Modern Screen 1935-02 Vol. 10, No. 3

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New Kind of Dry Rouge actually Atays or ald day. ..cr Created in 4 rapturous shades... the most paganly alluring colors ever seen. NATURAL (Flesh BEIGE RACHEL e RACHEL (Extra Dark) An ever-so- smooth in- deliblecream rouge forlips and cheeks. Prepared in the same four shades » as Savage Lipstick, 2iOT (GEGN tsa Aa ALL LEADING TEIN How often you have noticed that most dry rouge seems to lose the intensity of its color within an hour or so of its application. That is because the usual rouge particles are so coarse or uneven in texture, that they simply fall away from your skin. SAVAGE Rouge, as your sense of touch will instantly tell you, is a great deal finer in texture and softer than ordinary rouge. Its particles being so infinitely fine, adhere much more closely to the skin than rouge has ever clung before. In fact, SAVAGE Rouge, for this reason, clings so insistently, it seems to become a part of the skin itself . . . refusing to yield, even to the savage caresses its tempting smoothness and pulse-quickening color might easily invite. The price is 20c and the shades, to keep your lips and cheeks in thrilling harmony, match perfecty those of SAVAGE LIPSTICK . .. known as the one transparent-colored indelible lipstick that actually keeps lips seductively soft instead of drying them as indelible lipstick usually does. Apply it .. . tub it in, and delight in finding your lips lusciously, lastingly tinted, yet utterly grease- less. Only 20c and each of the four hues is as vibrantly alluring, as completely intoxicating asajungle night. Everyone hasfoundthemso. To go with SAVAGE Lipstick and SAVAGE Rouge, there is the astonishingly new SAVAGE FACE POWDER ...a finer grained, softer powder that clings as savagely as SAVAGE Rouge. Instead of roughly coating the surface as most powders do, SAVAGE, because of its extreme fine- ness, blends right in with the skin, achieving the skin’s instant magical transformation to soft, smooth loveliness! Four lovely shades ... the generous box is 20c. SAVAGE, CHICAGO CIENT SwoOR i s

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: HAT a heart-warming thing a lovely, swift little smile can be! And what a crusher of illusions it so often is. It is true that a great many men and women are, unfortunately, afraid to smile. Neglect of the teeth, neglect of the gums, neglect of “pink tooth brush”’ have led to their own unsightly results. No one is immune from “pink tooth brush.” Any dentist will tell you that MODERN SCREEN , anling (UNTIL SHE SMILES) “Pink Tooth Brush— Makes her avoid all close- ups...dingy teeth and tender gums destroy her charm. our soft, modern foods and our habits of hurried eating and hasty brushing rob our gums of needed exercise. Natu- rally, they grow sensitive and tender— and, sooner or later, that telltale “tinge of pink” appears. DON’T NEGLECT “PINK TOOTH BRUSH” And, neglected, that “tinge of pink” is often the preliminary to gingivitis, Vin- cent’s disease — even pyorrhea. Do the sensible thing—follow the 4 73 West Street, New York, N. Y. L t 7) 7) Kindly send me a trial tube of IPANA TOOTH pe PASTE. Enclosed is a 34 stamp to cover partly the i Y , cost of packing and mailing. TOOTH PASTE advice of dental science. Get a tube of Ipana today. Brush your teeth regularly. But—care for your gums with Ipana, too. Each time, massage a little extra Ipana into your lazy, tender gums. The ziratol in Ipana with massage helps speed cir- culation, aids in toning the gums and in bringing back necessary firmness. Your teeth will be whiter with Ipana. Your gums will be healthier. And your smile w7// be the magic thing itshould be! BRISTOL-MYERS CO., Dept. K-25 CODE Name Street. City State.

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oc 34 3h ©clB 247781 °~ THE MOST ROMANTIC STORY EVER TOLD (Part 3)....................---Katherine Albert Another chapter in the movies’ own thrilling biography WHY STAY MARRIED« «ccs. ocscanceuees tes -cscuie So eeeet neers eepee Ce Glace tell There’s wisdom for you in Clark Gable’s marriage story MARLENE ANSWERS ALL YOUR QUESTIONS .............00--+e0e++e+2+++++Ben Maddox Direct, honest answers to everything you have been wondering HOW THE STARS KEEP YOUTH AND BEAUTY . Besiale reise eiersierereere etter fars Albert Tips from such famous beauties as Crawford, Colbert, etc. MEIN 82:6 550:5 ae 0:2 /0e sratspene ect cele ei evere voici ciaroneucuenetorererenerara tear ncerereretseedete laneversusterarey ANC ale Whitely Fletcher More feminine stars talk about their favorite topic I: CHAPERONE THE CROWD . scte.gs see I A week-end party with Hollywood’s younger set SO'SHE WON'T TALK, HUHI...05.5.0.0055150ec enn ee eee ee eeeeene Rea ina @annen Marion Davies does a Garbo on her private thoughts aA a een ree RPE te fa ee RANE A sh hahdes osckasescsocodViata [ons Some amazing hates you never guessed the stars had AVERAGE BUT, WONDEREUE : coe e ere Crete eee ee ere een (aclvel tell A grand story about a great actor, Walter Connolly SHOULD THE HUSBAND PAY ALL THE BILLS? ............. A debated question answered by two stars, one a recent bride ~ SHE WAS A ONE-DATE GIRL... ..... 20.0 cece eee c eee c eee cececeeeces se JQmes M. Fidler Jean Muir, ex-wallflower, tells you why : pttsceteeeseseees+Lynde Denig FAME IS A THIER «2.6.0. 00000 0.202 e eee cnreeernnacciesenssarcecees eee +Faith Service Why success rests heavily upon Ronald Colman NONE OF THIS IS REAL. ....2. 2220-0 .-1<- senna ym enelone You'll not be disillusioned by this thrilling story of how sets are made LINES TO A LITTLE LADY..........- 0... e esses test eee teeters eeeeeeeees+Robert Eichberg Help us open and read La Belle Temple’s fan mail DRESSES YOU COULD REALLY WEAR....2-...0-c22se0 042 seec eee se ceces se Align Bird \Screen clothes that have practical thoughts for your wardrobe The Modern Hostess........-.eeeeeeeeeeee 10 Our English Cousins....................-. Beauty, “Advice siericjarerer-iateloloin « cvototelotoreseieaeh yell 2, Reviews poston cmpiiwcmsctiienerinee eee Airmail—Special Delivery................ 14 Modern Screen Patterns...............00. Good wiNews:s seg uusanie corsares cu aieetecoc mal O Modern Screen’s Dramatic School.......... Exclusive Portraits..............++.-19 and 49 The Information Desk..................-. PicturemaNewsertoiececiir tie eect corm 4 O ReportilGardiieniccicis-eeeeeee eee OS AlliokingrAsidesetirctiiertciiieeeicriermntel | O MARY BURGUM, EDITOR; ADELIA BIRD, Associate Editor ABRIL LAMARQUE, Art Editor REGINA CANNON, Western Representative d ~ / Published monthly and copyright 1935 by Dell Publishing Company, Incorporated. Office of publication at Washington and South Avenues, Dunellen, N. J. Executive and edi- torial offices, 149 Madison Avenue, New York, N. ¥Y._ George T. Delacorte, Jr., President, H. Meyer, Vice-President, M. Delacorte, Secretary. Vol. 10\No, Et February, 1935.* Printed in the U.S. A. Price in the United States, $1.20 a year 10c a copy. Canadian subscriptions, $2.40 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 publishers accept no responsibility for the return of unsolicited material. Sole Foreign Agents: The International News Company, Ltd., 5 Breams Buildings, London, E. C. 4, England. 4 — i} iy !

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MODERN SCREEN YEARS of wailing and now the motion picture that wins Two years ago it was the dream of its pro- ducers, Metro-Goldwyn-Mayer! The theme was so daring, so exciting that nothing since “Trader Horn” could equal its brilliant nov- elty. Now it is a stirring reality on the screen. Out of the High Sierras, out of the wilderness that is America’s last frontier... roars this amazing drama of the animal revolt against man. A Girl Goddess of Nature! A ferocious mountain lion and a deer with human in- stincts! Leaders of the wild forest hordes! A production of startling dramatic thrills that defies description on the printed page... that becomes on the screen YOUR GREATEST EX- PERIENCE IN A MOTION PICTURE THEATRE! Pronounced "“SEE- QUO- YAH” with JEAN PARKER Produced by JOHN W. CONSIDINE, Jr. Directed by CHESTER M. FRANKLIN Based on the novel “Malibu’”’ by Vance Joseph Hoyt mo METEO-GOLDWYN-MAYER PICTURE 5 =]

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[TWAS SLUGGISH AND A MARTYR TO BILIOUSNESS ® My skin was pasty and even after 8 hours sleep I’d get up tired. [looked every day of my 35 years and then some. For 6 years I’d been a continuous sufferer from biliousness, sour stomach caused by constipation. I think I spent hundreds of dollars on medicines. Then the wife of our druggist told me about FEEN-A-MINT. It is the only laxative I have used for 2 years and it has worked marvels. My husband says I’m like a different per- son. FEEN-A-MINT has done wonders | for my little girl, too—now she eats like | a child should because it keeps her regu- lar as a clock. Pleasing taste makes FEEN-A-MINT easy to take Another experience typical of the hundreds of people who write us gratefully about the relief FEEN-A-MINT has given them. FEEN-A- MINT is not only positive in its purpose but a pleasing and delicious chewing gum. That is why it’s so easy to take—children love it. And because you chew it the laxative works more evenly through the system and gives more thorough relief without griping or binding. Next time you need alaxative get FEEN-A-MINT. l5and 25¢ atyour druggist’s. Used by over 15,000,000 people. FEEN-A-MINT THE CHEWING-GUM LAXATIVE 6 MODERN SCREEN Read the details—and get ready for the gala opening in our next issue! A Song Contest! No, you don’t have to sing to be in it. No, you don’t have to be able to play the piano to get into it! You can be tone deat if you want to—see if we care—and still enter this contest and maybe win some of the $500 prize money. Here’s a hint of what it’s all about: Warner Brothers, who have produced so many grand musi- cals, and this magazine have had their heads together and decided that it might be an awful lot of fun to ask people an awtul lot of questions about an awtiul lot of songs. And that's part of what we're going to do. You have to answer some ques- tions—just how many and what kind, we'll tell you later. But before the big rush starts, let us ask you a question: have you ever had a feeling that you'd like to try your hand at writing the words to a song? Have you ever felt almost sure thet you could? And then— figured—oh, what's the use? Nobody would ever publish your efforts—one has to have pull to get any attention. And so on and so forth. Have you felt that way? Well, here’s a chence to try your luck at writing the words for a song! It isn't (Continued on page 111)

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the fighting fury of the screen meets his match at last in BETTE DAVIS —a hellcat with murder on her conscience and Muni on her mind And then things happen! . . . Things that will burn themselves into your memory of a drama which combines the X best features of ‘| Am A Fugitive’ and “Of Human Bondage —Warner Bros.’ i} i with Margaret Lindsay and Eugene Pallette delivering the other standout performances in a tremendous cast, superbly directed by Archie Mayo.

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lhe PART 3 Gloria Swanson in the Sennett days. by Katherine Abhert The fascinating history of movieland, with all its glamour HEN one thinks that the word “Hollywood” is almost a synonym for “movies,” it is rather amaz- ing that two complete installments of this story have been concerned with the progress of the motion picture industry before its arrival in Hollywood. Like the invention of moving pictures, making Hollywood its capi- tal was an accident. : By 1913 the industry teemed with activity but it teemed in New York, Chicago, Oakland, Philadelphia. There were a few studios in Los Angeles but people who lived in the tiny suburb called—because of a large growth of holly there—Hollywood had seen cameras only very occasionally when members of the Los Angeles plants used the recently laid out streets for “location.” Holly- wood was a real estate project, nothing more. And those who had conceived the idea that it would make a nice residential district found themselves millionaires. Mary Pickford, the first ‘’star’’ name. Fatty Arbuckle, the laugh-getter. Robert Brunton is the name of the man most directly responsible for the vast and glamorous city you know so well today. Brunton was a Scotch set designer, scene painter and general theatre craftsman. He had come to America as part of Sir Henry Irving’s staff and might have returned with the actor had he not become interested in the rapidly growing film industry. But he was a gruff sort of fellow and the hail-fellow-well-met attitude of those early mountebanks made him even more gruff. So he found himself without work a great deal of the time. One Sunday morning he took a stroll along Sunset Boulevard. The casual gesture was history-making, for his eye fell upon a large, rather ramshackle barn. As he meditated upon this site he remembered having read in the papers that a newly formed film concern was moving to Los Angeles. The young men who had pooled their savings to get into the industry (Continued on page 113) Viola Dana, in a silent film. Ruth Roland, an early favorite.

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MODERN SCREEN ~NAPOLEON’S MASTER with the troops .... with the ladies { Arliss surpasses himself! @ _ Wellington, thelronDuke, who out-maneuvered Napoleon on the battle- fields and in the ball- rooms of France! Thrillingly portrayed by the electrifying genius of George Arliss! GEORGE ARLISS The IRON DUKE < “yg ; . Directed by Victor Saville ‘ 9 ( U Ve COMING TO YOUR FAVORITE THEATRE... ° NOVA PILBEAM, in LITTLE FRIEND; CHU CHIN CHOW; POWER; EVELYN LAYE in EVENSONG; JACK HULBERT in JACK AHOY; JESSIE MATTHEWS in EVERGREEN; EVELYN LAYE, HENRY WILCOXON in PRINCESS CHARMING . . qb) GAUMONT BRITISH PRODUCTIONS

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Here’s something new! SOME one of these fine days you are go- ing to say to yourself, “What on earth are we going to eat tonight?” When that day arrives ‘and you realize that your food ideas have fallen into a rut and that you and your family (and your guests, if any) long for something new and different, then try a real Danish dinner—tantalizing, appe- tite-provoking and filling. I learned all about such a meal recently from Carl Brisson, Continental singing favorite, imported from Denmark by -aramount to star in their pictures. And the important culinary details that Carl himself was unable to supply were given me by his brisk, attractive and efficient wife Fru Cleo. Just hearing about their dinners is enough to make one long to set out 1m- mediately on a trip to the land of good Christian X, King of Denmark and Iceland. Fortunately, however, the de- Scr ee of what constitutes such a dinner, and recipes for the foods it features were given me by the Brissons with such a wealth of detail that from now on it will be possible for Modern Hostess readers to make and serve many delicious and typical Danish dishes. The Brissons were most enthusiastic about furthering 10 | (Above) Carl Brisson, the singing Dane, enjoys his pet dish, Danish Apple Cake. (Left) And here’s the Danish Apple Cake itself. Doesn't it make your mouth water? A genuine Danish dinner! this feeling of international goodwill along culinary lines, particularly Fru Brisson who is first and always a good Danish housewife, priding herself on the com- petent direction of her kitchen with its staff of four helpers. So domestically minded is she, that she welcomes the hours spent in meal planning and preparation and loves the soft, springy feeling of dough in her capable, pastry-making hands. Entertaining frequently, with places often laid for as many as sixteen or twenty guests at a mammoth dining table, the Brissons have done much to remove the blight of boredom from film city formal dinner parties and since their arrival in March have stepped into the top rank of popular Hollywood hosts. “What, in your opinion, is the secret of the success of your dinner parties?’ I asked Mr. Brisson. “T thank you for the compliment, but there is no secret,” answered that big, broad-shouldered, curly-haired Dane. “However, there are some rules we observe. For in- stance, we do not ask anyone for dinner unless we think he will be an agreeable and harmonious guest. The table, we feel, is the ‘place for enjoy- (Continued on page 72) |

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HELLO, ETHEL. MY, YOU 1! WELL, | MUST SAY MAYBE (T'S BECAUSE NO SUG) WUC TMS 8s. YOU LOOK MARVELOUS! | TAKE (T EASY NOW. | NEVER SAW YOU INEVER TOUCH A LOOK BETTER WASHBOARD ANY MORE LOOK WONDEREUL! BEEN ON A VACATION 2 RIGHT HERE IN TOWN ALL THE TIME —— == WHO CAN AFFORD THAT & RINSO ACTUALLY YES—WITHOUT COAX- NOWADAYS 2 | USE RINSO, \—— 1 SAVES SCRUBBING 2] (ING! WITHOUT BRUTE YOU HAVE A \| \ THE SOAP THAT SOAKS OUT DIRT FLOATS OUT FORCE ' CLOTHES LAST LAUNDRESS ? DIRT. {T SAVES SCRUBBING BY ITSELF ? 20R3 TIMES LONGER SS —YOU'LL SAVE LOTS RINSO GIVES SUCH Keeps colors fresh NEON and bright, too INSO is great in washers, too—makers R of 34 famed washers recommend it. Tested and approved by Good House- keeping Institute. Gives lots of rich, lively suds—even in hardest water. No mat- ter how long yousoak your wash in Rinso suds—for 15 minutes, an hour, overnight —oras longas you think necessary—you can be sure everything will be safe Easy on hands. Makes all cleaning easier. AMERICA’S BIGGEST-SELLING PACKAGE SOAP coD IT'S HARD TO BELIEVE! MY WASH IS 40R5 SHADES WHITER- WITHOUT SCRUBBING! RINSO'S MARVELOUS, | MUST USE IT FOR DISHES, TOO YES — EVEN IN WATER THAT'S HARD AS NAILS! MYRTLE'S TO BE MARRIED SOON. WE WANT TO GIVE ‘ HER SOMETHING FROMTHE SO YOURE COLLECTING OFFICE.. FOR A WEDDING PRESENT AGAIN / HOW ABOUT GIVING : YOU ONE SOME DAY... "B.O! GONE_ a prophecy comes true! | YOURE SUCH A DEAR! MR.BATES SAY THAT. TANTRIC SEE YOU INGRCENEABIVAENGAGED HAPPY. DONT BE ANGRY ONCE.... THEN HE IF 1 GIVE YOU A LITTLE SEEMED TO LOSE HINT ABOUT “B.0” AND INTEREST USING LIFEBUOY.... IT HURT TO HAVE YOU WIN_ BUT IT DIDNT BY JOVE_ARING! SEEM AT ALL LIKELY WHEN WHAT DID | TELL YOU ? YOU SAID IT A WEDDING PRESENT FOR YOU NEXT ; jp P < yA bs = YOU CAN WEAR ANY COLOR YOU WANT FOR YOUR GOING-AWAY DRESS. YOUR SKIN IS SO NICE AND CLEAR A grand complexion soap — Lifebuoy! Its creamy, penetrating lather is super-mild yet extra-cleansing. It gently washes away pore- clogging impurities—freshens dull skins to glowing health. “B.O.” (d0dy-odor) is a year-round problem. Cold days or hot— play safe! Bathe often with Lifebuoy. Lathers more freely; purifies and deodorizes pores. Its quickly-vanishing, extra clean scent tells you Lifebuoy gives extra protection. Approved by Good Housekeeping Bureau IT WASN'T— UNTIL ( STARTED - USING s LIFEBUOY 11

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“The Zer-r-ro Hour of Beauty” —Mary Biddle's leaflet on how to keep up your beauty when the temperature's down—is yours for the ask- ing and a stamped, ad- dressed envelope. Address Mary Biddle, MODERN SCREEN, 149 Madison Avenue, New York, N. Y. She'll be glad to answer any of your personal beauty problems, too. HAT kind of a “circulation manager” do you make for yourself these days? Is your skin rough and subject to “gooseflesh?” Do you quiver and quake at all weather reports that say “Colder tomorrow?” Do you walk to work almost doubled over in order to prevent the cold from striking at your “in- nards?” Do your legs feel like sandpaper, and ruin many a pair of hard-earned chiffon hose because they “catch” the silk threads? Then this article is for you... and I’m hoping it will lead you to stir up your circulation to the sizzling point, for all these things are signs of poor cir- culation. It’s going to take will power and a lot of plain ordinary gumption, you know, but good circulation is just as im- portant from the beauty angle as it is from the health angle. A good circulation means a clear, smooth skin in about nine cases out of ten, and you'll agree that’s a high percentage. Making the blood race through the blood vessels of the skin is a valuable beauty trick. So we're Need circulation increase ? 12 Brrr! Just for contrast—Ann Dvorak warm in furs, and sketched, you and I any cold morning! Ann has the natu- tal brows I mention, below. by Mary Biddle going to talk about such circulation stimulators as exercise and good old-fashioned scrubbing, as well as a lot of other beauty pointers for winter-r-r-r and the zer-r-r-ro hour. First, we’re going to talk about getting out of bed on a cold winter morning. Groans (I can hear a chorus of them) are permitted for the moment; but get them over with, because you’re going to be as Spartan-like as pos- sible from now on. I wish I could suggest a painless method by which to tear oneself away from a warm downy bed and into a rosy glow of circulation by means of some automatic machine, but I can’t. There isn’t any, unless it’s to have someone announce to you that an aero- plane or a stream-lined train is waiting outside to take you to Hollywood to have breakfast with Robert Mont- gomery . . . or whom-have-you-for-a-hero ? However, I do have a sugar-coated method on tap which is the best I’ve found after some years of painful experiment on the subject. When the trusty old alarm clock has waked you from peaceful slumber and you have Cold weather beauty hints

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managed to get one eye open successfully, just lie where you are (that’s easy enough, isn’t it?) and breathe deeply. Breathe so deeply that your inflated lungs almost pull your stomach up under your ribs. Now breathe out, deflating your lungs and in- flating your stomach. Do this from fifteen to twenty times. Your room, of course, will be filled with the cold fresh air that your wide-open windows have been send- ing in all through the night, so you'll be breathing in pure ozone that hasn’t been gathering impurities and general stuffiness for hours. Now have a grand stretch... it’s a good pick-me-up in itself. Stretch your neck, your arms, your legs, even your fingers and toes. After all your deep breathing and long stretching, you should be able to drag yourself up to sitting posture by this time. Your neck may still feel full of kinks, especially if you’ve been sleeping all hud- dled up in your blankets, hiding your nose from the nippy air. Roll your head around your neck, for all the world like one of those funny ‘“‘golliwog” dolls that used to be so popular. Roll it in a circle from shoulder to shoulder, slowly feeling the pull of the muscles as you do so. You’re apt to get dizzy if you don't do it very slowly, and you don’t want to start out with a “merry-go-round” feeling the first thing in the morning. Incidentally, this exercise is very efficient in warding off any tendency to a double chin. The second method is really the better one, but it calls for much more heroic will power. You start off with a big kick, a kick that sends the bedclothes flying, and leaves you shivering without benefit of cover. The only thing left for you to do then is to go through a lot of vigorous arm and leg exercises in order to keep from freezing on the spot. (I’ve some good exercises which are yours for the asking.) Or still better yet, jump up, pop yourself into a wooly robe, and take your deep breathing exercises in front of the window. Then down with the window ... and a scurry to the bathroom or some other warmer quarters. SHOWER is so nice in the morn- ing... easier and quicker than the tub, and more of a circulation “stirrer- upper.” We're inclined to be lazy and dawdle over the tubbing business. How- ever, some of us don’t have showers; nor is hot water always on tap, especially if you live in the country, or have the kind of a gas heater that takes so long to heat the water that you can’t wait for its “circulation” to get going in the morning. So a warm sponge bath will do very nicely if you haven't a shower available . . . or hot water on tap. It’s really speedier and hence more desirable than a tub bath in the morning, anyway. Hot baths of all kinds are to be avoided in the winter especially, when we have to face the other extreme of severe cold outdoors. As a matter of fact, mildly warm baths are al- ways the happy medium to strike, regard- less of the weather. If you can stand a cold shower or cold sponge as a rinse, after a good soaping and scrubbing with warm water, we take off our hats (or shower bathing caps) to you. We salute you as a brave Spartan, even if you squeal and shriek all the while the cold water is having its innings. However, Spartan or no Spartan, the cold water rinse is definitely out if you don’t get a warm reaction immediately after your rub-down. It’s really harmful unless the warin re- action sets in at once. Whatever tempera- ture be the rinse, give yourself a thorough and energetic drying, a regular circulation treatment with the bath towel. (Continued on page 71) MODERN SCREEN Tithe Lovely Lay IN THIS PICTURE LADY, you're lovely! Radiant, fresh, and in the bloom of young womanhood. And behind that young and lovely face is a mind full of an old wisdom .. . old as womankind itself .. . and it decrees ‘keep lovely.” So your dressing table is laden with fine creams and lotions and cosmetics fragrant as a garden in June. And every other aid devised to make lovely woman lovelier still ...and to keep her that way! Among these aids . . . and you’re very wise ... is a certain little blue box. It won’t be on your dressing table, but discreetly placed in your medicine chest. Its name is Ex-Lax. Its purpose... to com- bat that ancient enemy to loveliness and health... constipation...to relieve it gently, pleasantly, painlessly. You see, while Ex-Lax is an ideal laxa- tive for anyone of any age or either sex, it is especially good for women. You should never shock your delicate feminine system with harsh laxatives. They cause pain, upset you, leave you weak. Ex-Lax is gentle in action. Yet it is as thorough as any laxative you could take. And... this is so impor- tant! ... Ex-Lax won't form a habit. You don’t have to keep on increasing the dose to get results. And it’s so charmingly easy to take—for it tastes just like delicious chocolate. And That “Certain Something” These are the cold facts about Ex-Lax. But there is more than that. It’s the ideal com- bination of all these qualities— combined in the exclusive Ex-Lax way — that gives Ex-Lax a “certain something” —a certain satisfaction—that puts Ex-Lax in a class by itself. Our telling you won't prove that. You must try it yourself to know what we mean! In 10c and 25c boxes —at any drug store. Or use the coupon below for free sample. MAIL THIS COUPON—TODAY! EX-LAX, Inc., P.O. Box 170 Times-Plaza Station, Brooklyn, N. Y. MM 25 Please send free sample of Ex-Lax. When Nature torgets—remember EX-LAX THE CHOCOLATED LAXATIVE 13

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By fast plane came these pictures of the Second Annual Screen Guild Ball, rushed to us by our spies on the Coast. (Above) Florence and Fredric March and Ralph Bellamy. Mrs. Bellamy said she didn’t look nice enough to pose. (Below) First appearance in public of Joan Blondell since her son’s birthh Husband George Barnes and sister Gloria with her. Looking grand, isn’t she? (Above) Mary Astor, having a good time with Lucille Gleason and James Cagney. (Below) The happiest mar- tied couple in Hollywood—and we're not even crossing our fingers when we say that about Stuart Erwin and his beautiful wife, June Collyer. The Airmail Letter on the next page tells you the lowdown on the goings-on at the Screen Guild Ball at the Hollywood Bowl.

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Airmail Letter Dear Editor: The Second Annual Screen Guild Ball found Hollywood's upper-crusi tripping gaily to the Biltmore Bowl. Everyone wore their best bibs and bent over backwards, being little ladies and gentlemen. Asa result, the affair was pretty dull with most of the stars leaving early to stifle their boredom elsewhere at the Rus- sian Eagle, Brown Derby, or Sardi's. The Screen Guild, you know, is the group which broke away from the Academy of Motion Picture Arts and Sciences last year. They or- ganized primarily to protect “the little fellow’’ on matters of jobs, sal- ary, etc. Eddie Cantor is president, Bob Montgomery, vice-president. Lyle Tclbot was one of the high points of the evening, making a swell master of ceremonies. He re- vealed crooning talents that should cause Master Crosby to bite his nails privately! Half the fun of the evening was watching the little feuds between the camera crowd and the stars— what memories those boys have! They ganged on Adolphe Menjou, each politely refusing to snap his fancy dressing. Adolphe, who made such a fuss last year as to cause the boycott, hung about wistfully. Lee Tracy did a prima donna by refusing to pose with Mary Brian. Why, no one could find out—even Isabel Jewell appeared baffled... Joan Bennett tilted her pretty nose at the boys, too. So they busily overlooked her. A few stars with a change of heart tried to ingratiate themselves with the camera gang later on. To no avail, however. Joan Crawford, becutiful as ever, was beaued by Franchot Tone. Helen Hayes appeared with Joan‘s party. The Eddie Robinsons, Otto Krugers and Rosamond Pinchot in another. Genevieve Tobin, quite recovered from her recent automobile acci- dent, was squired by a new heart from Santa Barbara. Brilliance of gowns and jewels made up for what the party lacked otherwise. Guess that’s all. Best wishes, REGINA CANNON MODERN SCREEN 08 aa s ““You're a hard worker, Bess,’ my sister said one day, ‘but your clothes are such tattle- tales. That grayish look tells everyone they aren’t really clean!’...I was furious, put I took her hint. I stopped buying ‘trick soaps’ and gave Fels-Naptha Soap a try.” Fels-Naptha into the water in my washing machine and get the grandest suds. I never dreamed golden soap is so much richer. And Fels-Naptha is fw// of clean-smelling naptha! Even grimy, greasy dirt floats right out.” “Everybody says nice things about my washes now—no more /attle-tale gray in my house. John says that red look is gone out of my hands, too. There’s soothing glycerine in Fels-Naptha, yousee.” Fels & Co., Phila., Pa. © 1935, FELS & CO. R Banish sv “Tattle-Tale Gray” with FELS-NAPTHA SCAP 15 “And what a lucky day! Ina second, I chip

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Hollywood goes on a romantic binge! There’s nothing as exciting as a wedding, unless of course it’s two weddings, and the one in which Ginger Rogers and Lew Ayres figured was truly something to behold. Ginger was dressed in pale green lace and her bridesmaids, Mary Brian and Janet Gaynor, wore blue and beige respectively. Lew boasted the slim Ben Alexander and the plump Andy Devine as attendants. The Church of the Flowers in Glendale was a bower of posies and after the minister had united the pair, birds began to sing. If it had been planned to have the canaries come in on the chorus, it couldn’t have worked out more perfectly. The groom wondered if he should kiss the bride after the ceremony and, as she looked doubtful, too, they abruptly turned from each other and started down the aisle and on out into the limousine which was there to whisk them to the Ambassador Hotel for the re- ception. This car had a slight edge, pic- iorially speaking, on the sedan in which Lew drove to the church. When he alighted from that little number, his high silk tepper bit the dust, much to his confusion and the amusement of interested onlookers. The reception was punctuated with cham- pagne and celebrities tc quaff it, and, let it be said, for the good taste of the town, no one quaffed to the point of forgetting that he or she was a Beverly Hills blueblood or, at Newly-wedded Ayres cut themselves a piece of cake—and what a cake! least, of the prominent Glendale gentry. Lois Wilson caught the bride’s bouquet. She said she was going to, and, b’gosh, she did. That's Lois, as good as her word, and a good gal anyway. As the new Mrs. Ayres cut the huge, frosted cake, someone asked her, “How does it feel to be a bride?” To which she answered blithely, “I don’t know. I've never been a bride before.” Ginger! ch, tch. Jack Pepper. Re- member? a8 & Here is a story as touching as it is tragic, for it at once shows the heart of Hollywood and how a budding career may be nipped before it has had a chance to blossom. Little Mary Blackford, Fox player, was returning from the studio one day last fall when her car crashed into a pole. She was severely injured and is even today under doctor's care, for she’s paralyzed from her neck to her waist. And that is why the younger players got together recently and staged the Mary Blackford Benefit, held at the famous Co- coanut Grove, and toward which hundreds appeared and other hundreds, who could not be accommodated, contributed. Thus Bridesmaid Janet Gaynor poses with her mother and Margaret Lindsay. While our news, Mary, who in health was an unknown, sud- denly became the town’s most talked-of, in illness. The event, which Anita Louise, Tom Brown, Helen Mack, Patricia Ellis and Trent Durkin were responsible for, proved an overwhelming success. Will Rogers, who had Mary in his stage play, “Ah, Wilderness,” took care of the childs | hospital bills up until the Benefit and Joan Crawford has assumed them since. The © huge affair was given to raise money for Mary’s family, should the youngster be confined to her bed indefinitely. Pretty nice, this Hollywood, isn’t it? Our Scotty and his ever-alert camera ap- proached Ann Harding recently and asked her to pose. The pretty patrician star de- clined, saying that she didn’t expeci to be — in movies much longer anyway, so what was the use? But our guess is that her refusal was due to the fact that Harry Bannister, her erst- while hubby. was with her and there are those who say a re-marriage isn’t an im- possibility. Miss Harding evidently wasn’t in the mood to confirm rumors, you see. Will Rogers, shy bene- factor, at the Mary Blackford Benefit.

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We predict that Mary Brian will be our next movie bride. We realize, too, that she’s been crying “wolf” for years, but you mark our prowess as a prophet. Dick es doubtless is slated to be the lucky ad. Incidentally, Dick’s brand new home at Toluca Lake is almost completed. In _ fact, when the little matter of gas is set, it will be ready for occupancy. You see, when the house was finished, it was dis- covered that it boasted everything from a grand piano to a private-panelled entrance; that is, everything but gas. The architect _ blamed it on the plumber and the plumber passed the buck to Dick. It took a few days to rectify this so-called minor de- ficiency, but now there’s gas in the new Powell homestead. Speaking of girls who cry “wolf,” how about Garbo? Those reputed to be in the know claim she will wed George Brent. Now, don't jump at us! We, too, realize that “The Painted Veil” is about to be re- leased, that the Great One was supposed to care for Mamoulian when “Christina” was issued and that she was said to be helping Jack Gilbert (also in the picture) at that time for a reason. But. nevertheless, Greta has Our reporter prophesies that the Brian-Powell wedding will be next! OS TS Or ee eee taken a snappy little hide-out hut at Palm Springs and every evening, when he has finished his chores at Warners, Georgie hops a plane to see his “‘frand.” Incidentaily, he has built a six-foot wall around his own home, so that when the lady visiis him there she may be assured of complete privacy. Well, be philosophical (George is). Even if nothing comes of it, Mr. B. hasn't lost out by. the pullicity. Walk-out night was unofficially staged at the Vendome recently. It wasn’t on the program, but was featured just the same. The Gene Markeys (she is Joan Ben- nett, you know) were having a little téte-a- téete, which suddenly became a discussion and then developed into a rousing row. Joan put on her coat and left a by-then- tearful husband. . Later, not to be outdone by its competi- tor, the Brown Derby staged a miniature bout of its own. This time Lee Tracy and Isabel Jewell were featured. Miss J. also applied for her walking papers. Well, the course of true love, etc., etc. Someone once said that many assistant Anita Louise and Tom Brown helped arrange the Blackford Benefit. directors are studying to be morons. Just listen to this. Aileen Pringle, recently engaged to make an independent picture, phoned the assistant director. “T haven't seen the script,” she said. “What type of role am I to pay?” “It's an afternoon dress,” he returned glibly. “Y’see, you meet the leading man and have a talk with him and then go out. Yeah, that’s right, it’s an afternoon dress.” “Someone” may be right after all. Clark Gable and Gilbert Roland are off on a hunting trip together. Can it be that they’re gunning for the dove of peace? Remember the little battle the boys put on recently, during which one applied a swift left to the other’s chin? Well, all is palsy-walsy now, as indeed it should be between two such attractive young men. Speaking of Clark, that gen’man sent Aimee Semple MacPherson a box of red roses right straight to the Temple. And did she announce the fact between sermons over the radio? Oh, g’wan, ask us? So you know Aimee, too, eh? (Con’t on page 64) Pat Paterson and Mary Blackford. Taken be- fore Mary’s accident.

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MODERN SCREEN

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It looks like the raven-haired Ches- ter Morris is all set for a gr-rand romance with the gorgeous Carole Lombard—for the benefit of the cameras, anyway, in a scene from "The Gay Bride,” for M-G-M. Carole, you know, can also be seen in “Lady By Choice” and "Now and Forever,’ Columbia and Paramount pictures, respectively. ‘And Mr. Morris has been kept busy on his home lot, Universal, where he made “I've Been Around.” His next will be “Princess O’Hara.”

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Salt Steady and regular has been Fay Wray’'s climb to success. She is the type too often taken for granted, because she is so dependable. Therefore we would like to remind you that her smooth work in “The Affairs of Cellini’ and ‘’The Richest Girl in the World” deserved much fancier adjectives than ‘depend- able.’’ Her recent pictures are “Woman in the Dark,’ an RKO release, Universal's ‘Cheating Cheaters,” and Columbia's ‘’White Ties" A busy lady, indeed.

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D Terpsichorean devotees list all dances as “B.A.” or “A.A.,"’ mean- ing “before” and “after” Fred As- taire. And well deserved is this recognition of authority. For where is there another such exponent of the modern dance? Having seen him perform in ‘Flying Down to Rio,’ the RKO musical, you surely wont miss. seeing him, again coupled with Ginger Rogers, in “The Gay Divorcee,” and after that with Ginger and Irene Dunne in “Roberta.”

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The prima donna about whom the whole world is talking—Grace Moore. Her divine singing, intelligent acting, graceful figure and gen- eral delightfulness in ‘One Night of Love” will linger in our memories forever. As Tullio Carminati, who played the role of her maestro in the picture, so aptly expressed it, “It’s grand to see a Carmen who weighs less than the bull.” She will do some concert and operatic work in the East before she starts her next picture for Columbia.

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: John Gilbert deserves a nice pat on the back for coming through with such a swell performance as the newspaperman in ‘The Captain Hates the Sea,’ for Columbia. It’s a different sort of réle for Jack, and we | were tickled to see him play it with the sureness and finesse of a real [ trouper. Although he isn’t under contract to any studio at the moment, were sure that some smart producer will sign him up after seeing him in his latest picture. We'd like to see Gilbert back to stay. 23

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Romance The very essence of ro- mance is Irene Dunne in “Sweet Adeline,’ a War- ner Bros. musical for which she was borrowed from RKO. Itis a film that suits her well because it pro- vides equal opportunity for her twin talents, sing- ing and acting. Another costume picture, Irene? Yes—but let's not com- plain while she looks so divine in feathers and fur- belows and bustled skirts. In her latest picture for RKO, “The Age of Inno- cence,” she co-starred with John Boles. The same studio also has her sched- uled for “Roberta,” the N. Y. stage hit, with Fred Astaire and Ginger Rogers. 24

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ary Cooper, Fighting Man of all Nations! by James A. Daniels He has worn the uniforms of a half-dozen nations and twice that many branches of the various services. He has carried every known form of war weapon from a six-gun to a Cavalry lance. He has soldiered in the Sahara, the trenches of France, the mountains of Italy and on the battlefields of our own Civil War. He has fought hand-to-hand, in the air and astride a horse. That's the unique record of filmdom’s best-beloved portrayer of warlike roles —Gary Cooper. Too young to see actual service in the World War, the tall Montana lad nevertheless has earned the screen title of ‘‘The Fighting Man of All Nations.’ Then came brief ee of service in the Beek Foreign rose in “Beau Sabreur’’ and again in‘‘Morocco.’’ Who can forget him as the American ambulance driver on the Italian front in‘‘A Farewell to Arms’’? Then there were the roles of the British Tommy in ‘‘Seven Days Leave,”’ the U. S. Marine in‘‘If I Had a Million’’and the American dough- boy in ‘‘The Shopworn Angel.’ More recently he turned time back to don the uniform of an officer of the Confederacy in the Civil War. Nor is Gary through with uniforms. He has just finished the stellar role in Paramount’s ‘‘The Lives of a Bengal Lancer’’ and both Gary and the studio believe it is the most colorful characteriza- tion of them all. As the heroic young captain in this picked British regiment stationed on the northern boundary of India, Gary alternates between the English Armyservice uniforms and \. the picturesque Indian dress uniforms worn in honor of the native allies of the British. But more important than the uniforms he wears is the part he plays. It’s the tensely dramatic role of a British officer who goes gayly into danger in order that the honor of the regi- ment, the Bengal Lancers, may remain unsullied and that a soldier-father may never know that his son betrayed the regi- ment. Critics who have seen the picture agree that it marks a new high for Cooper and that the picture promises to be to talking pictures what ‘‘Beau Geste’’ was to the silent screen. Surrounding Cooper in this colorful setting are such excellent actors as Sir Guy Standing, himself an officer in the British Navy in the World War; Richard Cromwell, Franchot Tone, C. Aubrey Smith, Monte Blue and Kathleen Burke. Henry Hathaway directed ‘The Lives of a Bengal Lancer,” a picture which has taken three years to make, and which was partially filmed in India. aan,

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Mrs. Gable never visits the set to check up on Clankes big clinches such as this one (above) with Joan Craw- ford in ‘’Forsak- ing All Others.” She is neither jealous nor suspi- cious and is con- tent to remain in the background of his public life, serene in the knowledge that she is first in his private one. Why ) Stay Maceied Are you wives on the spot? nis Jealous of your husbands? A famous husband named Gable tells his side of the story F you have an attractive husband—or contemplate annexing one—you have the same problems that beset Ria Gable. She has the constant worry of predatory women—so have you. She has tq fear flattery that turns a man’s head, ego that breeds superior- ity—so do you. Her husband’s reactions must be your husband’s reactions, so I sought out Clark. His answer is revealing, helpful to us all. I said to Clark, over the luncheon table, “What kind of a woman do you think an actor should marry? In order to make marriage successful, I mean?” 26 Clark said, without an instant’s hesitation, “The kind of a woman I am married to—my wife.” we: We had been talking about Hollywood marriages and their failures and the why of their failures—Kay Francis and Kenneth MacKenna, Ruth Chatterton and George Brent, Ann Harding and Harry Bannister, Gloria Swan- son and her exes, Jean Harlow and Hal Rosson, the sadly swelling list of them. Clark said, “It’s all predicated, I believe, on the basic law of things—where the husband, or in our business the ‘star,’ is the breadwinner, the marriage has a seventy-five

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You can look about and make, off hand, a list of vital statistics proving this con- per cent chance of success. tention.’ For instance, the Jean Hersholts, the Clive Brooks, .the: Leslie Howards, the John Boles, the Warner Baxters, the Morgans, Frank and Ralph—in every one of these marriages the husband is the one in the arena and the wife is just the wife. And in every one of these marriages, too, the marriage has stood and appears to be standing on the firm bedrock of many years. Also, in every one of these marriages the husbands and wives are of approximately the same respective ages and the wives are intelligent, self-sufficient women who have been around and know what it is all about. They are real people, neither jealous rivals nor paper-doll appendages. “On the other hand, and in such cases as Ann Hard- The Gables in a party mood (left). She likes social life—he likes hunt- ing, yet they never teach an impasse. ing’s, Gloria Swanson’s, and so on, the wives were the stars. The men were known as ‘the husbands of ...’ To be ‘a husband of’ means the divorce court even as you stand at the altar. ‘You can’t get away from the fundamental laws separating and governing men and women. Grease paint on the face does not alter immutable laws. Man is born with a dominant ego—offend that ego or compete with it in the same field and, if you are a woman, you will soon be a divorcée.” I said, “You’ve never talked, specifically, about your own marriage, Clark, or your own wife. Do you mind?” Clark said, “Not at all. You’ve asked me what kind of a woman an actor should marry and the only way I can answer that question is to describe my own wife. O begin, then, I am the ‘star,’ Ria is my wife. But she is a wife, who though not in my profession is in it—for me, not for herself. She is interested in it and she is thoroughly informed about every phase of it. She is ambitious about it for me. She is interested in it as she would be interested in medicine, in law, or in banking if any one of these were my life work. “She is, also, a very self-sufficient woman, which is very important in the making of a successful ‘movie mar- tiage.’ She has her own interests, her own friends, she has her bridge clubs and parties and children and our home. She doesn’t seize hold of my life with idle, and therefore morbidly curious, (Continued on page 76) 27

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HAVE just had twenty minutes with Marlene Dietrich. ; It took me three months to get them. But when I finally got to La Dietrich she talked as she has never talked before. So this, really, will have to be an unusual sort of story. Because the woman herself is so extraordinarily different. An appointment with Marlene can only be made after the greatest maneuvering. Her agent sorts the sheep. So few are chosen that half a year has elapsed since she was last interviewed. I felt complimented when her agent telephoned me that he would be glad to have me interview her. Then came one broken date after another, for three months. Finally I was told to appear at the studio. I was walked out to her dressing-room. She hadn’t yet come off the set. In two minutes a large, gray Rolls-Royce drew up and out stepped a maid who ex- pressed disappointment at her mistress’ absence. A few more minutes and Mar- lene came walking around the corner from the sound stage. : We were left alone in her dressing-room. She was attired in a striking black satin Spanish gown of elaborate design and over one ear she wore a red flower. But I didn’t pay much attention to her costuming. I came to see Dietrich. Sitting on a small straight chair beside her desk, she turned toward me. She was gorgeous. She has the big- gest blue eyes, in which lurk a constant twinkle. There was a slight curve of merri- ment on her wide, lovely mouth. I suspected that she classes interviews as amus- ing. Marlene isn’t a_ terribly curious person herself. She is polite and kind. But she Career? own life to keep her occu- pied. “You have been subjected to such a lot of criticism,” I began, “that I thought you might like to give me a story on what your four years in Hollywood have meant to you. everyone’s opinion but yours.” She smiled a little. Just as she does on the screen. To myself I stated that they can protest all they wish about beauty being no longer a womani’s major asset. See Dietrich and succumb! Perhaps her remarkable charm is due in part to her serenity. She is still, not silent. And friendly, though 28 We've had Von Sternberg? ‘Husband? Child? Future £4 Ben Maddow. distinctly has enough in her & not fluttery. Her voice is slow, caressingly rich in tone. “T should not like to do the story in the first person, as if I were writing it. Somehow, that sounds con- ceited to me,” she said. _ The ’phone rang. Excusing herself, she answered it. It was a good old-fashioned instrument, not a coy French hand-piece. She uttered one word—‘No.” With no attempt to explain something which didn’t concern me, she faced me again, waiting for me to speak. “In what ways do you feel that you have been changed by Hollywood ?” “T do not believe I have changed, except to grow older, of course. And I have more responsibilities. There is a realization that a whole production rests on one’s shoulders. But Hollywood? It doesn’t do anything dras- tic to people. Certainly not to those who have strong

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personalities and firm minds of their own.” “They say that you were dowdy when you arrived. And the Trilby legend has hung on.” Marlene smiled anew. A: smile of hers can reveal so much. It makes questions suddenly seem trivial banter. “That theory that I was dowdy, a dumb German housewife-kind-of-actress is absurd. I came from metro- politan Berlin. And I brought trunks full of Parisian te 6a gowns. If you will compare photographs of me then and today, I do look better, now. But that isn’t any Hollywood polish. That is the effect of time. You examine old photographs of yourself. They, too, will be quaint.” That was a long speech for Marlene. then continued : “As for this Von Sternberg-Trilby chatter, it is She hesitated, humorous to me. Anyone with intelligence can see that ‘I’m not hypnotized. Obviously I have something of my own behind this face. You can’t put a brain into a woman’s head if it isn’t there already.” I wondered about her approaching split with Von Sternberg. He has announced that she will not do her next film under his direction. Apparently, she will switch to Ernst Lubitsch. This report crops up every once in a while. It has come up again at this writing. Marlene stated, “People will make much, of noth- ing. This is the sit- uation: I do only one picture a year. Sometimes it has taken Mr. Von Sternberg nearly a year to find a proper vehicle. He will be a long time cutting and completing this one we are finishing now. He thinks I should not wait around when he hasn’t a story for me. I did the one picture away from him, with Mamoul- ian, only because he telephoned me from abroad and advised me to. We are not separating now. If, until he is ready for me, I find something I like I will do it for another direc- tor.” All of which blasts beforehand the mystery that is apt to arise when she works in 1935 with a different man at the helm. “How has Holly- wood changed your mode of living?” I ‘queried. “Not at all. My parents had money. I live as I did in Germany, except that I have to have guards here.” She has been re- tentious Colleen Moore place in Bel- Air and I had heard that she had leased it for two years, in- dicating permanency. So I inquired about it. “But I just rent it from month:to month,” she re- torted. “I never tie myself down. How do I know what will happen? Where I shall want to go?” “But you do like Hollywood?” “Oh, yes indeed. And this is strange. I am not both- ered here as so many stars claim to be. Why, I am not even recognized on the streets. (Continued on page 90) siding in the pre--

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30 Loretta Young is only 22, to be sure, but she leads a star's nerve-wracking ex- istence. Yet—there’s not a sign of nerves. Were willing to wager Claudette Colbert will be as beautiful at 40 as she is today. Her most important beauty treat- ment costs her nothing. They invariably look younger than they are. This story tells you about— not the expensive treatments and cosmetics—but the simple, daily rou- tines which keep them so.

