ‘'Life Begins,” First National. LLOYD, HAROLD; married to Mildred Davis; born in Burchard, Neb., April 20. Write him at Paramount studio. Producer-star. Starred in “Movie Crazy,’’ Paramount. LOMBARD, CAROLE; married to William Powell; born in Fort Wayne, Ind., October 6. Paramount player. Featured i in “No One Man” and “Sinners in the Sun.” Next “Pick Up.” For Paramount. LOUISE, ANITA; unmarried; born in Vienna, January 9. RKO-Radio player. Featured in “Heaven on Earth,” Universal; “Pack Up Your Troubles,” _Roach-M-G-M. LOWE, EDMUND; married to Lilyan Tashman; born in San Jose, Calif., March 3._ Write him at Fox studio. Free lance. Featured in “Misleading Lady,” Paramount; “Attorney for the Defense,” Cclumbia. Working in “Chandu,” Fox. LOY, MYRNA; unmarried; born in Helena, Mont., August 2. M-G-M player. Featured in “Wet Parade’ and “New Morals for Old,” M-G-M; ‘Woman in Room 13,” Fox; “Love Me Tonight,” Para- mount. LUGOSI, BELA; unmarried; born in Lugos, Hungary, October 20. Universal player. Featured in “Murders in the Rue Morgue.” Working in “Suicide Club. For Universal. LUKAS, PAUL; married; born in Budapest, Hungary, May 26. Uni- versal player. Featured in ‘No One Man” and “Thunder Below,” Paramount. Working in ‘‘Undesired Lady,” Fox. LYON, BEN; married to Bebe Daniels; born in Atlanta, Ga., February 6. Write Hin at First National studio. Free lance. Featured in “Lady With A Past,” RKO-Pathe; ‘The Big Timer,” , Columbia; “Week Ends Only,” Fox. Working in “Murder. Express,”” Columbia. MACDONALD, JEANETTE; unmarried; born in Philadelphia, Pa,, June 18. Paramount player. Featured in “One Hour With You.” orking in “‘Love Me Tonight.” For Paramount. MACKALL, DOROTHY; married to Neil Miller; born in Hull, Eng., March 4. Write her at First National studio. Free lance. Starred in “Safe in Hell,” First National; “Love Affair,” Columbia. Ap- pearing in vaudeville. LEAS DAVID; divorced from Suzanne Bushell; born in Halifax, S., April 30. First National player. Featured in “Beauty and the Bo: “Man Wanted” and “Without Consent.” Working “The Crooner.” For First National. MARCH, FREDRIC; married to Florence Eldridge; born in Racine, Wis., August 31. Paramount star. Starred in “Strangers in Lov nual We Go to Hell,” Paramount. Next is “Smilin’ Thru,” d J MARSH, JOAN; unmarried; born in Porterville, Calif., July 10. M-G-M layer. - ereatumed in “Are You Listening?” M-G-M; “Bachelor's MARSH, MARIAN; unmarried; born in Trinidad, British West Indies, October 17. Write her at Warner Bros. studio. Free lance. Fea- tured in “Under Eighteen” and “Beauty and the Boss,”” Warners. MARSH, Mak; married to Lee Armes; born in Madrid, Mexico, No- vember 9. Fox player. Featured in “Over the Hill” and “Rebecca of Sunnybrook Farm,” Fox. McCREA, JOEL; unmarried; born in South Pasadena, Calif., Novem- ber 5. RKO-Radio player. Featured in “Lost Squadron” and eee of Paradise.’ Co-starring in “The Most Dangerous Game.” RKO-Radio. McUNGLEN. VICTOR; married to Enid Lamont; born in London, Eng., December 10. Write him at Fox studio. Free lance. Fea- tured ins BCAY, Caballero” and “Devil’s Lottery,” Fox. Appearing in vau MEIGHAN, THOMAS; married to Frances Ring; born in Pittsburgh, cS pari 2. 9. Fox player. Featured in “‘Skyline” and ‘Cheaters ay,” MENSOU, ‘ADOLPHE; married to Kathryn Carver; born in Pittsburgh, Pa., February, 18. Write him at Columbia studio. Free lance. Featured in ‘'Forbidden,” Columbia; “Bachelor’s Affairs,” Fox. Working in “Murder of the Nizht Club Lady,” Columbia. MERKEL, UNA; married to Ronald Burla; born in Covington, Ky., December 10. M-G-M player. Featured in “Man Wanted,” First National; “Huddle,” M-G-M. Working in “‘Red Headed Woman,” M-G-M. MILJAN, JOHN; married to the former Mrs. Creighton Hale; born in Leeds, S. D., November 9. M-G-M player. Featured in “Are Nous Pistenine Ue and “Night Court,” M- G-M; “Rich Are Always Wit * Warner Bros. Working in “Without Shame,” M-G-M. MIX, TOM: "married to Mabel Ward; born near El Paso, Texas, January 6. Unweral star. Starred in “Rider of Death Valley” and “Good Bad Man. Working ae eee Marked Man.” For Universal. MONTENEGRO, CONCHITA; unmarried; born in San Sebastian, Spain, September 11. Waite her at Fox studio. Free lance. Fea- fared in “The Cisco Kid’’ and “The Gay Caballero,” Fox. Ap- ring in musical comedy. MONTGOMERY, ROBERT; Sracried to Elizabeth Allen; born in Beacon, N. Y., May 21. M-G-M plaver,, Starred in “But the Flesh Is Weak’: ; featured in “Letty Lynton.” Working in ‘Good Time Girl.” For M-G-M. MOORE, DICKIE; BOY) actor; born in Los Angeles, Calif., September 12. Hal Roach player. Featured in “Disorderly nduct,”” Fox; “Winner Take All,” First National; “No Greater Love,” Columbia. Working in “Million Dollar Legs,” Paramount. MORAN, LOIS; unmarried; born in Pittsburgh, Pa., March 1. Write her at Fox studio. Free lance. Featured in ““Men,in Her Life,” Columbia. Appearing on the New York stage. MORAN, POLLY; unmarried; born in Chicago, Ill., June 28. M-G-M player Featured in “The Passionate Plumber” and “Prosperity.” 1-G-M. MORLEY, KAREN; unmarried; born in Ottumwa, Iowa, December 12. M-G-M player. Featured in “Arsene Lupin’’ and ‘Are You Hestenne M-G-M; ‘‘Man About Town,” Fox. Working in “*Wash- ington Whirlpool,” M-G-M. MORRIS, CHESTER; married to Sue Kilbourne; born in New York City, February 13.._ Write him at Paramount studio. Free lance. Reatured in ‘“The Miracle Man"’ and “Sinners in the Sun,”’ Para- unt. Working in “Red Headed Woman,’’ M-G-M. MUNL PAUL; married to Bella Finckle; born in Vienna, Austria, September 22. Write him at First National studio. Free lance. Starred in “'Scarface,’’ Caddo-United Artists. Next will be “Lawyer Man,” First National. Now on New York stage. BAAR CHARLES; married; born in Ireland, June 22. Universal Boy Co-starred with George Sidney in ‘‘Cohens and Kellys in toll ywood.’’ Next is “‘Cohens and Kellys in Politics.’’ For Uni- sal. NAGEL, CONRAD; married to Ruth Helms; born in Keokuk, Iowa, March, ie M-G-M ppleversae Featured in ‘‘Hell Divers,’’ M-G-M. NEGRI, POLA; divorced from Prince M’divani; born in Bromberg, Poland, December 31. Write her at RKO-Pathe studio. Free lance. Starred in ‘tA Woman Commands,’ RKO-Pathe. NISSEN, GRETA; married to Weldon Heyburn; born in Olso, Norway, January 30. Fox player. Featured in ‘“‘The Silent Witness’’ an “Devil's Lottery,’’ Fox. NIXON, MARIAN; married to Edward Hillman; born in Superior, Wis., October 20. Fox player. Featured in “‘Amateur Daddy’ ae ee Tomorrow,” Fox; ‘Winner Take All,’’ First National; ca_of Sunnybrook Farm,” Fox. NOVARRO. RAMON; unmarried; born in Durango, Mexico, February 6. M- G-M star-director. Co-starred with Garbo in ‘‘Mata Hari’’; starred in ‘‘Huddle.’’ Next is ‘‘Man of the Nile.’’ For M-G-M. OAKIE, JACK; unmarried; born in Sedalia, Mo., November 14. Para- mount player. Featured in “Dancers in the Dark’’ and "‘Sky Bride.”" Working in ‘Million Dollar Legs.’ For Paramount. Next is ‘‘Madi- son Square Garden,” Charles Rogers. OLAND, WARNER; married to Edith Shearn; born in Umea, Sweden, October 3. Write him at Fox studio. Free lance. Featured in “Shanghai Express,’ Paramount; ‘Charlie Chan’s Chance,’’ Fox. Working in “Undesired Lad: Fox. OLIVER, EDNA -MAY; divorced; born in Boston, Mass., January 12. RKO-Radio player. Featured in “Ladies of the Jury’’ and “Hold ail.” Appearing in musical comedy. OLIV TER “LAURENCE; married to Jill Esmond; born in London, En- tand: January 12 RKO-Radio play er. Featured in “‘The Yellow icket,”” Fox; “Westward Passage,”” RKO-Pathe. OSBORNE, VIVIENNE; unmarried; born in Des Moines, Iowa, Decem- ber Warner Bros. player. Featured in **Famous Ferzuson Case “Two Seconds'’ and “The Dark Horse.” Working in “Week End Marriage’’ and ‘‘Life Begins."”| For Warners. O'BRIEN, GEORGE; unmarried; born in San Francisco, Calif., Sep- tember 1. Fox star. Starred in ‘“The Rainbow Trail,"’ “The Gay Caballero’’ and ‘‘Mystery Ranch,’’ Fox. O’BRIEN, PAT; married to Eloise Taylor; born in New York City, September 1. Write him at Paramount studio. Free lance, Fea- tured in ‘Scandal for Sale,’’ Universal; “Strange Case of Clara Deane,’’ Paramount; ‘American Madness,'’ Columbia. Working in ‘Hollywood Speaks,’’ Columbia. O'SULLIVAN, MAUREEN; unmarried; born in, Dublin, Treland, May 17.__M-G-M player. Featured in ‘'Tarzan,’’ M-G-M; ‘Fast’ Com- i Universal; “‘Strange Interlude,’’ M-G-M. Working in i raper Souls,’’ M-G-M. PAGE, ANITA; unmarried; born_in Flushing, N, Y., August 4. M-G-M player. Featured in “Are You Listening?” , “Night Court’’ and “*Prosperity,’’ M-G-M. PALLETTE, EUGENE; divorced; born in Winfield, Kan.. July 8. Para- mount player. Featured in “Shanghai Express,’ “Dancers in the Darkiaends ‘Thunder Below,’’ Paramount; ‘‘The Illustrious Corpse,” PICHEL. IRVING; married to Violette Wilson; born in Eattsburely eae . June 24. Paramount player. Featured in ‘‘Westward Pas- ” RKO-Pathe; ‘Forgotten Commandments,’’ Paramount. PICKFORD, MARY; married to Douglas Fairbanks, Sr.; born in To- ronto, Can., April 9. United Artists star. Starred in ‘‘Kiki.’’ Re- turns to screen soon in ‘‘Happy Ending.’ PITTS, ZASU; divorced from Tom Gallery; ton in Parsons, Kan., January 3. Hal Roach player. | Featured in “Trial of Vivienne Ware,” Fox; “Westward Passage,” “Roar of the Dragon’ and “‘Is My Face Red?” RKO-Radio; * “Back Streets,’’ Universal. Work- ing ane “Gates of Hollywood,’ Paramount. Next is “Auto Camp,” Universal. POWELL, WILLIAM; married to Carole Lombard; born in Pittsburgh, Pa., July 29. Warner Bros. star. Starred in “‘The Jewel Robbery,” Working in ‘‘One Way Passage.” For Warners. QUILLAN, EDDIE; unmarried; born in Philadelphia, Pa., March 31. Write him at RKO- Pathe studio. Free lance. Featured in “The Big Shot.” RKO-Pathe; ‘Girl Crazy," RKO-Radio. RAFT, GEORGE; unmarried; born in New York City, September 27. Paramount. player. Featured in “‘Scarface,’’ Caddo-United Artists; Dancer” in the Dark,” Paramount. Working in “The Sporting Widow.” Paramount. RAYMOND, GENE; unmarried; born in New York City, August 13. Paramount player. Featured in “Ladies of the Big House’’ and puorec ten Commandments.” Working in “‘Lives of a Bengal Lan » For Paramount. ROBINSON, EDWARD G.; married to Gladys Ltoyd; born in Bucharest, Roumania, December First National star. Starred in “Two Seconds.” Working in “Tiger Shark.’ Next is ‘Silver Dollar.” For First_NationaL ROGERS, CHARLES; unmarried; born in Olathe, Kan., August 13. Write him at Paramount studio. Now appearing in “Ziezfeld’s wolliess ae New York. Last picture was ‘‘This Reckless Age,” ROGERS. GINGER; divorced from Jack Pepper; born in Independence, Kan., July 16. Write her at Paramount studio. Free lance. Fea- tured in “Carnival Boat,’ RKO-Pathe; ‘The Tenderfoot,” First National. Appearing in vaudeville. ROGERS, WILL; married; born in Okagah, Okla., November 4. Fox star. Starred in ‘Ambassador Bill,” ‘“Business and Pleasure’? and ‘Down to Earth,’’ Fox. RUGGLES, CHARLES; married; born in Los An: 8. Paramount player. Featured in “‘One “This Is the } mount. SALE, CHIC; married to Marie Bishop; born in Huron, S. D., August 25. Warner Bros. star. Starred in ““I'he Expert,’” Warners; co- wee irred in Without Consent,’’ Warners. SHANNON, PEGGY; married to Allen Davis; born in New York City. January 10. Fox'player. Featured in “*Hotel Continental,” Tiffany: “Society Girl,”” Fox. Working in “‘After the Rain,’’ Fox. SHEARER, NORMA; married to Irving Thalberg; born in Montreal, Canada, ‘August 10. M-G-M star. Starred in “Private Lives’ and “Strange Interlude.”” Working in ‘‘Smilin’ Thru.” For M-G-M. SHERMAN, LOWELL; divorced from Helene Costello; born in New York City, October 11. RKO-Radio star-director. Starred in and dizectedys “Greeks Had A Name For Them,” United Artists; featured “What Price Hollywood?” RKO-Radio. SIDNEY, GEORGE; unmarried; born in Hungary, March 15. Uni- versal player. Co-starred with Charlie Murray in “‘Cohens and celive in Hollywood.” Next is ‘‘Cohens and Kellys in Politics.” For Universal. SIDNEY, SYLVIA; unmarried; born in New York City, August 8. Paramount player. Featured in “Ladies of the Big House,”’ “Mir- acle Man” and ‘*Merrily We Go to Hell.” Next is “Anything Fo: Sale.’ For Paramount. STANWYCK, BARBARA; married to Frank Fay; born in Brooklyn. N. Y., July 16. Warner Bros. star. Starred in ‘‘Shopworn,"" lumbia; ‘*So Big’’ and “‘Night Flower,’’ Warners.g Working in “‘Briet Moment,’’ Columbia. STARRETT, CHARLES; married; born in Athol, Mass., March 28. Paramount player. Featured in "The Wiser Sex,” “Sky Bride” and “The Challenger,’ Paramount. STONE, LEWIS; married to Hazel Wolf; born in Worcester, Mass., November 15. M-G-M player. Featured in ‘Grand Hotel,’’ “Wet lees” “Night Court,” “Letty Lynton: ”” “New Morals for Old.” Working in ‘Red Headed Woman.”’ r M-G-M. SUMMERVILLE, SLIM; married; born in aunts N. M., July 10. Universal player. Featured jn “Unexpected Father’ and “Tom Brown of Culver.’? Next is ‘Auto Camp.'’ For Universal. SWANSON, GLORIA; married to Michael Farmer; born in Chicago, Til., March 27. United Artists star, Starred in ‘*Tonight or Never." Working in ‘Perfect Understanding’’ in Englan TASHMAN, LILYAN; married to Edmund Lowe; born in New York City, October 23. Write her at Paramount studio. Free lance. pentared in “Girls About Town” and “The Wiser Sex,’’ Paramount. earing in vaudeville. TAYLOR: ESTELLE; divorced from Jack Dempsey; born in Wilming- ton, Del., May 20. Write her at United Artists studio. Free lance. Featured in ‘‘Unholy Garden’’ and “Street Scene,’ United Artists. TIBBETT, LAWRENCE; married to Jennie Marston; born in Bakers- field, Calif., November 16. Write him at M-G-M studio. Free lance. Starred in “Cuban Love Song,”” M-G-M. . Appearing on operati ic sta: ze. TOBIN, GENEVIEVE; unmarried; born in New York City, November 29. Columbia player. Featured in ‘‘One Hour With You,’’ Para- mount. Working in ‘‘Hollywood Speaks,’’ Columbia. TODD, THELMA; unmarried; born in Lawrence, Mass., July 29. Hal Roach player. Featured in “The Big Timer,” Columbia; * ‘This Is the Night,’’ Paramount. Working in “‘Horsefeathers,’’ Paramount and ‘“‘Speak Easily,’’ M-G-M. TOOMEY, REGIS; married to J. Kathryn Scott; born in Pittsburgh, Pa., August 13. Write him at Paramount studio. Free lance. Fea- tured in ‘'Shopworn,’’ Columbia; “They Never Come Back,’’ Tec- TRACY, LEE; unmarried; born in Atlanta, Georgia, April 14. Warner Bros. player. Featured in ‘‘Strange Love of Molly Louvain,’” “Love rams A ket” and ‘‘Dr, X.’’ Working in “‘Blessed Event.” For arners. BE SPENCER; married to Louise Treadwell; born in Milwaukee, April 5. Fox player. | Featured in “Disorderly Conduct,”’ “Young America” and ‘‘Society Girl.” Working in “After the Rain. For Fox. TWELVETREES, HELEN; married to Frank Woody; born in Brook- lyn, N. Y., December 25. KO-Pathe star. Starred in “Young Bride”; featured in ‘‘State’s Attorney’? and “Is My Face Red?” RKO- jcathe Working in “‘Without Shame,’’ M-G-M. VELEZ, LUPE; unmarried; born in San Luis Potosi, Mexico, July 18. Write her at M-G-M studio. Free lance. Featured in “Cuban exe Song,’’ M-G- The Broken Wing,” Paramount. Appearing “Ziezteld’s Follies’ in New. York. WEISSMULLER, JOHNNY; married to Bobbe Arnst; born in Chicago, Ill., June 2. ‘M-G-M player. Starred in “’Tarzan,’” M-G-M. Mak- ing personal appearances. WAEORL OBI BERT; separated from erate Spear; born in Patterson, J., August 31. Write him at RKO-Radio studio. Free lance. Cesena in ‘‘Peach O’ Reno,” ‘Girl Crazy"’ and “Hold ’Em Jail.’’ RKO-Radio. Appearing in vaudeville. WHITE, ALICE; unmarried; born in Patterson, N. J., August 28. Writ2 io at ee National studio. Free lance. Starred in ‘‘The Monster " Tiffany. Appearing in vaudeville. WIL LAM, WARREN; married; born in Aitken, Minn., December 2. Warner Bros. player. Featured in “Beauty and the Boss"; starred in ‘The Mouthpiece’”’ one aie Dark Horse,’’ Warners) Working a ‘Skyscraper Souls,’’ M-G-M. WILSON, LOIS; 5 ea borngin Pittsburgh, Pa., June 28. eles, Coe) February our With You’’ and Write her at Universal studio. Free lance. Featured in “Rider of Death alee Universal. Working in ‘Children of Pleasure,'’ First Na- wone. oCNNA MAY; unmarried; born in San Francisco, Calif., Janu- ary 3. Write her at Paramount studio. Free lance. Featured in Sa aes Paramount. Next is ‘Bitter Tea of General 2 umbia, WOOLSEY, ROBERT; married to Mignone Reed; born in Oakland. Calif., ‘August 14.’ Write him at RKO-Radio studio. Free lance. Go-starred in “Peach O’ Reno,’’ ‘Girl Crazy’’ and “Hold ’Em Jail,” R Radio. Appearing in musical comedy. WRAY, FAY; married to John Monk Saunders; born in Alberta, Canada, September 25. Write her at Universal studio. Free lance. Fea- tured in “‘Stowaway,"’ Universal; “Dr; X,’’ First National. Work- in “The Most Dangerous Game,’ RKO-Radio. YOUNG, LORETTA; divorced from Grant Withers; born in Salt Lake City, Utah, January 6. First National star. Starred in “‘Plav Girl” O ““Week-End Marriage.’" Working in “Life Begins.” Next is hey Call It Sin.’’ For First National. youn, “ROB ERT; unmarried; born in Chicago, Ill., February 22. M-G-M player. Featured in “Wet Parade,’’ ‘‘New Morals for Old” aee “Strange Interlude.’’ Working in “Without Shame.” For YOUNG. ROLAND; married; born in London, Enz., November 11. Write him at Paramount studio. Free lance. Featured in “‘One Hour With You” and “This Is the Night,’’ Paramount; “Street of Women,” First National. Now making a picture in England. Between You and Me plains exactly how we feel about him and the unmerciful way he has been treated since the film-going public was credited by the producers to be tired of musicals. STELLA JOHNSTON, London, England Yes—and wouldn't the youngsters just be crazy about them? Why don’t we have some moving pictures taken from our comic sections ? Such as “Little Orphan Annie” with Mitzi Green, or—oh, yes !—“Bringing Up Father” with Polly Moran and Marie Dressler. Imagine Polly Moran singing the operatic selections, as George McManus has Maggie Jiggs do. BUCK, Bridgeport, Connecticut 92 (Continued from page 6) Our artist will be right over to thank you as soon as he takes off his smock I am writing to tell you that your magazine covers are the best I’ve seen on any movie magazine. I like them because they are pretty and really look like the stars. The cover of Sylvia Sidney was perfect. I think ail the fans like to keep pretty colored pictures of their favorites. I hope you will have covers of Constance Bennett, Jean Har- low and Greta Garbo soon. DOROTHY RYAN, Kansas City, Missouri Miss Chatterton is looking for stories, G. G. Maybe she'll consider this I would like to see Miss Ruth Chat- terton play Irene in “The Forsyte Saga” by John Galsworthy. She is the only one in Hollywood who could do justice to the story. G.G New York, N. Y. Bouquets for two beautiful ladies Please—can’t you do something to keep Helen Hayes in pictures? It is such a relief to see one of the fair sex who can really act. D, MAY, Salt Lake City, Utah Marlene Dietrich is a wonderful act- ress and she always looks so beautitul without a lot of make-up and false lashes glued on her eyes. I hope she wiil be. given better pictures. . . VIRGINIA LANG, Sta Glare Michigan ight.’’ Working in “Love Me Tonight.’’ For Para- ~ “When a Feller Needs a Friend, ”’ M-G-M; starred in _