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SSE OS Ee Joan Crawford has worked furiously and has undergone se- vere emotional crises besides. And—look! Zz | HOSE Hollywood girls are a source of constant amazement to me. They invariably look younger than they are. I’m not talking about the stars who, everyone knows, are “getting on” and who, by dint of constant and expensive devotional exercises before the Goddess of Beauty, manage to win that faint-praise tribute, “wonderfully well preserved.” I’m not even talking about those stars, who are also “getting on,” who cause us to lift our palms upward and sigh, “How does she do it!” No. I’m talking about certain of your favorite Hollywood actresses who are so genuinely lovely—with not a particle of fake or face-lifting about it—who look younger than they are and who will continue to do so for many years to come. Some of these girls are, actually, in their early twenties. All right—so what? How many young girls do you know who are sallow, tired-looking, unhealthy of complexion and drab of hair? Some of the girls are in their late twenties—just edging thirty, perhaps, or just past that foolishly feared deadline. At twenty-five they look younger than they did at eighteen. And at thirty they look the same as they did at twenty-five. hy Katherine Albert Joan Bennett—married, . divorced, remarried. | Two children. A few years ago, she suffered a severe accident. Yet she played a 12-year- old in “Little Women.” They work all day and far into the night, sometimes. They are compelled, for policy’s sake, to keep up a certain. amount of social activity. They go through considerable emotional stress and strain. Yet they are healthy, slim, and fresh-looking in spite of it, when we might reasonably | expect them to be old before their time. HINKING about this one day, I reasoned that if the | stars of Hollywood can achieve this, surely you and I | can do the same thing. I asked five of the youngest look- ing and most beautiful stars in Hollywood to come clean and tell us how they do it. I asked Claudette Colbert. Joan Crawford. Loretta Young. Joan Bennett. And Evelyn Venable. These girls gave me sensible and workable hints for you all to follow. Not one of them mentioned expensive treatments or costly creams and cosmetics. Here’s what I found out from Claudette. She gives you some excellent, practical tips. It isn’t a high powered beauty doctor who keeps Claudette looking so young. It’s good common sense. She believes that the body is like a motor. If it is run down it (Continued on page 78) 31

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THE Girl with the Strange Beauty told me this story: The company was working on the back lot. The back lot of a motion picture studio consists of acres which are transformed into slivers of whatever locale the pictures in production call for. A back lot may be a demure little New England village, with elms growing on the Green, and a staid brick church. It can be transformed, by the sheer wizardry of scenic de- signers, masons, and carpenters, into Limehouse, evil and old, mouldy and decayed, with buildings the color of the fog that so often obliterates Lon- don’s waterfront, and ruts of wagon wheels sunk deep into the crooked, cobbled -streets. At the time this story took place, the studio’s back lot was a European barnyard. There were thatched out- houses, with a creaking well under a gnarled tree, and chickens and geese pecking and waddling and cackling. Behind this set mountains made of laths, canvas and plaster rose three times the height of a tall man. Photo- graphed skillfully, allowance being made for perspective, they would screen like the mountains which tower around the fertile farmlands of Hungary. The company began arriving. They drove the mile or more from their dressing-rooms and parked their cars under the false-front mountains, where they’d be out of camera range. The director, a European, sat mak- ing brief notes on the margin of his ’script. He wrote: “Intensify love scenes between gypsy and son. Gypsy girl should be the aggressor.” He liked the Girl with the Strange Beauty who was playing the gypsy. She was very young and fairly inex- perienced. But she had that indefin- able thing which makes a good actress. Furthermore, unlike most girls mak- ing headway on the screen, she didn’t want to be the heroine always. In this picture, for instance, while she might have glamor as the gypsy, her role was entirely unsympathetic. It was, in fact, her unschooled pas- sions and tempers that imperilled the happiness of the good family who had befriended and protected her—in the story. As the director sat thinking about this girl, she came on the set with a (From top to bottom) Myrna Loy, Miriam Hopkins, Ann Sothern and Sylvia Sidney, four glamorous stars, who continue to disclose certain ° secret love incidents in their lives. One is the Girl with the Flyaway Hair. Another is the Girl- with Lovely Eyes. The third is the Girl with the Strange Beauty. And the fourth is the Girl of the Orchids. him. young man in tow. He was, the di- rector judged, the young man. He was tall and lean with broad shoul- ders, crisp hair and keen brown eyes. A fitting contrast to her, so small and round, with strange eyes, not blue, not quite green. The director watched them as they came closer. Even under her grease- paint you sensed that indescribable radiance, that love light, in her beauti- ful young face. “Hello,” she said. “I want you to meet Mr. Blank, John Blank. John ... My boss!” An excitement went _ beating through her words. He was the young man, without a doubt. “John’s never seen a movie made,” she explained. sit on the set this morning.” The first scene to be shot showed the Girl with the Strange Beauty, as the gypsy, and the young actor who played the son of the house, together in the barnyard. She was supposed to be vamping him. With a toss of her head, a flip of her skirts, the lowering of her eyes, the pursing of her mouth, and the daring, seemingly accidental, baring of her smooth shoulder. ( | ‘HAT scene showed a girl set on - conquest, exerting her wiles. Of course, it wasn’t the boy in the __ scene the girl was alluring. It was the || boy on the sidelines. She was show- | ing off before John for all she was worth. But all is grist that comes to the mill. The director sat chuckling. He had a marvelous scene and he knew it. They took it only-once. No need to build up the feeling that scene should possess. It was there. In all its young, unadulterated glory. On the sidelines John glowered. Little thunderclouds gathered in his eyes. The director, watching him, was amused and reminded of the first time he ever had been in love, years ago. First love . . . with no experience, no philosophy, no humor to alleviate its sweet pain. So intense, so serious, so perspective-stealing. When the scene was finished the girl came over. John tried hard not to let her see that he had been put out. He told himself he was stupid and awkward for feeling as he did. However, it’s no easy matter for a man to fool the woman who loves The girl saw immediately that he was displeased. Her eyes went beseeching him. Her voice went caressing him. And before long everything was fine again. The director sat stroking his chin. “In this next scene,” he told the girl, “T want you even more predatory than the action suggests. I want you “So | invikedetigid |

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il 7 i i | | 4 | { | | . ‘every indication this scene virtually to seduce the son of the house. Understand? You're a gypsy. You're untamed. You make that poor boy forget his simple little sweetheart, You sweep him right off his feet.” As soon as he spoke she was all attention. Her absorption in her work was one of the many things he ad- mired in her. “T understand,” she said quietly. “Shall I go on now? Are you ready?” “Please,” he said. She left John with a gay little wave of her hand. The end of the previous scene had found the gypsy and the son headed toward the old farm wagon over- flowing with fragrant hay. This scene picked them up seated on top of it. Close. The first rehearsal went beauti- fully. The Girl with the Strange Beauty ran her hands along the cheeks of the: youth who played the son. She entangled her small brown hands in his fair hair. With her lips close to his lips she made feverish demands. “Love me!” she urged. “Love me!” The director bent forward in his chair. They began wheeling the camera close to get their angles. There was wouldn’t be long in rehearsal. ‘She turned her body from the boy and one small brown hand flew under her heart, as if to still its mad pounding. She threw back her head and tossed her hair out of her eyes. It was all over. The spell was gone. In that split second she caught a flash of the boy, John. Even if he had told himself that this was acting, that this was merely the girl's job, that it had no true meaning, it had done no good. His acute masculine displeasure showed in his face. HE girl wanted to jump from that load of hay and run to him, throw her arms about him, tell him what only troupers ever really understand, that all this meant nothing, really, that it sprang out of some secret part of her that had noth- ing to do with him or anyone else. Perhaps it would have been better if she had done this. Perhaps this would have straightened things out. - But, instead, she remained where she was and ran through the action again. This time, however, her hands mov- ing against the young actor’s face were wooden. “Love me!” She said the words but they didn’t come quick and breathless, as if her very heart had pounded them out of her, the way - they had the first time she spoke. John’s face relaxed. This tepid, routine love-making didn’t disturb him in the slightest. He could quite accept this as part of a job. That, in truth, was exactly what was the matter. It had no spirit. Photo- graphed, it wouldn’t have been at all convincing or have motivated the rest of the plot. No audience would have believed that gypsy had swayed the boy, or excused him for being untrue to the sweet, pretty girl who was his real sweetheart. A frown appeared between the di- rector’s eyes. Members of the com- pany crew leaned back, lit their pipes and cigarettes. They knew now they wouldn't be needed for some time. This, obviously, was one of those stymies. It might be the rest of the morning before they got what they wanted, It was. The harder the Girl with the Strange Beauty tried to recapture the When women gather, what trend does their conversation follow? Do they talk about politics— finance — science? Seldom. Clothes—careers—their homes? Sometimes. But always— men! A quartette of beautiful stars con- clude herein their experiences By Adele Whitely Fletcher quality she had brought to that scene the first time, the more nervous and strained she grew. She was em- barrassed, too, obviously, at having such difficulty i in front of the yours man. She was, you must remember, only a beginner. In pictures longer, she wouldn’t have permitted herself any such self-consciousness. It was part of her novitiate, part of her youth. “We'll rest for a few minutes,” the director said. He knew that under circumstances like these, driv- ing methods would get him nowhere. He turned to John. “I wonder if you'd do something for me?” “Glad to, sir,” John answered. He was a nice kid. “Go over to my office. It’s number seven in the directors’ building. Right near the commissary. In the upper left hand drawer of my desk you'll find my pipe. Fetch it here for me, like a good fellow.” “Tl get it,’ offered an assistant. “T’m going down that .. .” But the director hushed him with a look. It wasn’t his pipe he wanted. It was more emotion on the set and less off the set. And the only way to achieve that, he realized, was to get rid of John, give the girl a chance to forget her own emotions and submerge herself in the character. KEH, we'll try once more,” the director announced as John Dis- appeared down the road. “Forget everything. Don’t see or think about any of us. You two are alone in the world. You know nothing but that blind desire to draw closer to each other.” They rehearsed it again. . “We'll take it,” he said. He counted on the emotion and abandon the girl had shown before. “Quiet!” shouted an “This is the take! Quiet!” The eternal hammering ceased. They waited while an air- plane flew overhead. Until the drone of its motors could not be heard any more. Other assistants turned guard to keep anyone who might approach from com- ing too near, from making even the slightest sound. The camera started turn- ing. The microphone» was lowered. The girl ran her hands along the young actor’s cheeks. They became en- snarled in his hair, Her body moving closer and closer to him seemed almost to drift. It was as if she was re- lieved to escape from the restraint which had impris- oned her emotions. It was as if she was intoxicated with her newly found abandon. “Love me! Love me! Love me!” she told the boy sitting there beside her in the sweet hay. And now it was a cry. Unfettered and untamed. Again the director strained for- ward in his chair. The little frown disappeared from between his eyes. The girl turned her body from the boy and one small brown hand flew under her heart, as if to still its mad pounding. And now those who were watching believed in its mad pound- ing. That was the important thing. She threw back her strangely beau- tiful head and tossed her hair out of her eyes. And the boy flung his arms around her and caught her to him. Now he was tempestuous and_un- leashed in his passion, too. And you felt he had caught her fire. “That’s swell, wonderful, perfect!” the director cried out. “That will turn the trick and (Continued on page 92) 33 assistant.

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| NATURALLY, when eight of the most popular of Hollywood’s younger set planned a week-end party and asked me to chaperone them, I felt quite elated. While I suspected that I had been singled out for the honor | because word had got around that I get sleepy around nine o’clock, I nevertheless grasped at the opportunity to study them at close range—to find out for myself if they really are different from ordinary boys and girls of the same age. || “The crowd”. comprised James Ellison (new M-G-M | player), Henry Willson, youthful agent, Patricia Ellis, | Tom Brown, Anita Louise, Junior Durkin (now called | Trent) and his sisters, Gertrude and Grace. They had | been invited as guests of honor to a dinner-dance at the Casa de Mafiana at La Jolla, a beautiful seaside resort some distance from Hollywood. It all sounded very in- i teresting. But my enthusiasm for the trip waned when mothers began calling me on the telephone. 34 James Ellison, Gertrude and Grace Durkin, Henry Willson, Miss Dillon, Pat Ellis, Tom Brown, Anita Louise and Trent Durkin— all set for lotsa fun. “T wouldn’t have allowed Pat to go if you weren't going with them,” said Patricia Ellis’ mother. “You'll take good care of them, won’t you?” And I felt about as peppy as a plate of wilted lettuce when Mrs. Fremault called me about her child, Anita Louise. “You know, I don’t often allow Anita to stay away all night,” she ‘said. At least their mothers think they are still children, I thought to myself. There were Tom Brown and Anita Louise, who is Tommy’s everything; the two Durkin girls, Grace and Gertrude, and their brother, Trent (Junior) ; James Elli- son, a handsome six-footer, who is under contract to M-G-M and looks like a potential ‘rival for all the he-men heroes at that studio; Patricia Ellis and Henry Willson. Henry writes for the fan magazines and has nearly all of the younger players in town under his management. The 100-mile trip to La Jolla (Continued on page 88)

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ANY people are “doing time” these days who might be at large making whoopee if they hadn’t spoken out of turn—not to mention the bright boys who have talked themselves in and right out of big jobs. Yes, indeed, indiscreet gossip has caused more trouble than stocks, blondes, Hitler, hay fever _ well, almost anything you can name that results in a first-class ‘headache. And so it would seem that he who has learned to hold his tongue is scheduled to make friends and money ——to win the popularity contest and a bankroll. Marion Davies is one of these. No one has ever heard Marion pull a verbal nifty on anyone. No one has ever heard her talk about herself. Thus we were ‘|S6 she (tah, kuk! Marion Davies evaded all our ques- tions. So we asked other people about her. That'll teach her! By Regina Cannon more or less reliably informed upon setting out to in- terview Miss Davies. However, not to be easily discouraged, we figured 4 someone would be able to induce Marion to speak her piece—and it might as well be us. Just how we came out on the deal, you are respectfully requested to judge for yourself. Leniency will be appreciated. Miss Davies had just returned from Europe. She had had a grand time travelling. She had encountered Douglas Fairbanks in the lobby of the Savoy in London. Mr. Fairbanks was awaiting the arrival of the King of Siam. “Which reminds me,” giggled Marion, “of the time I met the King at Pickfair. I thought he was the butler —dressed up as elegantly as he was—and flung him my wrap.” There are rumors afloat that the beauteous blonde never actually made that mistake. But it’s a good story anyway and is indicative of her character. She is not only able, but makes opportunities to tell a good one on herself. How many people are capable of that? And whatever we asked the girl, she changed the sub- ject. We told her she was looking grand. Hadn’t she lost a few pounds? And she said, “Oh, you ought to see What’s-Her-Name these days. Remember her?” E said, “That’s a duck of a hat you have on,” and started to add a question or two about the clothes she had purchased abroad, if any, when Marion inter- rupted with the news that another old-time movie favorite had become deeply interested in—of all things—embry- ology. And was really making quite a name for her- self, my dear, in scientific circles, my dear, and didn’t we think it was wonderful? All of which was very in- teresting, no doubt, and indicative of Marion’s friendly spirit and lack of absorption in her own personal affairs. But it wasn’t what the doctor (Continued on page 85) 35

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Franchot Tone simply cannot stand back-slappers. j HE other day a friend of mine and I were talking about our various likes and dislikes. We discovered that our likes were pretty conventional —good food, clean linen sheets and eight-week-old puppies. But it was when we got to our hates that we discovered vital bonds. And we decided that nothing draws people together so closely as rousing mutual hates. Just because we both simply loathe men who call ‘us “dear lady,” our rather mild friendship took on a vigorous palship and mutual understand- ing we had never had before. Have you ever noticed that when someone! says) cl like es you just go on sipping your cocktail. But when a person cracks out with a good “I hate .. .” you give your undivided attention. And invariably by their hates ye shall know them. So it occurred to me that it would be fun to find out the pet hates of the Hollywood boys and girls. If their hates coincide with yours, you'll like them better, Ill bet. If not, they might as well give up your A Little Lord Fauntleroy suit caused Jack Oakie's pet hate. 36 How do the stars’ pet hates check with your own? friendship. So see how your hates stack up against Hollywood hates. There’s Franchot Tone, for in- stance. He simply can’t stand back- slappers. You know those guys who meet you on the street and start beat- ing you on the back with a “Well, well, old fellow, how are you?” Franchot’s antipathy began at college when one of his classmates slapped him on the back and looked over his shoulder while he was prepar- ing for next day’s classes. Later he discovered that the guy was copy- ing all his work. HEN Tone came to Holly- wood he was introduced to a publicity man who slapped him on the back and told him what a great actor he was. And from that day on... well, maybe you have a little pet hate in your home and know how Franchot feels about that press agent. Then there’s Ricardo Cortez. Gosh, how sore he gets when somebody mauls him. Recently a fellow actor came up to him and, after admiring his suit, tried to read the label in- side the coat. Ric wanted to hit him. But Ric has a lot of hates, among them coffee with cream (he uses milk instead), people with dirty Don't ever mention “cockroach” to Jeanette MacDonald. finger nails and women with too much make-up on. Ric craves natural feminine -beauty and his wife uses little make-up. Bill Powell despises chewing gum and you can’t blame him when I tell you what happened when he was three years old. There were three packages of chewing gum on the living-room table. Young Willie mistook them for ordinary candy, chewed the sticks vigorously and swallowed the gum. It’s an ex- perience he hasn’t forgotten, so don’t offer Bill any chewing gum. Until recently he couldn’t even use a toothpaste with a mint flavor, but he’s getting over his anti- pathy. How? By consuming mint juleps. And that, it seems to me, is a swell cure for any antipathy. When Jeanette MacDonald was a little girl she stepped on a cockroach in her bare feet. Of course, every- one dislikes cockroaches, but with Jeanette it amounts to a phobia. If you want to get in bad with Jeanette just mention the word “cockroach.” She’ll show you what a first-class spasm is (Continued on page 79) Crawford loathes telephoners who say, ‘Guess who this is?”

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Beebe) are thousands of men in the world who look There are thousands of men who were not born with the what-it-takes of Gable, the poetic beauty of j like Walter Connolly. Novarro, the muscular magnetism of Weissmuller. _ Thousands and thousands of plain, slightly middle-aged men with thickening waist-lines and thinning hair and patient, tired eyes. Thousands of such men who are chained to their desks - ‘year in and year out, who “get off,” if at all, for a two | weeks’ vacation every summer, who are called “Hi, Dad!’ | by their children and “Yes, dear,” by their wives. Taken- | for-granted men who | bring home the gro- | ceries on the 5:15, mow |) the lawns, put up the |} screens in summer and | pay their insurance pre- | miums while the inso- |! lent years gallop by. / of men must wonder, | age men what it might - Connolly does look like | He looks as though his _ jolly children might hail And these thousands with the especial wist- fulness of plain, aver- be like to step out of the gray routine, to lead exciting, stimulat- ing, emotional lives, colored with travel and exciting contacts and beautiful women and applause. Many of them must think, as their secret dreams stir inside them, “Of course, if I had been born looking like Gable or Montgomery, it would have been easy Hose ogc” Many of them must gaze at average-looking Walter Connolly and wonder. For Walter Any Nice Man. Like your Dad or mine. Like your husband or mine. He looks as though he might belong in a bank, a broker’s office, or be the head of a string of chain grocery stores. wife might say, a little absently, “Yes, dear’; as though a troop of him confidently as “Hi, Dad!” -He is certainly no Clark Gable. He is in his middle forties. He is five-feet-nine-inches in height. He weighs 190 pounds, knows he is too heavy and will do nothing about it save abstain from potatoes. His eyes are brown and very kindly. He is a plain man and he makes your blood pound and your tears flow and your pulses hum as even a Gable can’t do. And Max Reinhardt called him “The greatest dramatic actor in America.” How? Why? He is a very great artist, obviously. But Walter Connolly, the man who makes bad pictures good and good ones better By Gladys Hall what was it that sent this son of the late Walter James Connolly, head of the Western Union Relay Office in Cincinnati, Ohio, into the arena where the world’s most beautiful women and handsomest men play, don grease paint and tangle their skilled hands in the heartstrings of the world? ; Why is he not still sitting behind his desk as Third Assistant Cashier of the First National Bank of Cincin- nati where, after St. Xavier’s College and a polishing-off at the University of Dublin (the Connollys are Irish, in case you haven’t guessed), he began the business of life. Because he did begin the business of life in business. I asked him. It al- ways fascinates me when one of these aver- age, un-actorish-looking men—a Walter Con- nolly or an Edward Ar- nold—spur the public imagination and ride to stardom on these spurs. It is easier for a Gable, you know. I spent the evening with Mr. Connolly. His wife, Netta Harrigan, and their ten-year-old daughter, Ann, had just gone back to New York. Mr. Connolly was to join them at their apartment there within the week, after the completion of Para- mount’s “Father Brown, Detective,’ for which he had been loaned by New York Mr. Con- nolly will do a play: He said smiling, “My grandfathers are prob- ably responsible. One of them was a whaling man and the other a railroad builder. They lived adventurously. They were not content with ledgers and filing ‘cabinets and four walls. They wrestled with sandstone and steel, with monsters of the deep, flinging the tracks of travel over the un- travelled face of the earth. They dealt with the raw material of life and death and change. It was not in them to sit at home and let the years limp by them, leaden-gaited. “Tt was not in me. I really knew it from the beginning. I knew it when I was at St. Xavier’s. But my family had all of the normal family’s aversion to a son of theirs going on the stage. What, a Connolly! An Irishman! Nor did I look like the commonly accepted theatrical type even then. I wasn’t a ‘pretty boy.’ Not by any means. Girls did not yearn ovér my romantic profile. “What right had I to be an actor? Why didn’t I stay in the bank and marry one of the (Continued on page 94) 37: Columbia Pictures. In’

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@ Marriage is a partnership. Ex- penses should be shared equally AM all for equality in domestic affairs.” With this defiant thrust Ginger Rogers, the tawny-tressed star, who first visioned the light of day in the appropriately named city of In- dependence, Missouri, began voicing her inner feelings on the much de- bated question of who should rule in the home: He or She. A definite personality, with highly defined likes and prejudices, her an- swers never wavered. It was as though she had thought at length and deeply upon each ventured query; as though it was bred in her very being this expression of independence, of equality. “T do not consider myself excessively modern,” she continued. “But I do feel that marriage is a partnership from first to last, and whoever heard of a partnership where only one is responsible for expenses ? (I pause a moment to wonder whether Ginger, newly wed to Lew Ayres, will apply her theories to their marriage and find the arrangement a happy one. I wouldn’t be surprised—Ginger being a woman of her word. ) “T have known more family quarrels to occur over 38 Lew Ayres, at the right, and his bride, Ginger Rogers, above. Can they suc- cessfully follow Ginger’s theory? Lynde Vert money matters than anything else,” said she. “I have seen young friends of mine start out with the best in- tentions and then get all messed up over bills. First they are mildly irritated; then there is an argument; then there are quarrels. Finally love flies out the well known window. “T am sure this is not only true of Hollywood mar- riages. In every walk of life women are occupying im- portant positions. Many wives are earning salaries that equal or surpass their husbands’. Certainly the fair- minded among them must feel it only just that they share expenses with their mates. “Tf the equality of women (Continued on page 8&6)

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Above: A portrait of Glenda Farrell, who be- lieves man should rule the home. Below: Glenda and Warren William in a scene from “Concealment,” a War- ner Bros. picture. HERE must be one head of a house, and the visible sign of his authority is his hold on the purse strings.” ~ Thus was I greeted when I questioned Glenda Farrell, attractive blonde star, on her opinion of a hus- band’s status in the home. Although thoroughly modern in every respect Glenda still clings to the age-old idea that man should be boss of the home. . “Please don’t think me old-fashioned,” she implored, seeing my expression of surprise. “I am judging by observations. It is my strong personal conviction that marriages following the old economic method, afford- @ There is only one head man in mar- tiage. He pays all the bills ing the wife just an allowance for housekeeping expenses, succeed, -while other marriages, in which bills are paid by either or both, usually end in separation or divorce.” This was refreshingly interesting in a day when all is chaos concerning marriage, and I asked for further de- tails. She gave them unhesitatingly. “My philosophy of marriage is simple. Although I do not concern myself with other people’s affairs, [| have little sympathy for thos who marry and play around as though they were single. “I believe, as I said before, that there is only one head of the house and he, as head man, pays the bills. Whether a man realizes it or not, he inwardly resents the loss of dominance that has been conferred upon him through the ages. A gentleman may smile and say nothing, but behind that smile there are thoughts that a sensitive woman intuitively feels. “When a man ceases to pay the bills he feels that the home ceases to be his home. Then there is danger ahead.” Perhaps Glenda comes to a portion of her conclusions because of her early marriage, (Continued on page 98) 39

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SCOnney, Hollywood's social season is commenc- ing. Take a look at whos who and what's doing ene ee Gb) Look whos ee es Saige ew) At the Trocadero, | son! € “Below! Yo Eagle party for our Regina Can- non. Left to right, Gladys Hall, Gene Raymond, eee. ane Sothern and mildred Ber, z

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\ | She Was a One Date biel by James M. Fidler PEOPLE called her “the one-date girl” because the men who took her out once never came back again. You have read about such girls in magazine adver- tisements—you know, the girls in the ads who lament, “He kissed me once, but he never called to see me again.” Those advertisements, you may recall, are often ‘situated just across the page from the chap who boasts, “They laughed when I sat down at the piano, but when I began to play...” Jean Muir, unlike the ladies of the advertisements, does not suffer from that insidious malady called hal- itosis. However, she does suffer, according to her own _self-damning testimony, from the following faults. She is not pretty in the accepted sense of the word. She has no sex appeal. She is much taller than the average Hollywood girl. She lacks the ability to flatter men. She cannot dance well. She cannot play cards. She cannot swim, play golf or tennis. She has too much ego to please men, who like their own vanity appeased. : She will not inconvenience herself to be nice to men. “And there are more reasons why I am unpopular with men,’ Jean confessed to me. ‘Men like to accom- pany girls who will cause other men to be jealous. They like to go out with pretty, vivacious girls—girls who dress well and dance divinely. I do neither. Jean Muir in a striking pose. “All of my life I have been a wall-flower. Until I was sixteen vears old, I never had a date. No child- hood sweetheart ever carried my books to school. As for fighting for me—well, no boy ever did. Fortunately, I was a big girl, and I was able to fight my own battles. HAD my first date when I was sixteen. Up to then no boy had ever attempted to kiss me. I made the first date myself. I was invited to attend a dance, and I was told to bring my own escort. I asked a neighbor- hood boy to take me. This happened back in the days when “cutting in” on dances was the fad; stags tagged boys who were more fortunate, and danced until they in turn were cut. © “T’ll never forget that night! I’ll never erase from my memory my growing dread as my escort danced, time and again, past the stag line and nobody cut in. After circling the ballroom a few times, I tried smiling at a few boys I knew at school, but none smiled back. “Ashamed and barely able to suppress my tears, I finally pled the wall-flower’s oldest, most pathetic excuse—I told my escort that I was tired. I asked him to take me to a chair, where I sat for the rest of the evening. I didn’t see my boy friend again until the dance ended, when he apologetically arrived to escort me home. He need not have apologized; I understood. “Perhaps that first experience is the reason why I hate dancing today. IT have (Continued on page 84) Sa > ‘ aN ES oroblems of unpopular girls

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Ronald Colman tells why. Do you agree? by Fath Serytce ONALD Colman can call his soul his own —but very little else. Loretta Young once said to me, “Ronald Colman is like a man out of a book. He seems so subtle and sort of mysterious. He is like a character in a book you can’t quite make out. You feel that maybe the author means one thing and maybe another . . .” Loretta is right. Ronnie is like a man out of one of the very best English novels. He talks like a man in a book. And he is more exactly like his screen self in real life, than any other actor I know. He has that same remote smile, that look of one who remembers something lost, and rather sad, a long while ago, and who regrets that loss but is resigned to it. He is utterly without pose. He hasn’t one single man- nerism or affectation. He never dramatizes himself. He never makes sensational statements. When, several years ago, he was called a woman hater in print I asked him about it, in the interest of all women. And he showed me his “little red book” wherein are inscribed the names and telephone numbers of Hollywood’s most famed and fair. Whether he uses the telephone numbers or not he didn’t say. When I asked him for this interview he said, “Can’t we just meet and talk, socially, and never mind the inter- view?” He sounded very reticent and English. 44 Ronnie with Lo- retta Young in the forthcoming ‘Clive of India” for 20th Century. Do you think Ronnie is as handsome without his moustache? I said that I really couldn’t be so piggy. I felt in honor bound to share him with the public. He conceded the point, graciously. He had finished his. “Clive of India” 3 scenes for the day and he changed into British look- ing tweeds, a bit worn, and took me to tea. — He was smoking a pipe, he was tanned and very charming. And once again I was impressed with the feeling one gets about him—that when he steps out of his life to meet you, or you, or me, he closes the door behind him. What he really does in the house of his life, with whom he shares it, what hopes and dreams are closeted

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precious to me than money or any amount of publicity. “Fame has robbed me of my confidence in my fellow men and women. It has robbed me of my old friends and prevented me from making new ones. It has robbed me of my right to harmless adventures, experiences, flirtations, if you will, and the general fun which should be a part of every man’s earlier life. “Fame has robbed me of my freedom and shut me up in prison and, because the prison walls are gilded, and the key that locks me in is gold, it isn’t any less monotonous. I don’t mean to be ungrateful, for I do send up praise that I’ve made more or less of a success in pictures, and do appreciate the plaudits of my admirers.” “But surely,’ I said, “surely there are compensa- tions?” “Yes, there is one decided compensation,’ Ronnie said, “and that is my work; I love the work, itself. But it is not of my work that I am speaking, now. It is of the smoke-screen that surrounds my work. “There are no returns for me because I hap- pen to be the unfortunate and no doubt stupid sort of person who does not care for the returns fame brings. They are not valuable to me. I don’t want them. If you give a man a rare and costly gift and he has no use for it, then no matter how rare and costly the gift may be, it is not precious to him. “There are only two gifts to be had from fame, (Continued on page 96) ‘Fame has taken my life away,’ says Colman. “I love my work and I'm not complain- ing on that score, but oa there, what memories haunt it, we have never known and probably never shall know. I said on an impulse, “You really hate the things of fame, don’t you? You hate to be famous?” He said, “I’m afraid that I do.” “But why?” I asked. “What has fame done to you? What has fame taken away from you?” And then Ronnie made the most sensational statement I have ever heard from him, made it with more passion, more of a show of emotion than I have ever heard him display in all the years I have known him. “Fame has taken my life away, my life as I want to live it,” he said. “Fame has taken away my privacy, which is infinitely precious to me, which happens to be more

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It's more wonderful than reality! Read about the miracles of Hollywood's eee” a UST as “all that glitters is not gold,” so in pictures all that seems to be is not. The scenes you see, the sounds you hear, are, as often as not, achieved through trick devices handled skillfully by a group of technicians, who play a major part in the perfect pro- duction of a picture, yet who do not receive even an iota of the appreciation that is their due. No fan or scribe ever sings the technician’s praises. 46 They're movie sets, every one of ‘em! (Above, left) A section of lower London, and, right, part of a foreign village. (Below, left and right) An exact replica of a huge ocean liner built = top of a uae roo When the reviewers hand out their bouquets of choice adjectives, they never remember him, although he is the guy who transfers the bright ideas of writers and directors to the screen. The limitations of mortal man do not exist for him. He can pull from his bag of tricks almost anything you can name. Take “One Night of Love,” lauded as one of the screen’s for instance. It has been finest musicals and is the L a} ay ij) | . 1) | : in

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craftsmen, who verily bring the wonders of the world into your theatre (Above) A New York street, complete to street cars, tracks and elevated railroad. Wouldn't you swear it was the real thing? (Below) A village square, monument and all, in a New England town. It was used in Will Rogers’ ‘Dr. Bull.” personal triumph of that fascinating lyric butterfly, Grace Moore. ‘Fhe gentlemen who really put her over, this time were the technicians in the sound department of the studio. They invented a new method of recording her voice, which they call the “hill-and-dale.” John P. Livadari, Columbia sound director, showed me under the microscope the difference between this new type of record and the old or ordinary type. His ex- (Above) A Chinese waterfront locale. (Below) A street in a Bavarian village. All of these pictures are of sets to be. found in Fox Movietone City. The Ba- varian set was used in “Music in the Air,“ with Swanson and Boles. planation of the obtruse scientific principles involved in the “hill-and-dale’”” was just so much fee-fo-fum to me, so I'll be satisfied by saying that it’s a knockout. It enabled the studio to reproduce Miss’ Moore’s warbling on the screen in all its marvelous range, which the usual type of recording could not do, and meanwhile saved her an endless amount of singing and temperamental fits. This being the age of all-round (Continued on page 81) 47

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Lines to a Little Lady UST like Garbo, West, Ben- nett, Crawford and the other Shirley opens her glamorous girls of the screen, Shirley Temple gets fan mail. But what can a person write d al y mda 1 I-b a g to an actress who has not yet reached the advanced age of six years? Having seen the hotcha letters some of the more mature ladies and gentlemen of the screen received, | wondered, as you doubtless do, too. So I managed to get a few hundred letters out of her file. Why don’t you peep over my shoulder while we pe- ruse some of the best? Shirley’s letters are very nearly as cute as she is, and many of them are written by boys and girls only a few years older than “Little Miss Marker,” herself. “T’m mad at you,” writes an eight-year-old girl from Detroit. “My Daddy and Mother took me to see you in ‘Little Miss Marker’ and they laughed very hard when you said ‘Aw, nuts! But when I said it to the minister at Sunday dinner, I got sent away from the table. Tell me, Shirley, how do you get away with it?” Hmmmm! Pretty soon the reformers will be telling us she’s a bad influence. Well, if they do, we'll just show them this next letter: “You never heard of me and you won't give a damn, but I felt I just had to write to you. You see, I’m a two-time loser—just got out of the State Pen after a five- year stretch. My first night out I went to see a movie and one of the pictures was ‘Baby Take a Bow.’ I knew it was hokum all the time I was looking at it, but Kid, you got to me. There I saw a guy like me, fresh out of the can, but his girl waited for him while he was away and mine didn’t. I guess if she had, and we’d had a kid like you, I wouldn’t have gone back the second time. Anyway, Kid, this can’t be such a tough world as long as there is people like you in it, and maybe I will get a job, although things are tough. JUST wanted to tell you you taught me a guy can go straight if he has got a reason for it, and you are going to be my reason from now on. I am going to see every one of your pictures just like you were my little girl, and if you don’t mind, I’m going to write to you every now and then to tell you how I’m making out. F ll be ashamed to write if I flop again, so I got a good reason for staying clean. If you do not hear from me again, you'll know I am just a lousy rat that will never be any good. But don’t worry, Kid, I'll make out okay and sometime when you get big enough, you might write me a letter to tell me I’m doing pretty good, if it is not asking too much. I’ll make you proud of me yet.” Doggone it, I’m sorry for that boy. Here’s luck to him; he’s got the right stuff. From Utah comes a letter written by a 48 for you to read by Robert Miss Temple plays “lady” in “Bright Eyes.” This opus will redouble her fan mail ap- plause. woman who is not so modest in her requests. “Will you send me,” she asks, “a small lock of your hair, to wear in a locket? Of course, if you can spare more, I would be very glad to get it, because my friends would die of envy if I could be wear- ing a whole bracelet made of Shirley Temple’s hair. I know you will do this, because your hair will soon grow again if you cut it, and it would mean so much to me. By the way, if you have a lot of it cut off, please send it all to me, as I could make a lot of money selling rings and brace- lets made of your hair to lots of my friends.” Quite a number of people have fallen in love with the famed Temple ringlets, and if she complied with all re- quest for bits of her curls, the little lady would be kept as bald as an egg. (Continued on page 74)

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s she look ravingly a beautiful in it? She's _ happy now, too, Per- haps it's because of John Gilbert's success in “Captain Hates the Sea.” oe You ae oo fond

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Wuxtral Fox has elevated this handsome gentleman to the star ranks and what's more he’s got a contract. icals lined ing clause’ in his With so many mus up and his work in “Music in the Air’ and “White Parade” so good, the Crosbys sing. had better watch out.

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Although the screen’s most famous plati- num hasn't made a picture since "The Girl from Missouri,” she'll hie herself and make-up kit to the M-G-M lot any day now to start work in “Spoiled.” Her per- sonal life? Well, she and Bill Powell have been having the usual number of dates. be NAN DONA RAW wT a A CAMA Harte X/

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Adolphe Menjou did such a swell job as the theatrical man in Universal’s ‘The Human Side” that 20th Century decided to cast him as Bailey Walsh in “The Mighty Barnum.” Wally Beery is seen as the famous circus man and Menjou is his habitually drunk but very clever partner.

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The Claudette who made you rave in “It Happened One Night,’ and more recently in “Cleopatra,” will thrill you once again in the picturization of Fannie Hurst's novel, “Imitation of Life,” with Warren William, for Universal. Right now, she’s on the Paramount lot, making ‘The Gilded Lily.”