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Sally-Hoot (Continued from page 43) amusing companion. Women made a good deal of fuss over him and his Don Juan reputation gave him an undeniable glamor. The kind of glamor that could not but impress anyone as young as Sally. It had been known to impress women a good deal older and more ex- perienced. Sally at the time of their marriage was practically unknown. MHoot, on the other hand, had been a cowboy star for years. His fame was well- established and though he was in his forties he was still a popular figure in Westerns. In other words, when Sally and Hoot walked to the altar Hoot was the big shot, the celebrity, the star of the fam- ily. Sally was Hoot Gibson’s wife. Today the situation is reversed—Sally is the important member of the family. And Hoot is Sally Eilers’ husband. Well—Hoot isn’t the first Hollywood husband who couldn’t stand his wife’s success. It’s happened before. It’s just happened to Harry Bannister. And itll happen again. No man with any pride can stand being a squaw man for long. The tragic thing is. that had Hoot not encountered serious financial set-backs at the same time Sally was shooting to fame and economic inde- pendence, their quarrel might have been avoided. But it was the combination of circumstances that brought it about. ALLY EILERS really loves Hoot Gibson—and Hoot really loves Sally. But when their love was put on the spot they forgot that love. At first they faced the situation hand-in-hand, bravely. It seemed to draw them more closely together. Sally made every effort to help tide Hoot over his finan- cial crisis and to comfort him. Hoot made every effort to be a good sport about things. They took a modest little bungalow. Hoot sold his Rolls Royce, his plane, his place in the moun- tains. It wasn’t easy for either of them. How deeply it hurt Hoot to part with the things he loved no one knew. He laughed it off. More than the loss of his personal possessions, however, the thought of Sally worried him. He knew that they must sacrifice every luxury, scrape together every cent they could to pay the interest on his investments so that he would not lose them alto- gether. He knew that, in the end, if he could hang on long enough he would be rich again. But would Sally under- stand? Sally who had married him when he had everything. She was so young, so unused to responsibilties. Would she have the courage, the wis- dom and the steadfastness to see things through? Was her love for him strong enough to stand the test? But Hoot needn’t have worried. Sally came through like a thoroughbred. She was as enthusiastic about their little bungalow as if it had been a man- sion. She accepted the situation cheer- Modern Screen CotoRinse NOt & OYE. NOT A BLEACH Girne Glory | OVELY HAIR is colorful hair... Natural, youthful, glowing with tone color. Give it a soft sheen of color glamour, without dyeing or bleaching, by using ColoRinse in your shampoo wash. It’s just harm- less vegetable compound... 12 shades to choose from... but you'll find it amazingly attractive. It is especially desirable for sun bleached hair.2rinses 2180 Beeb eee eR pen in every 10c package... try it today! : a The NESTLE-LE MUR CO., New York : Ae wt Nestle SuperSet..agrease- Nestle Hot Oil Shampoo... | RAY AY: Hes the less finger waving lotion, free free from soap oralkali..the ~ from sediment, for longer, preferred method for revital- lasting waves of new allure. izing and cleansing the hair. Smoll sizes at all 5¢ and 10c stores. Lorge sizes at I O Cc your beauty parlor, drug store or department store. Watch the next Modern Screen for a thrilling new novelty All about a young girl who goes to Hollywood for a lark It’s called “The Lure of Hollywood,” by Alice Williamson it’s Amazing What You Can Buy for 10/7 (15 CENTS IN CANADA) A Beautiful : : Silve Now just step up to the cosmetic counter in WatchiCoce any 5-and-10-cent store and look at this new Vanity Heather Rouge compact. Dainty. Beautiful. Complete with unbreakable mirror, cake rouge and puff. And it costs only 10¢! What a bar- gain in beauty! Like all Heather Cosmetics... powder, lip- stick, Cosmetiko (mascara), eye shadow and eye-brow pencil... the rouge in this new Heather compact, obtainable in 6 most popu- lar tints, is absolutely pure and as refined as can be made. All Heather Cosmetics have the character and quality you want. Try the HEATHER COSMETICS GUARANTEED ABSOLUTELY PURE MADE BY THE HEATHER COMPANY, NEW YORK, N.Y. 93

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fully and uncomplainingly. Hardly more than a child herselt she tried to be a mother to Hoot’s small daughter of a previous marriage. And Hoot’s pride in her and his gratitude for her loyalty was touching. Then just as they seemed happiest something went wrong. Sally’s phe- nomenal success in “Bad Girl” and her meteoric rise to film fame did some- thing to Hoot Gibson. Coming at a moment when he was in _ financial straits and down on his luck it was too much for Hoot. It tortured his pride to know that his wife was able to buy things for herself which he could no longer buy for her. And when, finally, he even had to accept help from her he suffered the agonies of the damned. Now, Hoot is not only liked but re- spected by those who know him. It would never have occurred to anyone to regard him as a “Hollywood hus- band.” His friends all recognized the ordeal through which he was passing and admired his courage. But Hoot, in his outraged masculinity, grew mor- bidly sensitive. He began to view Sally’s success and his own temporary hard luck with distorted vision. He was so terrified of losing Sally’s love and respect that he lost his nerve and his perspective. He began to be un- reasonably jealous of Sally—to imagine that she was paying undue attention to other men—and that in her heart she wanted to leave him. Probably in the beginning Sally had no such idea. She was deeply in love with Hoot and I believe she honestly wanted to make their marriage a suc- cess. But Hoot’s constant suspicion and continual accusations began to tell on her. He would watch her moodily when she danced with other men. His desperation and wounded vanity made him say things he did not mean. The more afraid he grew of losing Sally the more impossible he made it for her to continue living with him. Poor Hoot! That perverse instinct which makes us do all the wrong things when we feel ourselves at a disadvantage in love got the better of his sanity and judgment. And eventually, as was inevitable, Sally began to be a little fed up. ) DBISUNE'S she wasn’t always as pa- tient with Hoot as she might have been. And perhaps the exhilaration of sudden success made her a little cocky sometimes. After all, Sally is very young and she is getting her first taste of fame and public acclaim. At any rate, whether rightly or wrongly, Hoot got it into his mind that success had gone to Sally’s head. Quarrels, bickering and angry scenes began to be a pretty regular part of the routine of the Gibson ménage. It was all very pathetic and very understand- able. Had they loved each other less they would undoubtedly have treated the situation with more wisdom and skill. But Hoot was hurt at what he considered Sally’s indifference—not realizing that he himself was estrang- ing her by his attitude. And Saliy was hurt by what she considered Hoot’s un- reasonable jealousy and suspicion. And in their hurt and bewilderment both did 94 foolish things—things which only made matters worse. Hoot, sulky and defi- ant, would seek convivial solace with his men friends and show up two hours late at a dinner party which he and Sally were supposed to attend together. Sally, annoyed by his ungrounded sus- picions, would sometimes tease him like a naughty child, pretending an interest in other men. And with each quarrel they drifted farther apart. The situation had reached a critical stage when Sally did a very unwise yet very understandable thing. She went to New York—without Hoot. Now there was every reason for Sally’s want- ing to go to New York. She was just a kid and fame was still a new and thrilling thing to her. She knew that she would be wined and dined, feted and made a fuss over in New York. She had been working hard and trying at the same time to cope with a diffi- cult domestic problem. And if she wanted a change and some fun—if she wanted laughter and play instead of scenes and recriminations for a while, who can blame her ? How about your diet? Are you too fat? If so Or too thin? do you know the correct way to diet? See the next MODERN SCREEN On the other hand, one can equally comprehend Hoot’s point of view. To him Sally’s departure for New York was the final straw. He felt that she was walking out on him just when he needed her most. That she could leave him knowing that he was worried and depressed seemed to him the final proof that she no longer loved him. AN» when Sally came back things were worse than they had ever been before. Fresh from her triumphs in New York she was naturally less pa- tient than ever with Hoot and his de- mands upon her. And Hoot, feeling shut out and unnecessary to her happi- ness, became more jealous and unrea- sonable than ever. It’s easy to say that Sally should have been more tolerant and sympathetic and that Hoot should have been less self- pitying and suspicious. Both were at fault, I suppose—yet it seems to me that neither should be blamed. They were handicapped from the start—and to complicate matters, fate threw every possible stumbling block in their way. | Eventually, of course, the blow-off | came—and came in such a way that || concealment was impossible. For weeks the papers had been lying in wait for an Eilers-Gibson split-up story. But || Sally and Hoot, whatever they said to one another in private, were steadfast in their public denials of any difficulties. Then, at the final Mayfair dance of | the season came the quarrel that was | It was no different from any . i other quarrel between them—but cir- ~ fatal. cumstances built it to serious propor- tions. It was the aftermath that set the seal on things and brought Hoot and Sally to a public confession that they were through with one another. Hoot, blindly jealous as usual, spoke insultingly to Sally. Sally, not wanting to face another of his rages, leit the party with Edward Cline, the director, ~ l Cline, in |} trying to avoid a reckless speeder, ran § and his wife in Cline’s car. into a telephone pole and Sally was in- jured—not seriously but After receiving emergency treatment at a clinic, instead of going home she went to the Santa Monica house of Bebe Daniels and Ben Lyon, close friends. She did not telephone Hoot. HEN she did not return home all | night Hoot was first frantic, then furiously angry. about the accident he still saw red. He felt that Sally was his wife and he should at least have been notified—not i stopping to realize that Sally was as | angry at him as he was at her and that he himself had provoked the quarrel. In a way you can’t blame him. He > must have suffered during that night, not knowing where Sally was. But \ you can’t blame Sally, either. She was shaken and unnerved, not only by the accident but by her scene with Hoot, and she was painfully cut and bruised. Perhaps even feeling toward him as she did, she should have let Hoot know where she was—yet most of us in her frame of mind would have acted the same way. By the next evening Sally had made up her mind that she was never going back to Hoot—that things had come to a pass where it would be futile to at- tempt a reconciliation. Hoot, still bit- terly hurt and resentful, had not been to see her. And both, for the first time, made statements to the newspapers ad- mitting the trouble between them. Of course, there is always the chance that Hoot and Sally may stay together in spite of everything. The latest news is that they’ve reconciled to the extent of Hoot’s buying a new house for them. I know they love each other still. But I also wouldn't be at all surprised if an emotional reconciliation might turn out to be only temporary. Sally knows that, too. She feels that the mis- understanding between them is funda- mental, that it will take a great deai of tact and diplomacy to weather another storm. Will Hollywood write “finis” to the romance of Sally and Hoot? Is the Heartbreak Town winning another tragic victory over a happy marriage? painfully. | Even after he heard 4