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MOVIES TO DELIGHT YOU! MOVIES TO THRILL YOU! A: The Painted Veil (M-G-M) This is the story of a family's Ugly Duckling or Wallflower, which- ever you prefer, who thought she knew what she wanted. And, as that famous philosopher, Mr. Emerson, so sagely pointed out to all of us, "Be careful what you want, you'll get it." Thus Garbo, in her latest dramatic hit, finds that roses turn to ashes when they're clasped too closely. The story is unreeled before a colorful background, moving from an Austrian town to a sophisticated Chinese colony and thence to the disease-ridden cholera country, where the heroine is given ample op- portunity to deplore her folly and redeem herself. Herbert Marshall plays the man she married for convenience in a restrained and noteworthy manner. George Brent enacts the cad and, no offense, gives a thoroughly convincing performance. Garbo is quite superb and actually beautiful. Never has she looked so de- vastating. The picture boasts a temple dance sequence which is literally gorgeous. Yes, "The Painted Veil’ presents the first lady of the screen in all that is first class in fine film entertainment. A: Romance in Manhattan (RKO-Radio) You've been waiting for "Romance in Manhattan.” Probably you won't realize it until you've seen this picture which is composed of everything scheduled to make for first-rate entertainment. There are laughter and tears, sentiment and sadness, good acting and the colorful setting which is little old New York. True, a lot of the scenes of the big town are stock and process shots, but that is not going to interfere with your enjoyment of the film one bit. Francis Lederer, as attractive as he is sincere, is an immigrant boy imbued with the desire to make his living in America. Ginger Rogers plays a hard-working chorine interested only in caring for her young brother, Jimmy Butler. Fate throws them together and their road is a hard one, for there is always the villain just around the corner. Then, when all seems lost, their problem is solved by Farrell MacDonald in the funniest police station sequence you've ever witnessed. The audience fairly shrieks their appreciative laughter. We won't go into the details, because we don't want to spoil it for you. But don’t come complaining if you miss this picture. You've been warned. F B: Flirtation Walk (Warners) Here is a delightful cinema concoction featuring Ruby Keeler, West Point and Dick Powell—not, of course, named in order of their im- portance. And if you like uniforms and parades, you're going to have a field day, the broad greens of the U. S. Military Academy serving as the field. z The story deals with the sentimental activities of the boy, the girl and the other boy, the lad who has already made the grade in the little lady's affections. Dick is not he—at first. But love laughs at locksmiths and First Lieutenants and a bumpy career at the Academy, ane, in the end, triumphs. ere is a playlet within the picture that is not as amusing as it is intended to be, but there are two lilting tunes charmingly rendered by young Powell, who actually turns in a performance in this film and may no longer be disposed of as a song-and-dance man. Pat O'Brien, Ross Alexander and John Eldridge all give nice accounts of them- selves, and Ruby Keeler, looking sweet and pretty, at least deserves "A" for effort. : B: Evelyn Prentice (M-G-M) It leaked out (and we wonder whose fault that was) that “Evelyn Prentice’ was to be as gay and light and grand as “The Thin Man" and that Mr. and Mrs. Thin Man (Myrna Loy and William Powell to you) had duplicated their unusual performances of "Thin Man‘ memory. Well, 'tain't so, chillun, ‘tain't so. “Evelyn Prentice” is a good, workmanlike, convincing picture and honesty compels us to put the period right there. Loy and Powell give good, workmanlike, con- vincing performances. Una Merkel, too, and Little Cora Sue Collins. eae Isabel Jewell in a drab and tearful réle deserves a pat on the ack, A blackmailing gigolo is murdered and Isabel takes the rap, while Myrna stews around for some weeks, getting up her courage to confess that she fired the shot. But there were two shots, you see, which fact comes out in one of those good old hokum court sequences, 54 |

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with Powell berating the jury in his best style. We're not complaining —and neither will you, because you'll get enough thrills, laughs and tears out of it. But don't come around comparing it with "The Thin—" well, maybe we better not mention that again. A: Broadway Bill (Columbia) Swellegant! Pardon the burst of enthusiasm but we happen to be horse lovers, qnd we'll bet the grand sweepstakes that you'll feel the same way after seeing this picture. In "Broadway Bill’ there are the best shots of horses and horse racing this side of an English print. As if that were not enough, Myrna Loy, Warner Baxter and an excellent cast contribute to make a picture that is refreshingly different. Walter Connolly, as J. L. Higgins of Higginsville, is grand. Sur- rounded by adoring daughters, fawning sons-in-law and the admiring townspeople, he rules the roost. But his little kingdom is abruptly upset when his eldest daughter's husband, Warner Baxter, leaves the security of Higginsville and the paper-box factory for his two loves, horses and freedom, and his youngest daughter, Myrna Loy, follows him. The climax comes when even J. L. can't stand the stuffiness of Higginsville and succumbs to the race-track fever. Plenty of thrills, suspense and good laughs in this one! C: College Rhythm (Paramount) Well, boys and girls, if you like Joe Penner, you're set. This picture hits on all sixes when Mr. Penner and his pal, the duck, are on the screen. But when they're off, it's a pretty jumbled, straining-at- comedy affair. The love story is taken care of by Lanny Ross, Jack Oakie and Mary Brian. Mary, one of filmdom's fairest and most capable, wears a blonde wig. Your guess is as good as ours as to why, except per- haps because Helen Mack is a brunette. Anyway, it tends to blot Miss Brian out a bit. Oakie plays the braggadocio in a mugging manner and just why he wins the girl has the Great Chinatown Trunk Mystery backed off the boards. Mr. Ross is rather colorless and Helen Mack is wasted in the rdle she plays. There are a couple of catchy songs in the picture and a few intricate dance routines. But that is not enough. A: The President Vanishes (Paramount) It looks as if Walter Wagner's first independent production is due to be one of the important pictures of the year. Though its theme is as fanciful as it is daring, the film emerges from the studio a realistic and thoroughly believable story. True, this may be difficult for you to countenance until you see the President of the United States vanish from view, as a political group looks for him, seriously hoping their search will be in vain. Mean- while a credulous public, loaded with propaganda, has unwittingly been instrumental in making matters difficult for the man who would give them peace and freedom. The picture is replete with suspense, thrills and good characteriza- tions. It has its lighter moments, too, and a human, homey touch difficult to discover in a story encompassing so serious a theme. Arthur Byron plays the réle of the President, and Paul Kelly, Andy Devine, Peggy Conklin and Janet Beecher are members of the sup- porting cast. All give excellent accounts of themselves. A: Sequoia (M-G-M) Warning! Warning! All adults, all children! Don't miss ''Se- quoia!" Here is Nature's age-old struggle for existence presented in a colorful and compelling manner. For sheer beauty and exquisite photography, it stands alone. The human angle, subjugated to the exciting adventures of Gato, the Puma, and Malibou, the Fawn, left motherless at birth, is stodgy and of secondary importance. The amusing antics and loyalty of these two natural enemies holds your interest every foot of the way. Its genuine humaneness, pathos, and thrills exhaust superlatives. Jean Parker both looks and handles her role well, but little Harry Lowe, with naive unawareness of danger in a rattlesnake sequence, steals top acting honors. The rest of the cast includes Russell Hardie, Paul Hurst and Ben Hall. This is a “must" for old and young alike. B: A Wicked Woman (M-G-M) Mady Christians, who is new to American moviegoers and a pvar- ticularly bright star, makes her cinematic (Continued on page 103) 55

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Oeenveseet & Isn't this a grand business dress of Anita Louise's? Navy wool with amusing churchly vest in white. it will catch all eyes! WELL-KNOWN Hollywood designer said re- cently that he designed real clothes for his stars because they are real people. He does not be- lieve that screen clothes should be designed solely to appear glamorous but should be created so that you, who see them on the screen, would feel that they are in good taste—the type of costume you would care to copy, to wear. This seems to be a general feeling among Hollywood designers today. Your increasing interest in the cos- tumes you see on the screen has convinced them that they have to create styles that can be used as a guide to a star’s public as well as a foil for her individual type. In other words, you have educated Hollywood to be less 56 “Flirtation Walk’'’—I've named this after Ruby's new picture because Navy crepe with silver stitching on white. - You could wear a metallic trimmed green crepe dress like this one of Margaret Lindsay's all day and for a dinner date, too. glamorous and more practical about fashions. Are you surprised to have accomplished this unwittingly? This trend toward more wearable screen costumes has not hampered, in any way, the originality in detail which has characterized Hollywood designing for so long. I think it has made desighers even more conscious of them to offset the simpler lines of the clothes. The result of all this you-looking-at-Hollywood and Hollywood-looking-back-at-you, is screen clothes that you can picture yourself wearing. Clothes that are of star ‘importance in their smartness but of everyday usefulness to you. Ongekelte who has created stunning clothes for such glittering ladies as Dolores Del Rio, Kay Francis, Lor-

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ly Adelia bird May we introduce our new fashion editor? She comes to us with a wealth of experi- ence from the fashion world—experience which she wants to use in helping you solve your wardrobe problems. Address questions to her in care of this magazine. Enclose a stamped, addressed envelope. Anita adds a matching short jacket to a simple evening -gown and has a perfect out- fit for five ‘til midnight etta Young and those pictured above, has contributed a group of costumes this month that prove the fact that Hollywood is turning out costumes that you can really wear. He has to design all of his stars’ clothes with an eye to the dramatic but with a definite leaning toward, the wearable. You see, his clothes are copied and sold to stores all over the country. He can’t have flights of fancy, or be carried away by a star’s ability to wear bizarre things—he has to be both creative and down-to- earth. It’s a large order which he carries out skillfully. Look at the clothes on these three pages and I shall tell you why I like them and why I think that you could wear them with becomingness equal to that of the star for whom they were created. You have to know your type to scramble sports details with evening formality as cleverly as Margaret does here. Daytime, dinner, dancing! Screen designers keep you in mind by tempering glamor with practicality The smartest sleeves begin at your waist—Ann Dvorak shows you. Black cellophane cloth with bright red velvet. In the first place, the fabrics are beautiful. They have texture interest; that is, the weave is unusual in several. The surfaces have character. If these gowns had no trimming or outstanding details you would notice them because the fabric creates an individuality for each. All good design starts with the fabric—the details come after. There’s the trim daytime dress Margaret Lindsay wears, for instance. The crepe is rough but dull, so striped metal cloth is used for shining contrast on cuffs, neck- line and buttons. Three dinner dresses are distinguished by new and ex- citing materials. Anita Louise wears a double-duty affair in which the lack of trimming gives the fabric a starring part. The crepe is heavily ribbed in a wavy 57

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You could shut your eyes and pick any one of this evening trio—they are all so charming. At left, Margaret Lindsay wears the classic formal gown in black crepe. She has a metal tunic that she wears over this for cocktail and din- ner dates—clever ideal Cen- ter, Margaret again—in white crepe with silk fringe adding the trimming touches. And right, Anita Louise looking ut- terly bewitching in taffeta. Cording gives ripple to the collar and great flare to the bell-shaped skirt. effect. Margaret Lindsay’s white dress is ribbed, too, but in a diagonal pattern—it’s a silk crepe striped with chenille, plaid velvet used for contrast. One of the most thrilling fabric discoveries of the season is the use of cellophane woven with cloth, Ann Dvorak has chosen one of these cellophane fabrics for a dramatic gown for informal evening affairs. The cellophane imparts a metallic glitter to it, red velvet makes a brilliant splash of color as accent. Taffeta has rustled its way into the smartest fashions again this winter. It is especially glamorous when used for the period type of frock, suggesting as it does, the era when great ladies waltzed slowly and skirts bil- lowed and swished about their ankles. Youthful, yet sophisticated, is Anita Louise’s version of the taffeta gown shown here. After the fabric, the next big thought is the line of the dress. Each of these dresses was designed with simplicity and grace in mind. The small girl can wear them as well as the tall one. The “hippy” or hipless will not find that they exaggerate any figure discrepancy. The daytime group is youthful, designed to flatter the slender, girlish figures of Ruby, Margaret and Anita Louise. 58 They are grand for all you young things who need a dress you can wear to classes or to work and yet could go right on to an in- formal date without a thought that you might not look right. With the exception of Margaret Lindsay’s very formal black evening gown, the other gowns are of the semi-formal type. Each with some little dodge that makes them per- fect for the hours from five on ’til midnight. Every girl who leads a busy life socially, in school or in business, needs one dress of this kind. Now that small evening hats are considered dashing and smart, you can top a dinner gown with one and look correct for dining or dancing when your partner does not dress. O many girls have asked me what coat they should wear with a dinner gown of this type. It is a problem we all have. Unless you go hatless to. a real evening party, you can’t wear an evening wrap. If you are go- ing to wear a small formal hat, then you have to wear a coat that fits into the general picture. I suggest a simple coat in a rich material such as velvet, broadcloth, velveteen or some of the other more formal materials. It should be either three-quarter length or full length because the regular daytime length looks very awkward with a long skirt. A short wrap or cape is the other alternative. If you own one of those cute fur capes or capelets, and it isn’t too cold, that’s another suggestion. And last, the trimming details of these nine dresses are tricky but not fussy, just enough newness in each to mix dash with taste. There’s a white clergyman’s vestee for one, oddly square buttons and cunningly» stitched fabric insets for another. (Continued on page 80) { |

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| Ml HIDDEN SKIN TINTS IN THIS POWDER gy LIGHT CREAM Now you can get the shade of face powder that will make your skin thrilling. You need not be content with powder that merely covers face shine. Now you can get glamorous new powder shades which actually do things for your skin. See your skin Transformed These new shades contain the actual skin tints found in beautiful complexions. These hidden tints can- not be seen in the powder any more than in the skin. But they are there. Ready to glorify your skin. Use this powder only once and those you know —you love—will compli- ment your new sparkling loveliness. These glamorous INCE ELAENIS , ( ys 7 ] ¥ ¥% actual size ONLY 55s FINEST POSSIBLE BRUNETTE shades are blended scientifically by Pond’s. Read the amazing story of their discovery. Look at the photographs above and see how they flatter girls of every type. Among these six new shades is just the one you have been looking for. The moment you film on Pond’s Face Powder you will realize its texture is the smoothest. So fine—so closely clinging, Pond’s never gives you a powdery look—yet it remains on hours and hours. And it is so inexpensive! Name. Street City ee Lt y ee BRUNET R How Science discovered New Powder Shades An optical machine, which reads the skin, color- analyzed the complexions of over 200 girls. Then it was discovered that the clear, pearly blonde skin held a tint of bright blue—the brunette had a note of brilliant green. These same beautifying tints, hidden in human skin, Pond’s blends in- visibly into their new powder shades. Only ss¢ for a glass jar that contains as much powder as many $1 boxes. In boxes, Iof, 20¢, 25¢. It’s available everywhere. But we want you to try it FREE. Just mail this coupon. You'll receive, free, three different shades. Select the most flattering. Discover today what this en- tirely new powder will do for your skin. 2 shades Wree! Send for them today (This offer expires April 1, 1935) Pond’s Extract Company, Dept. B. 04. Hudson Street, New York Please send, FREE, Two Special Boxes of Pond’s new Powder and an extra sample... I prefer 3 different LIGHT shades of powder O . three different shades in all. I prefer 3 different DARK shades O State Copyright, 1935, Pond's Extract Company

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y WAY TO BEAUTY through chewing exercise. That is why DOUBLE MINT gum is so popular with the STARS of fhe screen and stage.

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Instructions for order- ing patterns and Pattern Book on page 110. 612—-(Above, right) Clau- dette Colbert in ''The Gilded Lily’’ wears this smart shirtwaist dress in wool crepe. Boyish col- lar and cuffs. Sizes 14, Is, US, 8s, G3) Gravel Alo), 608—(Center) Claudette Colbert again in trim three-piece black wool suit. Tucked organdy for blouse and bow. Jacket slightly fitted. Sizes 14, IG, IS, S68, Bk3~ Cia! 20). 599—(Left, below) Peggy Shannon in lovely printed satin tunic frock for semi- formal wear. Square neckline and box-pleated trim are smart. Sizes 14, IG, MS, BO; Ske) ial, 4) 61

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MILDLY MENTHOLATED CIGARETTES CORK-TIPPED }} Ho!..for the season of galoshes, sneezes, sniffles—and overheated rooms. Hurray for K@DLS, the cigarette that refreshes and soothes your sorely tried winter throat! Mildly mentholated: your throat never gets dry. Cork-tipped: KGDLS don’t stick to your lips. B & W coupon in each pack good for gilt-edge Congress Quality U.S. Playing Cards and other nationally advertised merchandise. Send for latest illustrated premium booklet. | (Offer good in U.S.A. only.) SAVE COUPONS for HANDSOME MERCHANDISE MILD MENTHOL Goals. CORK TIPPED 15° 2 TWENTY 23.2 ; CANADA Brown & Williamson Tobacco Corp., Louisville, Ky, 62 MODERN SCREEN VERY dra- matic school prevails upon master minds of the theatre to talk occasionally to the students. So MopvpeEeRN SCREEN’S’ Dra- matic School has its guest teach- ers, too. And how wonderful it is for all you boys and girls, men and women who are _ inter- ested in perfect- ing yourselves in dramatic art to have the greatest directors in Hollywood available to you. For on these pages you re- ceive the most valuable sort of instruction— theoretical as well as practical advice. This month “Woody” I've persuaded Van Dyke to talk to you and I’m so pleased with what Director Van Dyke, our guest teacher, and Joan Crawford on the ‘'Forsaking All Others” set. Patience—first precept to success Here is a message from Katherine Albert, the director of Modern School. She says: Write me and ask me how to go about forming a dramatic club. But don't forget that self- addressed, stamped envelope. In fact, write me about any of your personal theatrical problems. The more, the merrier. Address your letters care of MODERN SCREEN'S Dramatic School, 149 Madison Ave., New York City. Don't forget the return envelope, stamped! Screen's Dramatic he has to say that I want to hurry along this introduction. You all know his work. He is considered one of Hollywood’s greatest direc- tors. His list of hit pictures would reach around the glo bie salhie Thin Man” is his greatest tri- umph. It was he who guided the destinies of the “Trader Horn” company in Africa. And re- cently he direct- ed Joan Craw- Lor, Cllaizik Gable, Bob Montgomery and the rest of the brilliant cast in “Forsaking All Others.” In other words, that boy Van Dyke knows his stuff. And here is his personal message to you. You'll find his (Continued on page 112)

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You owe this to yourself and friends. Make S.S.S. your health safeguard and, unless your case is exceptional, you should soon enjoy again the satisfaction of appe- tizing food...sound sleep...and renewed strength. S.S.S. is sold by all drug stores in two con- venient sizes. The $2 economy size is twice as large as the $1.25 regular size and is sufficient for two weeks treatment. Begin on the uproad today. Do not be blinded by the efforts of a few unethical dealers who may suggest that you gamble with substitutes. You have a right to insist that S.S.S. be sup- plied you on request. Its long years of pref- erence is your guarantee of satisfaction. the world’s great blood medicine feel like yourself again @ S.S.S. Co. 66 MODERN SCREEN (Continued from page 64) last picture with Marlene Dietrich. You might think that, since he is leaving Par- amount, he would be all sweetness and light and have only kind words for everyone— a sort of final softening. But no! Von is carrying on just as he always has—telling Dietrich in a torrent of German just what to do and how to do it. Marlene doesn’t answer back. But Joel McCrea, who was to have been her leading man, does. He’s just upped and walked out of the picture because he doesn’t like Von’s directorial tactics. They were filming a big musical show. Gorgeous girls in those costumes—a piece of lace here and an ostrich feather there— were lolling about the set. The electricians, prop boys and assistants were paying them about as much attention as they’d pay just that many sacks of flour. Turning his back on the most luscious blonde of all, one electrician said to another, “Boy, you oughta of seen what I saw last night. I went down to the burlesque show on Main Street and was it hot! What dames! What dames!” For one solid year Joan Crawford has been conferring with carpenters, inter- ior decorators, drapers, etc., and at last the remodeling of her house is completed. It is beautiful and completely efficient. Joan wanders around in it, an Alice in Wonder- land, happy amidst all that beauty. a B It was during the making of ‘The Painted Veil.” Director Boleslavski decided that he would like Garbo to hum a song while she rocked a baby to sleep. Greta refused point blank. “Boley” pleaded and beaged, even got down on his knees and at lasi threatened to walk off the picture. After a long silence, Garbo finally gave in. “Rw right,” she said, “I'll do it.” Lights were on, the camera started grinding. Greta began to rock the baby. unemotional voice, she “Lazy Bones!” Then in a deep, started humming Here’s another one on that same famous Hollywood producer. This actually hap- pened on the golf course of the Hillcrest Country Club. Together with some friends, the producer had just finished playing eigh- teen holes. “Let’s stop in at the club house,” he said, ‘‘and have some tea and trumpets.” Things the innocent public never knows about: Pauline Lord, who hasn't yet gotten over the jitters of making her first movie, was prevailed upon to do a radio scene from “Mrs. Wiggs of the Cabbage Patch.” She rehearsed all morning with Kent Taylor, fighting to remain calm. Just as they were ready to go on the air, someone discovered that the studio didn’t have the radio rights to the picture. Everything was called off and now Paramount executives are making a detour every time they have to pass Pauline’s dressing-room door. When “The Affairs of Cellini” was shown in Hollywood, Louis Calhern, a member of the cast, made a speech to the first night audience. “Ladies and gentlemen,” he began, “I want to thank, for their kindness, Mr. Frank Morgan, Miss Fay Wray, Mr. Fred- ric March—and that’s all.” Miss Constance Bennett starred in the picture. Remember? The wives of famous stars have their busy moments, too, believe it or not. And those moments somehow or other occur in the kitchen. There is Mrs. Carl Brisson, for in- stance, who throws together a mean meal. (See page 10.) In fact, it’s so delicious that one hungry young actor appeared at the Brisson home for dinner one evening and stayed a month. Mrs. Gable’s forte is preserving pickles, of all things, and so adept is she at this little trick that all her friends receive hand- somely labelled bottles of ‘em as gifts at the end of the canning season. This is the way things happen in Holly- wood. Ross Alexander of the New York stage had been under contract to Para- mount and Metro, and had never worked a day. Finally, Warners signed him, but let him out before his first picture was shown. When the audience saw ‘“Flirtation Walk,” they simply went wild over him. Result: Ross has a new contract at twice the salary he would have signed for, before the preview. When Francis Lederer was a siruggling actor in Czecho-Slovakia, he occasionally saw a movie. On one of these rare visits, he viewed a picture featuring Eddie Quillan. Just recently Francis met the lad, long out of work, on Hollywood Boulevard. And so, Mr. Lederer has asked that his one-time idol be cast in his new picture. Nice? Robert Montgomery was about to go into a comedy scene in “Forsaking All Others.” Around his body was draped a woman's negligée, used as a gag in the picture. “T’m glad my little daughter is too young to understand,” sighed Bob, as he gathered up his skirts and approached the camera. The Freddie Marches are taking great pride in their new Beverly Hills home. The surrounding gardens are filled with rare plants and flowers. However, right in the center of the plot, there’s a solid square of bare ground. “What are you going to plant there?” we asked. “Vegetables,” answered Freddie noncha- lantly, as he stopped to pick an orchid. Not long ago, Joan Crawford was shop- ping in Westwood Village. A new sales- lady came blushinely toward her. “Pardon me, Miss Crawford,” she said, “but I have a customer who wants to buy a gift for a fifth wedding anniversary. Could you tell me what it is?” Without hesitation, Joan, who has a memory like an elephant, replied, “For anything over six months, they deserve platinum.” BH G& Jean Muir tells one of the nicest stories of the year on Flo Ziegfeld. Several years ago she approached the famous impressario to apply for a job. “Please, Mr. Ziegfeld,” said Jean, “could (Continued on page 68)

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Worn next to the body with perfect safety, ee Perfolastic gently massages away the surplus fat with every movement, stimulating the body once more into energetic health. Don't Wait Any Longer... Act Today! You can prove to yourself quickly and definitely whether or not this very efficient girdle and bras- siere will reduce your waist, hips and diaphragm. You do not need to risk one penny... try them for 10 days at our expense. SEND FOR TEN DAY FREE TRIAL OFFER! PERFOLASTIC, Inc. Dept. 532 41 EAST 42nd ST., New York, N.Y. Please send me FREE BOOKLET describing and illustrat- ing the new Perfolastie Girdle and Brassiere, alsosample of Renchatedeubeg and particulars of your 10-DAY FREB Name _ Address Use Coupon or Send Name and Address on Penny Post Card 70 MODERN SCREEN INFORMA MURIEL SCHWARTZ, Northumberland, ROG ERNA AYRES, San Francisco, Calif.; A. “CAB”, Jeannette, Pa.; VERA CAPPER, East Liverpool, Ohio—Lew Ayres makes a timely subject for this department to inform about, seeing as how he is in the public eye more than ever as a result of his recent marriage to Ginger Rogers. This handsome young actor was born in Minneapolis, Minn., on December 28, 1908. He attended the Lake Harriett School in Minneapolis until the age of ten, then high school in San Diego, and upon graduation enterel the University of Arizona to study medi- cine. He was torn between medicine and music as a career—the latter won and he found a place as a musician with various orchestras in the capacity of banjoist, guitarist and singer. He later joined Ray West’s orchestra at the Cocoanut Grove in Los Angeles. One afternoon, on his day off, he went tea dancing at the Roosevelt, danced with Lily Damita, was seen by an agent and signed up for a six months’ contract with Pathé, where he made one picture. From there he went to M-G-M where he played with Garbo in “The Kiss’ and from there to Universal where, as a result of his excellent work in ‘All Quiet on the Western Front,’’ he was given a long term contract. He is 5 feet 11 in height, weighs 160 pounds and has dark brown hair and brown eyes. He was formerly mar- ried to Lola Lane. He is appearing currently in “Lottery Lover’’ for Fox, his contract studio. GINGER, Evansville, Ind.—The names of the Wiggs children in ““Mrs. Wiggs of the Cabbage Patch” (and I don’t blame you for asking, they were ador- able) are_as follows: Billy Wiggs, Jimmy _ Butler; Jimmy, George Breakstone; Australia, Edith Fel- lows; Asia, Carmencita Johnson; and Europena, Virginia Weidler. You'll be seeing more of them. GERTRUDE HUNT, Winnipeg, Canada; CONNIE DEN, Lodi, N. J.; PAULINE GRACE CABLE, Steubenville, Ohio; FRANCES HUDSON, Nash- ville, Tenn.—So it’s Clark Gable you want to know about? It’s a pleasure. Born in Cadiz, Ohio on February 1, 1901 (which makes him just 33) he was christened William Clark Gable, but during his very normal youth was just plain “‘Bill.’? His mother died in his infancy and he was raised by his_step- mother and grandparents. Educated in the Hope- dale, Ohio, high school, he went to Akron where he became a timekeeper in a rubber factory until he caught the ‘“‘theatre bug’’ and began playing extra parts on the stage. He then alternated be- tween the theatre and odd jobs. In Portland, Ore., he met Josephine Dillon and married her in 1924, In 1927 he made his stage debut on Broadway which was followed by a series of other plays. It was in 1929 that Clark married again, this time to Ria Langham a lovely New York society woman. Two years later he made his first picture as the villain in “‘The Painted Desert’’ with William Boyd and Helen Twelvetrees. And this was only the be- ginning! You know the rest of the story of his rapid rise to fame and popularity. Clark is 6 feet 1 inch tail, weighs 190 pounds, has gray eyes and brown hair and is known as a regular fellow. He likes to watch polo games and football, and his athletic diversions are golf, hunting, swimming and tennis. He collects firearms, travelling is his favorite pastime and his latest interest is race- horses, of which he has several. He was born lazy and admits it, has a cleft in his chin, always walks as though he were about to break into a run and gets a tremendous kick out of living. After ‘“‘For- saking All Others’’ with Joan Crawford and Robert Montgomery, he will appear in a picture with Constance Bennett tentatively entitled ‘‘Town- Talk.”’. He is also scheduled to appear in ‘‘The Call of the Wild’’ and ‘Mutiny on the Bounty,” two swell vehicles for him. He is under contract to Metro-Goldwyn-Mayer Studios, Culver City, Cal. JAMES BLACK, Fairville, Canada—This will sur- prise you, no doubt, but here’s hoping it doesn’t make you lose your wager. Tom Mix was born on January 6, 1888, which makes him 5 years older than Tim McCoy, who was born on April 10, 1893, and is 41. Harry Carey is 55. ELIZABETH SCHNITZ- IUS, Collingswood, N. J.; JOANNE MARKS, Long_ Beach, Calif.— Frank Lawton, whom you saw in that prize winner, ‘‘Caval- cade,’” and whom you will see shortly in the title role of ‘David Copperfield,’”_ was born in London, England on September 30, and edu- cated at Langley Hall. Also, he studied for the stage at the Academy of Dramatic Arts. His father was Frank Mokeley Lawton, well known on American and London stages and his mother, Daisy May, was a popular English actress—which ac- counts for his histrionic proclivities. He played Information SCREEN, Your questions will be answered in this magazine. ask questions which require too much research or which infringe ney for Paramount upon good taste. Desk, 149 Madison Avenue, New York, N. Y. ON DES in many successful stage productions in London and made his first picture in 1929. He is an en- thusiastic motorist, likes tennis, cricket and golf and in his spare moments tries his hand at amateur photography. His heart interest is rumored to Evelyn Laye, Ramon Novarro’s leading lady. He likes Hollywood and hopes to stay indefinitely—we hope he does. MARJORIE WONDER, Santa Ana, Calif.—John Buckler played the part of Clayton in “‘That’s Gratitude’ and you _can_write him_ at Columbia Studios, 1438 Gower St., Hollywood, Calif. Thanks, that was easy. F. NIGHTINGALE, Portland, Ore.—It was Patsy Kelly, no less, who played the part of the maid in “The Party’s Over’ and Jean Harlow’s room-mate in ‘“‘The Girl From Missouri.’” You can write her at M-G-M Studios, Culver City, Calif. MELONI COLLIER, Courtland, Va.; MISS R. A. DODSON, Anderson, Ind.; SOPHIE YELEN, Housatonic, Mass.; E. NUDELL, Riverside, Calif.; ANGIE SOMMERS, Northampton, Pa.; STEPH- ANIE PAPROCKA and MARGARET SCHMITT of Jersey City, N. J.; TILLIE GERSHWIN, De- troit, Mich.—Here’s another young man about whom this department receives numerous queries—none other than Richard Cromwell—and here’s what’s what about him. Roy Radabaugh is his real name and he was born_in Los Angeles, Calif., on Janu- ary 8, 1910, of Dutch-American descent. He was one of five children and had a pretty tough child- hood because of the early death of his father, who was a brilliant inventor. After school hours at the Long Beach High School and later at the Chouinard Art School, Dick worked at odd jobs making what little money he could—which_experi- ence has stood him in good stead, Then he branched out as an artist, opening his own shop which was patronized by several well known stars who became quite interested in him. He had a secret desire to act and when an opportunity came for him to try out for a part in ‘‘Tol’able David’ he did, and what’s more, got it. A long term con- tract with Columbia resulted and it has been re- newed_ regularly. (You can write him there at 1438 Gower St., Hollywood.) Dick lives alone in a_ restful, four-room house on a hilltop north of Hollywood. Romance has not seriously disrupted his life as yet, although he is rumored to be very fond of Katherine De Mille. Weighing 150 pounds, Dick is 5 feet 10 inches tall, has blue-green eyes and sun-streaked blonde hair. He plays tennis and swims, likes to eat oranges between meals and can scramble eggs—but that’s all—dislikes having his picture taken, likes to paint and write and see good shows. Paramount borrowed him for ‘‘Lives of a Bengal Lancer’’ in which you will see him soon. WONDERING, N. Y.—Neither Bebe Daniels nor Harold Lloyd had previous marriages. Bebe is married to Ben Lyon and they have one child; Harold is married to Mildred Davis and they have three children—two of their own and one adopted. CAROLYN CAMERON, Odum, Ga.; MARGARET ALBANO, Dover, N. J.; ANNE GRADIZOR and FRANCES OKORN, Cleveland, Ohio; “‘“RONNIE’”’ HART, Omaha, Nebr.; MICKY and MINNIE of K. C. K.; M. P., Clifton, N. J.; JEAN L., Fal- mouth Heights, Mass.; LILLIE MAE HALL, Rockaway Beach, N. Y.; MISS L. C. S., Baltimore, Md.; EDNA NESPOR, Brooklyn, N. Y.; DOR- OTHY RHODES, Dayton, Ohio; BARBARA AN- DERSON, DeWitt, Iowa; DORIS FAY, San Fran- cisco, Calif.—This makes the third time Gene Raymond’s_ biography has appeared in this column —yet people still ask about him. He deserves a platinum rosebud for popularity, all right! Ray- mond Guion he was christened and he is of French Huguenot descent. Born in New York City on August 13, 1908, he attended grade school and from the age of 4, the Professional Children’s School in this city. In 1924 he made his stage debut and in 1931 his first movie appearance. His “likes’’ are solitude, long drives, horseback riding, tennis, golf, blue and green, thick steak, politics, fan mail and to be asked for his autograph. His “dislikes’’ are shop- ping, entertaining, Jewelry on men _ and having “‘still’’ pictures taken. Dumas’ ‘‘Three Musketeers’”’ is_his fa- vorite book. He is 5 feet 10 inches tall, weighs 150 pounds and has blue eyes and light golden hair. He will be in “Behold My Wife’ with Sylvia Sid- Please do not Studios to which he The was loaned by Colum- bia, his contract studio. EDITH GRINDALL, To- ronto, Canada — Ben Alexander is the boy who was in “‘The Most Precious Thing in Life’’ and “‘What Price Inno- cence.”’ His address is Columbia Studios, 1438 Gower St., Hollywood. Address: MODERN

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MODERN SCREEN Beauty Advice Here’s the very cleverest way I know to get your circulation into a positive glow, and to make your skin clear and smooth all over your body after several weeks of treatment. Soak a bath towel in a solu- tion of one pound of ordinary table salt (salt is a recognized agent for beauty) and one pint of warm water. Let the towel dry, and then rub it between your hands to soften it. Incidentally, do this over the lavatory so the salt won’t sprinkle on the floor. You only have to prepare the towel once a week, as it will last through a week of morning rubs. So after you have finished your very thorough drying men- tioned in the preceding paragraph, rub yourself briskly with the dry salt towel. The friction caused by the salt towel peps up the circulation in the entire body, and, we can’t stress it too often, good circula- tion generally means smooth skin. Always finish off with a lotion to pre- vent chapping after your bath. Hand lotions are best, especially certain hand lotions, because they are so readily ab- sorbed into the skin, and you can get such generous quantities for so small a price. And don’t forget an underarm cream deodorant in this season of steam heated offices and wool dresses! Be especially lavish with lotions and creams where your legs are concerned. They have such a rough time of it all winter, with the wind and snow always at their heels. Even a pair of Marlene Dietrich legs couldn’t carry off the honors with rough, chapped, red-spotted skin. And such a condition has a sorry way of EN TH oan e3 nt WARM:VIBRANT FRESH:-ELUSIVE (Continued on page 13) showing up through silk hose, which, of course, all of us insist on wearing through the winter, in spite of sensible grand- motherly advice to the contrary. Inciden- tally, I know of some lisle, silk, or wool comfies that slip on under or over your hose, and keep your feet warm without showing at all. You may also wear them to bed at night, if you’re troubled with cold feet. We’re stepping outside of our original trouble, however, so now for those “gooseflesh” legs. It’s lack of circu- lation that brings “‘gooseflesh” and red spots. So include in your bath ritual the scrubbing of your legs with a fairly stiff bath brush. And if, as aforementioned, you will finish off with a generous mas- sage of hand lotion, this lubrication will prevent the chapped condition that is so ugly. If your skin is very dry, use a rich cream at night, and slip on a pair of cotton hose several sizes too large for you (as a protection to clean sheets). ANDS are subject to such constant exposure and such frequent wash- ings and inadequate dryings that it is small wonder they need the most ardent cream and lotion allies. The natural oils get dried out of the skin, and something has to be done to make up for that lack, or your hands get scratchy as though in pro- test against their treatment. We talked about using hand lotions last month, and we hope that the holidays brought you some lovely creams and lotions to help you take advantage of our ores Now for make-up this bright morning Lateishe says Beatrice Hudson New York model ANY expensive perfumes had . but what I wanted was something different,’ says intriguing scents, it is true,.. Beatrice Hudson, famous New York model. "FA OEN (with its $1 to $3 qual- ity) was different! It actually trans- formed my personality, gave me an en- tirely new charm and sense of power!” Haunting, sophisticated .. FAOEN turns you from an attractive woman to an at least, we hope it’s bright, and while we want bright faces, we don’t want shining ones, too. According to the letters you've written me these past several months, a great many of you are troubled with dry skin. The dry type of skin is especially sensitive to harsh weather. Even a normal skin requires creams to prevent it from chapping, and a dry skin needs double the amount. A powder base is very im- portant, not only because it helps to hold powder in an even film, but because it pro- tects your skin from the icy air, and dis- guises the redness to which most of our skins are more or less subject in the win- ter. A good powder base and plenty of powder will soften the red into a glowing pink. Use a generous puff, and a soft-as- a-bunny’s-ear powder brush to blend the powder, and smooth away the surplus. Cream rouge is splendid in the winter because it is more impervious to wind and weather. Use it for morning make-up, and carry along a compact of dry rouge in your purse for “touching up” during the day. The proper way to apply cream rouge is with a stroke high on the cheek bone with the rouged cushion of the finger- tip. Now, smooth and blend upward to- wards the corner of the eye, and then softly downward on the cheek. Cream rouge should always be applied to a slight- ly moist skin, which makes it both easier and more lasting of application. There- fore a foundation cream, vanishing or liquifying, or a cold cream which has been wiped off, leaving a slight moist residue on the skin, is absolutely essential WIZUAs Lippe fume could be as fer asFAOEN znd \WE TRIED THEM ALL irresistible one! Men are enchanted by its mysterious fragrance! FAOEN has made thousands of smart women more desirable. In a “compact” ten-cent size at your local 5 and 10 cent store. PARK &TILFORD’S LAO.E N eel. Face Powder « Lipstick » Cleansing Cream « Cold Cream » Rouges « Perfumes 71

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Gay TABLE Dishes... yet you can bake in them OU never saw table dishes like these OvenServe dishes before. Every last piece . . . the serving dishes, platters, bowls, the smart one-handled French casseroles, even the very cups, saucers and plates . .. is built to stand oven heat. Their buttercup yellow color stays bright and fresh, too. They don’t “‘craze,” nor get brown and cooked looking. You can oven-bake in Oven- Serve dishes and pop them direct from oven to table. Simplifies serving. And oh, how it cuts down on the dishwashing! Another use is in the refriger- ator. They stand cold as well as they do heat. You can buy them by the piece or in complete service. Guoranteed To Withstand Changes of f OVENSERVE "The Oven Ware for Table Service” The Homer Laughlin China Co. ~ Newell, W. Va. OVENSERVE SOLD AT KRESGE 5 and 10% STORES AND OTHER 5¢—10% and $1 STORES 72 MODERN SCREEN in the application of cream rouge. Now for your lipstick! Choose one with a cream base for winter. We know of one with a cream base which looks orange but which turns to natural look- ing rose when applied to the lips, and which makes a splendid wintry weather lipstick choice. If your lips are very dry and subject to chapping, use an oily pom- adé on your lips out of doors, and your regular lipstick indoors. Eyebrows should be groomed into shape, and kept from looking as though they had been swept upwards by a blast of wind. Be sure to pluck out stragegly hairs, but don’t pluck to change the character of the brow. Isn’t it grand that Joan Crawford is setting the fashion for natural looking eyebrows now, and other Hollywood stars are doing likewise? A smart Hollywood trick is to apply a little eyelash grower to the eyebrows with a brush, or a cotton covered orangewood stick, and brush them into line. If you want to know more about how to play a successful “skin game” with win- ter... what to do for a red nose... and other beauty hints for zero weather, I’ll be glad to send you my leaflet on “The Zero Hour of Beauty” for the asking and a stamped, addressed envelope. Address Mary Biddle, 149 Madison Avenue, New York, N. Y. Ive some lovely creams to suggest if you want the names. The Modern Hostess (Continued from page 10) ment. Nor do we ask to the same dinner, people that we know are not on friendly terms.” Another thing I learned about the Brissons’ dinners is that the meal is served punctually. Carl has no patience with the type of parties where guests stand sipping their cocktails until almost ten o’clock and then adjourn for dinner. When the Bris- sons say “dinner at eight” they mean just that—and woe to the guest who is late! If dinner punctuality is something new in Hollywood, so is Carl’s habit of sing- ing in his hearty baritone at the dinner table. Although rather startling at first, it is all very gay and jolly. Carl makes up the songs himself and insists that everybody warble with him. So that, by the time smiling Frau Cleo Brisson has risen and said “Welbeckommen,” (“I hope everything has become you well!) which is the time-honored Danish signal for the ladies and gentlemen to go into the liv- ing room for their coffee, the entire table has been engaged in uproarious song and the two and one-half hours required to dine have fled unnoticed. But what have the guests been eating during all this gaiety? What could pos- sibly have taken two and one-half hours to eat—with scarcely a moment lost in plate-changing! Well, here’s the menu: THE BRISSON DANISH DINNER Smorgasbord Consomme Pork Tenderloin, Stuffed Apples and Prunes Gravy Sweet and Sour Cabbage Apple, Currant, Strawberry, Jelly Cheese Pressed Cucumber Salad, Piquante Dressing Danish Apple Cake Peppermints, Danish Chocolate Dates Figs Nuts Grapes Coffee Accompanying all this grand food is a wine list which includes Schnapps (Hol- land gin) with the Smoregasbord, Claret with the meat course, sweet Sherry with the dessert, Kirsch and Cherry Brandy pre- ceding coffee. Roast with ERHAPS you are a bit baffled by that word “Smorgasbord.” (I assure you it’s even harder to say than it is to spell!) To the uninitiated, therefore, it might be well to explain that Smorgasbord are the equivalent of French hors d’oeuvres, those fancy tidbits used as ap- petizers. In Scandinavian countries where hors doeuvres become Smorgasbord, their quantity and quality constitute an actual threat to the ensuing meal, particu- larly in Denmark which is famed for its cookery. “We have found it necessary to warn our guests in America that our Smorgas- bord is not the whole meal,” Mr. Brisson told me, “and that the regular dinner comes later. We do not, like the Swedes, stand to our Smorgasbord. Everything 1s served sitting at the table which is laid before the guests come in. All the pickled herrings, salmon in mayonnaise, egg and anchovy dishes—everything is in place when we come into the dining-room to take our seats. Along the side of our din- ing-room when we have a large party, is a long, narrow serving table that runs the entire length of the room. On it are nothing but dishes and plates! When the guest has eaten a helping of herring and chives, shall we say, his plate is whisked away and a clean one supplants it. Then he helps himself to some other dish. After that he has another type of Sm6érgasbord on still another plate. Otherwise how could he appreciate the delicious cream sauce of one dish if some of the vinegar dressing of another dish remained on the plate?” And here is a simple member of the Smorgasbord family which has already become popular for cocktail parties. It seems that it had its origin in Scandi- navia—where they call them “nam-nams.” COCKTAIL NAM-NAMS Cut slices of lean, packaged bacon lengthwise into two strips. Cut each strip - in half. (Making four narrow pieces of each bacon slice.) Wrap one of these slices around a large stuffed olive. Fasten securely with a toothpick. Just before serving time, fry the olive-bacon rolls in deep hot fat, until bacon is crisp and brown. Drain on white paper-kitchen- towels. Serve at once, piping hot, without removing toothpick. Other Smorgasbord recipes in the Bris- son files call for caviar with minced Ber- muda onions, spread on rounds of buttered bread; anchovies chopped very fine with onion added; poached eggs on rounds of bread fried to a golden brown in butter, the whole topped with mushrooms in a rich cream sauce; and herrings served with various sauces. When the Smo6rgasbord and Schnapps have been dispatched with songs and good cheer, the real dinner begins. The soup, light and clear, makes its appearance in a huge tureen. With the soup comes cheese! Fancy that! From now on in the meal, cheese

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is a permanent feature on the table—any kind of cheese, according to Fru Brisson —American, Muenster, Port du Salut, Cheddar, Liederkrantz, Swiss, Cream. Danes believe that cheese “peps up” the appetite, she explained. Why don’t you try it sometime? NCIDENTALLY, in serving a true Danish meal nothing is served in the kitchen. Everything comes in whole to the table, where the hostess, not the host, does the carving and the serving as well. After the soup course Fru Brisson’s famous “Pork Tender’ makes its proud appearance, with a really divine gravy. The vegetable accompanying this dish is Sweet and Sour Cabbage. This may be prepared in the morning or even the day before. After the meat and vege- table dishes comes more cheese (and more songs if you are dining with the Bris- sons), then the salad—a crisp, delectable concoction of pressed cucumbers. The ac- companying Piquante Dressing does things to this lowly vegetable. (You can take our word for it, it is excellent for other salads, too.) Finally the dessert course—and what a dessert! Danish Apple Cake. Other sweets may appear on the table, too, but all are dwarfed by the appeal of this mar- velous confection. Fru Brisson’s “guest recipe’ serves twenty and is made in a large bowl, like those made from a Mexi- can gourd, towering to a height of at least ten inches. On other occasions, how- ever, she reduces the proportions to have a smaller cake which is more in keeping with the requirements of the average fam- ily. A round or oblong baking dish makes an excellent container as it allows the layers of delectable sweets to be seen, whetting the appetite for the treat in store. A pleasant feature of this dessert- cake is that it requires no baking. Merely put it in the refrigerator after it has been assembled and the arctic temperature does the rest. Fru Brisson always makes it in the morning of the day of her dinner. The recipe is one that Fru Cleo has never given out before and I’m terribly flattered that she was willing to part with it for the benefit of the readers of MoprerNn Screen. As this Danish Apple Cake is quite worth writing in for, in itself, I’m sure that when you learn that three other Scott Photo Glenda Farrell seems to have forsaken Bob Riskin for Bernard Newman, with whom she’s pic- tured at the Blackford Benefit. MODERN SCREEN Small FOR HER AGE AND UNDERWEIGHT TOO ought lo see the Wel belly bs shooling up now / VEN ON tiptoes, Betty was smaller than the smallest playmate of her own age. While other youngsters shot up, filled out, gained in height and weight — Betty remained thin, scrawny, small for her age —because she did not drink enough milk. But you ought to see Betty now! How she has added iaches to her height—how strong, sturdy, well-proportioned she has become. And the reason is that Betty is now drinking every day, @ quart of milk mixed with Cocomalt., Milk is the almost perfect food for chile dren. Mixed with Cocomalt, it provides extra carbohydrates for body heat and phys- ical activity; extra proteins for solid flesh and muscle; extra food-calcium, food-phos- phorus and Sunshine Vitamin D for the formation of strong bones, sound teeth. Help your child gain as he grows The famous Lanarkshire milk experiment in 1930 among 20,000 school children shows definitely that children who received ocome Prepared as directed, adds 70% more food-energy to milk milk daily during the test grew faster and were healthier than those who did not. If milk alone can aid growth and im- prove nutrition, think what an advantage your child will have if you give him Coco- malt in milk. For, made as directed, Coco- malt almost DOUBLES the food-energy value of every glass or cup of milk. Cocomalt is accepted by the American Medical Association, Committee on Foods. Wonderful for adults, too Not only does Cocomalt and milk help children thrive, but for grown-ups, with its nutritional value and extra food- energy, it is a pleasant way to maintain and restore strength. A hot drink promotes relaxation for sound, restful sleep, drink Cocomalt HOT before retiring. Cocomalt is sold at grocery, drug and departe ment stores in }-lb., 1-lb. and 5-lb. hospital-size air-tight cans. SPECIAL TRIAL OFFER: Fora trial-sizecan of Cocomalt, send name and address (with 10c to cover cost of packing and mailing) to R. B. Davis Co., Dept. mA-2 Hoboken, N. J. Cocomalt is accepted by the Committee on Foods of the American Medical Association. Produced Sey by an exclusive process under scientific control, Cocomalt is composed of sucrose, skim milk selected cocoa, barley malt extract, flavoring and added SunshineVitamin D. (Irradiated ergosterol. 73

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ittle re on So easily corrected -+-when you know this simple way HO es- capes them— those occa- sional pimples that seem al- ways to come when you par- ticularly want to look your very best? Don’t let them annoy you, how- ever, for nature can clear them up quickly with a little external aid which Resinol Ointment provides. This safe, dependable ointment contains medicaments specially selected to soothe and promote healing of skin irritations. That is why it is so effective and so widely used. When applied after washing with a warm lather of pure Resinol Soap, the results are even more satisfying. Get Resinol Ointment and Soap from the druggist today. For free sample write Resinol, Dept. 1-A, Baltimore, Md. Ointment and Soap 74 MODERN SCREEN recipes from Fru Brisson’s own files are included in this month’s Modern Hostess recipe leaflet, you’ll want to fill out and mail the coupon at the end of this article immediately, Each recipe is a joyous and unusual taste sensation—the Sweet and Sour Cab- bage is a picture for the eye, a delectable treat for the palate—the Cucumber Salad with Piquante Dressing is everything I said of this combination previously, and then some—and the Pork Tender is a cold weather dish from Denmark that merits an immediate place in every American home. And finally the Apple Cake! What more could one ask? And all you need do is ask—and they all are yours! Then you can serve an entire Danish dinner or in- corporate one Danish dish at a time into otherwise prosaic meals to add variety. Then you, your family and friends can enjoy the same delicious foods that have made the Brissons famous in Hollywood. These unusual dishes have earned for the Brissons the reputation of being worthy exponents of their native cookery. Send for the recipes and add to your own reputation as a cook, too. MODERN SCREEN STAR RECIPES t HOME SERVICE DEPARTMENT ; 1 149 Madison Avenue, N. Y., N.Y. ¢ 1 MODERN SCREEN Magazine | : Please send me the recipes for i . February, 1935. ; I INGWNS oocadac Nocona ot BUS ao SINC G0 og : : (Print in pencil) I . AGdECSS) auaccces- te rein ee eee : i (City) (State) i i 8 i 5 ; ise ges 5 (Streetand Number) =” : Lines to a Little Lady (Continued from page 48) Here’s something cute! A little girl who writes “Age—9 years” after her name, says, “I have seen you in every one of your pictures including the one-reelers, and expect to see all your new ones, I think you dance very well—for your age. In fact, you are my favorite child actress.” Shirley gets her mash notes, too! Can’t you just picture this little boy as he twists up his mouth while writing in pencil on a page torn from his school notebook: “I seen you in ‘Stand Up and Cheer’ and fell in love with you. I don’t like girls much, but wouldn’t mind if you was my little sister. Hoping this finds you well, I am respectfully yours,’—. Girls as well as boys want to have Shirley in the family. “I am the only child in our family,’ writes one eleven- year-old miss, “and we live in a hotel. There isn’t much for a little girl to do with no place much to play so I go to a lot of pictures and think you are my favorite star. I know you are a little girl, too, so I hope your mother reads this to you. Even though there’s not much doing here we could have a lot of fun if you were my little sister. I could teach you to sew doll clothes and mama would teach you to play bridge which I am trying to learn. If you ever feel like coming to New York for a while you can stop with us. I would let you wear my prettiest dress, the one with the lace ruffles, but I don’t guess it would fit you very well, and I wouldn’t want to have it made over.” So a child of the rich—the letter was on the stationery of one of the most exclusive hotels—doesn’t find life any too much fun. Neither, for that matter, does a poor child. A very pathetic letter was sent by a little girl who says :— LTHOUGH Daddy got a job now, he was out of work for a long time and he owes everybody a lot of money, so we are not spending very much now be- cause he is paying off a lot of old bills to people who trusted him when he didn’t have any money at all. About the time you get this letter my dollie, Mary Jane, should arrive at your house. She isn’t very pretty I know, but she is a very good dollie. You see, it is all Daddy can do to pay the rent and buy food and clothes for mama and me and the baby, so Mary Jane is pretty shabby. I have tried to make over some of my things for her but when I get done with them they are not much good any more and I want her to have nice things. So if you will give her a good home and some nice dresses, I know she will be happier with you than here with me although I love her very much. I know that she will love you too, because I can see you'll be a good mother to her. Write and tell me how you like her and if she is behaving herself all right and please don’t ever spank her. I never did.” On the brighter side is a letter writ- ten by—oh, let it speak for itself: “Dear Miss Temple :—Do you in need of a shofer? I doant expect so yet because you is very younge but I would wish to opply for the job. Of cours I canot shofer yet because I am only ten years old but my pop is a verry good shofer for a white fambly down here in Ala. and I would wish to be a shofer too when I am big like him. “You coud save a lot of sallery on me Miss because I woud not charge you noth- ing to shofer for you because I would likely get into lots of shows free because ~ I am your shofer and I would have enuf money to live because pop has promissed to give me a pare of shureshot dice which canot miss when I am big enough to youse them. “T think you is an anjel from heayen Miss but I wish you was colored too be- cause then maybe you would not think I had an awfull nervy for riting to you but I hope you will no that I am very res- pectfull and would only wish to no you as a shofer. Respectfull yours, ——————— (colored).”’ No, that little boy hasn’t “an awful nerv’—but how about the one who got his girl-friend to write a mash note for him? She writes: “T have a friend who goes to see all your pictures and is simply crazy about you. It’s a He, and he’s awfully cute, with black hair and blue eyes, and I’m sure you'd like him lots. Although he’s too shy to write to you himself, and asked me to do it, he says he’s going to Movietone City to see you when he gets a little older, but if he does I'll be awfully, awfully jealous. He’s fifteen and I’m fourteen and we'd each like a picture of you. If you can’t spare two, will you at least send him one, and make his life happier?” “Teacher took all of our class who were reading about King Arthur to see you in

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‘Little Miss Marker,” writes a grade school boy, “and when you walked onto the screen it was the first time I ever saw a smile on his sour old puss. When Old Iron-face says he thinks you’re a darling, I guess you must be. “All the kids in my class save pictures of movie stars and I had more than ten, but the next day I swapped the whole lot of them and my jacknife to boot for a picture of you. I think you’re swell and when I grow up I’m going to marry you if you haven’t been spoiled by then. X OX OX O X O X—for you.” And the envelope had, scribbled on the back of it, “W.L.O.L.& K.” Remember what that means? “With Lots Of Love & Kisses.” Not all of her fans are so youthful, though. Up in the Canadian backwoods there’s an old couple who write :— “We went in to town the other night and saw your picture. Is it true that you are an orphan like the picture showed you? If you are, we would be very glad to adopt you. It is true that we haven’t got much of this world’s goods, but you remind us of our little daughter who was taken from us by newmonia when she was a little younger than you are and we would love you like our own and what with what you make the three of us could live very comfortably. Even if you are not an orphan, you would like it very much up here and we would be very glad to have you as our guest for a few weeks. We would not charge you much for room and board as you are our favorite movie actress. Say about $35 a week. Would that be alright and, if so, when should we expect you?” ND now for a few short excerpts from several other of Shirley’s letters :-—“I think you are very cute,” says a seven- year-old girl, “and I’d like to be like you. You dance so much better than I do. I’ve been taking lessons for three years and can’t do the steps you can.” And a boy of ten is so skeptical as to write, “Although you are only five and probably ,cannot read, perhaps you will send me your photograph with your signa- ture scrawled on it, if you can write, which I doubt.” Sad, isn’t it? He, so young, and dis- illusioned already! But perhaps the acme of cynicism was reached by the Florida man who said, “To Shirley's Mother or Father :— One who at least sees his ideal brought to life before his eyes requests that you send him a picture of her. I cer- tainly hope she never grows up, and I’ll bet you do too, for where are the prodigies of yesteryear? Busted!” And a mother writes, “I have a little girl who looks just like you. How about giving her a job as your understudy? Give her a break, won’t you?” “How’s chances,” asks a woman, “for getting some of Shirley’s clothes that she wore- in the pictures? My little niece saw her in several of them and won’t be- lieve she’s a live little girl; she thinks she’s a doll and keeps pestering me to buy some clothes for her doll like Shirley wore. If you possibly can, please send them so that a worn-out auntie can get a little peace from a persistent three-year-old.” And there are hundreds of others who write—grown-ups praising her, many of them asking for photographs—children telling her how sweet she is, discussing their dolls and toys and ambitions. Shirley Temple’s mail, however, is quite unique. Not only has she the youngest fans of any actress, but I think fewer of them make unreasonable requests of her than do those who write to the grown-up stars of Hollywood. MODERN SCREEN bee ATTRACT BREE Just mail coupon for the most com- plete book ever written on eye make-up. Note also trial offer. A MESSAGE FROM LOUISE ROSS our, EYES OR REPULSE MEN? No girl, I assert, need have dull, uninviting eyes—it’s a handicap to happiness. In 40 seconds you can give your eyes depth, glamour, sparkle—that ‘“‘come hither” look is yours when you Winx your lashes. No need to be jealous of other girls. You can make your eyes alluring. Like magic, Winx Mascara, the superior lash darkener, improves your appearance! You'll wonder why you didn’t accept my help sooner. Your friends—particularly “he’”—will find you doubly attractive. TO MAKE MEN STOP, LOOK AND LISTEN I want every girl to give herself a chance on the road to romance— to win real happiness. Remember, your eyes are your fortune. So buy a box of my Winx Mascara today— it’s super-fine, safe, non-smarting, smudge-proof—the perfection of years of experience. Winx Mascara and my other Winx Eye Beautifiers are presented in gen- WIN X EYE BEAUTIFIERS Winx Eyebrow Pencil molds brows into charming curves. _ Winx Cake Mascara darkens Lashes instantly, perfectly. 7 Winx Liquid Mas- | cara preferred by | many —easy to | apply.Water proof. erous purse sizes at 10c. Millions of smart girls prefer them to ordinary ones. So will you, I’m sure. To learn all the precious secrets of Eye Beauty, mail the coupon for my book—“Lovely Eyes—How To Have Them.” It’s free. Also send for a trial box, if a 10c. counter is not handy. Dee Roar O° Winx Eye Shadow gives depth and : glamour—a fine cream. Winx Eyelash Grower promotes luxurious soft lashes. |FREE| Merely send Coupon for "Lovely Eyes—How to Have Them" | Mail to LOUISE ROSS, M-2-35 | | 243 W. 17th St., New York City | Name If you also want a generous trial package of Winx Mascara, enclose toc, checking whether you wish O cake or Cliquid OBlack or 0 Brown. toon ee a

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COLORINSE Keep your hair aglow with the glory of “youth”. The “Sheen of Youth” is every woman's birthright and it’s a distinctive beauty asset, too. Make your friends wonder how you obtained that joyous, youthful, vibrant color tone so necessary for beautiful hair. If your hair is old or faded look- ing, regain its “Sheen of Youth” by using ColoRinse—use immediately after the shampoo. It doesn’t dye or bleach, for it is only a harmless vege- table compound. Yet one ColoRinse— ten tints to choose from—will give your hair that sparkle and lustre, that soft, shimmering loveliness, which is the youthful lure of naturally healthy hair. Also ask for Nestle SuperSet, Nestle Golden Shampoo or Nestle Henna Shampoo. THE NESTLE-LEMUR COMPANY MAKERS OF QUALITY PRODUCTS : NEW YORK at all 10c Stores and Beauty Shops .. Nestle ColoRinse, SuperSet, Golden Shampoo and Henna Shampoo MODERN SCREEN Why I Stay Married (Continued from page 27) hands. When I come home at night and am too tired to talk about the studio or what I’ve been doing I don’t have to. Ria doesn’t care. There are dozens of other things, vitally important, to talk about. On the other hand, if I do feel like talk- ing about what has been going on, she is as keen about it as I am, and knows as much. If I want advice, I get it. “I could not, I would not, be married to an actress. In the first place, one pro- fessional ego is enough in any home. Two egos of the same stamp would blow the roof off Buckingham Palace. If I were married to an actress, and I never will be, here is what would happen: We would have had a bad day, each of us. We would come home with nerves frayed and teeth on edge and we would want to talk about it; we would want peace and com- fort and sympathy. We wouldn’t get it, either one of us. And all hell would break loose. In the course of many times like this one or both of us would look for comfort and sympathy elsewhere. Or we would have had a good day in the studio and would be full of it, wanting an admiring and appreciative audience, eager to do a little strutting, a bit of boasting. We would both want the floor, in other words. “T don’t have to combat that situation. If [I’m tired and fed up, Ria has other things to talk about; other things to do. And because she is a mature woman and knows men and how to handle them, she does just that. If I’m keen about some- thing, want to blow off steam over some scene I think I’ve done especially well, I can do it without having the nervous fear that she will want to break in with some similar bragging of her own. ND just as I wouldn't be married to an actress neither would I be mar- ried to some sweet young thing, many years my junior, even though she were a non-professional and stayed at home. A younger girl could not know what it is all about. She would not be able to cope with the difficult and trying life of an actor’s wife in Hollywood. Because wives in Hollywood are on a spot and don't you forget it. A young girl would be jealous. She would be suspicious. She would be resentful. Resentful of all the limelight flattery shown me. She would, at least subconsciously, crave the same flattery, the same attention for herself. She would be an easy victim of all the well-meaning ‘friends’ who would come to her and say, ‘My dear, I think you ought to know, Clark and that So-and- So, etc, etc. “Things like that do happen. Ria had a lot of it to put up with during our first year in Hollywood. Any number of people came to her with little tales calculated to prove that I was stepping high, wide and handsome with this one or that. I was going here, I was going there, I was having an affair with a certain star... did she know what did she intend to do? It was rather hard for her, just at first. It takes a good deal of adjusting. And only because my wife is a balanced, sane and wise woman did she survive. “And also because she believes me. No actor should marry a woman to whom he cannot tell the truth and be believed. Ria knows that I always have and always shall tell her the truth. And so, when people came to her with trouble-making Una Merkel, Madge Evans and boy friend, Tom Gallery—a few more of the celebrities who turned out for the Mary Blackford Benefit at the Cocoanut Grove.

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tales they got no reaction. Which is one reason, no doubt, why they have about given it up of late. It’s no fun to try to stir up trouble where it can’t be stirred. Ria always came to me and said, ‘I’ve heard this or that about you and so-and- so, Clark, is it so?’ And I would say, ‘It is not so. And that would be the end of it. I would never hear about it again. No nagging. No subterfuges in an effort to find out. I’d told her the simple truth and she knew it. “Because Ria is a woman who _ has been about, who knows the world and life, she is intelligent. She knows how to handle life and how to handle men. I have none of the uneasy fears and com- pulsions under which many actors have to labor. If I forget to phone her during lunch hour, I do not have to spend the rest. of the day with the uneasy knowledge that when I get home that night I shall be greeted with tears and _ reproaches, martyred looks or suspicious sniffs. I do not have to work on half a cylinder be- cause I fear I’ll get the devil all eve- ning. If I do not call at noon, that’s that. Ria doesn’t even expect me to. She'd probably be out somewhere if I did. “My wife has never been on the set with me since we’ve been in Hollywood. Not once. Once or twice, when I’ve had to work late, she has come to the studio to have dinner with me and has left im- mediately after dinner. ARRIAGE is a see-saw. If the bal- ance iS an uneven one, one or the other crashes down. Our marriage bal- ances evenly and one side is equally as important as the other. “Ria enters into every one of my in- terests. She makes them hers—or she makes me believe that they are hers. Who has said that many a good actress is a good wife, but more good wives are good actresses? Whoever did, spoke the truth. Between you and me, I’ve a pretty good idea that Ria does a lot of things with me she wouldn’t do if it were not for me. Hunting, for instance. I don’t hon- estly believe she gets a big kick out of that. But she plays the part with such realism you'd never suspect. “For my part, I share her interest in the children, in their plans and interests, in what they like to do. For a time the girl thought she would like to be in pic- tures. Louis B. Mayer saw a picture of her and offered to have a test made. I said that I’d make it with her and I[ did. Clarence Brown directed us. It wasn’t so good and she gave the idea up, then and there. Now she is interested in one particular boy and I imagine she’ll marry before long and settle down. Personally, I’m rather relieved. I think it is a better life for her, better chances for happiness, and so does Ria. “Allen is absolutely anti-movies, or rather, he’s simply not interested at all. He never asks to come to the studio. He takes no interest whatever in me as a movie star. I think he forgets most of the time that I am one. I take him on hunting trips with me. We play ball to- gether and swim and ride. Their friends are in and out of the house so much, both girls and boys, that they accept me, too, not as a man in pictures but just as a man. Allen is really funny. The other night he and Ria and I went to a movie together. As we came out Scotty, Moprern ScREEN’S photographer, was there and wanted to take some snaps of Ria and Allen and me. The boy wouldn’t do it. He edged away. He said, ‘Aw, I can’t be bothered. You and Mother do it, We did.” MODERN SCREEN Amazing New Way to beautify yourself almost instantly Heap too Orgs tor-small? Fico tor narhou, too sound 7 Chin Loo prominer, boo weak 7 Which face is yours? | dons TRIANGULAR Mold a lighter shade on the lower side of the jaws, blending into neck. ROUND Mold a darker shade on the lower side of the jaws, blending into neck. NORMAL Use only the one shade of Soft-tone that matches your skin coloring. SQUARE Darker shading should be done on the lower jaws and on sides of forehead. Nour to bring out your but feats OW comes a scientific discovery of vast importance to women, the greatest step in modern make-up. . A way so simple, so practical that you'll be amazed .. . A way that costs so little that youll be delighted. No plastic surgery. No long, costly treatments. This wonderful discovery is called Mello- glo Modeling, a new and ex- jm clusive way to apply face pow- ders . . . now instead of using only one shade of powder, you get an utterly changed, allur- ing effect by using two differ- ent, related shades. Authentic charts and dia- grams, based on practices of artists and sculptors, show you exactly what to do, how to do it. Now you can model your face as you wish, highlighting your best features, subduing your handicaps. The results are truly satisfying. This revolutionary contribu- tion—worked out after years of research and experiment—is offered by the staff of Mello-glo experts, and approved by all leading beauty specialists and consultants. It is today’s sensation in beauty circles. Once you try Mello-glo Modeling, you'll is stratified, EXCLUSIVE Mello-glo Modeling is made possible by the creation of a completely new face pow- der called Soft-tone Mello- glo, a super-powder that permits two-shade modeling never before possible. Now the shades blend together perfectly because Mello-glo that is, rolled into tiny, clinging wafers. Hence Mello-glo Modeling can be achieved only with Soft-tone Mello-glo — not with ordinary powders. how to prove it. Buy one box of the shade that matches your complexion in general. Then buy another box—lighter if you wish to ac- cent certain features, darker, if you want to shadow them. For instance, if your nose is too small, and therefore needs accent, use a lighter Mello-glo powder than on the rest of your face—if your nose is too prominent and needs to be subdued, use a darker shade. Then stand off 5 feet from your mirror and note the ar- tistic effect — how the shades blend unnoticeably yet give that artistic oval effect. Try the various Mello-glo Modelings — how to widen or narrow your face, how to bring out or shadow features, how to normalize your contour, how to create new interest. The whole fascinating, easy method of Mello-glo Modeling is told in our free booklet, “The New Vogue in Powdering.” Don’t wait, send for a copy NOW Then try Mello-glo Modeling—introductory packages of the new Soft-tone Mello-glo Pow- der may be had at all 10c counters. Buy your two needed shades. For only 20c you can glo- agree that it creates wonderful effects. Here’s | rify your face, your features, as never before. ne” SOFT-TONE M E EE@- GLO 1 The Mello. glo Co., Roavon Wino Weer the close-up powder that gives an UN-powdered look AT ALL |O# COUNTERS © 1935— The Mello-glo Co. 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Bid That COLD Be Gone! Oust It Promptly with this 4-Way Remedy! COLD is no joke and Grove’s Laxa- tive Bromo Quinine treats it as none! It goes right to the seat of the trouble, an infection within the system. Surface remedies are largely makeshift. Grove’s Laxative Bromo Quinine is speedy and effective because it is expressly a cold remedy and because it is direct and internal—and COMPLETE! Four Things in One! Grove’s Laxative Bromo Quinine and only Grove’s Laxative Bromo Quinine does the four things necessary. It opens the bowels. It combats the cold germs in the system and reduces the fever. It relieves the headache and grippy feeling. It tones and fortifies the entire system. That’s the treatment a cold requires and anything less is taking chances. When you feel a cold coming on, get busy at once with Grove’s Laxative Bromo Quinine. For sale by all druggists, 35c and 50c. The 50c size is the more economical “buy”. Ask for it by the full name—Grove’s Laxa- tive Bromo Quinine—and resent a substitute. World’s Standard GROVES LAXATIVE BROMO QUININE Listen to Pat Kennedy, the Unmasked Tenor and Art Kassel and his Kassels-in-the-Air Orchestra every Sunday, Monday, Tuesday, Thursday and Friday, 1:45 p. m., Eastern Standard Time, Columbia Coast-to-Coast Network. 78 MODERN SCREEN How the Stars Keep Youth and Beauty (Continued from page 31) cannot do its best work. She believes that the reason women age is because they do not get enough sleep and rest. But how, you ask, can a busy girl who works for her living and also wants to have some pleasure do a great amount of resting? Claudette has the solution, for she—like you and me—is a working girl. This is her iron-bound rule. If she goes to a party, a theatre opening or some entertainment which keeps her up late, she always goes to bed the next night imme- diately after dinner. She believes that her body should rest. She also believes that her skin should rest, too. Naturally, at night her skin is free of all make-up. It gets a chance to breathe. So, I hope, does yours. But Claudette does more than that. Some time during every day, she takes off her make-up—the heavy grease paint, if she is at the studio, or her regular street make-up, if she isn’t—and lets her skin rest for half an hour. Then she makes up her nice, clean face all over again. You girls who work in offices all day say you can’t do that. Well, perhaps you can’t. But you can take time to do it every evening when you get home from work. You can even steal a short while to do this if you have a date right after office hours. (Steal the time from the date, not from the office hours, I mean.) HOSE of you who aren’t slaves to a regular job have a better opportunity to keep your youth and beauty with you as the years advance. Oh, yes, you have. I don’t care how pressing the housework is or how numerous the social engagements. Make a promise to yourself, as Claudette does, to go to bed early on certain nights. Remember the trite wisecracks, “Sit down and rest your hands and face?” Well, take it literally. Lie down and rest your hands and face. The face should be free from make-up and the hands should flop limply at your sides and your eyes should close. Joan Bennett managed to look like a child of twelve in “Little Women” and will keep that child-like look for many years to come. (It’s so alluring, in a petite per- son!) Joan really lives, as much as possi- ble, like a child of twelve. She can give herself a child’s mental outlook. For ex- ample: instead of bringing up her children to think of her as an adult, she puts her- self on the children’s level and is growing up with them all over again. It’s a bit diffi- cult to explain, but you who have children will understand. When Joan isn’t working, she spends almost all her time with the children. Not as their mother, but as their playmate. Young mothers, try that. You'll profit by it and your youngsters will think of you as real pals. Joan has another recipe for youth. She never worries. She is a fatalist and be- lieves that good things and bad things come in life without your doing anything about them. I realize that you can’t be- come a fatalist to order, but you could worry less. Joan accepts things as they After all, why not—one can’t alter ales them? She isn’t apathetic—I don’t mean that. The smaller things of life win her unbounded enthusiasm. And small joys are wonderful youth preservers. You can’t be an old worry when the simple pleasures of life still give you a kick. Worry de- stroys the contours of the face. Keep as free from it as possible and your face will keep the illusion of youth. Loretta Young claims that a little play- acting is a wonderful thing. She has kept, to this day, a talent which all children have —the talent for make-believe. Fifteen years ago, she loved to play “lady,” dressed up in her mother’s clothes. Now, when she puts on an evening dress, she has the same feeling. She is playing “lady.” That sense of make-believe keeps reality from becoming too important. How can you reap any benefit from Loretta’s aid to beauty? Well, let us sup- pose that you have invited a number of people for dinner and that it is extremely important that everything goes properly. If you will play-act a little bit—make be- lieve that you are a hostess in a story and try to be that hostess—you’ll have a lot better time and the party will be much more successful than if you are constantly fretting about the roast burning and the dessert spoiling. Furthermore, you won't be tired and hot and cross before your guests arrive and a nervous wreck after they leave. VELYN VENABLE looks like an art- ist’s dream of youth. Beautiful skin. Soft, rounded face, completely lineless. She has recipes for beauty which she follows religiously. These are the things she does: She was brought up to love animals and she thinks it a sin to eat meat of any kind. That is the ascetic’s point of view. It is also her greatest beauty secret. Evelyn lives on fruits and vegetables. She eats no meat at all—not even soup cooked with meat stock or gravies. She thinks it unnatural to eat meat and naturalness in all things is the key to her beauty. “My advice to women who want to stay young is this: stay away from people as much as possible. I cannot stress this point too much. People sap your vitality need- lessly. They take your strength and cause you every sort of worry. I have a few friends, but they are all quiet and soothing. The amount of effort it takes to be true to one’s self in a crowd shows on your face. I see so many people during the day at the studio that I must revivify myself by being alone when the day’s work is done. That, I firmly believe, is the best way to keep young. “T have trained myself not to worry over the fact that I cannot act or look like someone else. I try to make the best of my own advantages, be they ever so small. I have gotten to the point where life holds no problems for me. I have troubles, of course, but I accept them instead of fight- ing against them!” And that will surely tell you why her face betrays no inner unrest. She accepts her troubles instead of fighting against them. “T believe in utter relaxation,’ she told me. “I find that relaxation on the bridle path. I ride hours daily—but always alone. In this way I am saved from arguments, petty gossip and mental strain. Yes, in- deed! Staying away from people is the best of all youth preservers.” And now—Joan Crawford. “T’ve got to have perfect freedom,” Joan told me. “I believe that to keep young, one must have freedom of mind as well as freedom of movement. Look!” She made a long, sweeping gesture with her arm. It was such a vigorous gesture that I expected to see the sleeve of her gown rip from the armhole. But it didu’t.

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MODERN SCREEN “T can’t stand to wear any dress that is tight around my shoulders and arms,” @ e she said. “If you are bound in, physically, you're the same way mentally. If I have to wear a dress with tight sleeves in a pic- ture I have the sleeves detachable so that I can rip them off the minute I’m through with a scene. To stay young, you should e stay alive. And how can you stay alive h h if you’re bound up like a mummy? I won't Ce LN ED QC. és have either my body or my mind bound.” Physical and mental freedom, then, is Joan’s biggest youth secret. Naturally, she goes farther than this by taking excellent care of herself. Except for a glass of wine on rare occasions, she never touches liquor. She eats the most strengthening and non- fattening foods and she believes in eating between meals if one is hungry. She gets her exercise by swimming and on days when she has no time to swim she’ll have a body massage. She washes her face three or four times a day, after which she polishes her skin with a rough towel. So there you are. These five stars be- lieve that there is no sense in getting old. They have given you their simple recipes for youth. I hope you find them as in- spirational as I have. I Hate (Continued from page 36) like. Joan Crawford might make friends with a cockroach, but a fly . . . Lordy, Lordy, how she hates ’em. Every window in her house is covered with screens and even the locks in the doors are inspected regularly. Once she heard that castor-oil plants keep flies out of the house by at- tracting them to the leaves. Outside of Mr. and Mrs. N. went to a party When Mr. R. awoke this morning every entrance in Joan’s house is a castor- ? ; MS iataShieieweirerthisidevice works. ... at the Browns’ last night, and ...he had a dull headache and the Joan has many more hates. She loathes the next morning woke with a bit symptoms of a nasty cold. He took people who write anonymous letters and a3 ; hagin a dahore comeneifon TA of a head. a Bromo-Seltzer the first thing. a “Guess who this is!” But her greatest But Bromo-Seltzer soon fixed all another at noon. Now here he is ea Peaee Ss ane he ae Rae ae ae that. Those citric salts in Bromo- back home and feeling fine, thanks meet her. It irritates her because she never Seltzer are fine for build- becomes over friendly until she has known : a person for quite a long time. But when ing up a depleted she makes a real friend the friendship lasts alkaline reserve! forever. ; Kent Taylor can’t tolerate a person who won't look him straight in the eye. Ever since he was in the window-decorating business with a supposed friend who helped himself to the contents of the cash regis- ter drawer, Kent has hated people who can’t meet his gaze directly. His partner’s eyes were shifty. You can tell him all you please that some of the greatest crooks in the world have cultivated a firm, direct gaze. It won’t make any diflerence to Kent. Not so long ago a Hollywood agent offered him a wonderful business proposi- tothe citric saltsin Bromo- Seltzer with their help- ful alkalizing effect. Effective after the EMERSON 'S : ——= \BROMO-| as well as while it’s tion—by letter. The day Kent went to the THE BALANCED RELIEF man’s office to sign the contract, he dis- covered that the agent couldn’t look him Bromo-Seltzer is a balanced compound of five medicinal ingredients, each having a straight in the face. Kent didn’t sign the o ary : : eonttnee special purpose. It does so much more than products containing fewer ingredients. Know what gets Glenda Farrell’s dander Relieves headache and its after-effects. Calms you. And builds up depleted alkalinity. up? Well, it’s the over-zealous dress shop A stand-by for over 4o years, Bromo-Seltxer contains no narcotics, never upsets the salesgirl who honeys, dears, and darlings stomach. Emerson Drug Co., Baltimore, Md. you from the moment you enter a shop i : until the time you leave it. You know In cases of persistent headaches, where the cause is unknown to you, of course, consult your physician. the type—the salesperson who has never seen you before, and who, by the affection which she lavishes upon you, would seem to be a lifelong friend, at least. And, of R O M O E [ i / E R course, every dress you try on looks ‘“mar- ; - velous,” “wonderful,” and “divine.” But she doesn’t sell Glenda any dresses, for she’s Listen to**THE INTIMATE REVUE’? every Friday, 8:30 E. 8. T. 79

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CaN EVERY MAN you know name the color of your eyes, this minute? If not, you are not making good in the beauty game and it’s time to take steps. You might take to Kurlash too. Slip your lashes into this fas- cinating little implement—press for an in- stant—and presto! They’re curled back like a movie star’s, looking ¢wice as long, dark and glamorous. Notice how they frame your eyes, deepening and accentuating the color! No heat—no practice—no cosmetics --. and Kurlash costs just $1 too! in Unchey JANE L. is right when she writes that it’s worth the trouble to pluck her brows slightly along the upper line because it makes her eyes seem larger. But the reddened skin and discomfort she complains about are caused by using an old-fashioned tweezer. Do you know Tweezette? It works automat- ically, plucking out the stragegly offending hair, accurately and instantly, without even a twinge. It costs $1 in any good store. as 3 , «\ Moher in a far i Ruru W. brushes her eyelashes when she does her hair. Not 100 strokes a day—simply an instant’s brushing with a compound of beneficial oils called Kurlene ($1). You'll be surprised how much silkier, softer and darker looking it will make yours too! Kulashe Jane Heath will gladly give you personal advice on eye beauty tf you write her a note care of Department G-2, The Kurlash Company, Rochester, N. ¥. The iKriaeh Company of Canada, at Toronto, 3. Copyright 1934 T. K. Co. 80 MODERN SCREEN so fed up after the first ten minutes that she gathers ‘her belongings and walks right out. And the saleslady’s parting words usually are, ‘““Come in again, darling, when you have more time.’ To which Glenda says a mental “Gr-r-r-r.” It’s a little thing that worries Ralph Bellamy but it can—and has—stopped a romance. In his trooping days he had what he thought was a really serious crush on a girl. It was love at first sight. But when he saw her biting her finger nails, it was all off. Chewing nails is something that Ralph just can’t take. Call Paul Muni temperamental if you like, but his pet hate is meeting strangers or, at times, even his wife’s women ac- quaintances who drop in for a_ casual chat. But he’s lucky. He can escape from his pet hate, for a hundred yards or so from his house there is a tiny cabin which is all Paul's. He goes there when he doesn’t want the company of others. Louise Fazenda gets simply furious when people “drop in” to see her without letting her know in advance. And if anyone enters her room without knocking—well, watch out for the Fazenda temper. Some other hates? Well, listen to these. Put Clark Gable down as hating stupidity in all forms. Constance Bennett, a gal who always speaks her own mind, loathes hy- pocrisy. And don’t ask Bob Montgomery silly questions. He can’t stand it. Madge Evans’ Public Enemy No. 1 is the prac- tical joker. She could cheerfully murder about half a dozen of them. Mary Brian, whose telephone rings oftener than any girl’s in Hollywood (all those beaux trying to make dates with her), despises the telephone. Every time she has ever received any bad news it has come via telephone. Don’t gossip in front of Loretta Young. People who do are her pet hates. The color old rose will send Miriam Hopkins into a tantrum. A woman whom she disliked intensely wore old rose all the time. And Bruce Cabot thinks the world would be a better place to live in if he never had to wear dress clothes. Jack Oakie shares Cabot’s hatred of dress clothes. He loathes stiff shirts more than anything else in the world. Why? Well, hear Jack Oakie tell you himself. “IT bruise easy. The starched tops and col- lars cut into my dainty neck and ruin my manly beauty. The first time I ever met a stiff shirt was in a Little Lord Fauntle- roy suit. I borrowed a jack-knife from a pal and cut my way out. Since then I’ve had nightmares of being strangled to death or bled to death from neck-cuts.” Okay, there you are. And how are your pet hates today? Dresses You Could Really Wear (Continued from page 58) A jewel-studded buckle, a cowboy ’ker- chief on a dinner gown, a jeweled pendant dangling from a cord and cording on taffeta—just to enumerate a few of the most individual details. I think one of the worst mistakes we make in trying to copy screen clothes, is to think that because a certain tricky idea looks well on a star, it will look well on us. An idea is only as good as it looks on you. Spotting smart fashions in a picture or seeing them pictured here is really a glorified form of window shop- ping. You mentally have to try the clothes on, then decide which is for you and which should be left for someone else. That is why I picked these particular dresses—each one is suitable and easy to adapt to individuals. Now and then, you will find, screen costumes are of the ex- citing type that start a trend for Russian styles, pericd dresses, a new style in hats or such, but in themselves, they are not suitable for practical wear. Lovely to look at, grand to admire, but better in a modified version for you and me. If you want assistance in your fashion problems, Miss Adelia Bird will be glad to help you. Just write to her at MODERN SCREEN, 149 Madison Avenue, New York, N. Y., and enclose a stamped, self-addressed envelope. A gay little group at the Cocoanut Grove—the inseparable Isabel Jewell and Lee Tracy and the happily married Cy Bartlett and Alice White.

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None of This Is Real (Continued from page 47) realism on the screen, the modern studio technician tries to give us the real thing in the reels. The mechanical devices for imitating the noises made by nature, man and beast, have been tossed into the ash can. “Nowadays we actually go out and re- cord sounds at their sources,” said Mr. Livadari. “In ‘It Happened One Night’ we had $30,000 worth of equipment taken out to the fields in San Fernando Valley to record the creaking of crickets. We chased a meadow lark all over the Valley and had the darndest time in getting two satisfactory calls. In ‘No Greater Glory’ we spent four hours to record the croaking of a frog. “We have stored away millions of feet of genuine sound effects, and the footage increases with every new production.” In the sound library, cans of sound effects of every conceivable variety are neatly shelved in alphabetical order. Here are a few of the labels I jotted down on my pad: bed squeaks; mosquito buzz; shell whines; cattle stampede; chewing celery; Tarzan yell; Arab commands; man selling peanuts ; pop-corn and chewing gum; cock- tail shaker; laughing hyena, and so on. HERE are inumerable variations of ap- plause, footsteps and cars of every make stopping and starting. The sound effects of the Cadillac are entirely different from those of the Packard, according to Mr. Livadari, who must have absolutely the genuine sound in each case. “Such background noises as a door being shut, footsteps across the room, turning on the radio, the music in ballroom scenes, etc, are dubbed in weeks later, if nec- essary,” explained Mr. Livadari. “They might have been recorded two or three years before. The main job of the micro- phone during the.actual process of filming a scene is to pick up the dialogue of the players. We take care of the rest.” Employees of the department are called upon to furnish some of these sound effects. “They stuffed black pepper in my nose to make me sneeze,” complained Miss Mary Bachtel, secretary in the department. “The heroine playing opposite Leslie Howard in ‘The Lady Is Willing,’ was suffering from hay fever and had to sneeze. They took me before the microphone with all that pepper in my nose, but no matter how hard I sniffed it in, I couldn’t sneeze to save my soul. But soap suds did the trick.” The prop department is called upon to furnish anything required in the shooting of a picture. And when I say anything, I mean anything. It may be a request for a South American fish, an Egyptian mum-- my, or the hotel menus of the Pera Palace in Istanbul. As for producing such natural phenomena under studio lights as storms at sea, fog, rain, snow, and the like, it’s mere- ly routine work for the lowly prop man. The prop department, for instance, can bury a New England village under snow faster than Nature can. You think of cornflakes as a breakfast food. But to the prop department corn- flakes is snow falling from dark, leaden skies “back East.” Here, in our land of perpetual sunshine, the soft, clinging snow you see blown about in pictures by the icy blasts of winter is made of shredded as- bestos. Where the withering incandescent lights glare, drifts and hard ground snow MODERN SCREEN As ee, MRS. JOHN HELD, JR. Wife of the famous artist, who created ““Margie”’ and other flappers, keeps her hands lovely this way “\TATURALLY, I want to keep my hands N attractive—a husband who is an artist notices every detail. But I certainly haven’t any time to spare waiting for sticky hand lotions to dry—not with a house to run and a lively two-year-old daughter to look after, and a pair of dachshunds to keep track of. That’s why I’m so delighted with Pacquin’s —it doesn’t leave any sticky film at all, just seems to disappear into the skin and make a) Do my Own Work and Still Am Proud of my Hands’’—Mrs. S. C. Hahner “There’s no excuse for even the busiest woman not hav- ing pretty hands when Pacquin’s is so quick and easy to use. It seems to feed back into the skin all the softness that house-work takes out. And no waiting for a sticky hand lotion to dry, as I used to. And Pacquin’s keeps my hands whiter and smoother than they ever were.”” Pacquin’s ...’ it soft and smooth and beautifully white.” There’s an excellent reason why Pacquin’s leaves no sticky film on your skin—because this cream actually sinks right into the inner layers of the skin where it is needed. Your skin absorbs it—very different from the old-fashioned lotions that remain on the outer skin until evaporation dries them. Make your hands lovelier this convenient, modern way. Send for the lovely introduc- tory jar today. ; THE QUICK, MODERN WAY TO LOVELY HANDS PACQUIN LABORATORIES CORPORATION, DEPT.4-C, 101 WEST 31ST STREET, NEW YORK, N. Y. Please send me your generous trial jar of Pacquin’s Hand Cream, for which I enclose 10¢. IN GAIIL G sectatert tents eeatte er cnarnnsseecrtercsnsntceretecopranceeseavteseressertnsetetasenereastadense ZNGE OSG ceccconscocanconsactcact come no cee AoC ee CCEOEUCCOD J CECERORO RONRKcEE oe onan occ City.