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ee b7 Helen’s Wardrobe (Continued from page 79) make-up with it as well. Warm, flesh- toned powder and under it a_ subtly blended rouge. The violet-red lipsticks and rouges go best with these lovely purple blues. But they’re quite ugly when you try to use them with a lacquer red dress. You have to experiment. “Another color that Miss Twelve- trees is fond of is beige. That’s a de- cidedly neutral tint and it requires an accent—something to bring it out. She simply uses a more brilliant lip rouge.” Try it if you already haven’t. I did after I saw Helen in a beige summer suit. She didn’t have a single splash of color on it but her lovely facial color- ing supplied just the right accent. It’s a very tailored sort of suit. The ma- terial is light weight wool, the kind you want for a vacation trip up into the mountains. It has double revers and the belt is at the normal waistline. Helen doesn’t like belts as a rule. When she wears them at all they have to be at just the correct place or she says they make her look stubby. She re- fuses to wear them high in accordance with the present mode. That wide look through the shoulders is attained by a blue fox fur that runs across them in back and rambles down the arms to form the elbow length sleeves. It’s as cute as can be. There’s a soft beige silk blouse that makes it a “threesome” and long beige suéde gloves that are the right answer to short sleeves. “T adore hats. I think I’m a bit mad about them,’ Helen confessed there in her living room. “Simple dresses— drastic hats. That’s my style creed. 1 like extreme hats. I like them saucy and beguiling, demure and picturesque. You certainly can take your choice this year. They come at every conceivable angle and with brims of varying widths. And what they do to your profile, my dear! Have you seen those starched mesh ones that have scarfs to match? Everything seems to be meshes this summer—gloves, hosiery, bags and even shoes combine mesh with kid. S° many of the hats have a two- color scheme. I have a_ black turban—it’s really a ducky thing—with a white crépe top. Isn’t it funny how we used to consider black the worst thing possible to wear in summer? And furs were absolutely taboo! Now they’re not only permitted but empha- sized by fashion authorities! This tur- ban goes with one of those ‘five o’clock’ suits. A rather formal affair of black very sheer wool. It has a shawl collar and wide cuffs of ermine on the small jacket. Then there are jet buttons edged with rhinestones that are quite large. I wear an onyx ring surrounded by diamonds to match them.” (See page 78.) Right after she’d told me about that obviously expensive suit, she said a most Modern Screen RYING ... sobbing ... laughing! The slightest thing drives her to distraction. 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Many Federal Students, women MY R 4 as well as men, are earning $50 Lay, $60, $75, and $100 a week— cE even more. Write for Free Art Test now. State age and occupation. Federal School al of Commercial Designing 829B Federal Schools Bldg., Minneapolis, Minnesota Modern Screen startling thing: “Do you know, a price tag doesn’t amount to a row of pins these days! Not so long ago inexpensive dresses looked cheap; they don’t any more. Some of the cutest things I have cost less than twenty dollars. And let me tell you a secret. A star who is noted for her superb taste in clothes went on the set the other day and one of the extras in the scene was wearing a duplicate of her prized Parisian model! She had paid more than a hun- dred dollars for it, thinking it was an exclusive model. The extra paid $19.50 for hers and it was the same material! “Originals are copied so cleverly that the girl in Four Corners has an equal chance of being fashionably dressed with the girl who buys her things in Paris—and at considerably less cost. “A change of accessories will spruce up the most tired and dejected of dresses. I honestly think they’re more important than the dress itself. They have to strike just the right ‘tone’ as Mrs. Pemberton says; so much depends on them. Now, you take that beige suit of mine. I like to do a bit of shifting about. Sometimes, instead of the hat with the bow, I wear a turban of rosh- anara. There’s a flat under-arm bag of the same material piped in beige to go with it. (The bag and hat is pictured on page 79.) I can use both the tur- ban and the bag with a white dress and brown jacket or with a very soft green frock that I- have. That’s the sort of thing that makes wardrobes interesting.” WE had wandered up into Helen’s boudoir by this time and she showed me a pair of lovely lounging pajamas. They’re copied after a pair she had in her wedding trousseau. The trousers are of black chiffon velvet and have tight cuffs. They’re in excellent contrast with the silver lamé jacket. It’s hip length, this jacket, and the clasp on the belt repeats the design of the one at the neck. (See page 77.) Notice that the neck is high and round—it’s exceptionally good on Helen, and on all ou girls who are blessed with the same sort of facial contour. In those crépe pajamas with the white satin blouse (see page 77) she’s com- pletely the young matron, Mrs. Frank Woody. The sash adds a soft, feminine touch. And speaking of sashes, since they’re with us again, let’s be prejudiced in their favor. They’re so graceful. That orfe of ciré satin on Helen’s black chiffon frock (page 76) ends in a glorious bow. It’s draped in a charming manner and lends a touch of whimsy to the frock. The surplice collar out- lined with the satin is always good on Mary’ s Frankest Interview ingénue and matron alike. Little dresses | like this one are becoming more and more popular. They serve-a dozen dif-|/ ferent purposes—all jolly. Quite appro-|| priately they are called the “five o’clock-)| and-after” frocks. The little sleeves | take away any suggestion of formality |’ and the heel-length skirts give them | just enough of a dressed-up air. Helen! sometimes wears an amusing black | Milan straw hat with hers. The crown 1 is trimmed with grosgrain ribbon that i bursts forth in small bows. (There’s a picture of the hat on page 79.) Like most of the blond stars, she pre- fers black or white for evening—and if occasionally gray. A soft dove gray|| that soothes irritated nerves and quiets ; emotional storms. That shade made up i in a pictorial gown of crépe roma en- |; hances the ethereal quality of Helen’s. | Just look at it—on page 76. With those | stately, simple lines and cowl neck it. might be a gown from a Romney paint- ing. But Helen gives it life and new- i} ness with those accents of sapphire | blue. The ornate belt buckle combines - blue with crystal. The braided blue silk } necklace in three strands is the latest t thing in the way of accessories. A jj dream dress—and don’t forget, you - practical lassies, that it’s the kind that Id will remain in style the longest. The | princess line, in one form or another, | is invariably good. A jacket of the , same gray crepe is trimmed with | matching fox fur. “The loose fitting suits of light weight .. material are simply grand for shopping or business,” said Helen, bringing out a suit of that description from her , closet. “They’re so comfortable and / cool and smart. This one, as you see, is collarless and has my favorite neck- | line. (See page 77.) The sleeves are i bracelet length and look—it’s tied with || these red and white bows. Usually I | wear white blouses with it but yester- | day I found the cutest blue sweater to , | match with a white and red trim. Here’s , the hat that goes with it. A white || paillasson straw, they call it. And it | has a blue veil. I’m so glad veils are ;, in vogue. I’ve been wanting to wear , them since I was a youngster and this | is my first opportunity!” She paused a | moment and then she told me with a | happy little laugh, “I’m not buying an- other dress for quite a while. In fact, I’m having all the seams let out in my | old ones... .” il “Oh,” I said. And after that we dis- cussed bassinets and bibs, to say nothing of christening clothes! “Tf it’s a girl,’ Helen remarked, “I | hope she’s born with a flair for clothes. They do make life interesting!” (Continued from page 55) free to make his role stand out just as much as possible. The days of the picture built entirely around one star are Over.” She cited “Grand Hotel”—which she had seen—as an example of the sort of thing she meant. : She told me what else she had been doing in New York. She had taken in most of the musical and dramatic shows, visited the art galleries and, I suspect, dabbled a bit in society. Her portrait had been painted twice, beth times by women. At the end, quite as if it had been some new and startling adventure in her life, she confessed: “Twice I’ve had a date.” ‘See eee eee

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Sias Modern Screen Meet Robert Young (Continued from page 29) things happened that afternoon. . . things that shaped the whole first half of his career. On the way to the school house, he | saw two kids playing in a clay heap. Maybe he had better stop and inquire about the school from them. He asked | a few questions and received not a single answer. In fact the two kids didn’t even look up from their clay building. He walked closer and asked why they didn’t answer him. They con- descended to look his way. Then they both burst into a loud, derisive peal of laughter. ~ The new kid had shoes on! Wearing shoes to school caused him ' to be set apart! None of the other kids owned shoes and so they decided that Bob Young, the new kid, must be in a class by himself. Certainly he didn’t fit into the gangs that infested the entire neighborhood of Boyle Heights! His home was just between the Italian sector and the local Ghetto ... and on either side there was a gang for every block. The biggest gang leader, “Ears” Ceppo, took a liking to him and made him mascot of the outfit. Until the time of this appointment, Bob had been fight- ing for his life every day .. . but as soon as the news of his mascotship got nosed around, Bob was well let alone. It was understood that “Ears” would “fix” any kid that picked on “Shoes” Young! oe during the grammar school days, “Shoes” Young spent his out-of- class hours being a single handed cheer- ing section to the “Ears” Ceppo Gang. Generally sitting atop a box car yelling encouragement while his outfit fought the “Paradise Alley” gang. Until he graduated from the “grades,” Bob was just the kid brother of his family. His older brother, the head of the little family—they had lost their father—looked upon him as just a kid and his sister spent most of her time “helping Mom” so Bob Young merely came home to eat. But the day he started Lincoln High School he became a “man.” The family treated him as though he had grown up. They allowed him to sit in on the con- ferences held every night in the Young front room. It was then that Bob began a habit that has lasted until recently ... that of sitting up half the night with the family “just talking.” Dinner, that had always been a time to eat, became ‘| atime to talk. The dinner hour length- ened into three. The Youngs great talkers. Bob got good grades in his studies ... but the gang had decided not to go to “High” so there wasn’t much left for Bob to do but study! He’ll never for- get the time he asked the vice-principal for an “un-excused” tardy slip... and received an “excused” slip because he admitted that he had no alibi! He re- calls this particularly for the reason that his English instructor was also in the were room when he made his admission. . . and his frankness was the reason she took an interest in him. This is impor- tant to Bob because the English teacher is the reason he is in Hollywood today —but more of that later. He took the ordinary subjects in “High” and even played in some of the school plays. “Robin Hood” was_ his first effort ... in which he wore green tights—he was six feet tall and weighed 130 pounds! He thinks he must have ee the impression of a green barber’s pole! ITH graduation, came the convic- tion that he must get out and make some money. He was forced to this decision by a little talk from his brother. So he went to work in a bank. “I really had a great ambition to set the world on fire at that time,’ says Bob. “Can you imagine anyone setting the world on fire as a bank clerk?” He almost got fired within the first six months. This, because he thought he would lend a helping hand to some of the bank’s customers. He thought he could accomplish this by listening to the stock market gossip in the broker’s office next door and relaying the tips thus acquired to the depositors! “I guess [ll never know how many for- tunes I was responsible—for losing!” is the way Bob sums up that youthful experience. But he wasn’t fired . . . which was a very lucky thing for Bob... and Hollywood. Because the day after- wards, while tending a teller’s window as a relief man, he happened to wait on his former English teacher from the school. “Bob,” she said, “don’t you have any ambition to go on with your dramatic work? You did well in the school plays ...and your six feet, blue eyes and quick smile should get you far.” He explained that he still wanted to go on the stage... but the $75.00 monthly salary was too much needed by the family ... he couldn’t quit his job at the bank. The English teacher left the impression that he could do both! She’d see. The following Saturday afternoon he found himself on the way to the Pasa- dena Community Play House .. . in company with the English teacher. There a long conference ensued with the director of the company ... yes, Robert Young would be given a chance! That was the start of a series of events that place Bob in his present frame of mind! He would work in the bank all day, eat a hasty supper, jump on the street car for Pasadena, then a short rehear- sal before the play was enacted . catch the last car for Los Angeles, just in time to make the “owl” for Boyle Heights! A few hours sleep and then up and to the bank at eight! All this for seventy-five dollars a month ! Yes, he for “acted” nothing... except the experience. They gave him US PHOTOPLAY STAR NATALIE MOORHEAD, G Beautify your eyes, this marvelous, new, easy way. Give them a dense, rich fringe of dark, long-appearing lashes, instantly with the new Maybelline. 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Large size packages of OUTDOOR GiRL Face Powder and other Olive Oi] Beauty Products are popularly priced at 35c and $1.00 in the better drug and department stores. Try-out sizes, too, at 10c each, may be found in the leading ‘ “chains.” Buy your box of OuTDOOR GirL today, or mail the coupon for liberal samples of both the Olive Oil and Lightex face powders and the new Liquefying Cleansing Cream (which cleans the skin as no soap can). QUTDOR, GIRL OLIVE OL Face X UWA EL eke in the red box for oe skins. With Olive Oil a the purple box for nor- mal skins. Crystal Laboratories, Dept. O-8, 130 Willis Ave., New York Enclosed find 4c in stamps for which please send me free samples of the 2 OuTDOOR GIRL face powders and the new Liquefying Cleansing Cream. Name. Address. = ) SS Sire 98 Modern Screen a chance and he progressed from “bits” to good parts. But the time came when he was tired all day at the bank... and loggy all evening at the Play House. It was too much. He must decide be- tween his two careers. He chose bank- ing... merely because the seventy-five dollars was important. About six weeks had passed before he was called upon to make a decision again! The head of a stock company had seen him at Pasadena and wired to say that he could have the juvenile rdle in their play . . . however, they could only pay him $60 a week! He wired “yes” within eight minutes ! Screwed up enough courage to quit his bank -job (thus severing his chances of security for good)-and took the train. Out on the road... tank towns, the sticks! The play went rather well .. . but somehow the larger towns always cancelled their dates beforehand. Bob suddenly realized that he wasn’t going to be “seen” or “discovered” in the sticks . .. so he must save some of his money. Soon he would be back home . no job . nothing! He bunked with another fellow ... cut down on the eats . . . even got the ingenue to iron his shirts—and in return, he ironed the lady’s panties! He arrived in Los Angeles with $110. How his next break came, Bob has never. been able to understand. An actor’s agent had seen his work in the “sticks” and thought he might go over on the screen. Then someone had seen him on tour! Bob wasn’t so sure he would make the grade on the silver sheet . . . movies, as:a matter of fact, had never occurred to him. However, Bob Young took a test at M-G-M the next day. I won’t take you through all the har- rowing details of a “first test” ‘ especially at one of the biggest studios in Hollywood. It would take too long. Bob got through it somehow and was told to go home and “wait.” Three days later a call told him to be at the studio at three o’clock. He got there at two and waited around outside until the ap- pointed time. It required oniy four minutes to sign him to a contract. Only four minutes and Bob isn’t over it yet! E took the streetcar downtown with the contract in his pocket. What should he do? He wanted to laugh . he was beside himself to tell some- one about it all. In the end, just to kill a little time, he walked all the way home! “T didn’t tell the fama about it when I got home,” he said. “I knew that they would be so overjoyed that they wouldn’t be able to stand it. After our long lack of money I could well realize what their reaction would be when I told them of all my good luck. “We started supper . and still I hadn’t told them. I had thought I could wait until the meal was over .. . but right in the middle, I found I could no longer swallow my food! So, as non- chalantly as I could, I told them the story. They all sat there as though I were telling them I’d murdered a man. Not a word was spoken. They were dumbfounded. ' Tt was like a bedlam . . Then the storm broke! . like the day the Armistice was signed! Yells and cheers. thwacks. The meal was forgotten, and | (though this may sound a bit fishy) we!| joined hands and danced in a circle) until we were exhausted ! Patting first one and then the | other on the back with loud, resounding |} pee next morning I told them the! hitch ! “The studio executive had nicl thael I was to be loaned for a part in‘a Fox || picture called ‘““The Black Camel.’- The company was to leave for Honolulu in| six days. it sailed—with That was the hitch! The moment -I|| qi { I had to be on. the boat: when | a Ooi -wardrobe. || mentioned it, the combined faces of the || family dropped. I had but one suit to my name! They broke into a babble | again that lasted almost until noon. *It || was then decided that we should call 4 all the relatives on the phone and try || taking up a collection that would place enough money in the pot for zy com- plete Toardraben There is no necessity of going over | the details of that hectic week © .-: ex- |! cept to say that Bob Young arrived at | the dock with two suitcases full of || clothes—iwo minutes before the boat | sailed. : That was a year ago, and since that || time he has hada chance to display. that wardrobe in some mighty big pictures: “The Sin Of Madelon Claudet,” “The | Wet Parade’ and “New Morals for Old.” - Each time he has done a good job for himself. In fact, he accomplished one thing that had. never beendone be- fore: he attended a World Premiére of a picture in which he had a large part just one year to the day from the date he signed his contract. A contract, by the way, that pays him more in a week than he has ever made in a month be- i| fore! Do you know, by now, what fa is a is troubling Bob? I'll tell you: He comes of a family who never in |! their wildest dreams expected any mem- ber of their group to get anywhere to speak of. He worked four years at the acting profession for nothing—a procedure that makes it very difficult for him to under- stand why they should now pay him so much for doing the same thing! It seems kind of amazing. During the four years that he was working in the bank all day, and play- ing at the Pasadena Play House all eve- ning, Sunday was a big holiday to him. He looked forward to it all week as an event. Nowadays, between productions, he often has as much as four or five days without a thing to do. And the pay check goes right on—just as if he were working. So Bob is scared the studio will call up one of these days when he is on a five day vacation and say: “Well, Bob old man, since you are having such-a good time loafing, you might just as well keep right on loafing. We won't need you here any more!” For that reason, Bob Young goes to the studio every day—whether he is wanted or not! He hangs around just in case they might want him. You see, he hates banking worse than sin.