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“Through every dance --- HOLD-BOBS hold’ -—says Ruth Harrisor ... of Harrison & Fisher featured dancers of Ziegfeld Follies, Strike Me Pink and other Stage and Screen Successes **,.. that’s why I stand by HOLD-BoBs. Then, too, they match my blonde hair exactly ... 1 like the way HOLD-BOBsS slide in the hair . . . not the slightest scratching, and their small, round heads are absolutely invisible... Yes, HOLD-BOBS play an important part in all our performances”. What more could any woman ask? But remember, only HOLD-BoBsS have small, round, invisible heads; smooth, round points and flexible, tapered legs, one side crimped, to hold hair securely. And HOLD-BOBS come in harmonizing colors to match all shades of hair. Try a card free! THE HUMP HAIRPIN MFG. COMPANY 1918-36 Prairie Avenue, Dept. E-25, Chicago, Ill. Hump Hairpin Mig. Co. of Canada, Ltd. St. Hyacinthe, P. Q., Canada Gold and Sil- ver Metal Foil cards identify HOLD-BOBS. @ All sizes and colors to meet every re- quirement. Al- so sold under brand name The Hump Hairpin Mig. Co. Dept. E-25. Chicago, Ill. I want to know more about these new HOLD-BOBS that match my hair. Please send me a free sample card and new hair culture booklet. Name 22)! 28). We See ee ee eee City seis oe RStates: see ena enee eee 0 Gray and Plaunum (0 Blonde O Brown 0 Auburn 0 Brunette Copyright 1925 by The Hump Hairpin Mfg. Co. 82 MODERN SCREEN are excellently imitated by a mixture of gypsum and salt. We make icicles by dipping cellophane in paraffin. They melt and drip under the lights. As for frost, we can produce it in- stantly by spraying crystal camphor on the window panes. If you were to rub noses against them, the frost would clear away in exactly the way real frost would when coming in contact with human breath. AKE the matter of fog. The studio can produce it at will, by spraying min- eral oil on the set. It remains suspended in the air for several hours at a stretch. During the three weeks of shooting the mystery picture, “Fog,” featuring Mary Brian, Donald Cook and Reginald Denny, only eight gallons of mineral oil were needed to fill the promenade deck of the huge Atlantic liner, the vast salon, the cor- ridors and the dining-rooms, with a sticky London fog. Directors have their favorite prop men. Lewis Milestone’s is John Orlando, who has been with him for ten years. “T read the story over twice and break it down into sections, according to the props required,” Orlando said. “We were on the set of ‘The Captain Hates the Sea,’ watching Victor McLaglen make love to Helen Vinson like a big, bashful boy. “The hardest part of the prop man’s job is what he doesn’t read between the lines,” continued Orlando. ‘Take this scene, for instance. Maybe the director wants the leading lady to smoke, or try to read a book. It isn’t in the script. But I must anticipate his needs and have cigarettes, matches, and a book or two ready at hand. “My troubles start when the company goes on location. If the director asked for a wrist watch right now, I could run to the prop department or to the nearest jewelry store and get one. But on location I would be stuck. A little item like that will hold up the whole set and cost the studio thou- sands of dollars. “When we went on location on the steam- er Ruth Alexander, to shoot the exterior scenes of this picture, I took along every- thing that might be needed not only in the picture but also for the comfort of the players. When an actress develops a bad case of headache, as so often happens, she asks me to give her an aspirin. The prop man is required to furnish everything from a toothpick to an aeroplane on five minutes notice. They call us the Minute Men. “When Mr. Milestone got ready to shoot the fire scene on the ship, the assistant di- rector called for a fire hose spool. “T felt as if somebody had hit me on the head and knocked me over. I had forgot- ten to take a fire hose spool along! “T ran all over the ship like a crazy man, trying to find one. It was important for the action of the scene that the fire hose be wound around a spool. Presently I dashed down to the engine room, and, lo and behold, there was a fire hose spool on the steel wall! “Tt belonged to the ship, but I had to have it to save my reputation and keep my job. So, when nobody was around to see me, I grabbed a piece of iron. I think it was a big monkey wrench. I was so ex- cited that I really didn’t know what I was holding. With the wrench I tried to tear the spool off the steel wall. My hands were all black and blue by the time I gave it one final jerk and snatched it off. I ran up to the deck with it, yelling, ‘I’ve got it! I’ve got it!’ Was I happy the rest of the day !” HE greatest jugglers of movie magic are the art directors. They take the drab sound stage and dress it up in a jiffy to look like a DeMille edition of Cleopatra’s barge, a Moscow cathedral of barbaric splendor, or a toney niterie on the gay White Way of New York. Art Director Lionel Banks, who began life as an honest architect, took me behind the scenes of make-believe he had set up for “Lady by Choice.” The Cafe Mont- martre, where a blonde bundle of hot-cha stuff, impersonated by Carole Lombard, fan dances her way into the heart of a gentle- man engaged in battering down the courts of Gotham with volleys of rhetoric (Roger Pryor turned lawyer), had all the swank and éclat of a real night club. The lady’s apartment, dressing-room, shower bath, etc., were all exact reproductions of their real counterparts down to the minutest details. But sad, sad it was when I touched a bunch of orchids an admirer had given her, only to discover that it was artificial. The Madison Square Garden at which Miss Lombard looks so wistfully through the windows of her apartment, and the whole background of far-off New York were faked through “process” shots. It’s a case of the mountain coming to Mahomet. Any background in the world can be projected on the stage, where the actors are performing, through a process invented by an eighteen-year-old kid, Dodge Dunning. The illusion is perfect. The use of this innovation, however, is limited. Costly location trips have still to be made and outdoor sets still constructed. The world’s queerest jobs are to be found in Fox Movietone City, where on a space of 110 acres there are characteristic sec- tions of New York, London, Paris, Shang- hai, or any other city on the globe you care to name, in permanent outdoor sets. Touring through Movietone City is like taking a trip around the world. It is the newest, largest plant for the manufacture of film romance, and the only one that is not devoid of scenic and architectural beauty. Winfield Sheehan may well be proud of this place. It’s a whopper. To those who have never been inside the portals of a studio, it’s a place of strange fascination and mystery, indeed. There, behind those grilled gates guarded by uni- formed police, behind those forbidding high walls, live persons of great fame and allure, the Garbos, Dietrichs, Bennetts and Hep- burns, mortals that commoner clay wor- ships. As we walked along Tennessee Avenue, we passed by the bungalow of George es he of the pulchritudinous ‘“Scan- als.” Across the street called Avenue A, my guide pointed out to me the dressing-room bungalow of Will Rogers. It is built in desert style, surrounded by cacti, century plants, mesquite and greasewood. Here the sage of Claremore keeps his portable typewriter and pounds out his daily letters to newspaper editors. E turned right and went on to Berke- ley Square. A small army of expert gardeners is needed to keep this exact dup- licate of the great historic London park in good condition. The three cat-faced lions that lay at the base of the Nelson Monu- ment in the Trafalgar Square scene in “Cavalcade,” now gaze stonily into a high, stucco wall. The distinctive lamp posts of London, with their wide yard-arms, elec- troliers, red mail boxes, traffic islands and wooden buffers, are all faithfully repro- duced. Around the corners of this arterial cen- ter of London lies a Mexican hacienda, a replica of a typical ranch beyond the Rio Grande. Turning left into Avenue D, we faced a huge transatlantic liner that has never been in water, a scale model of the “Rex,” queen of the Italian fleet. The superstruc-

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ture towers high in the air. It carries the regulation life boats mounted on the new- type davits in use on Italian ships. There are portholes in the lower decks, ventila- tors on the forward deck, booms, derricks, and hatches, promenade decks protected by plate glass and de luxe cabin suites. We swung around into Avenue B and passed the cottage of Janet Gaynor, an Irish hut with a rustic, thatched roof. Passing the Norman chateau that houses the writing staff, we turned down to Fifth Street, and inspected the dressing-room bungalow of Claire Trevor. It is a charm- ing building, sky blue and white, with an arched entrance and white picket fence. Strolling along batteries of gigantic sound stages we took a look at the “Garden of All Nations,’ where trees, shrubs, vines, flowers and other plants from the four corners of the globe are grown, under mercury vapor lamps, if need be, in order to have a Spring scene shot in December. Continuing on our way to the right, we reached the wild West sets of “In Old Arizona,” the first outdoor talkie ever made. Here are typical scenes of old fron- tier towns, jails and saloons, hitching posts and “The Paris Store,” the Chinese laun- dry, and Wells Fargo Express office. E visited, in turn, the Grand Canyon and the Boulder Dam; the harem of the Sultan of Morocco at Fez; a Missis- sippi River steamboat; the murky harbor of Singapore jammed with sampans and native craft; the hot jungles of Africa; the secretariat of the League of Nations at Geneva; the harbor of Stockholm bris- tling with Swedish ships; Park Avenue, Manhattan; a typical New England vil- lage, where “Dr. Bull” was filmed; the Epsom Downs; the shell-shattered devas- tated war zone of Belgium; Engine Com- pany 54 of the New York Fire Depart- ment; a Russian railway station, etc., etc. My guide finally took me to a Bavarian village, where “Music in the Air” was be- ing filmed. Designed by- the ace art direc- tor of the studio, William Darling, it cov- ers some three city blocks. Climbing to one of the picturesque bal- conies we watched the rehearsal of a Ba- varian folk dance. It was market day for the good peasants and a gay carnival air prevailed in the village. Cows lay content- edly in the shade, their horns decorated with flowers. The booths and beer stands were all set for a busy day. A throng of Bavarian Schuhplattler dancers, thirty of them, especially imported for this picture, in which Gloria Swanson, as you know, makes her screen come-back, were jigging around to the loud and merry music of a native orchestra. Douglass Montgomery and that charming Minneapolis girl, June Lang, were footing it together. Montgom- ery, deeply bronzed, wore nothing but a pair of trunks and a handkerchief twisted around his perspiring neck. June Lang was rigged out like the other hippy frau- leins, sporting a green hat with a white pompon and a skirt of flowered silk. Many amazing things had these husky Bavarians seen on their six-thousand-mile journey to Movietone City. Yet as I gath- ered from my conversation with them, car- ried on through an interpreter, the thing that surprised them most of all was this realistic reproduction of a hamlet in their beloved native mountains. They could not believe their eyes when they first saw it. They thought the studio had purchased an entire village and had it transported bodily to Hollywood. They still seemed to be wondering, after two weeks of familiarilty with the set, if they weren’t really dancing in Bavaria. This bit of Hollywood magic was too much for those simple villagers from the old world. MODERN SCREEN DO BRUNETTES LOOK OLDER THAN BLONDES THE ANSWER IS THAT 7 @ BY Lady Eiion If there’s one thing women fool themselves about, it’s face powder shades. Many women select face powder tints on the wrong basis altogether. They try to get a face powder that simply matches their type instead of one that enhances or flatters it. Any actress will tell you that certain stage lights can make you look older or younger. The same holds true for face powder shades. One shade can make you look ten to twenty years older while another can make you look years younger. It’s a2 common saying that brunettes look older than blondes. There is no truth in it. The reason for the statement is that many brunettes make a mistake in the shade of the face powder they use. They simply choose a brunette face powder shade or one that merely matches their type instead of one that goes with the tone of their skin. A girl may be a brunette and still have an olive or white skin. One of Five Shades is the Right Shade! Colorists will tell you that the idea of numberless shades of face powder is all wrong. They will tell you that one of five shades will answer every tone of skin. I make Lady Esther Face Powder in five shades only, when I could just as well make ten or twenty-five shades. But I know that five are all that are TING 171 Geer a an a Wee a BR se necessary and I know that one of these five will prove just the right VATE 16'S see at Nes Oe 2! dare betel a shade of face powder for your skin. Gily iiss ee ME oo late ot eeccecessscessseesssesassssy erry SWbceccasecessesbossecesseassssssessesassssse”d OUT OF 10 BRUNETTES USE THE WRONG SHADE OF FACE POWDER! I want you to find out if you are using the right shade of face powder for your skin. I want you to find out if the shade you are using is making you look older or younger. One Way to Tell! There is only one way to find out and this is to try all five shades of Lady Esther Face Powder—and that is what I want you to do at my expense. One of these shades, you will find, will in- stantly prove the right shade for you. One will immediately make you look years younger. You won’t have,to be told that. Your mirror will cry it aloud to you. Write today for all the five shades of Lady Esther Face Powder that I offer tree of charge and obligation. Make theshade test before your mirror. Notice how instantly the right shade tells itself. Mark, too, how soft and smooth my face powder; also, how long it clings. Mail Coupon One test will reveal that Lady Esther Face Powderisa unique face powder, unparalleled by anything in face powders you have ever known. Mail the coupon or a letter today for the free supply of all five shades that I offer. (You can paste this on a penny postcard) LADY ESTHER 2010 Ridge Avenue, Evanston, IIl. Please send me by return mail a trial supply of all five shades of Lady Esther Face Powder. S write Lady Esther, Toronto, Ont.) (9) 83

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POWDERING AGAIN- IF SHE ONLY KNEW HOW CHEAP IT LOOKS ! SHE NEEDS THIS NEWaxd DIFFERENT Face Mewder Wow can’t blame a man for misjudging! That constant powdering does look shallow, frivolous and a trifle common! Of course it’s usually the result of nervousness— fear of an ordinary powder that won’t stick. But how is a man to know that? It’s so needless to run the risk of being misjudged! Thousands of women have said good-bye to ‘‘nervous powdering”’ since they discovered the amazing new Golden Pea- cock Face Powder! It has two vital new features. In the first place it is really mois- ture-proof—made with finest French ingredi- ents. Skin moisture cannot take the powder off; and it cannot ‘“‘cake’’ it into pore- clogging, coarsening blackheads. Four Times Finer! But more than that, Golden Peacock powder is four times finer than any other powder we know about! This super-fineness makes it blend with your skin perfectly. No more artificial ‘‘powdered-up”’ look; instead, your skin presents that flawless, natural peach- bloom look that is the sign of dewy youth. Entrancing! Just try Golden Peacock Face Powder and see. You may get the 50-cent size at any drug or department store; and the generous purse size is only 10 cents at all 5-and-10c stores. Or, send 6 cents in stamps to Golden Peacock, Inc., Paris, Ten- = nessee, for a generous size box sufficient for three weeks. Please specify shade you use. There is a complete range of ravishing, flatter- ing shades. At Drug and Department Stores, 25c-50c At All Golden Peacock Face Powder 84 MODERN SCREEN She Was a One-Date Girl (Continued from page 43) been to less than a half-dozen dances in my life. Dick Powell took me to the Beverly-Wilshire and to the Cocoanut Grove one evening, but Dick, like all the others, has never asked me to go out again. Perhaps I should not have men- tioned that, because he may read _ this story and feel obliged to ask me for an- other date. Under the circumstances, I would have to refuse him now.” And, of course, the most recent glaring example is Francis Lederer. Jean and Francis were reported cuh-razy about each other for a time, but that little romance seems to have gone the way of all the others, too. “As a child, I was heartbroken because boys avoided me. I thought I was doomed to be unhappy all my life. Like all young girls, I believed that happiness resulted from popularity with boys. Now that I am older, I have learned that there are other things in life. While I admittedly miss the companionship of men, I am not entirely unhappy without them. H, I had girlhood crushes, but they were always with dream princes, men I never met, or never even hoped to meet. My sweethearts were kept in bu- reau. drawers; they were only photo- graphs. Pictures of the Prince of Wales, Wallace Reid, and Rudolph Valentino, far-away public idols, but to me they were real and near. They were my only romances.” Without doubt, these were the most astonishing admissions I have ever heard come from a woman’s lips. During my many years as an interviewer, I have heard nothing to equal them. I sat amazed while Jean Muir talked. She talked freely, without prompting, without shame. I wanted to pinch myself to make sure I was awake. Why, it had never occurred to me that a woman, any woman —not even the homeliest woman alive— would admit that she was unattractive to all men. “Don’t Hollywood men take you out at all?” I managed to ask. “A few have taken me out, once, and on very rare occasions a few times each,” she answered, and I am positive that I heard the vestige of a sigh. “My own stupidity is to blame for the failure of some of them to return, Ill admit. For example, there was a man who invited me to a symphony concert at the Hollywood Bowl. I thought the music was awful. I twisted and squirmed through the first half of the program, and then, without a word to my escort, I left my seat and fled from the place. He never asked me to go out again. He even avoids me when we meet in public.” Miss Muir shrugged her shoulders and added, “T don’t blame him. “T wear clothes like a cornfield scare- crow. Perhaps that makes men self-con- scious when they take me out. Men like to be seen with girls who are attractive and who dress beautifully. Men like other men to turn their heads and stare enviously. But other men never turn their heads to stare at me. “T realize that I am greatly to blame myself. I suppose I could make myself more attractive. But I hate tight-fitting, formal gowns. I detest high heels. Con- sequently, because I enjoy personal com- fort so thoroughly, I flounder about in ill-fitting dresses and low-heeled shoes. I refuse to make myself uncomfortable merely to please men. Perhaps, if I were to fall in love . . musingly. q “Well, if you should fall in love?” I prompted. “T really don’t know what I would do,” she answered. “But how can I fall in love, if no man gives me the opportunity ?” _ “Things may soon be different,’ I en- couraged. “As a child, you were poor. As a motion picture actress, you are famous, and with growing fame will come riches. Fame and wealth will win you attention. Will you like that?” .” her voice faded "LL love it!” she burst out, impulsively. I will be perfectly frank with the readers of this story. At this point of my interview with Jean Muir, I was in a haze. The woman admits that she has hungered for masculine companionship since she was old enough to feel her first interest in the opposite sex. She further admits that if her screen success brings this companionship, she will be happy. Why, there is actual bitterness in her voice when she confesses that her child- hood was devoid of boy friends. Yet, she will not make even the slightest effort to be attractive to men. Jean could be attractive. I am positive. Despite her assertion that she is not pretty, Jean has uniform features and a fasci- nating dimple in each cheek. She uses no make-up. I am certain that the correct use of rouge and, perhaps, some lipstick would make her off-screen face more in- teresting. But, alas, she refuses to use artificial beautifiers. Offering one man’s opinion: I like Jean Muir. She has a charming sense of hu- mor, particularly with regard to herself. No woman could condemn herself as Jean does unless she had a sense of humor. Miss Muir carries on an interesting con- versation, although she may be rather too abrupt to please most men. For instance, two minutes after we met she said she disliked the tie I was wearing. Naturally, for a few minutes thereafter, I was an- noyed; but because I was more or less obliged to remain long enough to secure my interview, I soon discovered that she is acutely frank, and that her remark about my tie was as honest as were the later censures of herself. But do you see how her remark might have affected me had I been a “date?” “There are millions of girls who are unpopular, just as I am,” Jean commented. OF course, they can make themselves interesting to men, provided they have more initiative than I possess. They should learn to flatter men, do the things they like to do, and dress snappily. Clever women can fool men into forgetting mere beauty. “I am not clever, nor will I subdue my own ego enough to flatter men.” This self-defamation is not mere talk on Jean Muir’s part. She is positive of her own unattractiveness. When she was signed to an optional contract by War- ner Brothers, she told company executives in no adorned words that she thought they were crazy. “T am not pretty. I have no sex appeal. I cannot act,’ she protested. “Why send me to Hollywood? You are wasting your time and money.” Nevertheless, the film officials persisted. They offered her a contract with a most substantial salary. “T took it; I’m no fool,” Jean laugh- ingly told me. “Money is money, and ’m

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Jean Muir, the girl who thought she wouldn't be a success in pictures, in her latest release, “The White Cockatoo,” with Ricardo Cortez. It's a wow. not the girl to refuse it.” However, before she left New York, she told a chum, “I'll be back. This con- tract is for six months, with options. They’ll never exercise the options; I’ll be back in six months.” A year has elapsed and Jean Muir is still in Hollywood—and very much so, at that. She has appeared in a great many pictures, and in each she has scored an increasingly important hit—‘“As the Earth Turns,” “Dr. Monica,” “Desirable,” “Gentlemen Are Born,” and her most re- cent release, “The White Cockatoo.” . The strange part of it all is that de- spite her success, Jean retains her inferi- ority complex. She still insists that she is neither pretty, talented, nor possessed of sex appeal. And although the cameras offer evidence to disprove her assertions, one indelible fact protrudes itself across her Hollywood history like an ugly, black scar: Hollywood men are not trampling each other in a rush to make social engage- ments with Jean. In fact, as far as Holly- wood men are concerned, Jean Muir still remains “the one-date girl.” So She Won't Talk, Huh! (Continued from page 35) ordered—or what the editor wanted. “Tell us about your charities!” we said, And this time it was a command. “Oh, I don’t really do anything.’ Aha, she looked panicky. “And besides, I think that’s been written about before.” It was then that we picked up our coat —or the best looking one on the bed— and departed. The gal wouldn’t talk—so what? So go find people who would talk about her. There’s nothing like having one’s revenge, you know. And what luck! We met a man from West Los Angeles who knew plenty about Miss Davies. So draw up your chairs and learn something. “Have you heard,” he “agkadl “about the Marion Davies Foundation? It’s a children’s clinic. Six thousand youngsters are taken care of there every year. There are surgeons and dentists and nurses and every sort of medical aid possible to ob- MODERN SCREEN A NEGLECTED GIRL 3 MONTHS AGO THREE MONTHS AGO | - COULD ONLY OREAM ABOUT ROMANCE .... Posed by | Dorothy Page and Lee Bennett—Stars Bp) of Jan Garber’s Supper Club LUCKY FOR ME | HEARD ABOUT A NEW TYPE OF YEAST ON THE RADIO THAT NIGHT AND GOT SOME YEAST FOAM TABLETS HAVE ENDED UGLY SKIN BLEMISHES FOR THOUSANDS OF WOMEN. THEN ONE DAY | LEARNED WHY BUT WHAT COULD | DO? | HAD TRIED NO END OF WAYS TO {== CLEAR UP MY SKIN AND NOTHING SEEMED. TO HELP TOO BAD SUE DANIELS DOESN'T GET RID OF THOSE UGLY BLOTCHES. SHE'D BE A PEACH IF SHE'D ONLY CLEAR UP HER SKIN! ME_-OUT.... mene EVER” TOOK 'M GOING TO, TRY THEM. BEFORE A MONTH WAS OVER MY SKIN WAS BEGINNING TO CLEAR UP BEAUTIFULLY AM | HAPPY NOW‘ A DATE EVERY NIGHT IF | WANT IT, Wy 1 OWE IT te 10 YEAST Lath} TABLETS / YOU'RE STUNNING ine Ne sue! iy bel May | HAVE THE WEXT DANCE ? TABLETS ARE SIMPLY MARVELOUS ! Wet Yeast Foam Tablets did for Sue, they should do for you. A muddy, blotchy or pimply skin results from a dis- ordered condition of, your sys- tem—usually constipation or nervous fatigue. Both of these common ailments are often vous system. With the true caused by the recently recognized causes of your trouble corrected, shortage of vitamins Band Gin you enjoy new health and new the average diet. To correct this beauty. Eruptions and blemishes shortage, you need a food super- vanish. Your complexion be- rich in these health-building ele- comes clear and glowing. Your ments. skin is the envy of men and Yeast Foam Tablets supply women everywhere. these precious substances in You can get Yeast Foam Tab- great abundance. They are pure, lets at any druggist’s. The ten- pasteurized yeast — and pure day bottle costs 50c—only a few yeast is the richest known food cents a day. Get a bottle now. source of vitamins B and G. Then watch the improvement in These tablets strengthen the di- the way you look and feel! gestive and intestinal organs, Northwestern Yeast Co., 1750 give tone and vigor to your ner- N. Ashland Ave., Chicago, IIl.

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162 HANDS TALK IN 7-DAY MANICURE TEST Test proves Chic Nail Polish equal to “salon” polishes costing 75c or more This test was made with Chic, costing only 10c, on one hand and an expensive “salon” polish on the other. The polishes were sup- plied in plain unlabeled bottles, simply marked “A” and “B.” The women testing them did not know which was which. “A’”’— expensive “salon” polish “B’ — Chic Nail Polish After 7 days’ wear the results show— 81% find Chic equal to costly salon polishes or better .. . and two out of three of them say Chic is actually better and give definite reasons for saying so! This test proved to them that Chic Nail Polish applied evenly and did not crack or peel .. . that Chic retained its color . . . that its luster was of lasting quality. You can make this simple test yourself and discover a really fine polish for only 10c. 5 CHIC SHADES A CLEAR PINK CORAL RUBY DEEP eALSOe Chic Creme Polish Chic Cuticle Remover Chic Polish Remover Chic Oily Polish Remover AT THE 10c STORES 86 MODERN SCREEN tain, ready for sick and needy kids. Marion usually presents the youngsters’ parents with a bill of ten cents for all this, just so they won't feel as if they’re accepting charity. Yes, there’s no angle she doesn’t think of.” We remembered vaguely that we had heard of that foundling home and the one the star has set up in New York, too. The children who have benefitted by its aid go around singing her praises, although they have never actually seen their bene- factress; that is, unless they’ve glimpsed her on the screen. Next, we ran into a lad working at the Metro-Goldwyn-Mayer studio. “Tell us something about Marion Davy- ies,’ we begged. “She won’t talk!” “She won't, huh? Well, we'll fix that blonde for that!” Ah, here was truly sumpin’. “Have you ever heard about her Christ- mas party? The one she gives for about five thousand kids at the studio every year? Oh, boy! You should see those youngsters. Each one gets an enormous basket; you know, with a turkey in it and fruits and vegetables and candies. Well, enough stuff to last a month. Be- sides that, each may select a toy. And what toys! Bicycles for the boys and big dolls for the girls. Every doll talks, be- cause when Marion was a kid she always wanted a doll that could—and never was able to afford one. “Marion never appears at the party personally. She doesn’t want the young- sters to feel indebted to her. But she has movies made of it and after they've all gone home, she has the picture developed and run off to see if the well-known ‘en- joyable time was had by all’ really was.” It sort of looks as if Miss Davies is a great girl, doesn’t it? However, there might be something else to learn, so our sleuthing and research work again came into play. “Did you hear about the newsboy who sold papers along Hollywood Boulevard?” a little movie extra asked. No, we hadn’t. ELL, he was crazy to get an edu- cation and was mad about books, that Marion—we all call her that—decided he should have an opportunity. So she sent him to a Prep School and when he eraduated from there, she sent him to Military School. He’s getting along fine. And then there was the office boy. But you heard about him, maybe?” No. “Oh, that poor kid had cataracts on his eyes so that he was almost going blind. Marion sent him to a specialist who per- formed an operation and now he can see as well as anyone.” At any rate, if Marion Davies won’t talk, it looks as if she is to be alone in her silence. Everybody else is not only willing, but anxious, to speak up. The next man we looked up did odd jobs around the Soldiers’ Home out Santa Monica way. “Why there isn’t a Memorial Day nor an Armistice Day that Miss Davies doesn’t send cigarettes and books and mufflers to the soldiers,’ he volunteered “She’s one fine young woman, she is.’ And now for a little human interest story we came across quite by accident. It seems that Marion was giving a big party. Eleven o'clock rolled around and the guests were growing more than im- patient, for their hostess had not yet ap- peared. About midnight she arrived and explained that she had been working to finish a picture. There were a couple of people in the room who felt that the alibi was not exactly true, but of course noth- ing was said. The next morning one of the news- papers carried a yarn stating that Miss Davies had been four hours late to her own party and inferred that she was be- coming so high hat that her guests were lucky that she put in an appearance at all. Here is what actually happened. An old woman, the caretaker of Marion’s studio bungalow, lay dying. She called for Marion and asked that the actress look after her little girl when she was gone. Of course this request was promptly granted. And then Miss Davies sat with the woman for hours—until she passed on, in fact. And when she went, it was with a blessing for Marion on her ips. Marion Davies kept her word. She al- ways does. The caretaker’s little girl Was put into a good school, then sent to college, and is now enjoying a trip abroad. When she returns to California, she is scheduled to take a business course so that she may be self-supporting and, therefore, independent. Lack of space prevents our going on recounting Marion’s good deeds. Suffice it to say that she is one of the kindest and most charitable girls in the world, who looks for neither recognition nor gratitude for the benefits she has per- formed, and indeed, won’t even mention them. And so it is with real pleasure that we send this “get-even” message to Miss Davies : “So you won't talk, huh? Well, we’ve got a story, anyway! Let that teach you a lesson!” Should the Husband Pay the Bills? No, says Ginger (Continued from page 38) means anything, and I believe it does, it means the doing away with foolish pride about matters of money. Nowadays, it is the rule rather than the exception for a girl to have some sort of an occupation and, particularly in the last few years, it has become necessary for the woman of the house to be the provider. This does not mean that the man is lazy or irresponsible or deserving of less respect. It is merely a condition brought about by economic circumstances. “T doubt if there is any place in the world where sex equality is more prevalent than in Hollywood. Women have earned their freedom. “Hollywood is a colony of artists, all aiming for some sort of greatness. The life of anyone connected with the creative end of motion pictures is apart from old-time conventions, such as the rule that a man, in order to keep his standing, must pay the bills. : “You see,” she explained, “in some of the happiest marriages in Hollywood the wife earns ten times the amount brought in by her husband whose work may be equally important but less lucrative. “What should be done in cases like these? Should the wife hoard her money and live in a cottage when she wants a spacious house? Or should the pair realize

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that money is only important in so far as it supplies congenial surroundings ? “As women have developed their per- sonalities they have increased their needs and they have equipped themselves to pay for these needs. “In the old days, I understand, the wife was expected to cajole and wheedle her husband into buying her a new gown or a new hat. Nowadays she is able to buy her own wardrobe without any apologies, and you can’t tell me that a husband is not pleased to find himself relieved of a stack of bills around the first of the month.” I sensed a fine feeling of fairness and justice in her reasoning. These expres- sions were not for the sake of creating an impression of bravado, of daring, of desire to be different. Here was an ideal, a principle which I felt the spirited young star would make every effort to preserve. I continued to probe deeper. “But surely,” I speculated, “there must be other reasons to justify your uncon- ventional stand. Do you feel, as I assume you do, that both can work with greater abandon if money worries are dismissed ?” “Ves, that is exactly the way I feel,” she answered eagerly, her eyes shining at the sudden kinship in our view. “When money problems are removed, no matter which side does the removing, a lot of use- less worry and emotion are spared. Instead of fretting about the details of living, there is an opportunity to concentrate on a career. “Instead of puzzling over a budget of household accounts the husband and wife will find time and energy to discuss the play on which they are working, or some bit of acting, or music, or a book. They will develop themselves and deepen their common interests.” “But,” I ventured, “wouldn’t such a plan tend to rob a man of his ambitions? Wouldn’t the lack of financial responsibil- ities weaken his morale?” “No, indeed,” she assured me. “The ar- rangement I have in mind does not tolerate the type of man who is ready to sit back and allow himself to be supported. Nobody wants that kind of man, anyway. In this sort of scheme the man must feel that his work is important and necessary and that he must share in proportion to his earn- ings the expenses of the partnership. In many instances the husband is laying the foundation for fame in later years. “For example,’ elucidated Ginger, “I know of a wife who is a contract player for a big producing company. She goes about her business earning fat pay checks, while her husband sits at home pecking at a typewriter. Some day his novels are going to be published, at least that is his belief, and there is no thought of in- feriority because his wife brings home the bacon. “Another somewhat similar case is that of a painter who occasionally gets a portrait assignment. But I know his yearly commissions would be insufficient to pay for his wife’s wardrobe let alone the upkeep of two cars. “Then there are unknown script writers whose education and intellect far more than compensate for their lack of fame and cash. More than one actress of my ac- quaintance owes a lot more to men of this caliber than she can possibly repay. “The old idea of possession on the part of a man and being possessed on the part of a woman is vanishing. “After all, we are individuals first and individuals we must remain however close the contacts brought about by love. “T do not believe in free love, but I do believe in love being free and it is never more free than when equality, social and economic, is recognized.” MODERN SCREEN SAID DICK POWE LL HERE ARE THE UNTOUCHED Lips often look faded Popular young star tells why he chose Tangee Lips “I work with girls made up in grease paint all day long’’, Dick Powell explained. ‘In the studio you've got to have it. But off the lot, I don’t like it—there’s no romance in lips with that hard, coarse, painted look. No man finds them really attractive.” Millions of men feel exactly that way about painted lips. But Tangee isn’t paint! It makes your lips soft and rosy and appealing, because it brings out your own natural coloring —with- out coating the lips with a smear of paint. In the stick, Tangee looks orange. On your lips (because of the exclusive Tangee color- change principle) it changes to the one shade of blush rose most becoming to you. Get Tangee today. There are two sizes, 39 cents and Worlds Most famous Lipstick ANGSS ENDS THAT PAINTED LOOK { | now includes the mag 5. Tangee color principle City PAINTED Lips look unnatural * 4-PIECE MIRACLE MAKE-UP SET THE GEORGE W. LUFT COMPANY 417 Fifth Avenue, New York City Rush Miracle Make-Up Set of miniature Tangee Lipstick, Rouge Compact, Creme Rouge, Face Powder. I enclose 10¢ (stamps or coin). Check Shade Name Address LIPS DICK.POWELL SAW TANGEE Intensifies your natural color @ One girl wore no lipstick, one used Tangee, another used ordinary lipstick. We caught Dick Powell between scenes of “Flirtation Walk’’, a Warner Brothers picture ...asked him which lips were most appealing . . . instantly, he picked the Tangee girl—the one with soft, rosy, natural lips. $1.10. And if you’d like the special 4-piece Miracle Make-Up Set, containing Tangee Lip- stick, Rouge Compact, Creme Rouge and Face Powder, send 10 cents with the coupon below. MM25 L] Flesh (a) Rachel (Please Print) [_] Light Rachel State. 87

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“LITTLE ANN COUGHED SO HARD,’’ says Mrs. Betty Kammerling, of Colum- bus, O. ‘‘Doctor said ‘Pertussin.’ The first spoonful soothed the irritation; in 3 days Ann’s cough was completely gone!”’ ae Sextract of afamous medicinal herb stimulates the throat glands, restores throat’s Pertussin quickly stimue lates these glands! WHEN YOU CATCH COLD. / THEN COUGHING STARTS! \ ji natural mois- ture quickly, safely! Doctors advise it. When you cough, it’s usually because your throat’s moisture glands have clogged. Then your throat dries, because infection has changed the character of your glands’ secretion. Thick mucus collects. First you feel a tickling—then you cough! Stimulate your throat’s moisture glands. Take PERTUSSIN! The very first spoon- ful increases the flow of natural moisture. Throat and bronchial tissues are lubri- cated, soothed. Sticky phlegm loosens. Germ-infected mucus is easily ‘‘raised’’ and cleared away. Relief! Pertussin contains no harsh or injurious drugs. It is safe even for babies. Won’t upset the stomach. ‘It is wonderful for coughs”—“‘I give it to my own children,” say doctors. Get a bottle from your druggist and use it—freely—today! DOCTORS EVERY- WHERE have prescribed Pertussin for over ) a 30 years. Try it! PERTUSSIN Tastes good, acts = quickly and safely erp eips 88 MODERN SCREEN I Chaperone the Crowd (Continued from page 34) was filled with interruptions, for each one in his turn would remember something he had left or thought he had left at home. Once Henry was certain he had forgotten his tuxedo and to make sure unpacked his suit-case on the sidewalk in a small town about thirty miles outside of Hollywood. The others stood around, eagerly await- ing the outcome of the search because, knowing Henry, they were well aware that if the missing garment was not in the suit-case the entire caravan would travel back to Hollywood to get it. And a crowd of local residents gathered around and learned what the young-man-about-town carries in his suit-case when he goes on a week-end party. The tuxedo was there! Grace Durkin thought that she had left her dog at home, which necessitated a tele- phone call to Hollywood; then it was dis- covered that her thoughtful brother, Trent, had the dog in the car with him. Jimmy Ellison had left the script of a play he was rehearsing in a friend’s car and that meant another telephone call. However, everyone arrived at La Jolla safely and in good humor. Jimmy Ellison and Gertrude Durkin got lost en route, just as sweethearts in any town in the United States would have gotten themselves lost, but they, too, reached their destination. That night at the dance, sitting at a spe- cial table, they made an ideal little group. The girls looked sweet and the boys were charming. They autographed everything ; they danced with the local society boys and girls; they were patient with all the people who had gone to school with their mothers and fathers; they had a grand time. T two o'clock in the morning, when the dance was over, they decided to go to Mexico and dutifully asked my permission. I knew that no amount of persuasion would stop them, so I borrowed a warm coat and prepared to go with them. When I saw the dismayed looks on their faces I could only conclude that they didn’t want me to go along. Later they confessed that they were SO disappointed that I went willingly because they had planned to throw a blanket over my head, and force me to go. When we started for Mexico they all piled into the first cars that were ready to start. There was no running off in couples, with the exception of Anita and Tom. They always ride together and are kid- dingly called “the old married folks.” These boys and gals get along like one big happy family. They are fond of one another, in a purely platonic way in most cases. Pat Ellis’ name has been linked frequently with Henry Willson’s, but it’s really because they like to dance together. And all those New York calls on Henry’s telephone bill every month are to the girl he likes best of all—Paula Stone, Each one knows the other’s problems. They talk freely about their contracts, their salaries, and their worries, large and small. Utter frankness about everything is the keynote of their conversations. They hate being referred to as ingenues or juveniles. They don’t want to appear young, rather, they like to be thought sophisticated. AlI- though they get pleasure from youthful pursuits, they wish to discard an appear- ance of youth as quickly as possible. There was no chaperoning for me to do. They asked me to go with them because it was the thing to do and it would please their parents. They do a very good job of chaperoning themselves. One thing I couldn’t understand was why the juveniles in Hollywood act so awfully young. So I asked Tom Brown, who is one of the best known juveniles on the screen, the reason for it. “Why is it, Tommy,’ I said, “that when you have a good, serious character role to play—something you can get your teeth into—you give a grand performance, but when you play a boy of seventeen or your own age, you make him act like a nine-year old? ND why do you act so young off the screen? For instance, last night when you and Trent Durkin sneaked into our bedrooms and put burnt cork on the girls’ faces. No normal eighteen-year- old boy would do a childish trick like that.” “Perhaps it’s because I never was eighteen or nineteen years old,” he replied seriously. “Perhaps I don’t know how a boy that age would act because I never was that age. I was on the stage when I was seven. I associated with grown people; I was treated as an older person; I earned as much money as a grown per- son and [I had the responsibilities of a grown person. “Of course I went to school, but I at- tended a professional school, where the other children were all in the same posi- tion I was in. It was like associating with grown people. We had fun, of course. After all, we were children, but we had responsibilities and we felt them. We all looked forward to a career when other children our age were looking forward to college. Before I was grown up I felt that I was a man. There never was any in-between age for me. Perhaps that’s the answer to your question—we can’t really ‘feel’ kid roles and therefore we have a tendency to exaggerate them.” A majority of Hollywood’s younger players have the same responsibilities and feel the same way about things in general that Tommy does, but they don’t take life so seriously as he does. They call him “grandpa” and laugh about the time he wanted to play a certain part so much that he tried to raise a moustache to make himself look older. When the home-grown moustache refused to put-in an appear- ance, he pasted one on and got the part. These youngsters are all more or less their own bosses—not legally, of course. Most of them are the breadwinners of their families and they assume a-protective attitude toward their parents. When our party was invited to spend another night at La Jolla and attend a dance at the Beach Club most of them telephoned home for permission to remain. Pat Ellis’ father answered the telephone when she called. - “But Pat, you’re working,’ he remon- strated. “You have to be on the set at eight in the morning. You should be home.” “T know, Alex,” she giggled,.“but every once in a while we have to do these things. Don’t worry, I'll be at work on time.” She left the dance at eleven-thirty and was in bed at midnight. Next morning she arose at three-thirty and, with Trent Durkin, left at four in order to reach Warner’s studio at eight o’clock.. They were pretty sleepy but they hadn’t for- gotten their responsibilities. Pat’s life has been a pretty carefree one as far as finances are concerned, but one of hard training. Her stepfather, Alexan- der Leftwich, well known New York producer, trained her from childhood for a career. When he produced a show, Pat understudied every feminine part in the show. “And I had to be prepared to step

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into any role,” Pat told me. “I had to be letter-perfect in every part. It was hard work but excellent training.” Pat was never treated as a child, her mother told me. ‘We always had lots of company at our house. Well known actors, singers, and writers were frequently our guests. She always heard adult conversa- tion and has always seemed grown-up.” The three Durkins, who have been known to stage and picture audiences since they were babies, don’t feel they are in the “kid” class, either. Orphaned two years ago they manage their own affairs, both social and financial, with a good deal of nonchalance. They have a guardian, whom they adore, but they always decide what they are going to do before they ask his advice. They talk everything over to- gether. They have no secrets from one another and the way they conduct their lives would put many an older person to shame. Recently, Junior Durkin, who made his name famous when he became a star over night in the New York play, “Courage,” changed it to Trent. “He had to have a name sometime,’ Grace explained, “or people would think he was still “Huckle- berry Finn.’ ” “Oh, yes,” jeered Tom Brown, “he’s a big character actor now and has to have a name.” The name “Trent” was the result of the entire group’s going into a huddle. They love to play jokes on each other and when they do, the unfortunate one is kidded unmercifully. However, they never let an outsider in on it. If one receives an invitation or an opportunity for a publicity break or even a role in a pic- ture, and can’t accept it for one reason or another, he or she immediately telephones around to the bunch in an effort to pass it on to one in their own set. Sharing is their motto. For example, Henry Willson has been ill and is not allowed to drive his car, so he employs a chauffeur, which he can’t afford. Trent Durkin can’t afford to buy a car, so he uses Henry’s and pays the salary of the chauffeur. Nice cooperation, what? At the Beach Club dance they discovered Tom Brown in the clutches of the “village vamp,” a cute little trick from New York. Fay Wray, as she arrived in New York on her way to Lon- don to appear in “Alias Bull- dog Drummond” for Gaumont. MODERN SCREEN HANDS es lo tts HEART] What a thrill! He loves to touch ex- citingly smooth hands. So get that smoothness quickly and surely with Hinds Honey and Almond Cream— Hinds does real good to the hands because it actually soaks the skin with rich fragrant balms. It is the truly penetrating liquid cream—it soothes dry or chapped hands—gives your hands that thrilling smoothness men adore! Use Hinds on your hands after they’ve been in water, and at bed- time. It gives inexpensive beauty care —25¢ and 50¢ sizes at your drug store, 10¢ size at the dime store! Bm MOMEVEALMOND CREAM a |

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They were willing to fight for their Anita, but they do wish that “just once she would wear a spotty dress or get one hair out of place.” It was with a feeling of regret that we started home. Everyone was happy. There had been no quarrels. I decided that these boys and girls are just as normal, just as nice as any boys and girls their age. It’s true, they don’t have taffy-pulls to pass away a dull evening but neither do other young people their age in this advanced year of 1935. They do snatch at any op- portunity for fun (like putting burnt cork on the girls’ faces), because in their entire lives they haven’t had much “young” fun. Responsibilities that belong to older people have been heaped on their immature shoul- ders. They had to be old before they had a chance to be young. They had no play- time. Now that success has come to many of them, and with it leisure and money, they try to be young—to crowd as much fun and play as possible into every leisure hour. And sometimes, if they seem to be “putting it on” a little, as their critics have said, what does it matter? They have had adulation and flattery all their lives but they know it doesn’t mean a thing, so it doesn’t affect them. They have seen all kinds of life in their work, and consequently in their playtime they are remarkably clean-minded. They are true sophisticates. All these things I learned, when I was a chaperone. Marlene Answers All Your Qustions (Continued from page 29) “There are too many stars for one to be a novelty. Nor do they try to disturb my home life. No one ever attempts to climb over my walls, to break into my house. A few children come and ask for auto- graphs, but that is no nuisance. I think all this talk of lack of privacy is odd. I notice it only when I am away from Hollywood. Then everyone stares and I am scared. I am eager to get back here where it is quiet and peaceful.” Rudolph Sieber, Marlene’s director hus- band, has decided to stay in Hollywood permanently. That is, as long as his wife is fated to remain. Their four-year sep- aration, which was punctuated by twice-a- year visits, is thus over. “IT was only away from my little girl for the first six months I was here. I didn’t bring her from Germany because I was very uncertain. I didn’t know whether I was to succeed here. It was for her own good that she stayed at home until I learned. Now she is growing up to be very American. I think that per- sonality is determined when one is very young. I was never allowed to express any emotion in my face, to show dislike for anything. That is why I couldn’t act all over the set. I would be ashamed to be unrestrained. But Maria is being raised to have freedom.” Hollywood plays such jokes on ambi- tious women. Marlene has escaped the town’s capricious whims. She has had no terrific disillusionment because she never was lured into a worship for fame. “T always had an admiration for the screen. But I never dreamed of becoming a star,” she said. “Even when I first came to Hollywood it was not the fame and the money which attracted me. I came to work with Mr. Von Sternberg.” “But doesn’t the money mean a lot to you?” I probed. “No. Half of what I earn goes for in- come tax. I could accumulate more in Europe. Or I could go on the radio here and make enough in a year so I should never need to work again.” “The applause, the flattery, do they please you?” O,” she replied. “I am not proud of being a film star! I see no rea- son to be. Compared to important pro- fessions this, that I am doing, is so un- important. Even in comparison to the stage this work of mine falls far short. On the stage you must struggle for years before you can advance to a lead. In pic- tures, stars are made overnight because of their beauty. There is a haste and a with lack of dignity to film stardom. I do not mean to criticize. There are many stars here who have great talent. I merely say that from my own standpoint I am not at all proud because I have become a film star.’ Such modesty had never come my way from a Hollywood lady. So I asked: “But what makes all this worth while to you then?” “The sheer joy of acting, of creating a characterization, of being associated with Mr. Von Sternberg.” “And,” I reiterated, “have you no desire to stand on your own feet, to work with another director? A fine actress should be as fine under any guidance, shouldn’t she?” “Certainly she should. But I do not understand why I must prove I am not an automaton. As I said, if I find an in- teresting story I will do it with someone else. Then I shall return to Mr. Von Sternberg’s direction.” “And the stage . . .?” “No. I haven’t command enough of English to act on the stage in this coun- try. Perhaps some day again in Europe. As for the screen, when there are no more plots which are appealing, then I will stop. “T have never been the kind who could mix with many people, so I have few close acquaintances in Hollywood. In Berlin I had three or four friends. Does anyone really have more? Here I go straight home from the studio. I am per- fectly content to have just a few friends. I do not want any more. There isn’t time. Between my home and my work I am kept busy.” “But how can you develop your person- ality if you don’t notice what others are doing and adapt yourself in various ways to suit those others?” “I said I thought one’s personality was determined when young. I don’t believe in making one’s self over. I have never tried to please everyone. If it is someone I respect highly I pay attention. But I don’t want to make other people over, either. And as for developing, I have never endeavored to consciously improve myself. That is confusing. I mean, of course, that I do my best to be my best. But I simply trust to life to mold my per- sonality.” I was becoming more and more intrigued this amazing woman. So _ femi- nine is she, and yet so thoroughly brave in her convictions. Every article about her has been an attempt to reveal how she has been changed by Hollywood. They’ve (0

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Marlene has been per- missed the point. fectly poised. It’s the rest who have been doing the flustering. But if her replies to my pertinent ques- tions have astonished you, wait until you hear her sum up these four film years in America. I asked her what she considers her accomplishments to date. “T have a child,’ she said, without a second’s pause. There was no mention of Hollywood peaks! I must have looked startled for she then added, “And I have made a few people happy. That is all.” “But your career!” I exclaimed, so used to listening to the cinema stars chatter on and on endlessly, egotistically. “Ah,” she declared, “there is so much more in life for me. Earning the respect of the people I love, carrying out my duties to them, bringing up my child . You have read numberless tales about Marlene. No one had ever gone to her and frankly asked for her own explana- tions. I’m glad I did because now she seems not a high-hat mystery, but a nor- mal, eager, and loyal woman. Four years have brought overwhelming changes to Hollywood. But none to the tranquil, tan- talizing Dietrich. Even if she hadn’t behaved so _ intelli- gently during my twenty minutes with her, I’d have approved of her. She is so marvelously beautiful. Do you suppose she has ever delved into Lord Chesterfield’s tomes? Remember, he advised, “address yourself to the senses if you would please; dazzle the eyes, soothe and flatter the ears of mankind, engage their hearts and let their reason do its worst against you.” I am sure of few things in this perplex- ing world, but one of my certainties now is that none of the slams on Marlene could have been written by a man who has met her! Mr. Arliss is back from London after completing “The Iron Duke” for Gaumont British. MODERN SCREEN Pain stops...and healing begins when you treat Unguentine wastes no time. It relieves the agoniz- ing pain... quickly! It soothes... at once! But that is only one virtue of this famous first-aid necessity. Unguentine is a trustworthy, effective, germ-de- stroying antiseptic for all types of skin injuries. Hospitals use it. So do doctors and first-aid nurses in indus- trial plants. It is the ideal first-aid dressing —because it not only allays pain but stays on the job continuously to safeguard against infection. FIRST THOUGHT IN FIRST AID For burns, scalds, cuts, scrapes, scratches, pumples, irritations, any skin injury. Unguentine is the first thought of millions of people in first aid. It is the all-purpose antiseptic. It will not smart or sting. It will not stain the skin. Nor will Unguentine dressings grow into the wound, stick to the Unguentine a burn this way scab, cause needless pain and interrupt healing, when you remove them. Unguentine, the antiseptic in ointment form, stays in prolonged and effective contact, soothing the hurt, exclud- ingair from the sensitive area, and safeguard- ing against infection and dread re-infection. « CONTAINS PARAHYDRECIN Unguentine is reliably antiseptic because it con- tains powerful antiseptic ingredients, notably, Para- hydrecin. This remarkable substance is destructive to germs ina dilutionas greatas 1 partto 10,000 parts yet does not harm or irritate human or animal tis- sue. Parahydrecin, the discovery of the Norwich laboratories, is exclusively confined to Norwich products: Unguentine, Norforms and Norwich Nose Drops. No other products contain it. Remember that. The Norwich Pharmacal Company, makers of Unguentine offer a variety of other medicine cab- inet necessities bearing the famous Norwich seal. They are of known high standard and uniformity. Anniversary 1935 91

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Name ———— Address oe a City State. If you live in Canada send your request to Campana Corp., Ltd., MM-2 Caledonia Road, Toronto, Ontario. 92 MODERN SCREEN Men... ! (Continued from page 33) no mistake.” John returned. “Sorry, sir,’ he said. “I couldn’t find your pipe. It wasn’t in the desk drawer, and I didn’t like to rum- mage.” The director dropped his hand into his pocket and brought his pipe forth. “You're right,” he said with a grin, looking a little guilty. ‘Thanks anyway, old man.” He turned to his company and an- nounced: “‘Luncheon recess. Be back at one-thirty, please!” He watched the girl and John, arm in arm, going toward her car which was parked under the false front mountains. And there was something about them so young, so poignant, that he remembered a spring long lost and grew a little sad. “Get a look at that girl’s eyes,” he told his assistant. “Listen to her voice. Soft, eh?” Then, realizing he was spilling over a bit, he turned gruff. “It’s a damn shame there’s no camera or mike trained on them,” he said. “That’s what it is, a damn, wasteful shame.” ND now we hearken to the experiences of the Girl of the Orchids. She looks as though she might think babies were found in cabbage patches. Her hair is a pale gold fluff. But in her eyes, dark blue, there’s wisdom, an early wis- dom. She’s been in the theatre and in pic- tures since her early ’teens, you see, and she’s smart. She has profited by all the things she’s seen and read and heard. And she has the knack of handling any situa- tion in which she finds herself, without seeming to handle it at all. Under all circumstances, knowing her as I do, I’d expect her to have sympathy and understanding. It’s curious how knowledge and experience coming to some girls in a rush turns them hard. And coming to other girls in a rush it makes them warmly wise, charmingly capable. This girl is one made wise and capable. Therefore, to one love scene at any rate, she was able to bring a certain quality which made it the talk of Hollywood. And a trial to the young man who loves her dearly. Hollywood’s a funny place. You'd ex- pect it to be blasé and sated. Indifferent really. But nowhere on earth is there a town quicker with understanding and ap- preciation. Or, for that matter, with criticism and prejudice. The leading man in this love scene came to motion pictures after he had found great popularity. Learning she was to play with him, the Girl of the Orchids had been apprehensive. She felt he might be high-hat and pretentious. Dif- ficult. His success had come to him quick- ly enough to turn his head. No doubt of that. However, he proved a pleasant surprise. He was shy, actually shy. Unsophisticated and sensitive, too. He looked so scrubbed and brushed and shiny clean that she had no feeling about the intimate scenes they would play together. The picture progressed. They came to the love interest and finally to the big love scene itself. This scene was laid in the garden of an inn, an inn somewhere in Europe. To add romance to the setting, one of the stage-hands was relegated to the catwalk, a narrow walk erected around the sides of a set, so that, at ap- propriate moments, he might shake down blossoms of white silk from a drooping wisterla vine. ae lights and the microphones were set up. Behind the camera, mounted on its rubber-tired dolly, was the in- evitable camp-chair line-up of director, assistant director, ’script girl, and several members of the company not working in this particular scene. The leading man came on the set and his eyes went hunting for the Girl of the Orchids. He found her at last standing in the inn doorway and he went directly to her. : “Hello, there,” she said. “It’s a pity you had to miss the rushes last night. You were splendid in them. You would have delighted your own heart.” She knew the need you feel for en- couragement when you are making your first picture. She hadn’t made her first picture so long ago that she had forgotten. His face brightened. “Was I? Thanks, loads! [’m glad to hear that.” She had her make-up box propped on a ledge before her. She held it there with her weight against it and powdered her face smoothly over its thin layer of grease-paint. “We're doing the love scene this morn- ing, I believe,’ he said, plainly embar- rassed. “And, er well, I wondered how you wanted me to—to kiss you.” The girl laughed. “Any way you like,” she told him easily. “A long one. Or a short one.” He was utterly relieved. “I’m new at this sort of thing. And I want the scene to have emotion, of course, but I don’t want to do anything that would eninnet “You couldn’t,” she told him. And she meant it. “Ready?” the director called. The girl snapped her make-up box shut and the leading man went over to his po- sition under the vines. “You run to him,” the director told the girl, rehearsing the action described in the ’script. ‘‘This isn’t a long sequence, you know, so we've got to make every moment count. We've got to cram in the emotion. “You can’t wait to reach him. You seem to fling yourself across that little distance.” The girl nodded. She knew. Only too well. It was like that with her when she saw the young man she loved. The director turned to the leading man. “You see her coming. You move a few steps forward. Your arms open. They close around her. You kiss. Okeh, let’s try it!” They tried it. The Girl of the Orchids ran to the young man standing there so straight and eager under the wisteria flowers and, as the director had suggested, she seemed to fling herself across that little distance. The leading man moved forward to meet her. His arms closed around her. However, his effort to make every mo- ment count, to cram in the emotion, didn’t end there. In a minute he held her a little from him, a little to one side. His hands went caressing her. Intimately. The way no hero caresses a heroine on the screen, whatever heroes may do in reality. The girl couldn’t believe this was hap- i)

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pening. She had heard stories of actors with exploring hands but it was incred- ible to her that this shy young man was taking advantage of the scene to make personal advances. “We'll try it again,” the director called. There was a curious note in his voice, as if he had noticed, too. Indeed, he couldn't have helped it. They did it over again, and the same thing happened. One property man, an old hand in the studios, wiped an involun- tary grin from his face. And there was an unmistakable snicker from the lad rele- gated to shake down silken petals at op- portune moments. “We'll try it again,” the director said. This time he didn’t even try to curb the amusement in his voice. They did it still another time. And still another time the young man proceeded to act the way no hero on the screen may act. The girl went over to the director. Un- der cover of having to sit down to re- move her slipper she talked to him. “This is happening, isn’t it?” she asked. She wasn’t offended. For obviously there was no intent on the leading man’s part to be unpleasant or unduly familiar. “It’s happening all right,’ the director agreed. Like the girl he found it difficult to grasp any sense of reality. HAT can we do?” she asked. “You can’t photograph it that way, that much is sure. And it would be a pity to hurt his feelings. He’s so nice.” “Beat it for a few minutes,” the direc- tor advised. “I'll talk to him.” The Girl of the Orchids disappeared gladly. Almost immediately, everybody on that set, realizing something was in_ the wind between the director and the leading man, became very busy, completely ab- sorbed by some job. There’s a lot of hullabuloo about professional jealousy and not nearly enough mention of the grand fraternity you so often find on a set. : “Look,” the director began when he’d brought the leading man over beside him on a pretext, “that, that massaging bit . . . You'll have to cut that out.” He had decided not to beat around any bushes, to say what he had to say frank- ly, to kid a little. The leading man looked wretched. “I wondered,” he admitted. “I don’t mind telling you I’ve been dreading this—this scene. I haven’t known what to do. You see, they had me up in the front office last night talking about my next picture. They’re pleased about the exhibitors’ in- Anna Sten and an armful of fluff. Cute? MODERN SCREEN If a very small shoulder carries a chip... pe: .. cross as a bear... when your child has ‘‘days” like this, take warning! You may think it is “just a passing mood.” But all too often there’s a physical cause for a child’s naughtiness. And usually it is simply —constipation. Give a Child’s Laxative Or perhaps your child has sour stomach. Maybe she is catching cold. In any event it is a wise precaution to give her a laxative. Not an adult laxative which may cause her grip- ing pain, or leave her more upset than before ... but a child’s laxative. Give her Fletcher’s Castoria! Fletcher’s Castoria is made especially for children—from babyhood to 11 years. It is safe—contains no harsh purgatives, no nar- cotics. It is gentle. It is effective. And it has a pleasant taste, so that children take it with- out a struggle... actually enjoy taking it! Ask your doctor Next time you see your doctor for your child’s regular health examination, ask him about Fletcher's Castoria. He will assure you that Fletcher’s Castoria contains only such ingre- dients as are suitable for a child’s system. Buy a bottle of Fletcher’s Castoria tonight. (If you’re thrifty you'll buy the family-size bottle.) Keep it handy, always, for relieving colic due to gas, diarrhea due to improper diet, sour stomach, flatulence and constipa- tion. And give it as a first aid at the first sign of a cold. The signature Chas. H. Fletcher is always right on the carton. Roxy and his Gang — Every Saturday night your radio ts the ticket window to a grand new show—musical surprises presented by that master showman— Roxy. Tune in this Saturday. Let the children listen, too. Columbia 8: Broadcasting System—8 o'clock E.S.T. oR Chath Veter CASTORIA The Children’s Laxative 93

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Standard 4-row keyboard; standard width carriage; margin release on keyboard; back spacer; automatic ribbon reverse; every essential feature foun in standard typewriters. Carrying case free. sowest prices in history . . . absolutely the biggest value ever offered! Try it in your home or office 10 days free. If you do not agree that it is the finest portable at any price return it at our expense. Don’t delay. We pay cost of shipment direct from the factory to you. You save on the purchase price, you don’! risk a cent. Write now! FREE TYPEWRITER COURSE Write Remington Rand Inc., Dept.140-2,Buffalo,N.Y. 04 MODERN SCREEN terest in me. But they advised me to get more ‘umph’ in my love scenes.” “Umph!”’ said the director. ‘Well, they usually know what they’re talking about up there in the front office, all reports and jokes to the contrary. They’ve man- aged to keep their Rolls Royces all through this depression, I’ve noticed. And that means they’re shrewd. Undoubtedly they’re right about the need for ‘umph’. But you’re wrong, feller, about the way you're getting it.” A few minutes later the director met the Girl of the Orchids outside the set to explain to her what had happened. “Poor darling,” she said sympatheti- cally. “This means so much to him, his first picture and they have him so confused.” They rehearsed the scene again. And the girl gave it everything she had. Per- haps she was remembering her eagerness and uncertainty as a novice. Perhaps, terribly in love, she felt closer and more sympathetic to everyone, her leading man included. Or perhaps, in his quandary, he appealed to her maternal instinct. It’s al- ways so futile to attempt to analyze any- one’s reactions. In any event she brought emotion to that scene. And emotion photographs. She ran to that young man so im- petuously, so swiftly, that he had to catch her up in his arms to save her from falling. And in doing this he somehow caught the tempo that scene should have and carried through with it. Still in his arms the Girl of the Or- chids threw back her lovely golden head to laugh up into his face. And for one small second, before his mouth closed on hers, he seemed lost in the tender blue of her eyes. Dictionaries have yet to include a defi- nition of “umph.” However, if “umph” means desire and a dash of hotcha wrapped up in something beautiful and spiritual, and I think it does, that scene had-‘“‘umph.” Lots of it. A few weeks later when the picture was previewed at a local theatre the film colony turned out to see it. Hollywood also is a curious town. And everyone wanted to see the handsome young lead- ing man recruited with his bright fame. They were agreed he was a potential star, a good bet. But, leaving the theatre, it ' was the love scene they talked about. They ' said it had something poignant and tender about it. youth. It was the love scene the Girl of the Orchids and her beau talked about, too. Or, perhaps, it would be more exact to say it was the love scene the girl’s beau talked about. They left the theatre by a side exit to avoid the autograph hunters who crowd around the marquee after a preview. And he headed his Ford roadster for their favorite Drive-In. (A Drive-In, for the benefit of those who lack these excellent enterprises in their home towns, is a large stand built in the center of a corner lot. Cars pull up to it and pretty wait- resses come out to clamp trays on the car’s sides and to take orders for any- thing from hamburgers to turkey and cranberry sauce). “Did you like it?” the girl asked. “Tt’s a-very nice picture,” he granted, without enthusiasm. “Like him?” she wanted to know. “Sure,” even less enthusiastically, if possible. “He’s all right. If you like that type. You do. Apparently!” She giggled. The way girls do when the young man, in trying not to show how much he cares, proceeds to give himself away completely. “T do like that type,’’ she said. Then her voice dropped. She moved closer to his side. The little quill in her rakish hat tickled his ear. “But there’s another type I like better. Much better. Dark curly hair goes with it.” As 1 said in the beginning , she’s a girl able to handle any situation in which she finds herself. Better than ably. Ad- mirably ! They marvelled at its charming Average—But Wonderful (Continued from page 37) season’s débutantes and become a substan- tial citizen of commerce? What had I? Well, my heart, I guess. My imagina- tion which rode me and drew blood. I didn’t pose in front of mirrors as a young- ster. I did not inflate the family pride by reciting ‘pieces. But I did read omniver- ously. I did live in a fantastical world of my own where I encountered strange ad- ventures and met exciting people. I knew that somehow I must continue these ad- ventures, must meet the glamorous people of the world in flesh and blood. And I went to the theatre all of the time, with every scrap of time and every piece of money I had. I saw Sir Henry Irving do “Rip Van Winkle” and I have never for- gotten it. I think I knew, then.” Columbia Pictures’ studio biography of Walter Connolly says, “As versatile an ac- tor as ever trod the boards, can play any character part no matter how young or old, no matter what nationality, no matter what walk of life. He thinks nothing of being a senile watchman (“Man’s Castle’) in the morning, a prosperous business man (“It Happened One Night”) in the after- noon, and a suave European (“Lady For A Day”) at night, and makes each perform- ance ring with authenticity ...” I reminded Mr. Connolly of this deserved encomium. He said, ‘We'll waive the question of whether that is flattery or truth. But this is the truth: I went on the stage in order to play those parts. And others. As many others as possible. “Tt was because I so _ desperately wanted to be all men rather than one man that I left my ‘cage’ at the bank. It was because I couldn’t tolerate the idea of being Walter Connolly, bank clerk, all of my days that I—well that I made my professional début in Norfolk, Virginia, in ‘Classmates, in 1909. Two years later I was on Broadway in the revival of ‘The Shepherd King,’ starring Wright Lorimer. And _ for twenty- two years I never left Broadway again save for some summer stock. “Matter of fact,’ Mr. Connolly chuckled (and he does chuckle—all nice men do), I really picked the job at the bank because banking hours are such that I had time off: for amateur theatricals. “T simply could not bear monotony, that’s all. Psychologists would call it an escape. So it was. I felt as though dust would accumulate on me if I stayed where I was. I rose to my feet and shook my- self. I wanted variety. And if you ask me what gift of all gifts my years on the stage have given me I would say just that —variety. “The stage and the screen have enabled

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me to be many hundreds of persons in my own person. I do not have to get dog- tired of being Walter Connolly, because I am Walter Connolly for so small a part of the time. “But best of all, most important of all, I have been able to meet and to know most of the vital persons of my genera- tion. Musicians, sculptors, statesmen, as well as actors and actresses. “And I could not have known these people if I had not been in the theatre. A million- aire may be able to order a ‘command per- formance,’ that is true, and entertain the great of the earth. But he doesn’t really 66 know them. Only when you are doing some form of creative work yourself can you know others in similar fields. I think keep about the finest thing life has given me is knowing those others. “T have worked with Gilbert Miller, Jed Harris and George M. Cohan. I knew my teeth Charles Frohman, the greatest showman of them all. I have worked with Helen Hayes, Margaret Anglin, Pauline Lord brill antl and innumerable others. I have known the Barrymores, Sothern, Marlowe, John. Z V Drew, Leo Dietrichstein and Minnie Mad- dern Fiske. I have known Broadway in ° ‘The Affairs of Anatole,’ ‘Possession,’ white for “Way Down East,’ ‘The Late Christopher Bean,’ and other plays too many to list | here. (And I remember an old slogan of Broadway which said that Connolly was | QJQ “V i always in demand with the theatrical im- presarios and feminine stars because “he eae cess a bad play and bettered a +] A YEAR!” “I was not off Broadway for twenty- two years,” Mr. Connolly was saying. “However, I did take time off to make one | picture in 1917, ‘The Soldier’s Oath,’ with William Farnum. I hope, some day, to be able to forget it. The only other in- terlude was during the World War when I joined the 13th Division of the Marine Corps under Major General Smedley But- ler. “This life of the theatre offers rich gifts and highly colored adventure. And it’s a happy life, too. Actors may be down, very far down, but they are never out. You can go to any lot in Hollywood today and talk to dozens of old-timers on whom the last curtain has gone down and they never know it. Because there is always hope in the heart of the actor. No actor ever believes that he is through. “Also, an actor is safer than a business KAY PRODUCTS CHICAGOY, U.S.A. A scene from Walter Con- nolly’s latest picture, ‘White Lies,” with Victor Jory and Ten Cents Actual Size Fay Wray. MODERN SCREEN HAVE found a marvelous toothpaste that costs only 10¢ for a tube as big as the regular 25¢ size—and it lasts me more than a month!” You can have teeth so white that they sparkle and save up to $5 a year by merely asking for Kay Milk of Magnesia Toothpaste at any Kresge store. It is the choice of hundreds of thousands who want just the kind of tooth protection that Kay Toothpaste gives. Containing over 50% milk of magnesia, Kay Tooth- paste fights the acid that is so ruinous to brilliant teeth. Leading dental books agree that tooth decay begins with acidity. Kay proves that a toothpaste need not be expensive to keep teeth clean and sparkling. No tooth- paste contains finer cleansing and polishing ings dients, free from grit, than Kay. If you have been waiting for cut-rate toothpaste sales, you need wait no longer. Kay Toothpaste, in a tube as large as the ordinary 25¢ size, is only 10¢ at any time in any Kresge store. You can also buy Kay Toothpaste in a tube more than double the 10¢ size for only 20¢. Ask for it by name; identify it by the red, white and black tube, and remember that Kay Tooth- paste is for sale only in Kresge stores.

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FREE Send $1.00 for my Slimcream treatment NOW, and I will send you entirely free, my world-famous, regular $1.00 beauty treatment, with a gold mine of priceless beauty secrets. This offer is limited, 60 SEND TODAY. Add 25c for foreign countries. Pc ------------------ 4 DAISY STEBBING, Dept. MM-1, Forest Hills, New York I ! 1 I enclose $1. Please send immediately postpaid in plain package | j your Guaranteed Slimeream treatment. I understand that if I have ! not reduced both in pounds and inches in 14 days, you will cheerfully ] refund my money. Send also the special free Beauty Treatment. I | 1 ! MODERN SCREEN man. He is a one-man concern. If he goes down to defeat, he doesn’t take a cor- poration with him or stockholders or in- vestors. His failure, as well as his suc- cess, is his own. That’s why there are so many suicides among big business men. When they go down, they usually drag their friends and associates with them. They could take it for themselves. They can’t take it for the others. “And now I have come to Hollywood, the most dramatic and colorful place in the world. A place about which the real story has never been written. Because the real story is not a daily account of the various girls Lyle Talbot lunches with or whether or not Joan Crawford and Fran- chot Tone are exchanging gardenias. In an industry so vast, so vital, so mechani- cally miraculous, it seems a pity to stress such trivia. It would be a tremendous job, the real story of Hollywood. My ‘other ambition’ has always been to write and I spend most of my spare time at my desk. “Hollywood is a place of terrific ex- tremes. Of unimaginable ironies. Imagine a place where they allow Tod Sloan, who once rode for kings and is conceded the fastest jockey in the world, to judge turtle races. Turtles, the slowest animals in the world! “Tf I had not chosen the stage (it didn’t choose me), I would have missed meeting my wife. And today, after fourteen years of marriage, that remains for me a pain- fully unpleasant thing to contemplate.” Mr. Connolly’s wife is, you know, Netta Harrigan, daughter of the famous vaude- ville team of Harrigan and Hart. “We were playing together on Broad- way when we met,’ Mr. Connolly told me. “T happened to know that she was sup- posed—doctor’s orders—to drink a bottle of milk before every performance. She always forgot and so I undertook to re- member for her. With the result that I would bring the milk to her dressing-room every evening and stand by, patiently, while she drank it. It suddenly occurred to me that it was a very husband-like patience I was manifesting and also that I had never seen a lovelier sight than Netta drink- ing milk. I still think,’ chuckled Walter Connolly, “that the loveliest sight I have seen is Netta drinking milk.” The hands of Mr. Connolly’s clock were speeding to the midnight hour. I made polite gestures, signifying my immediate departure. “No, don’t go,’ Mr. Connolly said, “I never go to bed until two-thirty, even when I am by myself. I never got up before noon until I came to Hollywood. They’re theatre hours, you know, and they have become my hours. [ll never get over it. In New York [I liked to play poker with newspaper men and talk the hours away with Alexander Woollcott, Rollin Kirby, Odd McIntyre and other cronies. “Let's see, I was just about to say that if I had not come to Hollywood I would have missed being a part of what I believe is destined to become the greatest art the world has ever known. If it misses, it is its own fault. The theatre will go oa forever. Because the theatre is tangled up in the roots of our being. It has been since the beginning of time and it will be until the end. “But the capacities and potentialities of the screen are limitless. There are no boundary lines. There is nothing it can- not do, no resources it cannot command, no artist it cannot, or has not persuaded. The brains and the artistry of the world are here today. The screen has yesterday, today and tomorrow to draw on. I believe that pictures are changing now. For the better. Better pictures are being made. Better stories are being written. A more discriminating audience is going to see pictures. The world is ours and that,” said Mr. Connolly, “is something I could not have endured missing.” How? Why? But I think our questions are answered. There are thousands of men in the world who were not born with the what-it-takes of Clark Gable, the poetic beauty of. No- varro, the muscular magnetism of Weiss- muller. True. But Walter Connolly is not among them. For that what-it-takes, that magnetism, that poetry are in his ca- pacious heart, in the rich tones of his voice, in the wisdom of those keen brown eyes, in the humanitarian spirit which so loves the world and all mankind that his finest dream was to know all men and to be all men—rich man, poor man, beggar man, thieieaeens Fame Is a Thief (Continued from page 45) publicity and money. I have little use for the latter. I detest the former. And there I am. And this is not in the nature of a complaint, please understand. No one forced me to be an actor. I am an actor because I happen to like the work itself and because I am no good for any- thing else. I was one man when I went into the war. When I came out I was an actor. Along with the majority of my fellows I left the man-I-might-have-been on the battlefields. “Tf I had it to do over again I would wish that I might have skipped the war. I would buy a bit of land some- where. I would marry the right woman for me, I hope. I would raise cattle and garden produce that I might feed my family from the earth itself. I would cer- tainly have children. I would do some laboratory work — research — fool about with glands and things. Id be a sort of dilettante Arrowsmith. I have lived with unrealities long enough to know that these are the only realities: home, land, children. “Fame has, by this time, robbed me of these realities. I think I shall never marry again. Fame has conspired with events to take away, piecemeal, more than twelve years of my life which might have been lived otherwise, domestically, perhaps; at any rate more satisfyingly than I have been able to live them. I shall not try again. “Fame has robbed me of my self-con- fidence. Not as an actor, as a man. How can I be sure that people really like me for myself alone? They may like me, instead, because I bear the trade-mark, ‘Ronald Colman,’ or because I am a ‘pub- lic character’ with whom it is amusing to be seen. “T don’t want to sound like a misan- thrope. There are exceptions, of course. There are times when my instinct tells me that my friends are my friends, ir- respective of conditions. But we have, all of us, had a good many unpleasant experiences and, after a time, one’s self- esteem takes a body-blow and doesn’t ask for more.

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MODERN SCREEN | PEMMnE has robbed me of my courage. I don’t dare to talk as freely as I'd like to talk. I don’t dare to do a good many of the things I would like to do if I were John Doe, unknown. Reticent? Of course I am. Why not? It isn’t that I am afraid of what people will say about me, nor even what they may print about me. There are more serious possibilities to be considered. You must realize that all of us in public life are excellent tar- gets for all kinds of shyster claims, ali- enation suits, blackmail of all sorts. I am afraid of those. On more than one occa- sion one of us has taken some young woman to dine one evening and been served with papers the next. “So, you see, Fame has robbed me of the possibility of charming friendships with charming women, which is an ab- normal situation and downright theft. “Fame has deprived me of a good many friendships with men. It has robbed me of old friendships and has prevented the development of new ones. Some old friends who have not, perhaps, done so well with the world’s goods as we of the screen, feel inhibited about accepting hos- pitality they are not in a position to re- turn. Or their egos very naturally resent being seen with a man who is by way of being a household word. They feel a sense of inferiority. Unjustifiable, essen- tially, but a normal reaction. “Tt is the same with potential new friends. I meet men I like quite often. I feel that they like me. Nothing comes of it. I know that it is because they say to themselves, ‘Colman seems like a_ pretty good sort but he’s a movie actor; I can’t keep up with him.’ I don’t blame them. “T have a few close and _ intimate friends, of course. Old friends in Eng- land. Dick Barthelmess and Bill Powell and Clive Brook and a few others over here. And they are the only people in the world with whom I can feel at ease, with whom I can relax, be myself. I am ex- ceedingly grateful for them. But it is a definite limitation not to be at ease in the world at large. It is a definite tor- ture to me to feel like a monkey on a stick expected to do his tricks when I—I have no tricks. Swishing his Scotch and soda around in his glass, Ronnie continued. “I seem to have got going. You'll be sorry you asked me this question before I am through.” “You are breaking my heart, but go on, [ like it,” I replied. “All right, then, if you can forgive me. Fame has robbed me of the things I like to do, or rather, it has robbed me of the possibility of doing them pleasantly. I might be enjoying this tea hour much more fully, for instance, if there were not a determined looking lady two tables away eying me speculatively. No, but seriously, travel, I mean. I would rather travel than do anything else there is to be done. I like to dig about in strange corners of the world. I like to walk the boulevards of foreign cities, to poke about in remote little villages, watching people. But my pictures have always been there before me. That fixes everything. I can never be the observer, I am always the observed. I can never be in the audience.| I must always be on the stage. ILL POWELL and I once tried to see London together. I wanted to show him my London. We got into an open taxi, one of the deep ones into which you can sink with only your heads showing. We hadn’t gone half a mile before, from the tops of buses, from windows of shops and houses, people actually mounted on erates and boxes, were staring at us. We gave it up. “STUNNING” until he saw her PIMPLY SKIN End pimples, blackheads with famous medicated cream ON’T let a poor complexion spoil your romance. Don’t permit coarse pores, blackheads, stubborn blemishes to rob you of your natural loveliness. Rid yourself of these distressing faults. But not with ordinary complexion creams. They cleanse only the surface. Try the treatment that nurses use themselves. 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S, Government Steady FExpectes Edu- & Jobs (2) Tell me how to get one of these cation f=) Men— Women © 18 to 50 Caivames Mail Coupon / Today Sure /| Address 98 Work for “Uncle Sam”’ Many Winter MODERN SCREEN “Talk about ‘He Who Gets Slapped’! He Who Gets Watched is in a far more painful predicament. At least it is painful to me. Genuinely. It is not Fame that is at fault, it is I. “Mind you, there is Fame and Fame. If, at any time, some person should ap- proach me and speak to me about some picture of mine, whether critically or ap- preciatively, I should be pleased. But that is not the kind of public attention we get, we who are watched, not the kind of at- tention given to public characters in other walks of life. When we go out in public we are the targets for all of the drunks, for all of the wise-cracking, ready-to-fight individuals there are. “T was dancing at a Club one night re- cently when a man dancing by poked me in the ribs and said, ‘Say, I just heard you talking to your partner. You talked like that to Loretta Young in ‘Bulldog Drum- mond Strikes Back.’ Do you always talk to women the same way?’ “On another occasion a man came up to me in a hotel dining-room and de- manded that I dance with his wife. When I explained that I was with a lady he sneered and said, loudly, ‘Wassa matter, gettin’ too good these days?’ He was very noisy about it. They usually are. ~“And so, I go out in public as seldom as possible, which is a definite loss. An actor should be objective as well as sub- jective. He should be able to meet and mingle freely with his fellow men. “T may sound unpleasant. It must seem more than a bit ridiculous, in these difficult days for a man to be moaning over the gifts of Fame when so many thousands of people are moaning for them. But you happened to hit on a nerve which is, in me, very much exposed and very sensi- tive. “Tam grateful for the work itself. I do enjoy it when I am actually on the set and in production. I am enormously in- interested in making ‘Clive of India.’ I enjoy the acting, the reading of the script, the preparation for a picture. But the rest of it, the notoriety, the recognition in public places, the violation of my privacy, all of that is positively abhorrent to me and I can’t help it. Call it a complex, a neurosis, a psychosis, anything you want, but there It 1S. “The money reward is pleasant, of course. But less important to me, perhaps, than the others. It enables me to meet my obligations. Beyond which it can do very little for me. I live in an average sized and very pleasant house, as you know. I don’t want a larger one. Even if I did, I doubt that I would have one. For Fame gives you gifts with her right hand and threatens you with her left. For if you live in mansions and exhibit the full fruits of success you are under all kinds of threats, kidnapping among others. “T am not in the slightest degree clothes- conscious. I seldom think of my appear- ance unless it is for a picture. | have no desire for yachts nor a fleet of expensive cars. I have no costly habits. I like books, but they are cheap. I enjoy tennis, but I play with Dick or Clive or Bill on their courts. And as for travel, I like to travel as simply as possible. “My work, and a certain sense of satis- faction, in that I have not precisely failed in life, are my two rewards. Fame has robbed me of everything else.” Should the Husband Pay the Bills? Yes, Says Glenda (Continued from page 39) which ended unhappily. Probably she has, coupled w ith her observations, actual ex- perience upon which to base her theories. Certainly this first unhappy venture with love and marriage has made her wary for, although she has, during the last year been rumored in love with Robert Ris- kin, the writer, she has avoided a second marriage. Is it because the men of Glenda’s acquaintance are relinquishing their hold on the old standards, and are beginning to believe that a common financial meeting ground is necessary in present-day mar- riage? Or is it because the wound left by Glenda’s first marriage has as yet not been healed? “Of course,” Glenda hastened to explain, interrupting my reverie, “conditions are exceptional in Hollywood. They are bound to be. I venture to say that in the major- ity of homes, or at least in an equal num- ber, the larger income is earned by the wife. When this is the case it requires tact to preserve the male’s authority. “To prove my point let me tell you the story of a friend, a prominent screen star of the silent days. She was famous, beauti- ful, wealthy and popular. Like most of us she was idealistic in the matter of her first love, which led to marriage. She was on the up grade and a favorite of the com- pany for which she worked. Her husband, also young and ambitious, was a director in the same company. But he had two faults: drinking to excess and philander- ing. These faults kept him from success. “The actress in question, at the expira- tion of her contract, was offered a sub- stantial adyance, which she took only in part insisting that the balance be given to her husband without his knowledge of the transaction. “You see, my friend said, ‘I didn’t want my husband’s feelings to be hurt by the thought that I was earning more money than he. That might have given him a feeling of inferiority. Worse yet, I dreaded a condition, likely to cause envy, that would eventually separate us.’ “My friend believes her marriage was saved by her effort to appear dependent. I am wondering how many other Holly- wood alliances might have been preserved by some such feminine wisdom as this. “Yes,” continued Glenda, “the real men that I have known have been possessive, egotistical in a naive sort of way, and proud of their masculinity. In their youth they take pride in giving physical protec- tion and when grown to manhood generally fall for the clinging-vine type of girl who flatters them by her dependence. Later they glory in the utter dependence of the woman they have chosen to love.” ~ “But certainly,” I offered, “there are men to whom this does not apply. For in- stance men whovare doing creative work; men who find it necessary to have all financial matters handled by another so that they can work without worry.” “T feel differently about that,’ said Glenda. “I believe that no matter what busi- ness or profession a man is engaged in, his inclinations in domestic affairs are the same. Therefore, I would want to make my home a true one, and I would work at accom- plishing that just as faithfully as I am working at my career. “Tf I were extravagant, I would expect my husband to scold me. That would be his privilege as head of the house. And that is what I would want my husband to be under all circumstances.” —= oS

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Good News (Continued from page 68) bicycling—with just enough food to keep a canary partially nourished. At the end of the week, Vic stepped on the scales. He had gained two pounds! At the opening of the “Milky Way” re- cently, Mary Brian and the mother of Jack Oakie did a neat sneak-in behind the crowd of autograph-seekers and cameramen. The reason for the secrecy came to light later. Oakie, himself, staggered in between the narrow lines of spectators, head down and stopping for no one. The trio had been out partying together, but the “women folk” up and refused to accompany him to the theatre. Carl Brisson and Maxie Adelbert Baer gave fight fans a treat recently at the Olympic Stadium by presenting silver cups to the winners of amateur bouts. The boys clowned a bit and Brisson let one go that Baer forgot to duck. As he picked himself up off the canvas, Carl was seen making a hasty exit. Poor Ketti Gallian is literally and physi- cally suffering for her art. Up at Arrowhead Springs, where the innocent girl was led to believe she was going for a rest, her ener- getic friends plunged Ketti into one of the famous cave “baths.” They are great little reducers, you know. After that, Miss Gallian was treated to the minstrations of a banger- upper (masseuse, to you). When it was over, she pleaded for a little piece of watermelon. To which her companions replied, “Why, you had coffee and orange juice only four hours ago. For pity sake, don’t you want to get thin?” It took bachelor Lee Tracy to solve the problem of photographing Master Dickie Walters, age two, in a sleeping scene for “Carnival” after everyone connected with the picture, including Sally Eilers, who has just joined the mother ranks herself, and y i ‘ : 2 a When the last scene of “Lot tery Lover’ had been taken, Pat Paterson dashed off to N. Y. to meet hubby Charles Boyer on his arrival from his native Paree. His next screen appearance will be in ’’Private Worlds” for Paramount. MODERN SCREEN Posed by professional model Astonishing gains with new double tonic. Richest imported brewers’ ale yeast concentrated @ times and combined with iron OW there’s no need to have people calling you “skinny” and losing all your chances of making friends. Here’s a new easy treatment that is giving thousands solid healthy flesh, lovely enticing curves—in just a few weeks. As you know, doctors for years have prescribed yeast to build up health. But now with this new discovery you can get far greater tonic results than with ordi- nary yeast—regain health, and also put on pounds of firm, good-looking flesh— and in a far shorter time. Not only are thousands quickly gain- ing beauty-bringing pounds, but also clear, radiant skin, freedom from indi- gestion and constipation, new pep. 7 times more powerful This amazing new product, Ironized Yeast, is made from specially cultured brewers’ ale yeast imported from Eu- rope—the richest yeast known—which by a new process is concentrated 7 times —made 7 times more powerful. But that is not all! This marvelous health-giving yeast is ironized with 3 special kinds of strengthening iron. Day after day, as you take pleasant Ironized Yeast Tablets, watch flat chest develop, skinny limbs round out attrac- tively. Skin clears to beauty, constipa- tion and indigestion vanish, new health comes—you’re an entirely new person. Results guaranteed No matter how skinny and weak you may be, this marvelous new Ironized Yeast should build you up in a few short weeks as it has thousands. If you are not delighted with the results of the very first package, your money will be instantly and gladly refunded. Special FREE offer! To start you building up your health right away, we make this FREE offer. Purchase a package of Ironized Yeast at once, cut out seal on box and mail to us with a clipping of this paragraph. We will send you a fascinat- ing new book on health, ‘““New Facts About Your Body.’’ Remember, results guaranteed with very first package—or money refunded. At all druggists. Ironized Yeast Co., Inc., Dept. 32, Atlanta, Ga. SKINNY ? THEY’LL NEVER CALL ME SKINNY ANY MORE 12 pounds in 4 weeks “T was so skinny I’d hide off alone. Nothing helped till I tried Ironized Yeast. In 4 weeks I gained 12 lbs.’? Dorothy Gregory, Angier, N. C.