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ee aaa to the camera. I’ve got a dressing room here and a couple of dress suits. Come on over—one of them might fit you.” Ric and the kid who had introduced himself as Haines went over to his cubby-hole of a dressing room. The suit fit Cortez as though it had been made for him. He started to thank the stranger who had so spontaneously helped him. “Forget it,” the other interrupted. “We're all in the same boat trying to make shore.” The next time these two met, Ric was “Valentino’s successor” on _ the Paramount lot, and Haines was the big- gest male box-office attraction on the M-G-M lot next to John Gilbert. Ric’s bankroll was augmented by $50 for that day’s work, but it opened no new channels towards success. He returned that evening to his six-o’clock vigil in the hotel lobby, discouraged and blue. More grey days of nothing to do. One afternoon on the boulevard he ran into Herbert Somborn, who at that | time was being rumored engaged to Gloria Swanson. Ric had known him in New York. “Jack Warner is look- }' several weeks did ing for a Latin type,’ Somborn told him. “Maybe we could promote you.” But Somborn and his protégé were just three days too late, for Warner, in the meantime, had found and put under contract Don Alvarado. “All right,” said Somborn, “but someday you'll be hearing from this kid, Jack.” “Hope so,” laughed Warner. (5 EMIS they parted Somborn gave Ric a letter to Jesse Lasky, power- in-chief at the Paramount studio, but it didn’t get the aspiring young actor past Lasky’s secretary. Ric was down- east and disheartened—he felt that he would go mad it he stayed cooped up in his small room that night. He needed relaxation and with an extravagant gesture invited one of the few girls he knew to go to the Cocoanut Grove with him. When they won the dancing contest, the spotlight was turned on them. Lasky was dining with his wife and a small party, which, incidentally, in- cluded Pola Negri. He sent for the dark fellow who had been awarded the dancing trophy. “Ever think about go- ing in pictures?” inquired the executive. Trembling, Ric nodded, as Lasky scribbled something on a card. “This will get you in to me at the studio at 11 o’clock tomorrow morning.” The casual interview was ended. Not for Ric understand the politics of the studio world which had || brought so unexpectedly the break he j| had been waiting for. Rudolph Valentino was on a salary | strike. With his wife, Natacha Ram- | bova, he was sulking and refusing to {| work, | New York without warning, leaving They had left Paramount for the studio with several pictures they had Modern Screen True Story of Ricardo Cortez (Continued from page 58) planned for Rudy ready to go into pro- duction. It was vitally important that they find someone who could fill the bill of a romantic Latin—and immediately. Ric knew little of this inner studio difficulty and when Lasky offered him a contract starting at $150 a week with- out even the preliminaries of a screen test, he nearly fainted. He was con- vinced that he, or Hollywood, or Lasky, or all three were slightly insane. For months he had been seeking work be- fore the camera—any kind—and now, through no effort of his own, he was being handed a contract. It didn’t make sense. Lasky sensed the boy’s confusion and frankly explained the studio’s situation. “We want to build you into Valentino’s successor, and you'll probably suffer in comparison at first—get off on the wrong foot with the critics and the fans. I know you are eager for the work and the opportunity. Yet as an actor it may be years before you will be able to break down the prejudice of being Rudy’s successor. Think it over—and let me know tomorrow.” Ric did think it over and, needless to say, accepted the contract. One week after the potent paper was signed and following innumerable conferences with publicity men, Jack Crane (really, Jacob Krantz) was laid to rest—and Ricardo Cortez, Latin lover and suc- cessor to Valentino, was introduced to the movie world! HEN stories about the new Span- ish “discovery” started going out to the world via the publicity depart- ment, Ric thought little about the decep- tion. This change of personality and name was merely a business move. Hollywood itself was “in” on the deal, and the rest of the world had never heard of him before. They might as well know him as Ricardo Cortez, Span- ish successor to the Italian Rudy. But he didn’t reckon with the malignant envy of those he had con- sidered his friends. On every side he heard unfriendly grumblings: “Ricardo Cortez? Huh! Yeah, a ‘Spaniard’ from New York’s East Side. He’s nobody else but Jack Crane and he’s been hanging around doing extra work for almost a year. A new Latin discovery? Phooey.” Some of the rumors were even more ominous: he heard stories of how he had blackmailed Lasky into giving him a contract when the executive had no intention of giving him work! When weeks passed and Cortez was still unassigned to a picture, this rumor gained momentum. He was wretchedly unhappy. The few friends he felt he knew now avoided him. People who did not know him before were not anx- ious to make his acquaintance. All the excitement and happiness attendant on signing the contract vanished and Ric’s days were lonelier than ever before. He wanted very much to make friends with several likeable chaps who were nla until vou Wipe ott that PAINT” “TPHINK of Jack’s saying that! He wasn't joking either. My lips re- pulsed him just when I was trying to look my prettiest!” You too may have that painted look! It’s a fault all too common when you use ordinary lipstick. And it’s one thing men simply cannot stand! Tangee is different. It makes your lips lovely—alluring. It gives that smart natural make-up that all men admire. Tangee can’t make you look painted! It isn’t paint... but a marvelous new discovery that changes on your lips to the one color best for you! Its special cold cream base prevents chapping, caking. Try Tangee at once. At any druggist’s or cosmetic counter. Costs no more than ordinary lipstick. Or send 10e for Miracle Make-up Set. Tangee Lipstick and Rouge—10c trial sizes at all 5c and 10c stores. Cheeks Mustn’t Look Painted, Either! Tangee Rouge changes on the cheeks—just the way Tangee Lipstick does on the lips. It gives the color most becoming to you... ends that ‘‘painted look!”” When you get Tangee Lipstick, ask for Tangee Rouge. TRY TANGEE LIPSTICK AND ROUGE === Send 10c for Miracle Make- Up Set-==== containing samples of lipstick and rouge The GEORGE W. Lurt Co. 417 Fitth Avenue, New York, N Y. Gentlemen. I enclose 10c. Please send your miracle make-up set to ¢ MM3-8

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M.NewcomerAssociates CANS 1674 B’ way. New York N.Y. 100 o=m 9° bultehu AZMU AO Modern Screen starting in on “stock” contracts around the studio lot. Among these were Richard van Mattimore (Richard Arlen), Charlie Farrell, George O’Brien and Bill Boyd. This group lunched to- gether almost daily, and Cortez, alone at a corner table, hoped they would some time invite him to lunch with them ... but they never did. Some months later, when George O’Brien and Ric did become friends, George told him that the bunch had always con- sidered him a “snooty high-hat faking his way, posing as a Latin... ashamed of his own nationality.” His first role with Paramount was /a “heavy” role in a Walter Hiers starring picture. Ric received good notices, but it was almost two months before he was cast in another picture called “Children of Jazz.’ Unknown to Ric, Paramount and Valentino were thawing out their disagreement, and with the possibility of Rudy’s return to the studio fold there was no reason for pushing his “successor” ahead. XCEPT for George O’Brien, Ric had no intimate friends. Frequently he and George went dancing with a couple of girls they knew. Sometimes they would go to the Sunset Inn at Santa Monica and sit at a corner table watching the big celebrities at play, keeping quietly in the background while Bebe Daniels and Harold Lloyd (then rumored engaged) won a dancing cup. The ill-concealed resentment he had felt exhibited toward him, when he was first put under contract, was climaxed in a deplorable event one night in the lobby of the Christie. Ric, in evening clothes, was on his way to his first Hollywood premiere, “Robin Hood,” Grauman’s Egyptian. He had timidly invited Claire Windsor to attend the opening with him and had almost gasped from surprise when she accepted. Cross- ing the lobby of the hotel, he met Sid Grauman and paused to congratulate him on his beautiful new theatre. A young actor, standing nearby and well under the influence of liquor, sneered as he listened in on the conversation between Ric and Grauman. Under his breath he made a particularly nasty re- mark about the nationality of Grauman and Cortez, adding, “Just a couple of Spaniards backslapping each other.” Suddenly, before Ric realized just what was happening, the drunken man shot out a sharp uppercut that caught Ric square on the chin. His first impulse was to fight back, but his second was more practical. He was wearing his only tuxedo, and he had invited the beautiful Claire Windsor to be his guest that evening! Trembling with rage, Ric yelled at Tifis agsalern “You wait here until I come back!” A few minutes later Ric returned from his room wearing an old sweater and flannels, and it was only a moment before the two men were rolling in the gutter back of the Christie in a fight that was long remembered in the annals of the hotell He had the supreme pleasure of denting the nose of his opponent more often than the man dented his. When the actor began to whimper and whine under the blows from Ric’s fist, Ric dragged him up to | his own room. He washed the other’s bloody face as well as his own, changed I back into his dinner clothes and ar-} rived on time with Claire Windsor at i the premiere. " The following morning, feeling he | could no longer bear the antagonistic | attitude asaarcnnl the hotel, he moved to a small, inexpensive apartment within walking distance of the studio. "THE second year of his Paramount contract began, and finished, more happily than his first. True, Valentino had come back into the fold, but Ric / had earned consideration on his own merits. His option was taken up at a i sizable increase in salary. (Before the * agreement between Ric and the com- pany was finally completed, five years | later, he was earning $1,750 weekly.) / He had been advanced quickly from |} “heavy” to romantic roles, playing the | lead opposite such stars as Dorothy | Mackaill and May McAvoy. In one of 4 these pictures, Lon Chaney played the’ part of Ric’s servant. Other studios i began to take notice of Cortez and he: was tested for such important produc- || tions as “Scaramouche” and “Ben Hur.” | But by this time Paramount was finding | plenty of work for him and he was con- fined to activities on his home lot. Three and one half years after sign- | ing his contract, he visited the Goldwyn | studio with Lewis Stone one day and | was introduced to Alma Rubens and her | mother. It was a meeting that will long / remain in Ric’s memory—he had never |! seen anyone so gloriously beautiful as this girl, He knew that he had seen | that lovely face before and recalled the / day, several years ago, when he had! glimpsed her looking in a jewelry win- /) dow on Fifth Avenue in New York. He } remembered how her old-world beauty || had fascinated him then when he hadn’t + known who she was. She seemed like | a bit of rare alabaster. Alma was friendly toward Ric from j| the very first. She was having a dull time in Hollywood while appearang in || “Cytherea” for Samuel Goldwyn. She | didn’t know many people and was lone- , some for Norma Talmadge, Marion |} Davies and other of her New York || pals, at that time still making pictures || in the East. She was a beautiful, suc- | cessful star, but above all that, she was | kind to him, interested in him! Kind- || ness was one human quality that had not been showered upon Ric by Hollywood. | He was her abject slave from that first | meeting. Alma invited him to dine with her- || self and her mother that evening at the | Biltmore Hotel where they were living. || Over their coffee and cigarettes, they | found many things to discuss. For the |} first time since his arrival in Hollywood, ‘| Ric had found a sympathetic friend. He } poured out the entire story of his lone- || liness and his ambitions—and Alma kept , nodding in understanding. She told him | a great deal about herselfi—of the hus- band from whom she had been separ- | ated for six months. Their unhappiness } formed a strong bond of friendship be- | tween Alma and Ric from that first | meeting. Their friendship grew. Alma ||

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' finished her picture, but did not return to New York. By this time she and Ric both realized they were deeply in love. Alma started divorce proceedings, and it was understood that when she was free they would be married. On January 28, 1926, they were married in Riverside, California, by a Justice of the Peace. Then they learned her divorce decree would not be valid | until February 4. They were re-married at the same place on February 5, with the judge’s wife and servant acting as witnesses. Four months of ideal, blissful happi- ness followed. They rented a modest house, employed one maid, drove an inexpensive motor car. Their great pride was that they did not live like actors. Far into the early morning they would talk about the money they were saving so that they could in several years quit Hollywood and spend the rest of their lives traveling. Alma had signed a starring contract with Fox; Ric was still clicking at Paramount. Their future looked dazzlingly bright. LMA was Ric’s first and only reali love. He loved to sit and look at her when she was reading; he never tired of the spectacle of her beauty. It seemed impossible to him that this beautiful girl whose spirit was as lovely as her face, truly and deeply loved him. At the end of their fourth month of marriage, Ric was sent to New York to make “The Swan,” and Alma was forced to remain behind to work on a picture for Fox. The separation was bitter; every night Ric called Alma long distance trom New York; every day flowers arrived for her studio dressing room. While in New York Ric was offered a new long-term con- tract by Paramount which stipulated he would make three more pictures in the Eastern studio. Because it meant separation from Alma, he turned it down. His refusal meant the loss of $300,000 to him, but he decided against the contract to return to Hollywood and Alma. Again Ric was summoned East to make “The Sorrows of Satan,” and Alma cancelled her own Fox contract to accompany him. They were crazily, happily, impossibly in love—but it was more than this that made Ric insist upon staying beside his wife con- stantly. It was at this time that he realized she was a very sick girl. The dreadful knowledge stunned the boy who so idolized and idealized her. At first he could not believe it, but as time went by, he could not doubt it. On the set he was like some mechanical thing wound up—he was in a spiritual daze. His one hope was to finish the picture and devote his entire time to Alma and curing her. His idea was that a change of sur- roundings might benefit Alma. In the next twelve months he drifted from the Eastern to the California coast three times—taking Alma with him—hoping first that Hollywood and then New York might bring about a reversal of her condition. His restlessness and unhappiness mounted; he came to an open break with Paramount and asked Modern Screen for his release which was grauted. He planned to take Alma to Europe put before they could leave he ‘eceived a call from M-G-M to appear opposite Greta Garbo in “Love.” It was too great an opportunity to turn down. Too, he argued, if Alma was to be perman- ently cured it would take a great deal of money. Alma could no longer help herselfi—it was up to him to see her through. His new part thrilled him! more he was alive to his career. But two weeks after the picture went into production Greta was taken seriously ill, and the picture was indefinitely post- poned. Ric couldn’t afford to wait for the star’s recovery, without pay, for Alma’s doctors’ bills, and their living expenses were eating heavily into Ric’s Once savings. Irving Thalberg, now at M- Gaivie was very sympathetic and cast him in “Terror” with Lon Chaney. While that picture was still in produc- tion, Garbo recovered, John Gilbert was rushed into the picture as her co-star —and the greatest opportunity of Ric’s life slipped by him! If circumstances hadn’t been as they were Ricardo Cortez would have appeared with Garbo in “Love” and possibly arisen to Gilbert’s heights at that period. It was only the beginning of a series of bad breaks that almost wrecked Cortez’s spirit. Months went by and he could not secure a picture engage- ment. The greatest of Hollywood calamities was befalling Ric; he was losing prestige. He had been torced to take a big cut in salary. He was, he heard, pretty well “washed-up.” Once more the prospect of Europe loomed in his plans. With the first glimmer of good luck he had had in months he managed to arrange to make a picture in France, “The Orchid Dancer.” He was allowed $2,000 for traveling expenses, a very small salary and the “rights to the proceeds from the American ‘distribution of the film. Alma and Ric crossed on the Ile de Fraiice and remained in Europe for five months, returning to New York in May of 1929 with the film ready for American re- lease. Just as he was about to close a deal for its distribution—talkies came into their own. Exhibitors would not touch the silent picture. Ric, who had worked for a very small salary planning to take his profits out of the release of the picture, found himself practically strapped financially. He couldn’t get work, he had an un- salabie picture on his hands, and the heartbreaking knowledge that Alma was incurable faced him. Her illness, long stays in sanatariums, necessitated their separation, but he still assumed a financial obligation toward her. He managed to get only a few weeks’ work at $750, exactly one thousand dollars a week less than he had received under his Paramount contract. The next six months were the black- est of his life. Alma’s tragic affliction was no longer a secret known to cnly a few of her intimates; the story had broken sensationally in newspaper head- lines throughout the country. Producers who had previously been helpful in se- curing him screen engagements retained RADIANT HAIR BEAUTY depends upon PERFECT GROOMING \ ENIDA DOUBLE-GRIP BOB PINS ON lOc EAC kr EAR D The exclusive, patented, double crimp prevents slipping. Guar- anteed by the makers of Venida Hair Nets. THE RIESER CO., INC., NEW YORK VENIDA pyLts THE WAVES If you have a money problem— and we defy you not to in these days!—you'll be interested in the new department we've started MODERN ROMANCES. — Mrs. Madeleine Tracy not only gives you advice on SOLVING YOUR MONEY PROBLEMS but offers you a chance to help yourself by telling others about your solution. On sale where you bought this MODERN SCREEN. 3.) 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A cream like white prepara- tion, a secret product of modern science, rigidly tested has proven to quickly re- move excess fat from double chin, arms, abdomen, bust, hips, legs or any other part of body, harmlessly and absolutely without any inconvenience. LARGE JAR AT NEW REDUCED PRICE ONLY $1.00 Send $1.00 or mail coupon today. LA RENEE COSMETIC CO., Dept. J-4 1851 Washington Ave., New York, N. Y. Please send postpaid with directions, large jnr La Renee Re- Cream, PT agree to pay postman $1.00 plus few cents post- ducin, ducing Ty cmeney to be refunded if I am not pleased. Modern Screen their sympathy but were afraid to use Ric in their pictures because of the notoriety. His problem was a mad- dening circle of futility. He must have money; he needed it for Alma, yet be- cause of this girl whom he so deeply loved every door was closed to him. E received but one offer for work vaudeville. At that time vaude- ville was the last resort of Hollywood failure; few, if any, of the stars who branched out on the boards ever re- turned to their former position in Holly- wood. It was like signing his profes- sional death warrant—yet Ric accepted the engagement. | Riding back across the country to New York he thought of that first trip he had made with Kerry seven years ago. His ambitions had been so high; he had been so sure of success in Holly- wood. Now looking at those same landmarks, he was planning tc take his own life! After he had made some money on the tour to send back to Alma he was going to kill himself! There was nothing more for him to live for. He believed his career to be finished—horror had overtaken his marriage—only hopeless futility Jay ahead of him. He was surprised when his vaude- ville act proved brilliantly popular; now he realized how many friends he had been. making through his picture work. But after three successful months the hard work, the strain, his repressed mental condition began to take their toll and he was forced to cancel the re- mainder of his bookings. His doctor predicted a complete breakdown if Ric didn’t rest. On the physician’s insistence he went to Paris and lived quietly until the money he had allowed himself for his vacation gave out; then he returned to New York. T his hotel a wire awaited him: “BEEN LOOKING ALL OVER FOR YOU. HAVE GOOD SPOT IN PICTURE TITLED ‘HER MAN’ WITH TWELVETREES. WIRE ME IMMEDIATELY. SiG N is Ws CHARLES ROGERS.” This telegram had arrived on May 26 and it was June 1 when Ric returned trom Europe. Salary, terms—everything was forgot- ten in Ric’s joy. He didn’t even haggle when he learned he must pay his own railroad fare to Hollywood. All he knew was that Hollywood hadn’t for- gotten him—he was being given another chance. “Her Man’ was not only a tremen- dous personal hit for Ric but a box- office clean-up. Pathé, a studio labor- ing along for several years previous under indifferent productions, was de- lighted with the film. Charlie Rogers told Ric: “I may be a few mouths doing it, but I’m going to see you a star w ith this organization before I’m through!” “Her, Man” opened the gates of other studios for Ricardo; his salary, thanks to Darryl Zanuck, jumped from $750 to $1250 a week. He was receiving calls for more jobs than he could handle | as a “heavy.” But he realized he must || reinstate himself as a leading man be- fore permanent success could be his. One morning the telephone rang: “Hello, kid, this is Rogers,” boomed || that voice Ric had begun to recognize as the herald of good news. “I’ve sold you to Bill Le Baron. You're coming || with RKO and Pathé on the merger as | a featured player. The salary is okay. - Tve put it over for you, Ric.” Fj There was a strange gulping sound t from the other end of “the wire. Rogers | waited but there was no answer. “Say, * Ric, are you crying?” he asked. | Still no answer, and Rogers hung up/ the receiver very gently. To this” day © Rogers probably believes that Ric broke / down because of the unexpected good’ news, but to Ric the most amazing’ thing of the news was the fact that this man, his friend, had gone to bat for | him! Someone was actually pulling); for him, wishing him luck. i Alma Rubens died while Ric was/} making “Big Business Girl” for) Warners. y Slowly the past was dropping away from him, wiping the slate clean for, another writing. ) The facts of Ricardo Cortez’s come-|! back during the past year are too well) known for detailed recounting here. He, made pictures not only for his home! i studio, RKO, but scored in many hits) for other companies. But more im-| portant than the step by step story of his career was the change in Ric him- self that was intriguing Hollywood. On! every hand you heard that “Cortez is’ really a heck of a good guy if you get! to know him. Wonder why he always) kept himself so aloof when he was aj star before?” i The prop-men, the electricians andl the camera boys around the studios i swear by Ric, and it was due to a little) scheme he cooked up with the crew that)) he was to obtain the greatest role of his || screen career—the young Jewish doctor a “Sympathy of Six Million.” The studio was testing every actor in Hollywood but Ric for the role, | Gregory La Cava, the director, couldn't ' see him for it. Together with his own cameraman, an assistant director and a script of the story, Ric made a test of \j He knew he could do that!) When La Cava saw the test he \ knew it, too, and this is the role that \ has done more for Cortez than any |] himself. part. other one since his career began. He’s jumped the hurdles on the path ‘ to success; at some of them he fell, although always managing to pick him- | + self up again, wiser and sounder from | the temporary jolt. ning, I believe, to really know ‘and uf understand the man whom so few have , under stood—himself. His career is as- | sured, he is saving his money, his com- | paratively small group of acquaintances | are fr iends. Life for Ricardo Cortez is just now ‘ blossoming with the serenity and peace- | fulness he so richly deserves. se WORRYING ABOUT DIET? SEE SEPTEMBER MODERN SCREEN | — He is just begin- i ——

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ibought for Miss Shearer. And that i;picture established Joan at once as a ‘ixeal rival of Norma for acting honors l'on the Metro-Goldwyn-Mayer lot. Even the most firmly established ac- tresses can hardly afford to have babies! 1! Women expect to make sacrifices for \\their children, of course. It has always \\been so. But few women in the world lare required to make the compromises ithat screen stars must make in order to ‘fit chubby little toddlers into their \ischemes of existence. ‘| In the first place, the physical facts of motherhood make it more difficult ‘for these women than for others. An actress’ looks are her stock in trade, her chief assets by which she makes her living. Any appearance of maturity is a serious liability. The very expression in her eyes which sometimes results lfrom the experience of maternity and \)which may be a lovely thing in another |}woman, is a handicap for an actress. If she is to portray beautiful, innocent ‘and beleaguered maidens upon the /screen—then she must not look like a happy young mother! HIRTEEN years ago Mae Marsh was one of the brightest stars in | the cinema sky. Her salary was four | thousand dollars a week—a colossal sum “for those days. She was as brilliantly successful, as famous, as sought-after as Constance Bennett is today. She married, secretly and against the wishes of Sam Goldwyn, her employer. A terrific hullabaloo ensued—with the result that her contract was ter- minated, then and there, and she went to live in Jersey, to keep house for her husband and to prepare for the arrival of little Mary Arms. Her husband was then earning $125 a week. That’s what Mae Marsh’s baby cost her. All the glitter, the fame, the for- tune, the luxury of a successful screen career. And, of course, there’s Gloria Swan- son. Twice Gloria has jeopardized her career to have a child. First when she was with Paramount, ten years or so ago, when she had her first child, Gloria ~Somborn. Gloria’s tremendous popular- ity and appeal was strong enough to stand her absence from the screen then. But will it be strong enough now? With all these newcomers springing up and making fame overnight, can Gloria once again become a mother without harming her career? Elinor Glyn. thinks so—as you'll see for yourself if you read the story on page 26. How about you? Do you think the advent of Michaele Bridget Farmer—for any of the reasons mentioned in the beginning of this article—may harm Gloria Swan- -son’s popularity ? _ When Mildred Davis married Harold Lloyd, it was agreed between them | that she was to retire from the screen. Modern Screen Ie The High Cost of Babies in Hollywood (Continued from page 44) That meant, tacitly, anyhow, that they wanted children. The advent of little Gloria was very, very hard for Mildred. Hard and even dangerous. “I shall never dare to face that again!” she told me then. Later she said, wistfully, “Much as I love her, Gloria has made a prisoner of me—almost. It is like this. No matter where we go, no matter who comes to see us, the talk is always and eternally of pictures. The women talk about it just as much as the men. ‘Listen to what happened on the set today!’ they say. Or, ‘I’m going to do this in my next picture.’ Nothing but studio chat, picture gossip. And there I sit, feeling like a little lump. The only thing I can add to the conversation is, ‘Gloria has a new tooth.’ I might be someone from the wilds of Africa!” At last Mildred did make another pic- ture. A small program picture at Para- mount. And I have never seen a girl so ecstatic as she was to be working again. “Now I can say, ‘Listen to what happened on the set!’ ” she burbled when I went to watch her working one day. But somehow, I don’t know exactly why, the picture wasn’t a great success. And Mildred never returned to work after that. She has her gorgeous new home now and the little adopted daugh- ter, so nearly Gloria’s age and the little son who arrived amid so much anxiety a year or so ago. Her life is pretty full and I think she doesn’t feel like a pris- oner any more. But even voluntary re- tirement from the screen is difficult in Hollywood. You feel so left out of things. A woman who is a wife and mother and nothing more doesn’t feel like that in other walks of life. Here it is hardly normal. It is harder for these people than for other folk! HEN Winifred Westover and William S. Hart separated, Bill was determined that Winifred should give up acting and devote her time to their child. So he settled a hundred thousand dollar trust fund upon her with the stipulation that if she worked in pictures or if she used the child in any way for publicity (that is, gave out pictures of him or interviews con- cerning him), she should forfeit the money. It was five years before the divorce was finally settled and Winifred was again free to work in pictures if she chose. Five years is a long time to be absent from the screen if you wish to work again. And even when she made “TLummox” for Sam Goldwyn, she was not allowed to use Bill Hart’s name or to use pictures of the baby for publicity purposes. When Leatrice Joy married John Gil- bert, she was forbidden by her em- ployer, Cecil de Mille, to have a child. I can’t UNDERSTAND IT— BETTY HASN’T GAINED A POUND IN MONTHS “Quack” claims won't build your child’s weight! Be “SURE” of the food you give your child Sere AMERICAN 2 MEDICAL ASSN. Contos, = OCOMALT, the delicious chocolate flavor food drink, is accepted by the American Medical Association, Commit- tee on Foods. 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This SUNSHINE VITAMIN is essential to the child’s diet, for it converts the mineral salts (calcium and phosphorus) so richly furnished by COCOMALT and milk, into strong bones and sound teeth. ts So remember that two or three glasses of Cocomalt a day will give your children all the extra Sunshine Vitamin D they need for sound teeth, strong bones and sturdy bodies. Cocomalt comes in powder form easy to mix with milk—HOT or COLD. At all grocery stores in half-pound, one pound and 5 pound family size. Mail the coupon for a trial-size can free. R. B. DAVIS CO., Dept.39), Hoboken, N. J. Please send me a trial-size can of Cocomalt, free.

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KRUSCHEN SALTS Modern Art Pays Big ae BMoney In this Age of Color . . the demand for art work is creating hundreds of big-pay opportunities. Manu- facturers, decorators, publishers... are seek- ing men and women with art training. Through the Federal course many have found fascinating careers. Many Federal , students now earn from $2500 to $6000 -a year. Learn af home in your spare y- time the Federal Way. | More than fifty famous artists contribute ex- clusive lessons in illus- trating, cartooning, lettering, designing. Send us your name, age, occupation, and ad- dress, and we will send our book, = “A Road To Bigger Things,” oe and Vocational Art Test free. Federal School of Illustrating 8992 Federal Schools Building Minneapolis, Minnesota. 104 Modern Screen Well—as Cecil might have expected, she had one anyway. And he was pretty annoyed about it. So Leatrice worked, quite as if there were nothing of the sort going on at all, until two months before the arrival of small Leatrice. I believe that De Mille never for- gave her. Certainly Leatrice, who had seemed one of the most promising of the younger actresses, never had a real break in a picture after little Leatrice was born. She has definitely retired from the screen now and has married a gentleman who has nothing to do with the industry. But—how different do you suppose things would have been for Leatrice if she hadn’t had that baby? It is hard to judge just what her child cost her in opportunity. Lina Basquette courted tragedy when she tried to give up her child for the sake of her picture career. She found that she could not live without her and there ensued the struggle between Lina and her first husband’s family which occupied columns in the newspapers for months and led at last to Lina’s attempt at suicide. Lina’s second marriage went on the rocks, temporarily at least, dur- ing this period. Motherhood was an expensive business for Lina . When Esther Ralston longed for a baby of her own, her husband, George Webb, who was also her manager, feared for the price she would have to pay. So they compromised. They drew up an agreement, a legal affair, signed before a notary, that Esther was to work for two years more and then she was to be allowed to have a child. She had her baby, as per the terms of her contract with her husband-man- ager, last summer. Later she is going to try to minimize the price by taking the baby with her on a vaudeville tour. It will be interesting to see how far Esther succeeds in avoiding the price of maternity... . ELLE BENNETT’S first success in pictures came simultaneously with the death of her son! There was a legend, shrewdly capitalized by the press agents on the picture, that Sam Goldwyn was convinced of her ability to play the leading role in “Stella Dal- las” only when he saw her terrible grief over the death of her boy. A terrible price for Fate to set on success in pictures ! It seems likely that Dolores Costello Barrymore has definitely given up her | picture career for motherhood. She § has made one picture since the birth of |} her baby and one hears nothing of any ) plans for her to make another.... (9 Helen Hayes says, facetiously, that || her little girl who received such tre- \§ mendous publicity as the ‘““Act of God \§ Baby” a few years ago, has stolen the | limelight from her. i | “The morning after I arrived in J California, I] looked in the papers to /} see whether there would be an an-/| nouncement that ‘the eminent actress’ : had arrived. Instead, a headline met) my eye. ‘Mother of Act of God Baby | Arrives.’ She’s pretty young to be) stealing my thunder like that!” Miss Hayes, who is married to|| Charles McArthur, says that she would 4 like to have two more children. “But! I shall have to retire and give up all” thoughts of my stage and _ screen/ careers. You can’t have both!” You can’t have both. At least, it is! pretty difficult to have both. Enid Ben-” nett gave up her career for mother-| hood. So did Diana Kane (Mrs.4 George Fitzmaurice). So did Maeli Murray. Marlene Dietrich is already thinking) about the price she must pay for her child. She wants to have her grow’ up in Europe. Marlene’s great oppor-' tunity in pictures is here in Hollywood+ —particularly since she’s patched up: her squabble with Paramount. She can-= not bear to be separated for long at ay time from her little daughter. What) sort of compromise do you suppose, Marlene will ultimately make? What) price to pay for her child’s welfare? | Babies come high in Hollywood.'' Motion picture actresses want children! just as intensely as other women want them. But it is difficult, when you have!) given your youth and your energy’! when you have struggled and agonized'} and maybe starved a little, trying to| gain a foothold in this glamorous pro-| fession—it is hard to sacrifice oppor-| tunity, time, your chance at advance- | ment, just at the moment, perhaps, | when everything for which you have struggled seems within your grasp. The years when most women are hav-} ing their babies are the years during } which an actress should be doing her| best work, establishing herself, making | her place secure. Her time is so short —so precious. i] How many women, faced with such| a choice, would choose motherhood? — 6 Miriam’s Adopted Son (Continued from page 31) stars’ families horribly unfair to the families anyway. They’re never by any chance treated as individuals. They’re hauled into interviews and sometimes into photographs only for the sake of background. And color. They’re used exactly the way mob scenes are used. “T don’t want Michael to grow up as any background for me. I want him] to have his own life, whatever he may, make it.” ATCHING Miriam, young and| beautiful, aware of her present § fame and considering the even greater | fame which is believed to await her, |

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the Baker Hotel in Dallas. it seemed strange that she should be so , impatient to undertake the responsibil- ity of rearing and educating this baby. It means, of course, that she will have | much less time and money for herself. | It means economy all round. She is making a large salary, true. But the larger any salary the greater the de- mands made upon it. And within the next few harvest years she must save enough not only to protect her own future but Michael’s as well. And we haven’t been led to expect ladies as glamorous as Miriam, ladies with fame, fortune, and beauty with which to beckon all the gay pleasures of the sophisticated world to be interested in much besides these very things. Nevertheless, I must admit when Miriam told me she planned to adopt this baby, pledging me to the greatest secrecy since the final papers had not yet been signed, I wasn’t at all sur- prised. I happened to know that when Miriam was in New York a year ago she came with the same purpose. Un- forseen complications arose and she re- turned to Hollywood alone and very much disappointed. It isn’t, after all, the actual biological process of having a baby that makes mothers of women. Some are. born with a maternal instinct highly de- veloped and prove more essentially mothers, even though they never have children of their own, than some moth- ers of large families ever do. Miriam had shown me her natural maternity in a dozeh little ways . HEN it was suggested to Miriam that she was generous and a little noble to adopt Michael she was impa- tient and not in the least flattered. “That,” she said with a clarity of vision most people do not possess when they view themselves, “is all really very silly and stupid. I’m adopting a baby Modern Screen because | want a baby. There’s noth- ing generous about that. “Nature has seen it fitting to have a baby the greatest thing any woman can know. I have sense enough to know it wouldn’t suit Nature’s scheme of things to have it otherwise. Later I fully expect to have a baby of my own. But in the meantime I have no inten- tion of missing the greatest experience in life, so I’ve taken Michael. There’s nothing very noble about that.” She is a welcome relief to the senti- mental mother who goes about inflict- ing her madonna’s halo upon anyone and everyone, to the mother who talks long and often of the denials she has made for her childrens’ sake. Never, I’m sure of this, will Michael Hopkins hear how much Miriam has done for him. And when he has grown I can see her offering him her hand with gratitude, thanking him for all the years which have been richer because he had a share in them. She’s like that. She’s so simple and understanding and warm. However, even though Miriam will never talk about it and likely enough never be aware of it she will give this son of hers many great things. He will have the most worth while things money can buy. While he is an infant there will be expert care that he may grow straight and strong. When he is in his formative years there will be gracious environment and stimulating companionship that he may acquire high standards. Later on there will be edu- cation and travel. And always he will know the understanding and independ- ence of which I spoke before. Here’s to little Michael! May he grow into the boy and man Miriam dreams he will be. And may he bear the proud name his mother has given him with high honor. And here’s to Miriam, an up-to-date, refreshingly sensible madonna! The Little Girl Who Wouldn't Cry (Continued from page 81) a stage career. Seeing her natural aptitude for dancing and singing, Leelie encouraged her, writing little skits for her to act. Asa result Ginger learned all her “routines” in childhood and never had a dancing lesson in her life until a few years ago! It was in Fort Worth where her mother was doing newspaper work that Ginger made her first appearances. The scrapbook is full of programs and pic- tures of Ginger’s theatrical activities from that point on. “The Charleston contest was honestly the big moment in my life,” Ginger says. ‘The state contest was held at I thought the Fort Worth contest was bad enough, but when I saw all those state contest- ants I just wanted to cry. I didn't, though. I just did the best I could. And then the judges told me I’d won.” Then followed long, weary months on the road, Ginger doing an act with two other youngsters. Finally there came an opportunity to appear with Paul Ash at a theater in Brooklyn, N. Y., where a producer of “Top Speed” saw her and offered her the part of Babs. When singies came in Ginger was grabbed up by the screen. Then, when the singies went out Ginger went out, too. But she had set her heart on the screen and that little set-back didn’t worry her. She didn’t cry. Instead she made up her mind to become a dra- matic actress. She played in “Suicide Fleet” and “Carnival Boat” for RKO and now she’s in “The Tenderfoot,” for First National. You'll be seeing a lot of Ginger Rogers from now on. and ColorShine is only 10% a bottle K EEFING white shoes white and new looking is no problem at all with ColorShine. White Kid Cleaner cleans, polishes and preserves smooth, white. leather shoes. White Cloth Cleaner is for all white cloth and buckskin shoes. A few minutes and your shoes are like new again and there’s enough in the generous 10c bottle for many pairs of shoes. There are also ColorShine Dressings for all tan, brown, blonde, light-colored and black leathers, and Dye to dye white or colored shoes black. Sold in 10-cent stores everywhere (15c in Far West and Canada). On your next trip to the 10-cent store at the hardware counter get several bottles of ColorShine for your different kinds of shoes. The Chieftain Mfg. 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Golden Peacock acts so fasi—you use so little—it’s more economical ‘than all other bleaches that work. Try a jar to- day. At all drug stores and toilet goods counters. 106 Modern Screen Every Brand of Trouble (Continued from page 61) spare she spent in, what was then, Ham- burger’s Department Store. She wasn’t feasting her eyes on the things she would buy if and when she had the money. No. She was riding upon that wonder of wonders—an escalator. It was like a magical toy to ZaSu. She couldn’t get enough of it. Her home town could not even boast of elevators so an escalator was simply staggering. Up and down, up and down, she rode every day until closing time. She says she is ashamed now, to think of the spectacle she made of herself in her drab, ill-fitting little clothes, clinging excitedly to the escalator rails. It was the only recreation she knew. It | wasn’t long before she had to give up even this joy, because she could not afford to live in town. Her small capi- tal was dwindling at an alarming rate. She got a cheap, furnished room in a poor section of Los Angeles—what was then the red-light district. ZaSu did not know this. She knew nothing at all of the city. She had no friends and when she found a cheap room for rent, she moved in without asking any questions. She remained there several months and saw nothing wrong with it, since she was away all day and, at night, so tired from walking around the studios all day, that she would often drop to sleep as soon as her head touched the pillow. Nes this time, ZaSu had only one suit —a cheap, navy blue serge, trimmed in red and an old straw hat which she had tried to make more pre- sentable by a copious application of dye. Her shoes had been _halt-soled and had lost their shape. Her general appearance was enough to evoke sym- pathy from even a stranger. But sym- pathy is something that ZaSu has never desired. She did not, then. She was out to lick the world on her own, and she asked no odds of anyone. She made the rounds of the studios for weeks before she finally got a chance. She secured a small bit at Universal. It wasn’t long before she was working some place every day. Life suddenly seemed very simple and _ pleasant. Directors and the people-who-mattered were beginning to treat her with re- spect. Then, out of a clear sky, she was approached by a director of a small independent company with an offer to become a stock actress in his productions. She accepted with alacrity and when he asked her what salary would be acceptable, she told him twelve and a half dollars a week. This seemed like a large sum to her, then. He signed her up promptly at this figure, but in justice to him, it must be told that within three weeks he ad- vanced her wage to thirty-five dollars a week. She could not believe her good fortune, and she insists that she would have gladly signed a contract to act for the rest of her lite at this figure. Universal next offered her a short-term contract and when they asked her to name her own price, she said: “Thirty- five dollars.” And thirty-five dollars it was, though they raised her in two weeks. Frances Marion happened to visit the Universal set where ZaSu was emo- ting, saw her wistful face, recognized the genius behind her tragic eyes and secured for her the part of the slavey in “The Little Princess,” with Mary Pickford. ZaSu’s lankness was such a contrast to Mary’s blond prettiness shat she became a fixture in Pickford pro- ductions. And incidentally, Mary boosted ZaSu’s salary to seventy-five dollars a week. ° When Frances Marion learned where she was living, she told ZaSu that it was an undesirable loca- tion and advised her to get a room at the Studio Club, which she did. T was at this time that I became ac- quainted with and liked ZaSu. From the moment she began to make real money in her work, ZaSu sent most of her wages home to her mother. When she was making fifty dollars a week, she sent forty of it home, keeping the ten for her carfare, lunch money, clothes and expenses. Later, when she was raised to sixty- five dollars a week, she gave her mother the benefit of her raise and still kept only ten dollars for her own ‘spending money. And when she began working for Mary Pickford at seventy-five dol- lars a week, she sent for her family. ZaSu’s greatest fault has always been her generosity. I remember an old tramp, who made a business of bother- ing everyone who would listen to him. He finally reached ZaSu and she would not rest until she had gotten him a job as a watchman at Lasky’s. And the funniest part about it is, that he kept the job and made a good watchman, too. He was still there, when I went East three years later. On the set, in her character make-up, ZaSu looked like something the cat had brought in. Her hair hung in two heavy braids to her knees and was straight as a string. She wore a fiat, little sailor hat, a pinch-back coat of uncertain age and color, a skirt that whooped up one side and down the other, plaid stockings and _ shapeless shoes. Her roles in Mary’s pictures were usually pathetic ones of the homely girl who never got anything that she wanted. ZaSu could play it skillfully because she had known what it means not to get the things one wants. ZaSu and Mary became good friends and it was a common sight to see them sitting off to one side, deep in confidences. This was before Mary divorced Owen Moore. When Mrs. Pickford lived and directed her destinv, Mary did not mingle and converse much with her co- workers. But with ZaSu, it was dif- ferent. They were practically insep- arable on the set. It was Mary who advised her to sign the contract offered by Charlie Chaplin. Nothing came of it, except her salary. She did not ap-