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You'll want Rapio Girt Face PowpeErR, too—its skin blend tones and its soft texture, are so flattering. Use this COUPON for FREE SAMPLES “RADIO GIRL", Saint Paul, Minn. Send me FREE Regular Size Radio Girl Perfume and Trial Size Radio GirlFace Powder. Iam enclosing 10c (coin or stamps) for cost of mailing. (Offer Good in U. S. only.) M2 MODERN SCREEN Dickie’s own ma had given up in despair. Lee merely suggested that the scene be taken after the youngster’s regular bed- time when he would be sleeping naturally, which bit of advice saved the studio from the brink of bankruptcy and the directors from the verge of insanity. The newest dog hero in town is none other than Michael, Dolores Del Rio’s white bull. It seems the star was lying on a lawn mattress reading, when Michael raced up, growling ominously. She ordered him to be quiet. Usually obedient, Michael continued his lusty warnings, and jumped over her. Dolores turned in time to see him sink his teeth into a snake, coiled within a few feet of her head. Michael held on until fright- ened servants appeared and now he owns a brand new collar. Besides having a new coiffure, a new Paramount contract and a new beau, Gail Patrick is now the proud possessor of a set chair with her name on the back. And is Gail thrilled! Woe be unto Hepburn the next time she leaves Hollywood! The news cameramen have gotten together and purchased a flock of rubber raspberries. As Katie enters the railway station or airport, she will be greeted with one big blast, as the camera- men walk out with folded equipment. A daisy or sumpthin’ should be presented to our own cameraman, Scotty, and a pho- tographer pal. Recently, Paramount was on the spot on its “Wings In The Dark” opus. Production was held up and ex- penses mounted as a fruitless search was made for extras who could handle a camera without fumbling. The boys stepped in, became actors for the moment and eased the producer’s headache. They were quite -generous in praising their supporting cast, too, cheerfully lauding the efforts of Myrna Loy and Cary Grant. Although he doesn’t play a note, Eddie Robinson considers himself quite a connois- seur of music. Recently he decided he should do some- thing about his vast knowledge on this sub- ject, so he hit upon the plan of creating a “Robinson Symphony.” This was accom- plished by purchasing forty rolls of music, taking out certain parts in each and piecing them together. After days of labor, the masterpiece was finished. Elated, Eddie asked his wife to be his one and only guest and critic at the audi- tion. Seating himself at the player piano, Eddie began the unwinding of the Robinson special. Mrs. R. sat very quietly. After it was over, she made just one caustic remark. It was, “Enough is enough!” Richard Barthelmess is a very shy and retiring man. (!?!?) At a recent football game, fans could hardly miss his bright sweater vividly mon- ogrammed, nor his cigarette holder which carried another “R. B.’—nor was his hat- band neglected. However, in case anyone was still in doubt, his cigarette case bore the full name, “Richard Barthelmess.” What Hollywood male wouldn't be con- sidered sumpin’ if he could crash the ex- clusive “Domino” (all females) Club? But it took Snoopy, Fred Keating’s purp, to accomplish this miracle. Seems Snoopy got himself lost one day and not only Fred, but some of the Domino gals, were so dee-lighted at his discovery, that he was initiated as the club mascot—a male one at that! There have been scores of stories printed about the so-called temperament of movie stars. Perhaps the most malicious is the one now circulating Hollywood about the blonde star who broke the back of one of her dogs with a poker when said pup misbehaved on her parlor rug. This story, however, is being refuted by the less evil- minded, who really are “in the know,” stating that this particular star is an ani- mal lover, her home being overrun with dogs, cats, birds and wotnot. Because of her seeming coldness on the screen, this actress has come in for more than her share of “cracks” and therein probably lies the foundation for this tale. Not content with being a success in the movie field, Doris Kenyon has tried her luck at opera. Here she is after her first singing per- formance in '’The Secrets of Suzanne” at the Shrine Auditorium.

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At the "Milky Way” opening —the Joe E. Browns, with Lyle Talbot and his latest heart in- terest, Polly Walters. One of the best rifle shots in Hollywood is Glenda Farrell. When Glenda was able to shatter the “clay pipes’ with regularity, she started clipping off their stems with well- placed bullets, until now she is able to snip the black smudge off a burning candle wick at fifty feet. Glenda’s young son, Tommy, is in on the game, too, and the pair go to the beach for target practice at least once a week. Out at Warner’s studio, an electrician was rearranging a heavy lamp above the set. In moving around, a large coil of rope fell over and hit the stage with a resounding thud. As a nimble-footed extra sidestepped in time to miss the impact, he shouted upward, “Hey, you! Be careful. I ain't Von Sternberg.” George Raft has discovered a new player. One morning as he was walking into the studio he was approached by a negro boy with an ingratiating smile. The lad was looking for a job and had hitch-hiked all the way from North Carolina to get it. George didn’t particularly need a valet, but was so pleased with Alex Hill's personality, he hired him on the spot. Alex has taken everyone on the lot by storm, so shy and anxious to please is he. And now, Eddie Sutherland, director of “Mississippi,” has given him a part in that picture. Gene Raymond is not making any more personal appearances. Decidedly not! Between pictures recently, Gene went to Palm Springs, intending to stay several days. Shortly after his arrival he was ap- proached by an amiable stranger, apparent- ly a ‘native,’ who insisted he be guest of honor at a gathering of a newly organized art group nearby. Gene agreed. However, after the stranger had gone, Raymond said to the hotel clerk, “Tell me, what sort of organization is this ‘New Art Colony’ ?” ““New Art Colony’,” the clerk repeated, puzzled. “Oh! That chap who was just talking to you?” He laughed heartily. “Not ‘New Art’, Mr. Raymond. ‘Nude’ is the word. You see, this flock of nudists have settled...” But he was talking to thin air. Mr. Raymond had fled! MODERN SCREEN DOES LIK It's that Hard-to-Get-at “Second Layer’ of Dirt that Makes Your Skin Coarse and Gray 3 Md EL A black slip under a white dress will make the white dress look dark —grayish! The same holds true for dirt buried in your skin. It will make your skin look dark—give it a grayish cast. It will also clog your pores and make your skin large-pored and coarse. It’s safe to say that 7 out of 10 women do not have as clearly white and radiant and fine a skin as they might, simply on account of that unsuspected, hidden “second layer” of dirt. There is only one way to remove that under- neath dirt and that is to use a cream that pene- trates the pores to the bottom. A PENETRATING Face Cream Lady Esther Four-Purpose Face Cream is a penetrating face cream. It does not merely lie on the surface of your skin. Almost the instant it is applied, it begins working its way into the pores. It goes all the way down to the bottom of the pores— doesn’t stop half way. Going to work on the waxy dirt, it breaks it up—dissolves it—and floats it to the surface where it is easily wiped off. When you cleanse your skin with Lady Esther Face Cream you get dirt out that you never suspected was there. It will probably shock you when you see how really soiled your skin was. Two or three cleansings with Lady Esther Face Cream will actually make your skin appear whiter—shades whiter. You would think almost that you had bleached it, but that’s the effect of thor- oughly cleansing the skin. When your skin has been thoroughly cleansed it blooms anew, like a wilting flower that has been suddenly watered. It becomes Copyright by Lady Esther, 1935 eee coecoeceeeseeseeoseseses (You can paste this ona penny postcard) (9) Lady Esther, 2010 Ridge Ave., Evanston, Ill. Esther Four-Purpose Face Cream. Name__ oS Address___ City Uf you live in Canada, write Lady Esther, Toronto, Ont.) Peer reco eereceese sess eeee eee EES EOE STS HSSOSES EH ES SESS SS809 clear and radiant. It becomes fine and soft. Supplies Dry Skin with What lt Needs As Lady Esther Four- Purpose Face Cream cleanses your skin, it also does other things. It lubricates the skin—resupplies it with a fine oil that overcomes dryness and makes the skin velvety soft and smooth. Cleansing the pores as thoroughly as it does, it allows them to function freely again—to open and close—as Nature intended. This au- tomatically permits the pores to reduce them- selves to their normal, invisible size. Also, Lady Esther Face Cream makes so smooth a base for powder that powder stays on twice as long and stays fresh. You don’t have to use a powder base that will ooze out and make a pasty mixture on your skin. No Other Quite Like It There is no face cream quite like Lady Esther Face Cream. There is no face cream that-will do so much definitely for your skin. But don’t take my word for this! Prove it at my expense. Let me have your name and address and I'll send you a 7-days’ supply. Just mail a penny postcard or the coupon below and by return mail you'll get the 7-days’ supply of Lady Esther Four-Purpose Face Cream. Let your own skin tell you how different this face cream is from any you have ever tried. Please send me by return mail your 7-day supply of Lady —— State 101 Pmemnocanesemnanneanae

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Monroe St. international Typewriter Exch., Dept. 261, Chicago Lilian Harvey has been signed up by British International Pictures for three (prob- ably musical) films to be made during 1935. However, she will make “Once a Gentle- man” for Columbia, before going to England. FREE! — TO INEXPERIENCED WRITERS PPORTUNITY to test and scientifically measure your writing ability without cost. If you have ordinary command of the English language and can express your- self in writing, you may discover that your natural style, properly directed, might make money for you. Write for this Aptitude Test today and find out whether you are eligible for enrollment in a new, practical Writing Clinic and Simplified Training Course which offers personal, sympathetic instruction and criticism in every phase of modern writing, including short story, news reporting, play, radio, advertising, publicity, news articles, columns and other forms of profitable writing. A new course directed by experienced writers which offers a short cut to sound writing technique. Costs less than one month at college. Spectal Deforred Payment Plan. Helpful marketing advice while training. Write today for full details and FREE Aptitude Test. U. Ss. SCHOOL OF WRITING Dept. B-19 20 W. 60th St., New York N. Y. 102 MODERN SCREEN The marriage merry-go-round is in full swing again. Evelyn Laye and Frank Law- ton trotted off io Yuma to say “I do” and Evelyn Venable and Hal Mohr, cameraman, also Yuma-ed it—all on the same day. “Not a chance,’ has oecome the stock answer Alice White gives news-gatherers who show up on the set. Alice, busily en- gaged in knitting between scenes, doesn’t even look up any more when she’s asked, “Knitting baby clothes?” Incidentally, Miss White seems to bear the brunt of mishaps on the “Sweet Music” set. In one scene, four “‘takes’”’ were made showing her movie brother attempting to kidnap her. In the first, Alice rated a scratched face; on the second, a punch in the nose and on the third, she was sent spinning by a shove and sprained a leg muscle. Alice was, oh, so careful, on the fourth “take” but Allen Jenkins’ foot caught her square on the chin. She went down— and out—and called it a day! When you see a picture of Norman Foster alone, close your eyes and visualize a blonde bit of femininity beside him for, ten chances to one, she’s just outside camera range. The girl is Jan Gale, Wampas Baby Star. who wants to keep her yen for the actor-beau a dark secret. At the Sunday Night Ebell Club vaudeville show recently, Joan had our cameraman, Scotty, playing hide-and-seek among the ticket-purchasers trying to “snap” her. When it looked as if the two might be arrested for lunacy, the game stopped and Scoity contenied himself with a photo of Norman. However, when the ever-lovin’ pair entered the theatre, they were arm-in-arm. Well, maybe no one was supposed to see them there, or were they making out to be ostriches, or what? Incidentally, speaking of Mr. Foster re- minds us of the attractive physician Clau- dette Colbert is being seen about with these days. No one can seem to learn the genileman’s name. Jack Osterman, Master of Ceremonies, spotted Will Rogers in the audience at the Ebell Show and begged the wit, editorialist, actor to GIVE. But Will claimed it was his night off, his birthday and that vode- vil wasn’t talking pitchers anyway, and went back to his gum-chewing. Virginia Bruce Gilbert has sorta turned out to be a female Lyle Talbot. All the boys want a date—and a lot of ‘em are lucky. But Billy Bakewell, ‘twould seem, rates first, which, if rumor holds with us, is said to have made Spencer Tracy that sore. Well, youth must be served—to Virginia anyway. The Hollywood Virginia Reel would seem to be on again. You know—time to change partners and all that. Of course, it may have been because Anita Louise was in New York, but anyway Tom Brown took French leave of Francis Lederer’s erstwhile inamorata, Stefi Duna. So Mr. L., just to prove he was heartbroken or didn’t give a hang (pick your own answer) is going places with some of Hollywood’s prettiest. Margaret Sullavan, divorced from Henry Fonda several years ago, became Mrs. William Wyler recently when they surprised Hollywood and the fan world by eloping to Yuma, Arizona. Mr. Wyler, a nephew of Carl Laemmle, Sr., directed Miss Sullavan in “The Good Fairy.”

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Reviews (Continued from page 55) bow as a wicked woman. When you’ve seen the picture you may just happen to take time out to wonder if her series of self- sacrifices, as depicted, proved her a baddie, just what in the name of heaven and M-G-M would make her an all-right gal. The story is the time-worn one about the woman who struggles and suffers that her little ones may rise above the gutter, which has been her habitat through force of circumstances. Just to heap one more straw on her already overburdened back as she is about to grasp happiness—her past, her conscience and a promise to square herself confront her. Well, fiction writers call it conflict and cruel critics charge it all to that little product which the butchers sell for ten cents a pound, sliced. Anyway, Miss Christians is very nearly perfect. Her appearance is reminiscent of Ruth Chatterton and her performance excellent; so fine indeed that it rates this picture a B. Jean Parker, Betty Furness and Charles Bickford are among those present, and all doing nicely, thank you. B: Maybe It's Love (Warners) “Maybe It’s Love” and maybe it’s only hokum, but one thing is certain and that is that this little picture will please the fans despite the fact that it is given a cheap production and the photography is scarcely better than fair. There is only one situation recognizable as gleaned from the stage play and that is when Big Sister gives Little Blonde Baby lessons on how to land a husband in nothing flat. It seems all one needs is a knowledge of shorthand, a lot of nerve and a stop watch. Of course, the premise that all men are ga-ga will: help, too. Even when the boy has been landed and it is proven to everybody’s satisfaction that two can live as cheaply as four—that is, if a lad doesn’t try to keep a car and her family on the side—the path of true love is punctuated with rocks and boulders. Granted that the dialogue is frankly wisecracking and aimed directly at. the masses; that Joseph Cawthorne, good actor that ‘he is, purposely overplays; that, as a thespian, Gloria Stuart makes a _ real beauty, and that: Ross Alexander is con- sistently miserable, you’re still in for some good rowdy fun. Bd mM Sie : Gloria Stuart and Ross Alex- ander in “Maybe It's Love,” for Warners. MODERN SCREEN GY MU C2 TOO LATE FOR A WIFE TO LEARN The world is full of women who say to themselves, “ My marriage was a mis- take.” No scandal. No open break. Just submission to a life without joy, with- out hope. Many women give up hope too soon. These cases are sad. They are doubly sad because the woman has largely her- self to blame. No wife should let herself become faint-hearted about marriage. She should go right after the real facts. Times have changed. The days when a woman was compelled to use a poison- ous antiseptic, or none at all, have for- tunately passed. The trouble is that some married women have not yet learned this. The truth about antiseptics Of course women do not want to use poisons. Those who do take the risks of such a practice are simply living in a past age before modern improvements in antiseptics had been announced by the medical profession. Any excuse for using these poisons disappeared when Zonite was first offered in drug stores. Doctors now, without reservation, recommend the practice of feminine hy- giene. They know that the tragedies are over. They are confident that delicate Zonite is far more powerful than any dilution of carbolic acid that may safely be used on the human body. Also Zonite Suppositories Besides the liquid Zonite (three sizes 80¢, 60¢, $1.00) there is a newer form, Zonite Suppositories. These are $1.00 a dozen or 35¢ a box of three. They are dainty, white, cone-like forms which provide continuing antiseptic action. Some women prefer the liquid and some the suppositories. Others use both. Be sure to write for “Facts for Women.” It is an up- to-date booklet giving a plain, clear state- ment on the whole sub- ject of feminine hy- giene. An actual education in marriage. All women can profit by its teaching. Just mail coupon. ZONITE PRODUCTS CORPORATION MM-52 Chrysler Building, New York, N. Y. Please send me free copy of the booklet or booklets checked below. 1] I i if I I I ( ) Facts for Women I ( ) Use of Antiseptics in the Home I I I I I I Lf tissues will not be burned or desensi- NAME! 20.2... ce ago shen ney ee asenes . . . . . PASE pre q tized. No lives will be ruined by Zonite. eee . . ENOID PUI 5.4 boo nig oo. plang opto pido Woo O.h oena ag osoeH oto Zonite is safe, as safe as pure water. Cie And Zonite is powerful. Taking carbolic ER Ce ietaral muh dl i eied, eost) acid as the standard for comparison, 103

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FLOWER BASKETS OF... - Women everywhere are positively excited about them —these quaint floral bas- kets you make yourself. And they are so easy and fascinating to make. All you need—a handful of clothes-pins, a few strips of brightly colored crepe paper, and the simple step-by-step instructions that Dennison sends you FREE. Theinstructions show how to make 4 different lovely flower baskets. Be the first to make these clever novelties —for home decoration, for friends, as gifts, to sell. Send the coupon now. [---—---—--—--—---- DENNISON’S, Dept.B-192, Framingham, Mass. Please send me the FREE instructions for making the new Clothes-Pin Flower Baskets. Why not let us include some of these Dennison Books? eck those you want and enclose 10c for each. --Crepe Paper Flowers ...New Dennison Crafts --Money-M aking Bazaars TORMENTS quickly pacified. For efficient help use concentrated OSL hh Be Your Own MUSIC Teacher Learn at Home , by wonderful new meth- od that teaches in half usual time. Simple as A. B. C, — a child can learn it. Your lessons consist of real selections ‘Station G New York instead of tiresome ex- ercises. ryulien youl Anish : one of these delightfully easy lessons, you’ve be) added a new ‘“‘piece’’ to your list. You read real notes, too—no ‘‘numbers’’ or trick music. Method is so thorough that many of our 700,000 students are band and orchestra LEADERS. Automatic Finger Control Our own invyention—limbers, trains and guides your fingers so that they fall into proper place almost automatically. PLAY BY NOTE Piano, Organ, Violin, Cornet, Mandolin, Harp, *Cello, Trom- bone, Flute, Clarinet, Piccolo, Saxophone, Uku- lele, Guitar, Voice and Speech SAT tare ema Free Book and mony and Com- Demonstration Lesson position, Drums You may quickly become a_ fine A Tae toe player or singer through the U. S. matic nigielG School home study method. Write Control, Banjo now, however, before Free Books (Plectrum, 5- and Free Demonstration Lessons String or Tenor) are gone. Mention your favorite Piano Accor- instrument or whether you prefer dion, Italian and yocal music, Please write your German Accor- name and address plainly. dion, Juniors’ U. S. SCHOOL ®F MUSIC Piano Course. 1442 Brunswick Building New York City MODERN SCREEN B: It’s a Gift (Paramount) Another Fields-Day! Which means red- letter day on any calendar. W. C. is twice as potent as any giggle gas yet invented. One moment he'll wring your heart with his pathetic dumbness; the next, he is endangering your ribs merely by a vague mutter or a shift of the chronic cigar. Kathleen Howard is swell as his martyred (that’s what she thinks!) spouse, and Jean Rouverol and Tommy Bupp do well as their indifferent offspring. Baby. LeRoy seems to have suddenly reached the futility-of-it-all age and is, therefore, rather disappointing. The story drags a bit in spots, but then, so would any trip from New York to California, especially if undertaken in the dilapidated car in which the Bissonet family is stowed, plus household goods, camping equipment and the family pets. Here is really an evening’s entertain- ment. B: Imitation of Life (Universal) If you are in the market for a good cry —but a good one, don’t miss “Imitation of Life.” The story is a Fannie Hurst yarn with Fanny doing her human document stuff, and when that lady gets around to that type of material, you are bound to witness a woman come through struggles that seem insurmountable and in the end bring home the bacon financially, romanti- cally, social-successtfully, et al. The picture needs a generous application of the shears. Each sequence—and espe- cially the sobby ones—is drawn out al- most to the breaking point. Sentiment, too, is squeezed dry, and situations in gen- eral are inclined to be over, rather than under, done. However, it’s very humaneness and ten- der moments will strongly appeal. There are several fine performances—Claudette Colbert as the business woman and mother who finally loses her heart; Louise Beavers, the suffering and _ sacrificing Mammy; and Fredi Washington, her way- ward daughter. Fredi. is distinctly a “comer.” Ned Sparks, as usual, proves a laugh-getter in a familiar-to-him role. And Warren William comes through with a good performance. Yes, there is plenty for you to like about this picture, much of it too intangi- ble to describe. C: Father Brown, Detective (Paramount) Just another one of those mistakes, which will happen in the best of regulated studios. Here is an excellent cast, try- ing in vain to make the best of a bad deal. There are too many lilies and blue- birds in this story of a criminal who is reformed and transformed by the plati- tudes of a village priest and the honest love of a good girl—though we must admit that Gertrude Michael could work wonders on even the most calloused hearts. Walter Connolly, as Father Williams, strains to put a note of whimsicality into his role, but only succeeds in being pomp- ous. Paul Lukas, as the famous jewel thief, supposedly a dashing, devil-may-care fellow, strives nobly with a part that is inane both in motive and action. This picture is guaranteed to delight the most conscientious censor. B: The Silver Streak (RKO-Radio) For engineers,’ conductors and anyone interested in railroading, this is good en- tertainment. However, if you are not a member of this charmed circle, you’re apt to find it only fair. The “Silver Streak” is a streamline, aluminum train which an ambitious- young engineer (Hardie Al- bright), has designed. He attempts to sell the idea to a railroad magnate (William Farnum) without success. However, Sally Blane, the R.M.’s attractive daughter, pre- vails upon a rival firm to finance the idea. Guess why! After an unsuccessful first trial, the new train finally proves its worth with a record-breaking run to save the son of the hard-hearted . railroad executive. The lad’s life depends upon the immediate use of an artificial respirator. By the time the train arrives, after a series of treacher- ous turns and narrow escapes from col- lision en route, the audience, too, could use the respirator. William Farnum and Sally Blane handle their roles capably, but honors for the best performance go to the locomotive. C: The Curtain Falls (Chesterfield) As this picture opens, Henrietta Cros- man, a former actress of renown, is dying, alone, forgotten and poverty-stricken. But she suddenly—and startlingly—decides to stage one last act before the “curtain falls.” Aha, title clue! With the an- nouncement that she is their long-lost wealthy aunt, she surprises a supposedly happy family. However, it doesn’t take long to discover that the household is desperate from financial reverses, intrigues and a baddie son. So Aunt Hetty busies herself with pulling the family out of the “slough of despond” forgetting her own search for happiness. Sounds sorta Pollyannaish, doesn’t it? Right. It is. Henrietta Crosman tries to save the day by a brusque line of wise- cracks and hearty back slappings. But there’s still too much sweetness and light. Dorothy Lee, John Darrow, Holmes Herbert and the rest of the cast do well when they have the opportunity to inter- rupt Miss Crosman’s monologue, which opportunities are few and far between, to be sure. D: The Gay Bride (M-G-M) Just another revived gangster film with an alleged new angle which fails to live up to its promise. Indeed, when you see this you're apt to feel as if you’re wander- ing around in a London fog. From all indications, neither the writer nor the cast knew whether to play straight comedy, drama or slap-stick. So slap-stick got the breaks and predominates throughout the picture. Nat Pendleton, a too dumb boss of racketeers, falls for a chiseling chorus gal who is determined never to go hun- ery. Carole Lombard calls upon some of her “Twentieth Century’’ characterization and with hysterics and what-nots manages to marry her way through the gang, wind- ing up with Chester Morris, an honest hombre who longed for nothing more than a little garage in Jersey. / Chester plays a flippant, poorly written role and carries off the cast’s first honors. Zasu Pitts is completely wasted, Leo Car- rillo does well enough with a small part and Sam Hardy is fair as the boss’s double-crossing henchman. E The picture is unworthy of its fine cast and unless you are a staunch Morris- Lombard supporter, you'll be able to say very little for this one. C: I Am a Thief (Warners) “IT Am a Thief” and corned beef hash

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MODERN SCREEN 1 GUESS I'M JUST | NATURALLY SKINNY- CANT GAIN AN OUNCE A scene from “Imitation of Lite’ with Claudette Colbert and Warren William. have something in common—everything’s in’’em both. Of course the latter hasn’t Ricardo Cortez and Mary Astor but, come to think of it, that may be what is especially wrong with the hash. As you might well suppose, even if imagination has not been your long suit, this one deals with the big jool robbery; in fact, the bigger and better jool robbery, for it takes in everyone from insurance agents to gents after the Karenina dia- monds who aren’t taking up time fool- ing with premiums and policies, either. Of course, Mary suspects Ric and he keeps an eye on her—proud and haughty bee-ooty though she be, and Hobart Cav- anaugh suspects Irving Pichel—or is it t’other way around—and you suspect the girl whose admission you just paid. No fooling, it’s that exciting. The action takes in a lot of territory; in fact, the entire cast find themselves on the Simplon Express speeding all over Europe. Oh well, let’s skip it, after giving Cortez a gold star. C: Babes in Toyland (Hal Roach-M-G-M) It’s grand fun, if you have your health and your youth—youth to the extent of be- ing under ten. For, if the producer of this picture had the kiddies and the holi- days in mind when he had his cameramen turn the crank, his work and contribu- tion to juvenile jollity has not been in vain. But if he expected the big boys and girls New, Natural Mineral Concentrate from the Sea—RICH IN NATURAL IODINE, Building Up Thousands of Nervous, Skinny, Rundown Men and Women Everywhere Here’s good news for “Naturally Skinny’ folks who can’t seem to add an ounce no matter what they eat. A new way has been found to add flat- tering pounds of good, solid flesh and fill out those ugly, scrawny hollows even on men and women who have been under-weight for years. 5 lbs. in 1 week guaranteed. 15 to 20 lbs. in few weeks not uncommon. This new discovery, called Kelp-a-Malt now avail- able in handy tablets offers practically all the vitally essential food minerals in highly concentrated form. These minerals, so necessary to the digestion of fats and starches in your daily diet—the weight making elements—include a rich supply of precious NATURAL IODINE. Kelp-a-Malt’s NATURAL IODINE is a mineral needed by the vital organ which regulates meta- tolism—the process through which the body is constantly building firm solid ‘flesh, new strength and energy. 6 Kelp-a-Malt tablets contain more NATURAL IODINE than 486 lbs. of spinach, 1600 Ibs. of beef, 1389 Ibs. of lettuce. Try Kelp-a-Malt for a single week and notice the difference—how much better you sleep—how your “Limehouse Blues’ with George Raft and Anna May Wong, for Paramount. ! SAID THE SAME THING UNTIL I DISCOVERED | KELP-A- MALT FOLKS WHO ARE NATURALLY SKINNY NOW GAIN 5 LBS. IN| WEEK AND FEEL FINE/ appetite improves, how ordinary stomach distress vanishes. Watch flat chests and skinny limbs fill out and flattering extra pounds appear. Kelp-a- Malt is prescribed and used by physicians. Fine for children, too. Remember the name, Kelp-a-Malt, the original kelp and malt tablets. Nothing like them, so do not accept imitations. Try Kelp-a- Malt. If you don’t gain at least 5 Ibs. in 1 week, the trial is free. Kelp-a-Malt comes in jumbo size tablets, 4 to 5 times the size of ordinary tablets and cost but little. It can be had at nearly all drug stores. If your dealer can’t supply you, send $1.00 for special introductory size bottle of 65 tablets to address below SPECIAL FREE OFFER Write today for fascinating instructive 50-page book on How to Add Weight Quickly. Mineral Contents of Food and their effect on the human body. New facts about NATURAL IODINE. Stan- dard weight and measurement charts. Daily menus for weight building. Absolutely free. No obligation. Kelp-a-Malt Co.. Dept. 333, 27-33 West 20 St., New York City. KELPAM/ 105

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HEN a bad cold gets you down, just rub on Vicks VapoRub. It goes right to work to fight a cold direct —two ways at once. Through the skin it acts divect like a poultice or plaster. At the same time, its medicated vapors are inhaled with every breath direct to the inflamed air- passages of head, throat, and bronchial tubes. This combined action loosens phlegm — soothes irritated membranes — eases diffi- cult breathing—helps break con- gestion. Follow daytime treatments with an application at bedtime —to get the effect of VapoRub’s powerful two-way medication through the night. Often by morning the worst of the cold is over. MODERN SCREEN Helping Millions to END COs oUONER VICKS VAPORUB o (VapoRub is the foundation of Vicks Plan for Better Control of Colds. This unique Plan fully described in each Vicks package.) To Help PREVENT Colds VICKS VA-TRO-NOL for nose and throat Quick !—At the first nasal irritation, sniffle or sneeze—just a few drops up each nostril. Va-tro-nol aids the functions provided by Nature—in the nose—to prevent colds, and to throw off colds in the early stages. A marriage between Katharine Hepburn and Leland Heywood is practically a sure thing. His wife finally divorced him for the second time, and Hepburn has been free from Ludlow Smith for several months. George Arliss may now be among the honorary nobility of England—that is, if King George includes him on his New Year’s Knighthood list this year as is expected. Quick SEE FOR YOURSELF! IRONINGS NO STICKING—NO SCORCHING Here’s that new way to do hot TRY THIS starching without mixing, boil- ing or straining as with old F R E E fashioned lump starch. Every- — = thing already included in pow- SSS dered form. Makes starching easy. Makes ironing easy. See ( howelasticity and that freshnew HOT STARCH Jook are given back to curtains, IN 30 SeCGNUS aprons, play clothes, soft collars andshirts. Youriron fairly glides. A wonderfulinvention. Sendnow, THANK YOU------—--, } THE HUBINGER CO., No.899, Keokuk, Ia. 1 I I Your free sample of QUICK ELASTIC, please, I and ‘That Wonderful Way to Hot Starch.” I : I | I Eric Linden, in case you've been wonder- ing what in the world has happened to him, is playing in “Ladies Money” on the New York stage. He seems to be firm in his deci- sion to remain off the screen. After the completion of “Vanessa” at M-G-M, Helen Hayes plans to return to the East where she will resume her role in “Mary of Scotland” for a fifteen weeks’ tour. Musical Comedies, Oper« ettas, Vaudeville Acts, Minstrels, Comedy DENISON’S Songs, Make-up Goods. YEARS OF HITS, Catalog Free T.S. Denison & Co. 623 S.Wabash, Dept.25, Chicago Be Smart! Save Money! 1 Sweater Dry Clean 5 Neckties I Scarf with I can.of Cleans Like Magic Blouses, Spats, Hats, Furniture and Auto Upholstery, ete. Odorless ... nhon- explosive ... just dip, rinse and dry. Home Dry Cleaner Lab., Uniontown, Pa. On Sale at Leading 5 & 10c Stores lis ee Gantt” with Kathleen Howard, W. C. Fields and the fast-growing-up Baby LeRoy. to be anything but bored, he’s a bloomin’ optimist. Every fairyland character pops up from somewhere in the celluloid and occasion- ally stays a bit too long. There is Bo- Peep, played by Charlotte Henry, and a sorta sad performance it is, too; and Tom-Tom, essayed by Felix Knight, warbling a few fine notes and a lot of sour ones; and the Three Little Pigs and Mickey Mouse and all the boys and girls of Make-Believe to give the flesh and blood youngsters a treat. The March of the Toys should have been grand, but it fell quite flat and the bogey men might have scared us, but they merely succeeded in being grotesque, and Laurel and Hardy could have been funny, but they weren’t—very often. Well, cut- ting might have helped, too—say, from six reels to three. C: Limehouse Blues (Paramount) This little number will never reach any great heights in movie entertainment no matter how you look at it, or from where you sit. Set in the musty atmosphere of Chinatown, the action creeps along in the usual slinky manner, revealing shadowy figures with long fingernails and bad in- tentions. George Raft, aided and abetted by a pair of slanting eyebrows (no more, no less) makes a stiff and rather unbe- lievable Chinaman. Jean Parker is the Walter Connolly and Gertrude Michael in ‘Father Brown, De- tective’ for Paramount.

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MODERN SCREEN ee cay BS Sylvia Sidney’s latest effort, “Behold My Wite,’’ with Gene Raymond. White Flower, blooming amidst the grime i and dirt of the Chinese underworld, whose love choice is the sweet and unsullied owner of—believe it or not—a dog store, | thus giving Raft a chance to do an heroic fade-out. This final sequence is perhaps the redeeming note, if any, of the film, as it affords a little excitement and suspense, both sadly lacking in the first few reels. A rather dull evening among the celestials, if it’s anything to you. C: Successful Failure (Monogram) e | Like the old gray mare, this just “ain’t 1e sauce s in é | what it otta be.” In fact, it isn’t even the any, i delicately a beginner a thiis P Brand. | successful failure which its title implies. : der and ™ “e creatiods an’ t—suce € The story involves a middle-class family — @ten mes ‘Vk Ee eens © with the usual complications of too little outside— OF vaporated ea Milk. J st ii money and too much bickering. William \ remember Sweetened Conden he \| Collier, Sr., does well in spite of having » must Use : HH to pose as a 100 per cent American. That’s : ; 2 Gt) Bd Ga Ge Ge See ee Ge aaa = os ol no mean handicap, you'll admit. Lucille Gleason makes the most of a bad deal and George Breakstone as the twelve- year-old cynic is quite convincing. Rus- sell Hopton, news sleuth, gets the prover- bial lily from Gloria Shea, blonde daugh- ter of the house, when the wealthy gentle- men with ulterior motives shows up. Of course, in the end she takes back the FREE! World’s most amazing Cook Book! Rotogravure picture-book (60 photographs) showing astonishing new short- cuts. 130 recipes, including: Lemon Pie Filling without cooking! Foolproof 5- minute Chocolate Frosting! Caramel Pudding that makes itself! 2-ingredient Macaroons! Shake-up Mayonnaise! Ice Creams (freezer and automatic)! Can- dies! Refrigerator Cakes! Sauces! Custards! Cookies! Address: The Borden Co., Dept. MM-25 350 Madison Avenue, New York, N. Y. ex-B.F.—though one wonders why. Nats If you aren’t getting your quota of Ty. family squabbles at home, by all means see this. City. State. (Print name and address plainly) es ee ee ee ee es es es ee Hair Men Adore Fascinating Glints brought out in one shampoo! ON’T let drab hair make you look tired and commonplace. A single Blondex shampoo will wake up radiant charm—will fluff your hair to new, enchanting softness. Blondex is not a dye or bleach. It’s a glorious shampoo-rinse— made originally for blondes—but quickly adopted by thousands with dark and medium hair—who find it brings out gleaming lights and lustre like nothing else! Wonderfully cleansing, Blondex completely removes all hair-dirt and film. Your scalp feels gloriously clean, refreshed. Your hair is not only brighter, but healthier, too! Try Blondex now—it works magic. At all good drug and department stores. Two sizes, the inexpen- sive 25¢ package, and the economical $1 bottle. Wallace Beery eae Adolphe | Menjou in ‘'The Mighty Barnum.”

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All Irresistible Beauty Aids are perfumed with the famous Irresistible Perfume. Guaran- teed to be absolutely pure and of the finest quality. Full size packages only 10¢ each at your 5 and 10¢ store. vel BRICANTINGE & MODERN SCREEN B: The Mighty Barnum (20th Century) This picture, with Wallace Beery in the title role, somehow doesn’t quite come off. It is too episodic, which is, perhaps what chiefly lets you down. Mr. Beery plays the famous figure as a kind of Peck’s Bad Boy, a lovable soul who is always in mischief. And so, it is difficult to associate him with a great showman imbued with the spirit of a Steve Brodie. Indeed, Wally has por- trayed this character before. As recent- ly, for instance, as in “Treasure Island.” Jenny Lind, Horace Greeley and the poet, Longfellow, contemporaries of Bar- num, are all there for you to see. And there are the freaks, a parade, a fire, a banquet for Jenny, during which P. T. thoroughly disgraces himself; well, just about everything and yet it doesn’t seem to much matter. Adolphe Menjou, as Barnum’s aide, gives the best performance. Janet Beecher is good in the thankless role of the wife and Virginia Bruce makes a lovely Jenny Lind. When she sings, you'll get a thrill. It shows just how far synchronization has progressed. However—and not to be a “backer- outer” either, “Barnum” should make money for its producers. B: Behold My Wife (Paramount) Here is a story of hate and love, revenge and sacrifice, dealing with life among the blue-bloods and the redskins. Despite these various elements and castes, the yarn is rather weak and wandering and most of the roles sadly underwritten. Now, hav- ing given you in a couple of sentences the “Wwhat’s wrong with this picture,’ we'll right about face and mention its good points. First of all, there are the characteriza- tions; and how the cast rose to and above the occasion! Gene Raymond, as a young man out to get even with his social family upon whom he blames his middle-class sweetheart’s suicide, handles his role with real finesse. Sylvia Sidney makes a luscious-looking Indian maiden, who com- pletely captivates the smart set arraigned THE to laugh at her, and Laura Hope Crews, as usual, gives a fine account of herself. Of course, if you’ve been wondering how the “other harf” live, don’t take too literally the antics of the “‘ritzies” in this picture. There is something of the Bowery about them, but then, perhaps they’re laboring under the delusion that it’s swank to be cruel. At that, after messing up each others’ lives in the first part of the story, everyone sort of goes “self-sacrificy” in the last. B: West of the Pecos (RKO-Radio) Out in the wild and woolly West where men are men and women are scarce, lies the locale of this picture. Due to that dearth of damsels, Terrill Lambeth (Martha Sleeper) disguises herself as a boy, when she and her father (Samuel Hinds) leave the destitute South after the Civil War and strike out for the West to seek a living. Complications begin to pile up when Pecos (Richard Dix) joins their party. His introduction to Terrill is a swift kick in the breeches, which neces- sitates a series of readjustments before the final clinch. Dix is a convincing cow- boy, Martha Sleeper is excellent in a difficult role, and the entire cast is uni- formly good, while the photography is exceptionally beautiful. There’s plenty of shooting, wild Indians, and cattle rustling, too. Indeed, the only missing ingredient is the “Mellerdrammer” touch. In short, it’s a Western that even an Easterner would relish. B: La Cucaracha (RKO-Radio) Here’s a short that deserves a review! “Ta Cucaracha” is just the type of pic- ture to which technicolor adds such charm. Director Lloyd Corrigan has captured all the flavor of Old Mexico in this gay, colorful portrayal of an evening in a Mexican café. The native dances are beautifully done and accentuated by vivid costumes and scenery. Steffi Duna is the fiery, black- eyed chiquita, who uses all her powers of wit, malice and beauty to hold the love of the dashing Don Alvarado. REPORT CARD Short Reviews of Current Pictures THESE PICTURES GET “A” ANNE OF GREEN GABLES (RKO). You’ll love Anne Shirley in the title rdle. Helen Westley, O. P. Heggie, Sara Haden and Tom Brown do asceallent work, too. BABY TAKE A BOW (Fox). ; ! Shirley Temple, Jimmy Dunn and Claire Trevor in a fast-moving tale. THE BARRETTS OF WIMPOLE STREET (M-G-M). Don’t miss it. Norma Shearer, Charles Laughton and Fredric March. BELLE OF THE NINETIES (Paramount). Typical Mae West fare. John Miljan, Roger Pryor, John Mack Brown and Katharine DeMille in sup- porting roles. BROADWAY BILL (Columbia). Horse racing enthusiasts will get a kick out of this. Swell work by Myrna Loy, Warner Baxter and Walter Connolly. BULLDOG DRUMMOND STRIKES BACK Century). i: i Thrilling mystery. Ronald Colman, Loretta Young and Charlie Butterworth, THE CAPTAIN HATES THE SEA KGolimbiaye A fine cast insures good entertainment—Walter Con- nolly, John Gilbert, Alison Skipworth, Victor Me- Laglen; Helen Vinson, Fred Keating and Wynne Gibson, (20th CLEOPATRA (Paramount)., b Beautiful DeMille production. With Claudette Col- bert, Warren William and Henry Wilcoxon, THE GAY DIVORCEE (RKO). Musical de luxe with Fred Astaire’s divine dancing. And Ginger Rogers, Edward Everett Horton, Alice Brady, Erik Rhodes and Eric Blore. THE GIRL FROM MISSOURI (M-G-M). Jean Harlow as a society-minded chorus girl. With Franchot Tone, Lionel Barrymore, Lewis Stone and Patsy Kelly. GREAT EXPECTATIONS (Universal), The Charles Dickens’ classic superbly enacted by Henry Hull, Florence Reed, Phillips Holmes and Jane Wyatt. HAPPINESS AHEAD (First National). Rich girl, Josephine Hutchinson, falls for window- cleaner, Dick Powell. _ Dick’ s songs include the hit tune, “‘Pop Goes My Heart.’ THE HUMAN SIDE (Universal). Adolphe Menjou, Doris Kenyon, Reginald Owen and Charlotte Henry, JANE EYRE (Monogram). Virginia Bruce and Colin Clive in the screen ver- sion of the Bronte novel. JUDGE PRIEST (Fox). Will Rogers does an exceptionally fine characteri- zation. _Berton Churchill, Henry B. Walthall, Ro- chelle Hudson, supporting r6les. Anita Louise and Tom Brown in i] | | |