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ARR pear in a single scene when the picture was released and the report went around that Charlie was afraid ZaSu would steal his picture. At any rate, when the contract terminated, ZaSu found herself out in the cold, free-lancing again. However, for the first time in her life she was happy. She had succeeded in making a wide circle of friends in and around the studios. She was earn- ing enough money to dress comfortably and she was providing for her relatives in a fashion far better than they had ever known. They had good clothes to wear, a comfortable home in which to live and they were accepted as equals by their neighbors. It was about this time that ZaSu made a lasting friend in a Mrs. Wiley, who taught her smart- ness in dress. Soon ZaSu was being seen to advantage at dances and parties and then she met young Tom Gallery. Tt was a case of love at first sight. ZaSu had never “kept company” with a boy, and after she met Tom she never gave another boy a thought. A year later they were married and went to housekeeping in a cosy little bungalow. They were blissfully happy together, those two. And in a couple of years, there were three of them. It was after she became a mother that ZaSu devel- oped into a real beauty. When baby Ann got out of her arms, ZaSu returned to work again. It was while she was under contract to King Vidor, that Von Stroheim saw her and secured her for “Greed.” She proved her worth as a dramatic actress in this opus. It was after she finished her part in this pic- ture that something happened to her marriage. Nobody knows what, but a breach of some sort appeared. ZaSu won't talk about it. “Tt was too beautiful to last!’’ she told me in confidence once. “And the most wonderful part about it to me, was that Tom wanted me when I was nobody but a girl named ZaSu Pitts. I hadn’t done anything worth while. 1 had no influential friends nor money. He simply wanted me for myself. And Modern Screen T truly loved Tom. I will never love anyone as I did him.” That is all she would say. No wonder the divorce was such a blow to her. Most directors say that ZaSu is lack- ing in sex-appeal. Yet, Von Stroheim swears that ZaSu has more sex-appeal than any other actress in talking pictures. There are those who call her homely, and I have heard others rave about her Overpowering beauty. One world-fa- mous man, who visited Hollywood, re- fused to attend an elaborate dinner given in his honor until he was as- sured that ZaSu would be among those present. And when she finally came he had to content himself with a bare word of greeting. Yet, she is a fine conver- sationalist when she wishes to be. She is not very strong, physically. Her little girl, Ann, was born through a Caesarian operation and ZaSu_ has never been quite well since. It is a source of deep regret to her, that she must wear her genius out in comedy. It almost broke her heart when her part was cut from “All Quiet on the Western Front.” She thinks it is her voice that has ruined her career in talking pictures. That it sounds funny. That may be so, but the fact remains that ZaSu will have a nice dramatic role in the new Fox opus, “Walking Down Broadway.’ Her newest pic- tures are ‘Westward Passage” and “Back Streets.” ZaSu has two children—her own little girl and the adopted son of Bar- bara La Marr. She also pays for the support of the five children of her sister who died two years ago. She has a nice, fat contract with Hal Roach to co-star with Thelma Todd in eight com- edies a year, with the privilege to free- lance between these comedy pictures. She enjoys these comedies because Thelma and she are fast friends. She has a definite goal in sight—she intends to make a million dollars before she retires. And if her present luck holds —as it certainly should—she will do it. High Cost of Divorce (Continued from page 40) Kenneth Malcolm Peacock in Philadel- phia in 1925, she got no alimony. He was an employee in a furniture store. ap te way some of these film folk toss around such terms as “twenty thousand,” “fifty thousand,” “a hundred thousand” and so on suggests a check- up day in the government mint. If money is “filthy lucre,” some stars and actors must be terribly soiled from handling it. Adolphe Menjou handed over to his ex-wife $25,000 in cash, a $75,000 home on Doheny Drive and $650 a week un- til $67,500 was paid. Grand total, $167, 500. Adolphe’s attorney said that it left the actor “almost penniless.” Cliff Edwards (‘Ukulele Ike”) has been battling his Irene through the courts in an effort to void a property settlement under which he gave her something like $100,000. Irene, he de- clared, was quite indiscreet after she left him. While contemplating a di- vorce complaint, Ike remarked, “We have no children but I’m going to sue for the custody of the dog.” When Mrs. Edwards was seeking maintenance of $250 per week, and told of Cliff’s earn- ings as a singer, he retorted: “If my wife thinks my songs are so valuable, Tl sing her one or two for alimony.” And when Mrs. Edwards insisted she had to have that $250 to maintain her social position and keep up appearances HAIR HERE is an S. S. Kresge Store right in your locality that sells Sensation Hair Nets. Every day, thousands of women are-buying them... to keep their hair tidy and beauti- ful all day, to keep their waves in place at night, to act as a Sanitary safeguard in homes and offices. Sensation Hair Nets offer the two-fold advantage of fine quality at an exception- ally low price. Made of human hair. Double mesh. Cap shape. Natural shades! 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Kwik 10¢ Fach delicate- ly perfumed in smart bot- tle with stick or brush at- tached to stopper each KWIK COSMETIC CORP., NEW YORK iT’Ss NO JOKE TO BE DEAF head noises and ringing ears. They are invisible end perfectly comfortable. No wires or batteries. No one sees them. Write for his true story, ‘‘How I Got Deaf and Made Myself Hear,’’ also interesting > booklet on deafness, Its causes and relief. Address GEO 717 Hofmann Building lwas a Tub of FAT! LILLIAN IANCHUCK weighed 190 pounds. Then she saw an advertisement of Korein and decided to try it. “I have nothing but praise for Korein,’’ she writes. ‘Five years ago I was a tub of fat. After using Korein I lost 40 pounds. Now my weight is just right for my height. I have no more excess fat on me.’’ Mrs. C. W. Hays weighed 200 pounds. While using LE * Korein, she lost 40 pounds. Mamie JACKSON weighs 116 pounds now. Before taking Korein, she weighed 148 pounds. Marie Koscro.ek weighed 160 pounds. She weighs only 130 pounds since reducing with Korein. MarcareT ALLEN used Korein and lost 27 pounds. Has kept present weight of 123 pounds ever since. Korein is very popular. Buy it at the F R E E Drug Store. Or use coupon below. KOREIN CO., B-4 Station O, New York Please send me Free Test of KOREIN IN GND OF osc as acne kde seulssin juan vices toea sunt vauenvdiwe caage tote decedent ti onpietns VA GALES Suicensnccetraccntetrernsurnenteeectncnetacerieentinuaatseannneenneceneeereee Modern Screen as Mrs. Cliff Edwards, he glared at her. “Don’t call me ‘mister, he ex- claimed. “I’m just plain ‘Ukulele Ike’ and although my voice goes into the best of homes on the radio, I’ve got no social standing whatever.” Cliff lost his suits and must continue to pay and pay and pay, one-third of his salary. Last February, Irene sued for $24,999.92 saying he was that much in arrears. 99) 4 keeps the actors hustling some- times to meet their alimony require- ments. Lloyd Hamilton was hauled into court to tell why he was $7,500 behind in remittances due his first wife, and this while his second wife was suing for divorce in another division of the court. The latter accepted $1,200 cash in lieu of further alimony. Lloyd went bankrupt last June and among his debts he listed $12,500 as due Ethel, Wife No. 1. Cullen Landis contracted to pay his first wife $350 a month and to place a $20,000 piece of real estate in trust for their two children. That $350-a- month has had him in and out of jail since 1927. At one time he was sen- tenced by a Los Angeles judge to sleep -five nights behind the bars and spend the intervening days looking for work. Al St. John is a third who, for a while, managed to keep about two jumps ahead of the process servers. They locked him up once and Judge Charles Burnell said: “He can stay there until he pays up his alimony debts even if it’s the rest of his natural life.” As Al was being led away by a bailiff, he turned to June St. John, his second wife, and remarked: “Keep the lights burning in the window for me, honey. Maybe some day I'll be back.” But when he got a good look at the inside of the jail he did some hasty telephoning and got himself rescued. Irene Rich was married to David Blankenborn in April, 1927. They sep- arated in May, 1931. How much did she get for her four years as Mrs. Blankenborn? Plenty! The beautiful Irene annexed the magnificent home in Hollywood, certain stocks and bonds and was made beneficiary in life insur- ance policies aggregating $150,000. It seems that Mr. Blankenhorn annoyed Miss Rich by telephoning her cross- continent at night when she was on the road in vaudeville. This, she said, in- terfered with her career. Blankenhorn protested, too, that Irene would not stay at home like most wives do. Total cost to him—something around a quarter- million. The Garden of Alimony still thrives and gives forth munificent yields even though times be hard throughout the rest of the country. When Helen Cos- tello and Lowell Sherman came _ to “talking cold turkey” following their separation a few months ago, Helene allowed that she could get along on $5,000 a month but she must have $25,000 for court costs and $10,000 for attorneys’ fees. To which Lowell, metaphorically speaking, replied, “Oh, In a lawyer’s office they got Helene had de- yeah ?” down to brass tacks. scribed Lowell as cruel and said he once twisted her finger until he broke it. Lowell retorted that Helene had called him “a fat old man” and “a ham actor.” Which made him pretty mad. Screen artists don’t like to be called “ham actors” and “fat.” “The dispute was settled most satis- factorily,” Helene’s lawyer said bright- ly, at the end of the conference. Which seemed to have a significant meaning. Lowell looked as if someone was stand- ing on his foot. The exact amount of settlement was not divulged. There’s Colonel Tim McCoy, two- gun hero of Western films and noted Indian authority. His wife, Agnes Mil- ler McCoy is the daughter of the late Henry Miller, stage star. When the Colonel came down from his ranch in Wyoming to become a film actor, he “went Hollywood,’ Mrs. McCoy de- clared in her divorce petition. He liked life among the “movie” actors and ac- tresses, and began writing and wiring Mrs. McCoy to please get a divorce or let him get one. At least, that is what her attorney said. Did she get a decree? She did! She got it together with the Colonel’s stock ranch near Thermopolis, Wyo., the cus- tody of their three children and $200 a month until the children become of age. Such was the order of the court in Wyoming. When Mrs. Helen Gibson divorced Hoot, a property settlement was pre- sented in court which awarded Mrs. Gibson some real estate and other prop- erty together with $150 a week until a total of $30,000 had been paid. Hoot also agreed to carry $100,000 life insur- ance for his daughter, Lois. Alan Cros- land agreed in 1927 to pay his departing wife, Juanita, $500 a week but with the provision that if he was out of work for any period of six months, the amount was to be reduced to $250 a week. Last October, Alan was hauled into court on the charge that he was $71,150 behind in his remittances. Then it developed that Mrs. Crosland had sought and obtained a divorce in Nice, France, in 1930 and Alan had not been legally served with a notice of final decree. Accordingly, he was absolved from the debt. Alan married Natalie Moorhead, December 21, 1930, in the Yosemite. Xe SANTELL, director, and his wife, Ruth, separated about twenty- five times before they decided that they were incompatible. He gave Mrs. San- tell $20,000 in cash in 1927 when they decided to get a divorce. Then they changed their minds and made up. When they came to the real fork in the road in 1930, Al handed over an addi- tional $12,500 in cash and agreed to pay her $500 a month for a period of five years. Grand total, $62,500. He’s paying now. William Wellman, director, has been sending his divorced wife, Margery, $200 a month for the support of their child. Nacio Herb Brown, song writer gives $750 a month to Mrs. Ruby Por- ter Brown for the maintenance of her- self and their ten-year-old son. Mrs. Milmosa Fejos gets from $75 to $100

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l a week from Director Paul Fejos, the amount depending on his income. John Gilbert pays Leatrice Joy $2,600 a year for the support and education of their daughter, Leatrice Joy II. Marshall Neilan has been paying his first wife, Gertrude, $50 a week for the support of their son. “Mickey” was hauled into court once last year on the charge that he was $9,500 in arrears. Joan Bennett was awarded $50 a month from John Marion Fox of Seat- tle, her first husband, for support of their child. The early part of last year, a Seattle jurist ordered Fox to pay her $1,200 in a lump sum. Joan did not fare so well as her sister, Constance, in the alimony mart. Two of Reginald Denny’s expensive automobiles were impounded by deputy sheriffs last year when his first wife brought suit for $5,400 back alimony and caused attachments to be levied on the machines. Ronald Colman started paying his wife, Thelma Ray, $500 a month for separate maintenance in 1925. She lives in a villa in France. Recently he opened negotiations for a divorce according to dispatches from Nice, the outcome of which has not yet been disclosed. Modern Screen And so it runs—on and on like that little babbling brook. The well-alimonied divorcée in Holly- wood needs at least $24,000 a year on which to live, according to Mrs. Chris- tine Aaronson, wife ot the celebrated orchestra leader, Irving Aaronson. In her suit for separate maintenance, she listed her monthly requirements as follows: Rent, $200; ios $50; cook and maid, $100; laundry, $25; dry cleaning, $50; food, $300; clothing, $750; entertaining at home and at clubs, $150; automobile and chauffeur, $200; estimated doctors’ bills, $150; massages, $50; personal care of hair, nails, face, etc., $25. Total, per month, $2,050. Assimilate that, will you—Mr. Aver- age Man! Twenty-four thousand, six hundr ed dollars per year for the main- tenance of a wife! In the heyday of their careers when money rolls in as a flood, the alimony payments are of little consequence. But when adversity comes—as it has come to many—the yokes grow heavy and there are some away behind who can- not pay and who never expect to pay. Their accounts may be listed in the column titled, “total loss; no insurance.” What You Should Know About George Raft (Continued from page 69) Not with much success. He was knocked out seven times. After the last beating he quit the game. His best known opponent was Frankie Jerome, who later died as a result of a bout with the champion, Bud Taylor. T this time Georgie weighed but 122 pounds. Despite this light weight he next went in for professional baseball, signing as an outfielder with the Springfield Club of the Eastern League. He was dropped after two seasons because, while his fielding was good, he could not hit. Baseball still remains his favorite sport, as an active game. He likes to watch prize fights and the horses. Not long ago he lost all his savings—$35,000—on the New York tracks. Returning to New York from Spring- field, he decided to make use of his other ability. So he secured employ- ment as a dancer at Churchill’s on 48th Street, a professional partner during the tea-dance hour. The other gigolo was Rudy Valentino. The clarinet player in Earl Fuller’s orchestra was Ted Lewis. Lewis attracted small at- tention, but even then Rudy was Valen- tino. “He was a nice kid,’ George says, “and the women went for him. Not so much as later, for that was before the time of the Latin-type vogue. The women preferred the blond boys to dance with. But Rudy did all right. So did I, for that matter—they generally wanted a sober man to take them home.” George and Rudy bore a marked re- semblance. Rudy left dancing for pic- tures, and George kept to the polished floors, but their friendship continued. When Valentino was established:as a great star he sent for George to act as his double. But he died before Raft could make even this small entrance into pictures. George did not mind the lost oppor- tunity, particularly. He was doing well in his own line, and he did not think that he would be able to get anywhere in the films. From Church- ill’s he went to Rector’s, then Healy’s —all well known places in those gay days. Then Joe (“What's The Use of Dreaming?”) Howard drew him into vaudeville. Years of this, all over the country: the cities, the burgs, the tanks, the sticks, wearing out scores of pairs of dancing slippers. Often he hoofed with another New York boy—Walter Winchell. Walter wasn’t so good, was. Elsie Pilcer took him on as her partner, and presently he was back in the big town, working in shows: “City Chap,” “Gay Paree?? “Manhatters,”’ “Palm Beach Nights,’ “No Foolin’.” The last show he did was “LeMaire’s Affairs,’ But before that he had be- come an international sensation. His favorite food is hot dogs. but George He Makes Eyes Look and Feel Just Fine! 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Wizard Corn Pads MakeSonsWritins Pay You Bis Money New FREEQ” BOOK TELLS HOW \ * Wry not send for this amaz- ing book? Or better still, send poems or music for songs for ’ free examination and advice. One y of our Famous Writers who ‘has ONE NX HUNDRED SONG HITS to _ his credit will revise, arrange, and compose: music to your poems or poems to your music. It obligates you in no way whatsoever. sider your work worthwhile, and compose music or write verse, fair assurance is given that it will reach the hands of one of New York’s prominent publishers with complete copyright protection. Don’t wait any longer. Send for your FREE copy of this If we con- book today. It may be the answer to your financial in- dependence. MAHONEY ASSOCIATES, 949-A Broadway, NewYork, N.Y. 109

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Michigan Blvd. Suite 38C2, Chicago $$ Photoplay Ideas $$ For Silent and Talking Pictures Accepted in any form for revision, criticism, copyright and submission to Hollywood studios—the only market. Not a school—no course or books to sell. You may be just as capable of writing acceptable stories as thousands of suc- cessful writers. Original plots and ideas are what is wanted. Send for free booklet giving full details. Estab. 1917. UNIVERSAL SCENARIO COMPANY 523 Meyer Bldg. Western & Sierra Vista. Hollywood, California Eminent _ASTROLOGER Tells you what’s coming in 1932 My fee for 17 to 19 page Astrological Fore cast based on your Zodilogical sign is only $1.00. Forecast covers all 1932, month by month, giving actual predictions, with definite days, dates, and happenings. Deals with Love, Marriage, Travels, Health, changes, etc. Advises on Business, Social affairs, Employment, Promotions, Specu- lation, enemies, lucky days, etc. Free book on Love Psychology included. Send $1.00 ond exact birth date. A. A. Rageh, Ps.D.Ms.D., 509 5th Avenue, NewYork City,N.Y. STA BAC CURL SET is the secret of lovely, lustrous, soft-waved hair. Holds the wave longer. Leaves no white flakes. 10c. —at S. S. Kresge Stores VI-JON LABORATORIES St. Louis Q4 110 Modern Screen would like to buy one suit a week, with a particular passion for blue serge. He leans to dark, conservative colors always, whether in clothes, automobiles or neckties. He is proud of the fact that once he was mascot for the New York Yankees... He only weighed 135 pounds until two years ago, when sud- denly he began to put on weight. He moves with the lithe, pantherish grace of the born dancer. It was as a dancer that he took New York as completely as it seems he now will take Hollywood. One night he introduced into his routine an odd, side-kicking dance he had seen the little nigger boys do, when playing vaudeville down South. Faster his feet moved— and faster. And when he was done the house applauded for five minutes. That was Ncw York’s introduction to the Charleston. George was a success. This was five years before the dance became popular, and all New York wanted to see the sleek black-haired boy do his spectacu- lar stuff. He went from club to club, theatre to theatre—once he was work- ing in four places simultaneously: two nightclubs, a show and a picture house. He always was featured. In smaller type under his billing were to be found such names as Helen Morgan, Morton Downey, Lillian Roth, and many others now on top. Dancing was Georgie’s life. Dancing and Broadway. He no longer has en- thusiasm for the former, but he still loves the latter. Hollywood bores him to yawns. He misses the old gang, the old laughs, the old “tomorrow’s another day” attitude. Hollywood is too set for him, too quiet. He never could be happy in a town where there is no place to go after midnight. He thinks the Main Stem is the “only spot in the world.” Ten years under the incandescents, scrolling his name heavily in the Book of Broadway, to emerge worldly wise, pleasant, nonchalant. He was a famil- iar figure: Winchell (who recently featured him over his Lucky Strike broadcast) and Mark Hellinger men- tioned him often in their columns. Ward Morehouse once wrote that ‘on the screen he’d be a second Barthelmess.” That must have startled both Barthel- mess and George. His ears are large but well-set against his head, his nose is straight until it jumps out engagingly at the tip. At the height of his suc- cess in New York he was earning be- tween a thousand and fifteen hundred dollars a week. HEN he went to London, where he repeated his smash. As a novelty he took a little colored boy with him. “Snowball” would dance as his shadow, and with their weird gyrations they captured the town. Among the first of the many to whom George taught this new Charleston was the Prince of Wales. Eddie Windsor loves to dance, and is better at it than he is on a horse. He gave George his cigarette case and many new clients. George reads but little. with a prefer- naturalism to romance and He used to keep ence for biography over fiction. : his press notices, and has two large scrap books full, but he doesn’t any longer. That’s because of his increas- ing tendency to let bygones be bygones. “Yesterday is gone, tomorrow is com- ing. But today is here. I live for it, and don’t worry. As long as I have the arms and legs and head that God gave me, Ill get along.” He is of Ger- man-Italian descent. And the highest paid American dancer ever to trip the light fantastic before European audiences. His itin- erary took him to all the old world capitals, and in each he was a sensa- tion. On one occasion he split head- line billing with Nazimova. His voice is slow, deep and interesting. He likes house pajamas, sun baths and beaches. One of his good friends is Owney Madden, the New York big shot. He has a picture of Madden inscribed ‘ Gigolo Raft, the black snake from Tenth Avenue.” Like most of the boys who have made their way up from down under, he is a curious mixture of hardness and sentimentality. A bad guy to have mad at you; a good friend. He lives with a pal of ten years standing in a swank apartment house in the heart of Holly- wood. The walls of his suite are deco- rated with the signed photographs of well-known actresses. The telephone rings a great deal. He is not married. Nor does it seem that he soon will be. “Beyond everything else I want freedom,” he says. “I want to feel that I can leave a place whenever I want to—and there will be no reason why I shouldn’t. That’s why I want money, to make this possible: to travel, where and when I want to, is my single wish. I never give a thought to to- morrow beyond that one.” Returning to New York from Lon- don, he danced in virtually every night club and motion picture theatre in the town. He was one of the first enter- tainers signed when the Paramount Publix circuit was organized. He was one of Texas Guinan’s most popular performers. Then he met Rowland Brown, the director, and was persuaded to come to Hollywood for a role in “Quick Millions.” He had become interested in pictures, and had just dropped his bankroll of 35 grand at Belmont and Jamaica. He was taking a vacation from show busi- ness, the first one in ten years, and the trip West seemed like a good idea at the time. He came and made the pic- ture. Then there was a long period when nothing happened, interspersed with small appearances in “Hush Money” and “Palmy Days.” Then Hughes signed him for “Scarface.” And that Started It. “T can’t act,” he states. “I simply must be myself, do the things that seem natural to me. When I get with a direc- tor who wants me to act, Ill be lost. I don’t like long speeches, because I don’t know anything about delivering lines. I just try and be the guy in the story—not George Raft giving an im- personation of him.” FOR vears on Broadway he did not get enough sleep. Seven’ o’clock in

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the morning usually was his bedtime, with early rehearsals and matinées get- ting him up scarcely before he had closed his eyes. Now he gets more sleep than he wants. He does the local stay-up places, but they are no effort for one whose feet have stirred the dust of a hundred night club floors, dancing into a thousand dawns. He does not care much for Agua Caliente. “T do not drink and there is nothing else to do there, when the hosses aren’t running, but gamble. I don’t bet on a hoss unless I know it’s going to try, and gambling is a sucker’s game. I’ve seen too much not to know that you can’t beat the house. If you feel that you must play, however, there is only one way to do it. That is to make one bet, and only one. If you win, pick up the money and walk away. If you lose, quit too. Think ‘Well, I played. I had my fun’ and let it go at that.” His clothes are extremely modish, but they cover a trained, muscular and athletic body. His hands are white and Modern ‘Screen well-manicured, but balled into fists they can punch like pile-drivers. His house slippers are faced with patent leather and his robes brocaded, but he has hair on his chest and in any kind of a brawl at all I’m betting he could put the usual film hero on the carpet. He’s a new kind of figure for the hurrying tintypes, purely a creation of the modern world—and one elegant menace for the modern screen. As ball- player, prize-fighter and dancer, he’s entertained Vanderbilts and vagrants, princes and poets and pickpockets, col- lege boys and cultured tramps, sight- seers and suckers—all the strange, colorful, overexcited and _ fantastic habitués of nightclubs and music halls andecanesu ai Now he’s starting to entertain you as a movie actor. And from what we’ve seen of him so far, it looks as if he’s going to be even more successful in his fourth profession than he was in the first three put together! When Garbo Was Late (Continued from page 47) sudden impulses and strange habits. Clothed in an aura of mystery. And she was coming tonight! | Nobody doubted the rumor. Even after most of the stars had arrived and gone inside, still the crowd waited. Murmurs rip- pled through, but they were not mur- murs of doubt. “What can be keeping her?” they asked one another. AND at the big house on Rocking- ham Drive, a cruel thing had hap- pened. As cruel things usually happen —without warning. The Glamorous One, resplendent in a Paris evening gown of gold brocade, and wrapped in a cocoa ermine cape, had given a final pat to her face from her powder puff and had swept down to the Rolls-Royce that stood waiting for her. For this was to be a state occasion and, since she had relented enough to give her presence to the opening, the studio had prevailed upon her to go in the style befitting her high position. With a sigh, she settled back against the rose-colored cushions and ordered the chauffeur to proceed. They were passing through the gate when it happened. A fuzzy little shape bounded in front of the car. The chauf- feur threw on his brakes, but not quite soon enough. Swallowing an oath, for chauffeurs had been fired for less than this, he leaped out to see how seriously the dog had been hurt. But before he could reach it, the Glamorous One was down in the dust, gathering up the limp, bleeding little body in her ermine-clothed arms. “Quick!” she ordered, ‘‘the hospital. Four blocks down.” She was breathing hard. Distressed. How could he know what this small dog meant to her, in a land where most things meant nothing? This was not merely an animal upon which she had lavished her affection. It was a tie. A bond between herself and the homeland for which she longed. A man had given it to her, the evening he had returned to Sweden. A man, who had meant much in her life. And so it was that the Glamorous One, hugging the bleeding little form to her breast, went into the operating- room herself with the night-surgeon and helped quiet the little beast while an examination was made. And not until she had been assured that it would live would she consent to leave it there alone... . There was much craning of necks as the big, rose limousine drew up in front of the theatre. The Garbo alighted, gave a careless nod to Lew and went inside. But that one moment paid the curious ones for their long wait. They forgave her for being late. It was enough for them that she had finally come. “Look how tousled her hair is!” a fat lady in the foreground criticized. “And her clothes look like they had been thrown at her. She has no style.” “Sure—” a slim girl on her right an- swered. “But isn’t she the smart one to be late! A born actress!” HIS HORRIBLE CARESSES OR HER JOB—HOW DID JOAN CRAWFORD SOLVE THIS SITUATION? SEE OUR NEXT ISSUE SHE LOOKS YOUNG till She Takes Off Her Hat The hair the new hats are showing must be free from gray. Streaked, fading hair is unbecoming. Spoils a well groomed ap- pearance. Keep ALL your hair one even shade but avoid that artificial look by using the most modern type of preparation, clean, odorless, not greasy, that leaves a soft, youthful shade, of so NATURAL a texture a hairdresser cannot detect it. Any shade. Harmless as your lip-stick. $1.35. For sale everywhere. FARR’S FOR GRAY HAIR — — —FREE SAMELE eas il BROOKLINE CHEMICAL CO. MG-~7 [ 79 Sudbury Street, Boston, Mass. Send for FREE SAMPLE in plain wrapping. [ [ INE eae SE ES eee A meen os 4 ares See | | Stree tier cise sa es Rete ee aa eae anpeabe Do Gur Gow te) | | LEV eee ee ee mies me ree State_-: 522 ==. | STATE ORIGINAL COLOR BECOME AN EXPERT AAccOUNTANT Executive Accountants and C. P. A.’s earn $3,000to $15,000 a year. Thousands more are needed. We train you thoroughly at home in spare time for C. P. 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Ten Commandments for Beauty with pads of cotton wrung out in witch hazel or hot water popped over the lids. All the movie stars do it. They feel that it’s imperative, after their work under the merciless Kleigs. The stingiest of eyelashes respond to the constant, nightly application of vaseline. J hear someone saying, ‘I’ve rubbed vaseline on my eyelashes for months and it hasn’t done a bit of good! And=ll “replys Yes, it) has; But the growth is so gradual that you don’t notice it.” Mascara will show up the additional length, all right—but more of make-up later. And, of course, there are false eyelashes nowadays that are natural as life. Brush the lashes and brows with a little brush dipped in warm olive oil or castor oil. You can train your brows that way, too. Pluck the brows? Certainly. I’m not going to say, “Not to a thin line,” because you must have heard that hundreds of times. But IT am going to tell you to pluck the little stray hairs only from underneath if you want to make your eyes look big- ger. Also, brush the little hairs diag- onally upwards to give them a smarter look—instead of straight across. That’s all I have to say about the eyes until I get to the subject of make-up. HIRD commandment: Glorify your hair! There’s so much to say about the hair that I'll just have to boil it down to as many facts as I can cram in —without trimmings. Rules for shampooing: normal hair, every three weeks; oily hair every two weeks or ten days; dry hair, once a month; excessively oily hair, every week; excessively dry hair, alternate soap and water with herbal. shampoos. Olive oil treatment for every type of hair: warm a small cupful of oil (or a prepared oil treatment) to a com- fortable temperature. Massage it well into the scalp with the fingertips and rub it along the length of the hair. Wrap a hot towel around the head for ten minutes or so. While you’re wait- ing, shave down a quarter or half cake of pure soap or have ready a liquid shampoo. Warm this a little. Shampoo thoroughly. Rinse thoroughly. .Finish under the shower or with a hand spray. Helpful remedies for oily hair: a pinch of bicarbonate of soda in the melted soap or liquid shampoo. A lemon rinse (one lemon) or a couple of ta- blespoons of vinegar in the last rinsing water. A nice treat for any hair: an egg shampoo. Beat up the eggs - (you should use six, but I’ve used less my- self when the pantry hasn’t been too well stocked) add a little cold water, wet the hair in warm water, rub in half the egg mixture, rinse, repeat, and shampoo. Treatment for drab, lifeless, begin- ning-to-go-gray hair: a good tonic, or a mild bleach or color rinse, or both. Brushing: every single day. Gently and in moderation for fine hair. Briskly 112 (Continued from page 34) and plentifully—about a hundred strokes —for coarse hair. Massage: ten minutes a day. Plant the fingers on the scalp in a spread-out position. Move the scalp around, don’t slide the fingers around on it. For brunettes and redheads: four drops of rose of geranium oil added to a glass of hot water finishes off the shampoo in grand style and gives a pretty gloss. Both Nancy Carroll and Sylvia Sidney make use of this trick. Waving: don’t get a bargain-counter permanent or marcel. Insist upon a non- sticky lotion for finger- or water- waving. Learn to do it yourself if pos- sible and save money. Brilliantine: beneficial for dry hair. Should be applied with the palms of the hands—sparingly. Learn these ten beauty commandments by heart — and live up to them! If you do this, your life will be fuller, you will have more friends, and happiness will be with you every day OR the fourth commandment, we’ll take this: Keep your hands young and lovely! Dry them thoroughly to prevent roughness. Smooth a little hand lotion into them to keep them sup- ple. Plaster them with cold cream and wear old white cotton gloves to bed if they’re very chapped or sunburned. Stroke large knuckles down toward the palm of the hand to improve their shape. Hands which have a tendency to go beef-red just at the wrong moment can be whitened if you will hold your arms up over your head for five minutes. Fingers can be tapered somewhat in the following way: anoint them with cream, wrap them in cotton, and put on ten thimbles. Helps a little and the cream softens up the cuticle nicely. A layer of good white soap inserted under the nails while you’re doing house- work will keep the fingernail tips white and clean looking. Rubber gloves (if you'll only take the trouble!) will keep away that water-soaked look. A solution of ten parts of peroxide to one part of ammonia will bleach minor discolorations off the hands. It will also remove nicotine stains and ink. Exercise the hands—bend the elbows up and, with the forearms limp, try to shake your hands off. Hold your hands up in the air and play imaginary scales. Now about manicuring. To look at some nails, one would think a mani- cure kit consisted of only a nail file and a bottle of gory polish. Mostly polish. As a matter of fact, one day, trying on |} dresses in a department store booth, I ~ overheard two girls talking in the ad- joining booth. “Heavens Katy!” said one, “look at my nails. They’re simply a disgrace. And I have a date with Bill at six.” “Oh, that’s all right,” replied her friend. “Slap some polish on them. As long as they flash and sparkle that’s all that’s necessary.” Polish on ill-groomed nails is like a smart hat atop a dirty face. The nails should be pink, glowing, clean and beautifully shaped and cared for with- out the polish. That is simply a cos- metic to heighten their pretty effect. The nails should be filed (before soak- ing) with a long, flexible file. The file should be swept from one side of the nail to the other, not see-sawed back and forth in one spot. Anyone can learn to do it properly even with the clumsier left hand. File from under- neath the nail and then smooth the edges with an emery board. Then give the nails a good soaking and scrubbing in soapy water. Smear a cuticle remov- er on and work around the base of the nail with an orange stick—never use a steel instrument. Cut the cuticle if nec- essary (but do try to give it up gradu- ally). Be sure to cut the dead skin off evenly and not too close. Asa rule, oval nails are best. Pointed nails, to my way of thinking are cruel- looking and ugly. And, mark my word, most men don’t like them. Neither do they like carmine polish. “Ugh!” Ive heard them say. “Her long red finger- nails. Like claws!’ But the brilliant shades do remain in favor and, of course, it’s up to you to use which you like. However, here’s a thing Pve often wondered: why are girls so stingy about nail polish? Why don’t they re- move the brilliant shade they’ve used for a formal party and put on colorless or medium polish for the office? OU’RE going to laugh at the next commandment: Take care of your feet! But it’s not funny. Many a wrinkle on the face comes from miser- able feet. Many an ungainly walk is the result of corns and callouses. Most of the rules for care of the feet are plain common sense. Wear shoes and stockings that fit—neither too big nor too small. Don’t economize on foot- wear. High heels, in spite of what any of you want to say, are still dress-up affairs. Cut toenails straight across, remove the rough edges with a file, and push back the cuticle just as you do on your fingernails. Not only a beauty rule, but | a hygiene rule. Ii your feet perspire, give them a soaking and scrubbing in hot soapy water and then a plunge into cold water, into which a couple of hand- fuls of coarse kitchen salt or sea salt have been thrown. (Yes, you can buy sea salt at the drugstore.) Always dry