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KID MILLIONS (Sam Goldwyn). Another Eddie Cantor special. Ann Sothern, George Mur. hy, Ethel Merman, Warren Hymer, Block and Sully deserve praise for their work. LADY BY CHOICE (Columbia). In which fan dancer, Carole Lombard, adopts a mother, May Robson. w alter Connolly and Roger Pryor here, too. MADAME DU BARRY (Warners). : : Dolores Del Rio in the title role of this beautiful production. THE MERRY WIDOW (M-G-M). Jeanette MacDonald and Maurice Chevalier will de- light you. Don’t miss it. MURDER AT THE VANITIES (Paramount). A musical-murder comedy, with Carl Brisson and Kitty Carlisle. ONE NIGHT OF LOVE (Columbia). One of the best pictures of the year—a triumph for Grace Moore. With Tullio Carminati, Luis Al- berni, Mona Barrie, Lyle Talbot and Henry Ar- metta. THE PAINTED VEIL (M-G-M). You'll like the Garbo in her latest effort. Marshall and George Brent are with her. THE PRESIDENT VANISHES (Paramount). ’ Exceedingly interesting film entertainment. With Arthur Byron in the title réle and Paul Kelly, Andy Devine, Peggy Conklin and Janet Beecher in the supporting cast. THE PURSUIT OF HAPPINESS (Paramount). Concerning the Revolutionary Days and the quaint custom of ‘“‘bundling.’’~ You'll enjoy Francis Led- erer, Joan Bennett, Charlie Ruggles and Mary Boland in this charming picture. ROMANCE IN MANHATTAN (RKO). Francis Lederer as an immigrant boy and Ginger Rogers as a chorus girl. It’s a swell picture. ROMANCE IN THE RAIN (Universal). Nice comedy. Roger Pryor, Heather Angel, Moore and Esther Ralston. SEQUOIA (M-G-M). Beautiful photography and excellent acting by Jean Parker, Russell Hardie and Harry Lowe, Jr., make this a “‘must.”’ SHE LOVES ME NOT (Paramount). Swellegant comedy. Bing Crosby, Miriam Hopkins and Kitty Carlisle. Bing sings ‘“‘Love in Bloom.”’ THE THIN MAN (M-G-M). Exceptionally exciting mystery. William Powell. TREASURE ISLAND (M-G-M). The Robert Louis Stevenson tale brought to the screen, with Jackie Cooper, Wallace Beery, Lewis Stone, Otto Kruger and Lionel Barrymore. WHAT EVERY WOMAN KNOWS (M-G-M). The James M. Barrie play superbly enacted by Helen Hayes and Brian Aherne, who, incidentally, will surprise you—he’s that good. THE WHITE PARADE (Fox). Loretta Young is amazingly good in this hospital tale. John Boles, Dorothy Wilson and Jane Dar- well. THESE PICTURES GET “B” Herbert Victor Myrna Loy and MODERN SCREEN BEHOLD MY WIFE (Paramount). Sylvia Sidney as an Indian gal and Gene Raymond as a blue blood give fine accounts of themselves. Laura Hope Crews here, too. BEYOND THE LAW_ (Columbia). ; A Tim McCoy thriller. Shirley Grey supplies the feminine interest. BY YOUR LEAVE (RKO). Frank Morgan steals the show. Neil Hamilton and Marian Nixon. CARAVAN (Fox). Its gypsy music and lovely settings make it very worth while. Charles Boyer, Loretta Young, Phil- lips Holmes and Jean Parker. THE CAT’S PAW (Fox). You'll enjoy Harold Lloyd’s latest comedy. Una reel George Barbier and Nat Pendleton with him. CHU CHIN CHOW (Gaumont-British). Something decidedly different in musicals. With Anna May Wong and Fritz Kortner. COUNT OF MONTE CRISTO (United Artists). Robert Donat and Elissa Landi in Dumas’ thrilling stery. Be sure to see it. Genevieve Tobin, DESIRABLE (Warners). Excellent performances by Jean. Muir, George Brent and Verree Teasdale make this worth seeing. ENTER MADAME (Paramount). Concerning a temperamental prima donna, Elissa Landi. With Cary Grant, Lynne Overman, Sharon Lynne, Frank Albertson and Cecilia Parker. EVELYN PRENTICE (M-G-M). Myrna Loy, William Powell, Gna Merkel and Cora Sue Collins, THE FIREBIRD (Warners). Swell murder mystery. Verree Teasdale, Cortez, Anita Louise and Lionel Atwill. FLIRTATION WALK _ (Warners). West Point locale. Ruby Keeler, Dick Powell, Pat O'Brien, Ross Alexander and John Eldredge. GENTLEMEN ARE BORN (Warners). Concerning the fate of four college boys, Franchot Tone, Ross Alexander, Nick Foran and Robert Light. Margaret Lindsay, Jean Muir and Ann Dvorak provide the heart interest. HAT, COAT AND GLOVE (RKO). Exciting courtroom drama. Ricardo. Cortez, Bar- bara Robbins, John Beal and Dorothy Burgess do excellent work. Ricardo HAVE A HEART (M-G-M). ulcer Parker, Jimmy Dunn, Una Merkel and Stu Lrwin. HERE COMES THE GROOM (Paramount). Swell comedy. Jack Haley and Mary Boland. HIDE-OUT (M-G-M). Charming little story, with Bob Montgomery and Maureen O'Sullivan. IMITATION OF LIFE (Universal). If you want to weep, this will do the trick. Clau- dette Colbert, Warren William, Louise Beavers, Fredi Washington and Ned Sparks. HAVE THAT LURE TONIGHT Irresistible Lip Lure is an utterly new, dif- ferent lipstick. Its cream base carries gor- geous color deep into your lips so that they seem to glow with an inner fire...that makes them beg for kisses. Prove to yourself how different it is. Hold a piece of tissue paper over another piece of paper. With your fingers rub some Irresist- ible Lip Lure into the tissue paper. You will find that the color penetrates right through onto the second sheet! In the same way... THE AGE OF INNOCENCE (RKO). John Boles and Irene Dunne. BACHELOR BAIT (RKO). Amusing story about a matrimonial Erwin, Pert Kelton, Skeets Gallagher Hudson. agency. Stu and Rochelle by Mary TITLE CHANGES IT’S A GIFT (Paramount). A W. C. Fields laugh-getter. With ard and Baby LeRoy. KENTUCKY KERNELS (RKO). Beery. Old Title Backtfield Back Porch Bad Penny Black Hell Burnt Ranch Casino de Paree Code of the West Concealment Girl of the Islands I Murdered a Man Me Without You Mystery Blonde A Perfect Week-End Portrait of Laura Bales The Queen's Affair Racing Luck Quicksands Repeal Spring 3100 Stake Out State vs. Elinor Norton The Wedding Night New Title The Band Plays On It's a Gift The Blind Road Black Fury The Westerner Go Into Your Dance Home on the Range The Secret Bride Red Morning Dangerous Gentleman One Hour Late The Mystery Woman St. Louis Kid Grand Old Girl The Runaway Queen Red Hot Tires Square Shooter The Gay Bride Jealousy Men of the Night Elinor Norton Broken Soil Carlisle, Wheeler and Woolsey do their stuff again, McFarland and Spanky Company M-G-M Paramount Select Warner Bros. Columbia Warner Bros. Paramount Warner Bros. RKO-Radio Universal Paramount Fox Warner Bros. 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Illustrations of beautifully carved frames for your choice will be sent with your enlargement. Don’t delay..*Act now. Mailyour Photos today. Write NEW ERA PORTRAIT COMPANY 11 E. HURON STREET, DEPT. 646 CHICAGO, ILLIN ee 699 aWeek d your own Dresses FREE \ Showing Latest FROCK No House-to-House Canvassing ’) New kind of work for ambitious women demonstrating gorgeous Paris-styled dresses at direct factory prices. You make up to ow £9327 weekly during spare hours and get all your own dresses free to wear and show. Fashion Frocks are nationally advertised and are known to women everywhere. No Investment Ever Required Wesend you an elaborate Style Presentation in full colors and rich fabrics. Write fully for details of this marvelous opportunity giving dress size and choice of color. FASHION FROCKS Inc. Bert. 8-250 Cincinnati, O. MODERN SCREEN KISS AND MAKE-UP (Paramount). A burlesque on beauty parlors. Cary Grant, Helen Mack, Genevieve Tobin and Edward Everett Hor- ton. LA CUCARACHA (RKO). A technicolor short that’s and Don Alvarado. A LADIES SHOULD LISTEN (Paramount). A nice little comedy. Cary Grant, Frances Drake, Nydia Westman, Edward Everett Horton and Charlie Ray. THE LAST GENTLEMAN (20th Century). George Arliss, Edna May Oliver, Janet Beecher and Ralph Morgan. LET’S TALK IT OVER (Universal). A comedy with Chester Morris and Mae Clarke. a sensation. Steffi Duna MAYBE IT’S LOVE (Warners). L Lotsa fun here. With Joseph Cawthorne, Gloria Stuart and Ross Alexander. MENACE (Paramount). Thrilling murder mystery. Paul Cavanagh, Ger- trude Michael, Henrietta Crosman and John Lodge. THE MERRY FRINKS (Warners). Aline MacMahon, Guy Kibbee and Allen Jenkins make this very amusing. MIDNIGHT ALIBI (Warners). Richard Barthelmess as a gangster. dler and Ann Dvorak. THE MIGHTY BARNUM (Twentieth Century). Picturization of the great circus man’s life with Wally Beery in the title rdle and Adolphe Menjou as his partner. Janet Beecher and Virginia Bruce in supporting réles. MILLION DOLLAR RANSOM (Universal). Helen Chan- Plenty of action here. Edward Arnold, Phillips Holmes, Mary Carlisle and Andy Devine. MURDER IN THE PRIVATE CAR (M-G-M). Chills and laughs in this one. Charlie Ruggles, Mary Carlisle and Una Merkel. NOW AND FOREVER (Paramount). Gary Cooper, Carole Lombard and Shirley Temple. THE OLD-FASHIONED WAY (Paramount). W. C. Fields at his best. OUR DAILY BREAD (Viking-United Artists). Karen Morley and Tom Keene. PECK’S BAD BOY (Sol Lesser-Fox). veut enjoy Jackie Cooper and Thomas in this. PRIVATE SCANDAL (Paramount). Mary Brian, Phillips Holmes and ZaSu Pitts in a mystery with laughs. READY FOR LOVE (Paramount). Enjoyable comedy. With Richard Arlen, Ida Lupino, Marjorie Rambeau and Trent Durkin. THE RICHEST GIRL IN THE WORLD (RKO). Miriam Hopkins does beautiful work in the title role. Joel McCrea, Fay Wray, Reginald Denny and Henry Stephenson deserve praise, too. THE ST. LOUIS KID (Warners). Lots of pep and some good laughs in this Jimmy Cagney picture. Allen Jenkins and Pat Ellis here, too. SERVANTS’ ENTRANCE The Janet Gaynor fans plays opposite her. THE SILVER STREAK (RKO). All about railroads and a new streamline train. Hardie Albright, Sally Blane and William Farnum. SMARTY (Warners). Worth while comedy. Joan Blondell, liam and Edward Everett Horton. STAMBOUL QUEST (M-G-M). A spy story. With Myrna Loy, George Brent and Lionel Atwill. STUDENT TOUR (M-G-M). “Professor’’ Butterworth and Jimmy Durante make you laugh. SUCH WOMEN ARE DANGEROUS (Fox). Warner Baxter and Rochelle Hudson. WE LIVE AGAIN (Sam Goldwyn). Anna Sten and Fredric March in a , talkie version of the silent picture, ‘‘Resurrection.’”’ See it. WEST OF THE PECOS (RKO). A western with a lot of snap. Richard Dix and Martha Sleeper handle their roles beautifully. Meighan (Fox). will like it. Lew Ayres Warren Wil- will WHOM THE GODS DESTROY Walter Connolly. A WICKED WOMAN (M-G-M). A ; You're going to like Mady Christians in the title role. Jean Parker, Betty Furness and Charles Bickford. THE WORLD MOVES ON (Fox). : Madeleine Carroll, Franchot Tone and Raul Roulien head a large cast. YOU BELONG TO ME (Paramount). A_tale about vaudeville actors. Lee Tracy, Helen Mack, David Holt and Helen Morgan. THESE PICTURES GET “C¢” BABES IN TOYLAND (Hal Roach). The kids will enjoy this one. Laurel and Hardy, Charlotte Henry and Felix Knight. BRITISH AGENT (Warners). 2 . Leslie Howard and Kay Francis in the film version of the popular book. CHARLIE CHAN _IN LONDON (Fox). 5 Warner Oland, Drue Leyton and Mona Barrie carry on the latest “‘Chan’’ thriller. CRIMSON ROMANCE (Mascot). A war picture. With Ben Lyon, Eric Von Stroheim. THE CURTAIN FALLS (Chesterfield). Henrietta Crosman, Dorothy Lee, John Darrow and Holmes Herbert. DEATH ON THE DIAMOND (\-G-M). Baseball yarn. With Robert Young, Madge Evans, Nat Pendleton, Paul Kelly and Ted Healy. THE DRAGON MURDER CASE (Warners). Dull mystery. Warren William and Lyle Talbot. THE DUDE RANGER (Fox). George O’Brien and Irene Hervey. THE FOUNTAIN (RKO). Fine _periormances by Ann Harding, Jean Hersholt and Paul Lukas rescue it. GIFT OF GAB (Universal). Huge cast includes, Edmund Lowe, Paul Lukas, Alice White, Chester Morris, Pryor and a flock of radio headliners. GRAND CANARY (Fox). A weak yarn. Warner Baxter and Madge Evans. HELL BENT FOR LOVE (Columbia). Tim McCoy and Lillian Bond. HOUSEWIFE (Warners). Dull. With George Brent, Dvorak. I AM A THIEF (Warners). Concerning a jewel robbery. Mary Astor in the leads. JOURNAL OF A CRIME (Warners). Ruth Chatterton and Adolphe Menjou. LIMEHOUSE BLUES (Paramount). Slow-moving tale with a Chinatown locale. Raft, Jean Parker and Anna May Wong. KANSAS CITY PRINCESS (Warners). Joan Blondell and Glenda Farrell in a comedy. THE LEMON DROP KID (Paramount). Lee Tracy, Helen Mack, Baby LeRoy, Frawley, Minna Gombell and Kitty Kelly. LOVE TIME (Fox). Concerning the life of Franz Schubert. and Pat Paterson in the leading roles. MERRY WIVES OF RENO (Warners). Trite comedy. Glenda Farrell, Guy Kibbee, garet Lindsay and Donald Woods. ONE IS GUILTY (Columbia). Ralph Bellamy and Shirley Grey. OUTCAST LADY (M-G-M). Suffers from censorship trouble. stance Bennett, Herbert Marshall, and Ralph Forbes do their best. THE PARTY’S OVER (Columbia). Stu Erwin, Arn Sothern and Arline Judge. RETURN OF THE TERROR (First National). Lyle Talbot and Mary Astor have the leading réles in this mystery drama. THE SCARLET EMPRESS (Paramount). Marlene Dietrich’s latest. Rather heavy. SHE WAS A LADY (Fox). Helen Twelvetrees and Ralph Morgan a weak yarn. 6-DAY BIKE RIDER (Warners). The Joe E. Brown fans will like it. (Columbia). Sari Maritza and Gloria Stuart, Roger Bette Davis and Anr Ricardo Cortez and George William Nils Asther Mar- However, Con- Elizabeth Allen try to save Maxine Doyle, me ms ees sc ee se ee ee ee ee ee es ! COUPON FOR ORDERING PATTERNS ILLUSTRATED ON PAGE 61 | MODERN SCREEN Pattern Service 149 Madison Avenue, New York, N. Y. send me the following: Pattern No........... Do you want our latest Pattern Book? Patterns are |5c each. ordered separately. United States. a SS EL ES Street Addiresso gs ¢ acsicire Waciate mn perevensionee Chiy Cel SCHOsccccocconegnoovnsonoonr (Please write in pencil) | am enclosing.............. (in coin or United States stamps) for which please Book 10c when ordered with pattern, 15c when Patterns are 20c if you Books 20c separately, 15c with pattern. Canadian stamps accepted. live outside of the l | I l | I I | I No foreign or I | | | | I | I [ A ==> a

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SAFELY! RENEWS! LIGHTENS! BEAUTIFIES your skin. Gives vou that clean-out attractive look. SEE INSTANT IMPROVE- MENT. No chemicals No etaving home. A GUARAN- TEED PURE NATURAL PRODUCT APPROVED BY HEALTH AUTHOR- ITIES AND THOUS NDS OFHAPPY USERS— Men and Women. Noth- mg like it! Stop wasting time and money on ordinary products. our akin deserves the best. Get your 2 mnths’ supply or Kleerplex Wash TODAY. Just cend $1, (plus .1U postaze) to KLEERPLEX (Dent, MRK8) | W. 34th St.. N. Y. Cy or pay vostman (plus C. O. D. charge). Outside U. $. $1.25 and no C. O. D.s. MONEY BACK GUARANTEE! Copyright 1984: Kveerplez. BUNIONS Reduced Quickly Pain stops almost instantly. Then blessed relief | Fairyfoot helps reduce painful ugly bunions. Foot soon appears more natural. Fairyfoot is easy to use, en- tirely harmless. Used on over two million feet since 1897. Write for FREE trial treatment today. \) Fairyfoot Products Co., Chicago 1223 S. Wabash Ave. Dept. 2712 ITTLE BLUE BOOKS Send postcard for our free catalogue. Thousands of bargains. Address: LITTLE BLUE BOOK CO., Catalogue Dept., Desk 348, GIRARD, KANSAS OKE To BE DEAF . —Every deaf person knows that= Mr. Way made himself hear his watch tick after sbeing deaf for twenty-five years, withhis Arti- ¥ficial Ear Drums. He wore them day and night. ylhey stopped his head cm noises. They are invisible andcomfortable,no wires or batteries. Write for ¢ TRUE STORY. Also @ booklet on Deafness. ArtifictalEar Drum d THE WAY COMPANY : 717 Hofmann Bidg. Detroit, Michigan Follow This Man Secret Service Operator No. 38 is on the job! Running down Counterfeit Gang. Tell-tale finger prints in mur- dered girl’s room. Thrill, Mystery. The Confidential Reports Free of Operator No. 38 made to his chief. Write for tt. €arn a Regular Monthly Salary ‘YOU can become a Finger PrintEx- ert at home, in spare time. Write ‘or details if 17 or over. Institute of Applied Science aM 1920 Sunnyside Ave. A| Dept. 72-12 Chicago, Mle ABOVE—ordinary curler reverses cnds, curls friz and unwind. BELOW —Humphrey curle hair all one way, Nature's way—curls that last. \ 4 \ Operator No. 38 SEND FOR NEW BIG 1935 CATALOG! § Shows over 300 smart, up-to-the-minute pin and ring designs. Prices even less by dozen. Money back guarantee. Oldest, largest makers. Write today. = ZZ @ wAstian Bros. co. R oie 74 Bastian Building ROCHESTER, N. Y. Be a Nurse MAKE $25-$35 A WEEK You can learn at home in spare time. Course endorsed by physicians. Thousands . of graduates. Est. 36 years. One graduate f has charge of 10-bed hospital. Another he saved $400 while learning. Equipment jincludea. Men and women 18 to 60. High school not required. Basy tuition payments. Write us now. CHICAGO SCHOOL OF NURSING Dept. 232, 26 N. Ashland Blvd., Chicago, III. Please send tree booklet and 32 sample lesson pages. Name City State AYA —— MODERN SCREEN Frank McHugh and Gordon Westcott. STRAIGHT IS THE WAY (M-G-M). Franchot Tone, Karen Morley and Jack SUCCESSFUL FAILURE Concerning a middle-class family. LaRue. (Monogram). ‘ i William Collier, Sr., Lucille Gleason, George Breakstone, Russell Hopton and Gloria Shea. THEIR BIG MOMENT (RKO). Pitts and Summerville don’t come up to expecta- tions this time. 365 NIGHTS IN HOLLYWOOD (Fox). About Hollywood's phoney movie school racket. With Jimmy Dunn, Alice Faye and Mitchell and Durant. DENS SC ANTIC MERRY-GO-ROUND (United rtists). A musical that doesn’t jell. Gene Raymond, Nancy Carroll, Mitzi Green, Jack Benny, the Boswell Sisters, and many more stellar names, WAGON WHEELS (Paramount). A Western, featuring Randolph Scott, Gail Patrick, Raymond Hatton and Monte Blue. WEDNESDAY’S CHILD (RKO). The New York stage hit brought to the screen. Edward Arnold’s performance is outstanding. Frankie Thomas and Karen Morley here, too YOUNG AND BEAUTIFUL (Mascot). William Haines, Judith Allen, Vince Barnett, John Miljan and the Wampas Stars of 1934. Uninter- esting. THESE PICTURES GET “D” BEGGARS HOLIDAY (Tower). Hardie Albright, Sally O'Neill and Barbara Baron- ess. BLACK MOON (Columbia). Jack Holt and Fay Wray in a dull yarn. THE GAY BRIDE (M-G-M). The gangster theme again. Chester Morris, Carole Lombard, Nat Pendleton, ZaSu Pitts, Leo Carrillo and Sam Hardy try to overcome a weak story. I GIVE MY LOVE (Universal). Paul Lukas, Wynne Gibson and Eric Linden put this one over. THE LADY IS WILLING (Columbia). Disappointing, in spite of Leslie Howard’s presence. LET’S BE RITZY (Universal). Lew Ayres and Patricia Ellis. ee MOST PRECIOUS THING IN LIFE ya). Jean Arthur, Donald Cook. can’t (Colum- Richard Cromwell, Skip it. SECRET OF THE CHATEAU (Universal). Pretty bad. Claire Dodd, Jack LaRue, Alice White’ and George E. Stone. STOLEN SWEETS (Chesterfield). Charles Starrett and Sally Blane in Anita Louise and a dull yarn. We Announce a Contest (Continued from page 6) compulsory—you can enter the contest without doing this—but 7f you want to try, you can. You stand just as good a chance of winning a prize—even first prize—if you don’t write the set of lyrics, but we have arranged for an extra added honor to be given to the person who writes the best set of lyrics. We have arranged, also, for a worth- while judge, should you submit the words for a song. A gentleman by the name of Julius P. Witmark, Jr. We know that you have heard of the firm of M. Witmark and Sons, who have published most of the songs for the Warner musicals. Well, Julius Witmark, Jr., who, for many years was connected with this firm, has worked out this contest for you and will judge not only the answers to the various questions, but also the lyrics which you submit. As you can well imagine, with the experience he has had, Mr. Witmark can spot a good set of lyrics. And he will judge yours as carefully as any of the famous lyric writers’ he has judged in the past. We repeat—this isn’t compulsory (but don’t you think it would be fun?) and you can enter the contest just the same, if this idea scares you. Watch. for the open- ing—in our next issue—dated March. Cheerio! PERFORMS ‘EYE MAGIC’ Learn the art of enhancing or chang- ing your personality with a few deft touches of the Soft Luna Eyebrow pencil. Acquire sophistication—the allure of the siren—the attraction of intelligence. * Sold in all 5 and 10 cent stores Our booklet, “Eye Magic,” tells you how. Write for free copy today. GENTLEMEN: Please send me your booklet “Eye Magic” yc. 2 Nome. Address. City State Brand now used. Where purchased. MAKE YOUR OWN “SKIN PEEL’’ harmless effective lotion which imperfections of the skin such as freckles and the like, including indi- eations of age. The process is gradual so that it causes no embarrassment to the user. A remarkable transformation is easily produced. I will send formula and full directions for making and using for only $1.00. Send money order to Mrs. M. McCool Box 604 Danbury, Conn. BROADCAST? Tf you have talent here’s your chance to get into Broadcasting. New Floyd Gibbons method trains you at home in spare time. Fascinating course fully explained in Free Booklet, ‘‘How to Find Your Place in Broadeasting.’’ Send for your copy today. Give age. ~Floyd Gibbons School of Broadcasting, 2000 {4th St., N. W., Dept. 5B87, Washing- ton, D. C. A guaranteed e1iminates blackheads, WANT TO OF FINEST TOILET SOAPS Seven cakes of finest toilet soaps in hand- some package sells for only 25c. The kind of sovo used in every home every ay. Selling price marked on box $1.00. You sell for only Housewives buy on sight. Up to 100% profit for you. Write for money-making details and facts about other sensational Victor Soap deals. For quick action send 25c for actual full sized sample. Dept. 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Wondereul foundation cream, too. Large, econom size at’ drug and dcpartment stores. 60c. Smaller size at 10c stores. Or mail coupon. a Sam Pray Ae pooupon today tetrad 7-day package ee -Pray Creme. Will include introductory packets te | Pray Face Powder and Rouge FRE | Madame LaNore, Sempray Salons | Suite 1787-F, Grand Rapids, Michigan Send generous-7-day package Sem-Pray Creme. Include intro- | ductory package Sem-Pray Rouge and Face Bowden FREE. 1 en- | close 100 for packing and mailing. [ae acsaticnce aa bananas cess saageosdaracaddecsosuacaande $e St So a a oo eS Ss ae Sea See) THE MYSTERIOUS WORLD WITHIN YOU Those strange feelings of intuition and premo- nition are the urges of your inner self. Within you there is a world of unlimited power. Learn to use it and you can do the right thing at the right time and realize a life of happiness and abundance. Send for new, FREE, SEALED BOOK that tells how you may receive these teachings. Address: Scribe R. P. S. ROSICRUCIAN BROTHERHOOD SAN JOSE. CALIFORNIA HARD OF HEARING? SEND FOR THIS 30-DAY TRIAL TREATMENT Which hasrestored the hearing, removed head noises and eliminated catarrh of the head for so many people. This treatment has been used by over 1,157,000 sufferers inthepast 34years. Write for fullinfor- mation about this ethica! treatment used by a prominent ear specialistin his office practice, ny epipaed for home use. W. O. COFFEE CO. 1399 St. James Bria eversearing POMAT EVERBEARING “‘QUEEN OF THE MARKET.” Big Money Maker. Large, solid fruit; excellent canner. To introduce to Nw you our Northern Grown Live Seeds and \ REE H) Send 3c stamp to cover postage. Lowest Prices For Quality Seed Wi 77 CONDON BROS., SEEDSMEN BOX 137, ROCKFORD, ILLINOIS Davenport. lowa Plants, we will mail you 125 seeds of Condon’s Giant Everbearing Tomato and our big 1935 Catalog of Seeds, Plants, Shrubs, 196-Page Book with complete planting instructions. SALE CATALOG — FREE Over 200 Styles and Sizes of Stoves, Ranges, Furnaces at Factory Prices and Easy - Terms—as little as 18c a day. More. Bargains than in 20 Big Stores. New styles, new features, new colors. Year to Pay 0 days free trial—360 | days approval test— 24-hour shipments. The ‘Kalas azoo Stove Co., Mfrs. 405 Rochester Avenue, Kalamazoo, Michigan. Satisfied Users 35 Years in Business A Kalamazoo AOR Ae Kees Direct toYou Over 900,000 112 MODERN SCREEN Modern Screen Dramatic School (Continued from page 62) words thrilling if you want to make theatri- cal work your career, or if you’re merely interested in amateur dramatics. Read every word carefully. Says W. S. Van Dyke, “The first and most important piece of advice I would give to dramatic students is this: drop all expectations of success, cultivate shatter- proof patience. “Success comes as the result of many factors, luck being an-important one of these. By wooing it too hard you're apt to miss it. The best thing is to forget about it and concentrate on work. “Clark Gable gives an example of this. He'll tell anyone that he never expected success. He became an actor because he liked to act, because he enjoyed it. He never thought about being successful. It never occurred to him and he wasn’t much interested in it. But he did want to learn all he could about acting. Today Clark is a reigning star. Was it luck, or what? Ask him. He doesn’t know, either. “Patience speaks for itself. It is an ab- solute necessity in this business. A scene must often be taken over several times. Then, again and again from _ various angles. If you become impatient, you lose poise and sureness. You get ruffled. But that’s after you're in the business. “Before this, you need more patience. Patience in rehearsing over and over again. Patience in studiously learning how to stand, to walk, to talk, to enunciate—in short, learning how to change yourself from a mere individual into a_ highly polished reflector of the playwright’s or scenario writer’s mood, emotion, feeling. “People often enter the dramatic field with an ‘arty’ point of view. Vaguely they seek self-expression through dramatics. They pretend to an abhorrence of com- mercialism, wanting to be something ‘ar- tistic.’ This is a major mistake, and no one who continues with this point of view can possibly succeed. Although the motion picture industry is in the business of manu- facturing shadows and illusions, it must be practical and down-to-earth. And so must its actors. ON’T misunderstand me. I don’t say there’s no place for art in films. It’s what the industry needs. But art is not ‘arty’; instead it is the result of hard work, patience, observation, intelligence and more hard work. “Tf you wait for ‘inspiration,’ you’ll wait until you grow grey. It comes but rarely and then means nothing if you’re not pre- pared for it. You must have the ground- work of technique and experience to know how to direct inspiration, if it touches you. “Acting requires the same thing as any job, including a talent for it, and including the factor of luck. Luck is important. Many good actors are starving; luck just didn’t come along. But again, the import- ant thing is to be ready for it in case it does. You can only study, work, observe— train, train, train—then hope for the best. “In general I advise all prospective stu- dents to be careful of the dogmatic drama- tic school. There are some very excellent schools but other schools sometimes do more harm than good and few of them have kept pace with the times. Acting now is much different from what it was twenty years ago, but many schools don't seem to have noticed this. “Some schools teach how to ‘read’ lines, while lines, as a matter of fact, are no longer ‘read.’ They teach stereotyped pre- cision gestures and technique. If a poten- tially good actor imbibes this at a forma- tive age, it may take him years to learn differently when he reaches professionalism. It may even make him a bad actor for life. “Today actors don’t act; not, at least, as much as the audience does. Plays and film stories are more psychological. There is far less ranting and running about. “All good actors have found that re- pressed emotion is far more pointed than the extravert kind. A mere quick dilation of the eyes is apt to be more effective than a scream. Real people don’t thrash about in the dramatic moments of their lives. And neither do actors any more. “Remember, too, that the audience is always a step ahead of you. Usually they know what you're going to do or say before you do or say it. Thus you must be quick, be fast, don’t drag, hurry to keep up with them—or be ingenious enough to fool them. “Being ingenious comes only from train- ing. In general the following is true: Figure out how you would naturally do a thing, then do it naturally some other way. It sounds like a puzzle but I believe it to be sound advice. It’s a method of fooling the audience, keeping them interested by being ‘fresh’ about your slightest move- ment. “Here’s an example. Say you have to respond to a knock on the door, cross the room and open it. Do it as you would naturally. You'll find it would make a hum- drum, uninteresting scene. You open doors all the time, doing it automatically, unin- terestingly. Now studiously do it some other way. You'll find you’re thinking of your every movement, and thus each move- ment has a sparkle and freshness. The audience will be more interested. If you’re ingenious and, possibly, stop at a table to pick something up on your way to the door, the audience will be even more interested. “Fearlessness is important—learning to be afraid of nothing and not to care a hoot. You'll have a grace and a swing instead of the frozen technique of too-carefulness. It’s a psychological factor that affects every word and movement. “Joan Crawford has taken that stand on this new picture, ‘Forsaking All Others.’ It’s a swift comedy and she’s playing it swiftly, disregarding any conventional ‘staginess.’ The result is that she’s turning in a swell performance. “Think what a job an ‘arty’ actress would have with that role. Think what would happen if she tried to get literary, blank-versy or read-y. The audience would run away with the situations while the actress stopped to emote. is the new kind of In real ATURALNESS acting and it is here to stay. life people don’t begin speaking precisely when some one else has finished. They interrupt and overlap, and that’s what good actors do now. They can’t stand stiffly, or studiously regard their position. They must move about naturally and speak naturally and laugh naturally. “Now about those questions which some of your readers have asked you. I'll do my best to answer them. “Crying before the camera is an indi- vidual thing. Some actresses must get angry to cry at all. Some do it with music. Some can sit and think themselves into the mood. It all depends, and you must work out your own salvation. “Tf you have poise you can face any camera or audience without fear, but poise is the direct result of experience and sure- y { |

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CO. 273-14 Odd Fellows Temple JAMESTOWN, NEW YORK MODERN SCREEN ness. It can’t be put on. “Memorizing is also an individual mat- ter. Some learn lines by reading the whole play or script over and over again, learn- ing it all in a lump by some subconscious process. Some say their lines aloud until they know them. Some have naturally good memories, some naturally bad. “And now one final word. Don’t worry about ‘types.’ Nobody would have taken Charles Laughton for a type. A type is whatever the individual creates. No matter what you look like, first learn to act! Let all other considerations follow afterwards.” Thanks a thousand times, Woody. And you'll be surprised at how many thousands appreciated your talk. Mark my word, the letters of thanks will come pouring in. And now you kids, don’t forget this is your department. Its purpose is to teach you everything possible to teach about dra- matic art. A lot of the boys and girls have founded little dramatic clubs and are hav- ing grand times with MODERN SCREEN as their guide. So write to me! Most Romantic Story Ever Told (Continued from page 8) were one Jesse Lasky, one Samuel Goldfish (who later took the name of Goldwyn) and Arthur Friend, a lawyer. These young men had hired as their director an actor, stage manager and playwright named Cecil B. DeMille. Dustin Farnum had just made a success on the stage in “The Squaw Man.” The new group had decided to make a film version of this with Farnum in the title role. Remembering all this, Brunton dashed to the Alexandria Hotel and presented him- self to the dynamic Goldwyn. Brunton was a man of few words. “T know the perfect place for your stu- dio,” he said. Goldwyn was no person to waste words, either. “Does it cost much?” And that is how Hollywood was made. HE barn and the land did not cost much—only a few hundred dollars an acre—and in a few weeks the deal was completed and the Lasky Studio which was later to know such great stars as Wallace Reid, Gloria Swanson, Bebe Daniels, Doro- thy Dalton, to name but a few of that bright galaxy, began its operations in the barn on Sunset and Vine Streets. The success of this venture led other producers to turn their eyes westward. Southern California was the ideal movie climate. The sun, as the Hollywood Chamber of Commerce will tell you today at the drop of a hat or during a cloudburst, shone continually and since all scenes, even those supposedly indoors, were taken with- out artificial light, this was perfect. Be- sides land was cheap, there were many old barns available, lumber could be purchased for next to nothing and wages were about half what they were in New York. By 1916 Hollywood was the center of the movie universe and with a few excep- tions all of the biggest producing companies were located there. And in a very few more years the eyes of a great part of the world were turned toward the little sub- division where Robert Brunton had dis- covered a barn which he thought would make a good cinema workshop. People from the stage were taking a ser- ious interest in the films. Mary Pickford’s mother had persuaded the producers to give Mary terrific salary boosts, which paved that will he ADMIRED Every one can enjoy lovely hands, hands that you are proud to show. How? By a simple beauty treatment—Chamberlain’s Lotion used daily. Containing 13 different, imported oils, Chamberlain’s Lotion soothes, smooths, re-beautifies. A clear liquid, not gummy, Chamberlain’s Lotion is absorbed in 37 seconds, without bother- some stickiness. Try Chamberlain’s Lotion today. See what it can do for you. Two sizes—at all drug and department stores. 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No wires, batteries or head piece. They are inexpensive. Write for booklet and sworn statement of pRUAT the inventor who was himself deaf. A. 0. LEONARD, Inc.. Suite 986, 70 Sth Ave., New York ns Now he CAN gel Be the SAME C cidfuce << HOLLYWOOD Keap:d Dey CURLERS PR Scincillating screen’ stars have to be neat and im- maculate — set the style in hair dress as well as the vogue in clothes. So naturally they use Holly- wood Rapid-Dry Curlers to get the full, soft, /ast- ing curls that distinguish the truly smart -coiffure. Lx Anne Meredith, 1934 Wamp As Baby Star ‘ey Only Holly- wood Rapid-Dry Curlers have the soft rubber lock that keeps both hair and curler securely in place. As the name implies, Hol- lywood Rapid: Dry Curlers are quick-drying —the per- forations permit abundant air circulation. And they fic so snugly that you can wear them ConOraby while you sleep. Insist upon Holly- wood Rapid-Dry Curlers. At Se and 10c stores | and notion counters Ea! 114 MODERN SCREEN the way for other stars to make salary de- mands. Thus obscure boys and girls, un- known men and women became rich and famous overnight. _There came May Allison, a beautiful girl from a tiny town in Georgia, who, co-starred with Harold Lockwood, achieved terrific popularity. She was one of the great Metro stars, yet, she remained as simple and unaffected as if she had never even heard of Hollywood. But there also came Nazimova, a tempes- tuous Russian woman whose presence gave Hollywood some of its first real glamor. These two, May Allison and Nazimova, were at opposite poles of temperament. Hollywood is like that and has always been. The type is never standardized. It takes every sort of person to make the movie world. There came a rotund fellow from Smith Center, Arkansas, named Fatty Arbuckle who was destined to make the world laugh. There came Viola Dana, one of the three Flugrath girls from Brooklyn, whose poig- nant little face brought tears and laughter to the picture fans of that day. And then there came the great stage star Alice Brady, a smart, sophisticated girl from New York. And there was Mary Miles Minter of Shreveport, Louisiana, and Mabel Normand from Atlanta, Georgia, and Dorothy Phillips of Baltimore, and Ruth Roland of San Francisco and hun- dreds more. Oh, it was a bright firmament which shone, so short a time ago, yet only Alice Brady is on the screen now. But what wonderful stories they wove into the pat- tern of Hollywood. Nazimova, the great artiste, guided the destinies of her own films. She had elaborate sets she wore elabo- built, the Biltmore Bowl a success. rate costumes and introduced the fan- tastic note into her productions. She was so assured, so brilliant that everyone thought she lived for her art alone and that the suffermgs of the human _ heart could not touch her. But everyone was wrong. She came to Hollywood with Charles Bryant. It was taken for granted that he was her husband. And then a cruel thing happened. The announcement of Bryant’s marriage to another woman appeared in the papers. And there was no record of his ever having divorced Nazimova. So they were not married after all! The gossip buzzed from coast to coast but no one believed that Nazimova would in any way be affected by it. No one, that is, but Paul Bern, whose soul was greater and whose heart was more under- standing than any man’s in the picture business. He realized that the aloof, am- bitious Nazimova was suffering. She was in New York at the time that the story of Bryant’s marriage “broke” and she was so humiliated that she left an order with the hotel where she stopped that she would see no one or take any in- coming calls. Paul tried to reach her. He could not. At last he bribed a bell boy to let him into her room and he ap- peared before her with a gorgeous cor- sage in one hand and a bottle of cham- pagne in the other. “See here,” he said, “you cannot hide like this. You must not let the world know that you’re hurt. Put on your love- liest evening gown. You and I are going to make the rounds of all the gay places in town. We're going to be seen by every- one. And you, for the sake of your own courage, are going to look the world in the face!” Film celebrities out to make the annual Screen Guild Ball at Bob Montgomery and Chester Morris with their wives seem set for a lot of fun.

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Jefferson St. Dept. 1325-8 CHICAGO, ILLINOIS ® BACKACHES CAUSED BY MOTHERHOOD Those months before baby comes put such a heavy strain on mother’s muscles, that she frequently suffers for years. Alleock’s Porous Plasters do won- ders for such backaches. They draw the blood to the painful spot— whether it be on the back, sides, legs, arms or shoulder. This has a warm, stimulat- ing effect, and the pain soon vanishes. It takes only 2 seconds to put on an Allcock’s Porous Plaster, and it feels as good as a $2 massage treatment. Don’t take anything but Alleock’s Plasters. » They’re best because they bring quickest relief. Easy to apply. Over 5 million people have used Alleock’s, the original porous plaster. They stay on longer.All druggists sell Allecock’s Plasters—only 25¢e. MODERN SCREEN She did it, too, and held her chin up as she entered every night club where her very presence caused a hum of whispers and a buzz of gossip. It was a courageous gesture, courageously made. On the same lot with Nazimova worked a kid named Rudolph Valentino. There was also Ramon Novarro, Alice Terry and Mae Murray. Charles Ray was one of the great fav- orites of his day. A country boy, himself, he brought something infinitely sweet and fine to the screen as the bashful, timid lad. Having achieved tremendous popularity, Ray decided that he wanted to throw away the battered straw hat and overalls and play a part which contained real depth and drama. His experience has been repeated so often in film history that it bears telling here. And again I must hark back to my original theme that the movies belong to you and that you make and break stars. you were crazy about Charlie Ray as a country boy and you didn’t want him any other way—just as you love Janet Gaynor in sweet and simple roles, today, and no matter how rebellious she grows and how capable she feels of doing adult characters, you won't let her. But at that time Charlie didn’t know what a supreme dictator his audience was. He determined to make a great and lasting picture. He organized his own company, invested his own money in it and began the film version of the well known “Courtship of Miles Standish.” He put not only his money but his heart into this picture. Determined to have it accurate in every detail he hired the best research experts and historians available, it was an ambitious production but Ray had no doubts of its artistic value. It was artistic but the public was shocked at see- ing their beloved country boy all decked out in Puritan garb. They put thumbs down on the picture. The venture cost Charlie not only his money but his popu- larity. Years later he attempted a come- back with M-G-M but he could not regain what he had lost. He wore a silk hat and was starred in a film called “Paris” which was notable only because a vivid girl, one of the M-G-M stock actresses, played the role of an apache. Her name was Joan Crawford. The old and the new order were combined. There was Charlie Ray strug- eling pitifully to make a come-back and Joan Crawford struggling just as hard to rise to heights. He didn’t and she did. Now he’s playing bit parts. You see, the picture business is so highly personal, its stock in trade being personal- ity, that once the public learns to love a star and think of that star as a certain type almost nothing can be done by star or producer to change the star in the fan mind. Think it over for yourself. Janet Gaynor is sweet, so you won't allow her to go sophisticated. And Golly! what a howl you would raise if Garbo decided to toss mystery aside and play light comedy. You have always been that way and, from all present indications, you will continue like that through all the years of film history. And there I go, getting ahead of my story as usual. Well, next month I’m going to try to give you the real flavor of the Hollywood of 1919. 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Read “Sweet Adeline”, Broadway's greatest hit. This great story, now be- ing produced by Warner Brothers, appears com- plete, illustrated with beautiful stills trom the actual production in the February SCREEN ROMANCES. You will enjoy this and ten other screen novelizations in the February issue. SALE oe Whom would you pick to be Jean Harlow’s leading man? Why? That's what the producers want to know. They want you to selectysomeone to play oyeeaitt= this glamorous star andiit you are lucky enough to make the best selection and can write the best rea- sons for your selection, you will win a beautiful gift "fom Jean Harlow. COMPLETE DETAILS IN THE FEBRUARY ISSUE Listen to “Hollywood Highlights” reported by Sam Taylor for SCREEN ROMANCES over WMCA and Associated Stations every Monday and Wednesday evening at 6:30 P.M. East- ern Standard Time. SCREEN ROMANCES NEWSSTANDS ALL Sih a,

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