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them thoroughly and powder them with a foot powder. I get many questions about fat, or thin, ankles and legs. If your ankles and legs are big because of big bone formation, you can’t do anything about it. If it’s excess flesh, you can. Doing the goose-step will remove fat from piano legs and put flesh on scrawny ones. Funny, but true. Cocoa butter will put flesh on the calves, too, if you keep rubbing it in long enough. And here’s a. trick that may help reduce a thick ankle: dissolve two squares of gum camphor in a quart of rubbing alcohol. Bind the ankle firmly with a strong bandage soaked in this. Keep it on all night and under your stock- ings in the daytime, if possible. And the mention of that word “re- ducing” brings us to the sixth com- mandment: Work hard for a beautiful figure! Vm not going to say a great deal on this subject for two reasons: in the first place, it’s a practically in- exhaustible subject and I haven't the space. And in the second place, next month in MoprerN ScREEN, Adele Whitely Fletcher, ace writer for this magazine, will have just about the com- pletest and most informative article on diet and exercise that you ever read. Watch for it. The movie stars keep their figures down—or up—to contract weight by hard work that sometimes amounts to slavery. Take Joan Crawford, again, for example. When she first came to Hollywood the girl weighed one hun- dred and forty-nine pounds! Honestly. And it was the hard, solid flesh that dancers have, too—difficult to take off. And now look at Joan—so slim and beautifully symmetrical that she can wear almost any gown, no matter how difficult and bizarre it may be. It has brought out the character in her face, too—making her eyes look more enor- mous than ever and bringing out the strength of her jaw. It’s laziness, mostly, that keeps figures bloppy. The fat lady should be out of bed at six-thirty in the morning, no matter what. She should go through a stiff routine of exercises for at least half an hour. Her breakfast should be just enough to start the alimentary canal working—black coffee, a glass of orange juice and a slice of whole wheat toast with, possibly, honey. Her lunch should be nourishing enough, but mighty low in calories—vegetable bouillon (1 have a grand recipe for one if you'd like it) and a nice green salad. And her dinner should be just substantial and tasty enough to leave her a little bit hungry when she gets up from the table. She should stop all sipping at meals. She can take laxatives in dis- creet moderation and with the proper precautions. And she should take note of the fact that it requires a little time to start losing weight even after you begin the diet and exercise routines. Thin people can have more fun over their food. Milk, butter, olives, cheese, sweets and starches should figure largely in their diet, along with the ever- necessary vegetables, fruits and lean meats. I’ve heard tell that a glass of half rich cream and half ginger ale, Modern Screen taken at mid-morning or mid-afternoon, makes a luscious drink, easy to assim1- late, and quickly fattening. A good idea for all dieters—thin or fat—is a three-day fruit diet before you begin your prescribed routine. Eat oranges, grapes, bananas (in modera- tion for the fat ones) and any other fruit that is in season whenever you feel hungry. Clears out the system and gives you a nice fresh start. HE rest of my commandments are more fun. We'll step off the strict beauty track for a moment and talk about colors. Study your own color scheme! The tone of your skin, rather than the color of your hair or eves, determines the shades that will be mest flattering. Fashion still gives us heaps of off-shades so there is no reason why we can’t all find colors that beautify us. There’s no reason why neutral types can’t wear the smart pinky beiges— where ordinary beige would be taboo; and redheads can experiment with browny-reds where plain red would be just dreadful. Here’s a sort of color chart to guide you a little bit—but, re- member, they’re arbitrary choices and you must experiment yourself. Red really belongs to blondes. A vivid blonde, naturally, can wear vivid red, while the ash blonde must be con- tent with the dull, soft shades. Yellow is good, especially if it practically matches the hair. Faded yellows are best for ash blondes. Orange isn’t es- pecially good for either. Blue is excel- lent. Almost all greens are good on the vivid blonde—the soft shades are flattering to the ash blonde. Purple— off-shades only for both types. Gray’s nice—especially a dark, expensive-look- ing gray. Carole Lombard is especially fond of gray—she’s an ash blonde with gray eyes. Beige, brown, black and white are all good for the vivid blonde. No beige or brown for the pale blonde unless she has brown eyes, black only if she’s young; white is perfect. The brunette can wear red, yellow and orange to perfection. The bright shades of blue and green are best, gray is all right, black is always smart, and off-whites are good. Purple isn’t and brown and beige are not particularly attractive, either. The sallow brunette can wear the same colors, but they should be of softer, duller tones, and she must mot wear orange. Black should be touched up with off-white or flesh pink or a red scarf or something. Gray isn’t particularly good either—but let her take cheer because all the off shades (except orchid) were made for her. By off shades, I mean, roughly, coral and pale pink, green-blues and blue-greens, if very pale, aquamarine, pinky-beige, ivory white and eggshell. The red-heads’ best colors are blues and greens, black and white, all the off shades (except coral and definite pinks ) brown, and golden yellow. Beige is nice and gray is sometimes. In-be- tween types can wear the colors that are most becoming to the more decided types they most resemble. But in-be- tweens with sallow skins should steer clear of orange, purple, gray, beige, dead black, lemon or chartreuse tinges, and JEANETTE LOFF—POPULAR STAR Shoe ee (a secret!) Nota soul will know just what you have done to make your hair so lovely! Certainly nobody would dream that a single shampooing could add such beauty —such delightful lustre—such exquisite soft tones! A secret indeed —a beauty specialist’s secret! But you may share it, too! Just ove Golden Glint Sham- poo* will show you the way! At your dealers’, 25c, or send for free sample! *(Note: Do not confuse this with other shampoos that merely cleanse. Golden Glint Shampoo in addition to cleansing, gives your haira ‘‘tiny-tint’’ —2 wee little bit~not much—hardly perceptible. But how it does bring out the true beauty of your own individual shade of hair!) J. W. 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orchid. Ladies guided by silver They wouldn’t be good. with gray hair should be the colors for either the blondes or the in-betweens—de- -pending upon the amount of gray in the hair. White is, of coure, the perfect evening color for platinum blondes. Jean Harlow sticks pretty closely to it—and black—for M: AKE-UP should be varied with the color worn—which brings up the next commandment: Be se nsible about your make-up! Start with a nice clean face and your proper powder base and fluff a generous quantity of powder onto your skin with a_ spotlessly clean puff. Brush the surplus powder away with another puff or a camel’s hair brush. Rouge under a bright light and remember that nature never puts color on qitite symmetrically. A cute stunt is to circle the rouge around on your cheek, leaving just the teeniest white spot in the middie for a highlight. With your lipstick, follow the ‘natural lines of your mouth exactly, staying away from the corners if your mouth is large and accentuating them a bit if your mouth is small and thin. Kindly refer, everybody, to the picture of Joan Crawford on page 33. Note that Joan’s mouth is rouged in its natural shape—no Cupid’s bow for her! Not a pretty-pretty mouth, but a strong one. There’s a tendency these days to accen- tuate a full lower lip. Greta Garbo’s is done that way and surely no one has a more individual mouth than Garbo. Blend lipstick in well—don’t ever let it look sloppy and cakey. Orange shades seem to be out of favor, thank good- ness, but bright lipsticks that are young and gay are best for everyone with the exception of the red-head and the gray- haired woman, who should choose a rather subdued, rosy shade. Mascara for everyday affairs should barely accentuate the length of the lashes and the arch of the brows. The mascara brush should be used with an upward, slightly outward sweep on evening. both the upper and lower lashes and Hollywood Newspicture the brows should always be pinched with the thumb and forefinger after the mascara is applied to give “them a nice line. In the evening, vivid types can put on a lot of mascara (always brush- ing the lashes out with a clean, dry brush afterwards) and blend a little eyeshadow upward and outward from the corner of the lid. I shall not go into the details of shades of make-up again in this maga- zine. lve harped on the subject so much that ’'m ashamed to take up the printer’s time with it any more. But if you want advice about your own par- ticular type, write to me (as many of you have been doing) and I'll try to pick your proper colors. HE ninth commandment is in- cluded all on account of the men: Use perfume—and in the right way. They like it. Some say they don’t, but just try some faint, seductive odor on them and watch ’em sit up and take notice. But it must be faint and it must be suitable to you and to the occa- sion. ‘The best way to use perfume is with the aid of an atomizer. But that can run into money. If you can’t afford enough perfume at once to fill an atomizer, soak little pads of flannel in perfume and sew them in your clothes. Or fill sachets of silk with fragrant sachet powder and keep one or two in a drawer with your under- clothes and pinned to your dress-hang- ers. Plain orris root makes a lovely, inexpensive sachet and, of course, lavender is always delightful. I like to keep my gloves in a box with a little sachet—there’s nothing more feminine than a delicately scented glove. The ancient Romans, you know, always per- fumed their hands so that they would leave a fragrant reminder with a friend when they clasped hands in parting. Don’t be offended when’! tell you the tenth commandment. It’s this: Take baths for beauty! Vl bet not many of you have ever thought that bathing makes you beautiful, have you? Well, it does. The perfect bath arrangement is a cold shower in the morning and a long, lovely, luxurious soaking at night. Don’t think that you can get really clean under the shower, because you can’t. You need to soak and scrub for clean- liness— and for a soft, satiny skin tex- ture, too. THE Japanese—noted for national cleanliness—always scrub themselves all over with a medium stiff brush and a nice, bland soap before they get into the tub. I like this arrangement; it stimulates the skin and gets the real dirt all off before one starts soaking. And you really shculd use some bath preparation—to make the water soft and to make you smell nice. The most practical, least expensive and generally satisfactory bath preparation is a simple chemical compound, so refined and im- proved in the manufacturing that doc- tors recommend it for the tenderest of skins. It comes in a special perfumed variety for the bath and I'll tell you about it if you'll write to me. Just dump it into the hot water and then sit yourself down in the tub and relax. Use a rough bath-mitt, if your skin will stand it, and scrub yourself— yes, in addition to the preliminary scrubbing. Only don’t use any soap for the second scrubbing. Then when you get out of the tub, all the soap will be out of your skin and you will have just the least coating of the soft, per- fumed powder on your body. This sort of bath should be taken at night, of course, and very fat and very thin peo- ple should not have the water too hot. Oh—and by the way—let me assure you that Epsom Salts baths reaily are reducing—if you'll use plenty of the salts, if you will have the water. hot enough, if you stay in the tub long enough, and if you roll up in a blanket afterwards so that you perspire pro- fusely. This last isn’t a commandment. It’s just general advice—but I simply will not leave it out: Cultivate good taste! How, you ask? Well, I must admit I don’t know, exactly. Watching peo- ple you admire is one of the best ways. The smart, clever girls on the screen, for example. Good taste was just naturally born in some of them, but many of them had to acquire it. You, too, can acquire that sense of the fitness of things. As, for instance—if you live in a very small town where extremes are looked upon as freakish, it is bad taste to wear bizarre clothes and exotic make-up. And, although black and white are always smart, it is overdoing things to wear a black and white dress, a black and white hat, a black and white purse and black and white shoes and gloves. And, although little curls and puffs and bangs are the order of the day in coiffures, if you are a great, big athletic girl, you had better stick to a plain hairdress. Green eye- shadow is absurd on a baby face and triangular eyebrows do not belong on a high school sophomore. You can “read Did you ever see a picture of Mrs. Lewis Stone? There she is, next but one to the extreme right of the picture. Lewis is on the left, of course. The others are some of the Lewis’ friends. This was taken at a Mayfair reception after a recent important opening. beauty hints till you’re blue in the face and spend every nickel of your money on ~ beauty preparations—but if you can- not learn to be self-critical you will never acquire beauty and charm. 114 Printed in the U. S. A. by Art Color Printing Company, Dunellen, N. J.

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HELPING AIM WITH WELEN . . by aceer DoRWE ONE. WEEK LATER HELEN, WONT YOU GO WITH ME TO THE DANCE NEXT WEEK ? WELL, WELL, BLOWING IN C ALL YOUR SALARY a" 4) e Via ON A NEW SUIT eZ) OH, I'M SORRY, BUT | HAVE ANOTHER | THINK | KNOW THE REASON-AND HER NAMES HELEN A FRIENDLY TIP FROM NOW ON ; LIFEBUOY IS “7Y SOAP! ITHINK |KNOW WHY HELEN ME—'B.O.'? SEVERSAVICUCHTIRTRT 1S SO COOLTO YOU. BUT ITS YOURE KIDDING OR FELT SO CLEAN RATHER A DELICATE SUBJECT en BLOn, HONEYMOON i * lay B. O.” means UNPOPULARITY WELL, HE AND HELEN HAVE GONE AND zo DONE IT! GUESS | HELPED 7HAT MATCH : (body odor) | ALONG ALL RIGHT WHEN I GAVE HIM THAT \ LITTLE WARNING i S EOPLE won't excuse “B.O.” (body odor). And why should Pi Even on the hottest, sultriest day when the least exer- tion makes us perspire freely — it’s so easy to check “B.O.” Take this simple precaution. Take it even though you think you don’t need to—just to be safe/ Bathe regularly with Lifebuoy. ron i | } Its creamy, penetrating lather purifies and deodorizes pores— eo meme! x stops “B. O.” Helps protect health by removing germs from (ASM MZ , hands. Its pleasant, extra-clean scent vanishes as you rinse. ry} Ti | ilk p Watch your skin improve UL ru Limite! Millions know it—Lifebuoy for lovely ne | AD al { f a Ons fh complexions! Its pure, bland lather— ee so gentle, yet so cleansing — makes dull skins bloom with healthy radi- ance. Adopt Lifebuoy today. A PRODUCT OF LEVER BROTHERS CO.

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doing it!” 7 out of 10 smokers inhale knowingly — “Everybody’s the other 3 inhale unknowingly O you inhale? 7 out of 10 smokers know they inhale. The other 3 inhale without realizing it. Every smoker inhales —for every smoker breathes in some part of the smoke he or she draws out of a cigarette. Do you inhale? Of course you do! Lucky Strike has dared to raise this vital question . . . because certain impurities concealed in even the finest, mildest tobacco leaves are removed by Luckies’ famous purifying process. Luckies created that process. Only Luckies have it! Do you inhale? More than 20,000 physicians, after Luckies had been furnished them for tests, basing their opinions on their smoking experience, stated that Luckies are less irritating to the throat than other cigarettes. “It’s toasted” Your Protection against irritation— against cough O. K. AMERICA—TUNE IN ON LUCKY STRIKE—60 modern minutes with the world’s finest dance orchestras, und fumous Lucky Strike features, every Tuesday, Thursday and Suturaay evening over N. B.C, networks. Copr., 1932 The American Tobacco Co