Modern Screen 1935-10 Vol. 11, No. 5

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Awaken love with the lure men can't resist ... exotic, tempting IRRESISTIBLE PERFUME. It stirs senses... thrills...sets hearts on fire. = Use Irresistible Perfume and know the mad joy of being utterly irresistible. Men will crowd around you ... paying you compliments ... begging for dates. Your friends will envy your strange new power to win love. For perfect make-up match your lipstick to your rouge. Irresistible rouge blends perfectly with your skin and actu- ally stays on all day. Irresistible Lip Lure, the new different cream base lipstick, melts deep into your lips leaving no paste or film... just warm red, indelible color. Irresistible Face Powder is so satin-fine and clinging that it hides small blemishes and stays on for hours. Be completely fascinating, use all the Irresistible Beauty Aids. Each has some special feature that gives you glor- ious new loveliness. Certified pure, Laboratory tested and approved. Only 10¢ each at your 5 and 10¢ store. © 1935, Irresistible Inc. ASK FOR IRRESISTIBLE PERFUME, FACE POWDER, ROUGE, LIP LURE, MASCARA, COLD CREAM, COLOGNE, BRILLIANTINE, TALC

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MODERN SCREEN “OUTRAGEOUS!” Says MODERN SOCIETY “SPLENDID!” Says THE MODERN DENTIST IT JISN’T BEING DONE, BUT IT’S One Way TO PREVENT “’PINK TOOTH BRUSH’’ AN’T you just hear the shocked whispers flash around a dinner table at her conduct? ...‘‘How terrible’... “How perfectly awful’... And they’d be right— from a social angle. But your dentist would come to her de- fense—promptly and emphatically. “That’s an immensely valuable lesson in the proper care of the teeth and gums,” would be Az reaction... “Vig- orous chewing, rougher foods,and more primitive eating generally, would stop a host of complaints about gum dis- & 299 orders — and about ‘pink tooth brush. For all dentists know that soft, mod- ern foods deprive teeth and gums of what they most need — plenty of exer- cise. And of course, “pink tooth brush” is just a way your gums have of asking for your help, and for better care. DON’T NEGLECT “PINK TOOTH BRUSH!” Keep your teeth white—not dingy. Keep your gums firm and hard—not sensitive and tender. Keep that tinge of “pink” off your tooth brush. And keep gum disorders—gingivitis, pyorrhea and Vincent’s disease far in the background. Use Ipana and massage regularly. Every time you brush your teeth, rub a little extra Ipana into your gums. Youcan feel—almost from the first —a change toward new healthy firmness, as Ipana wakens the lazy gum tissues, and as new citculation courses through them. Try Ipana on your teeth and gums for a month. The improvement in doth will give you the true explanation of Ipana’s 15-year success in promoting complete oral health.

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The heart of a man called to the heart of a woman. “We love”, it said, “and love is all.” Heart answered heart. With eyes open to what she was leaving forever behind her, she went where love called...to dark de- spair or unimaginable bliss. It is a drama of deep, human emotions, of man and woman gripped by circumstance, moved by forces bigger than they—a great drama, portrayed by players of genius.and produced with the MODERN SCREEN So Nase fidelity, insight and skill which made“David Copperfield” an unforgettable experience. (You remember him as “David Copperfield”) with MAUREEN O’SULLIVAN MAY ROBSON - BASIL RATHBONE CLARENCE BROWN’S Production A Metro-Goldwyn-Mayer Picture... Produced by Davin O. SELZNICK 5

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“BILIOUSNESS AND. HEADACHES MADE MY LIFE MISERABLE” 3 minutes for _ Relief” I experimented with all kinds of laxa- tives. Then I discovered FEEN-A-MINT. I traded three minutes for relief. When- ever I feel constipated, I chew delicious FEEN-A-MINT for three minutes.* Next day I feel like a different person. Of course if you aren’t willing to spend three minutes—jarring “all-at-once ’’cathartics will have to do. But what a difference FEEN-A-MINT makes—nocramps,noth- ing to cause a habit. Try the three-min- ute way yourself ...15¢ and 25c a box. ATTENTION, MOTHERS—FEREN-A-MINT is ideal for everybody, and how children love it! because. you chew it MODERN SCREEN NFORMATION DESK YOU ASK ‘EM, WE ANSWER ‘EM LUCIE HARRISON, Larchmont, N. Y.; H. K., Tarry- town, N. Y.; DOROTHEA NELSON, _ Brooklyn, N. Y.; ESTHER GOLDER, Baldwin, N. Y.; K. MEEHAN, MARGARET WAYNE, Bronx, N. Y.; TESSIE KRISS, LUISA CARDINI, M. SPUND, New York, N. Y.; D. WILCOX, Union, N. J.; DORIS MAY, Bloomfield, N. J.; HELEN HULL, Jersey City, N. J.; GRACE SCHOTTEN, JANET KARR, St. Louis, Mo.; JOAN DEAL, Cynwyd, Pa.; ANN CARR, Phila., Pa.; JANICE HUNTER, Ar- lington, Mass.; PHYLLIS RICHEY, Brookline, Mass.; ARLENE GGFFRY, Quincy, Mass.; DILIA PITMAN, Worcester, Mass.; JEAN CLEVELAND, Belmont, Mass.; PHYLLIS LINN, MIRIAM CARY, GLORIA WETTERER, Chicago, Iil.; DOROTHY BAUER, Forest Park, Ill.; ELLA MARTIN, HAR- VENA BGLAND, MONA RILEY, Los Angeles, Cal.; ANN SINGLETARY, Hollywood, Cal.; TREVA PERRY, San Francisco, Cal.; HAZEL CRUTCHER, Williams, Cal.; BEVERLY WADE, Fort Worth, Tex.; DOLORES ISON, Houston, Tex.; CHESTAL BROWN, Bardwell, Tex.; MRS. E. S., MARIE LGNNER, Fostoria, Ohio; JOAN LYLE, Kenton, Ghio; HELEN COOK, Cuyahoga Falls, Ohio; SARAH TUCKER, Cleveland, Chio; PEARL M. ORR, JENNIE L. R., Cincinati, Ohio; CHARLOTTE HIMMEL, New Haven, Conn.; VIVIAN HAY- WARD, Bridgeport, Conn.; FLORA BARBER, Strat- ford, Conn.; ELVIRA FERR, Detroit, Mich.; CLARA JENSEN, Marquette, Mich.; S. V. SPENCE, Atlanta, Ga., MARY BLANOS, Augusta, Ga.; FRANCES GAPEN, Greenville, S. C.; MABEL FISHBURNE, Walterboro, S. C.; JONNE MARDET, St. Paul, Minn.; THELMA ANDRES, Montpelier, Vt.; MARY REED, Birmingham, Ala.; MARJORIE McKINNEY, Tacoma, Wash.; EDITH COE, Wash- ington, D. C.; JEAN TAYLOR—Now just look at that! All of you people requesting information about Nelson Eddy—but who can blame you? Any- way, because Mr. Eddy is so extremely popular (he’s broken all Information Desk records) and because there has been so little written about him, we felt you were entitled to more than just a short biography of him. Result: A two installment life story start- ing in this issue on page 28, will give all the in- formation you could possibly desire to know about this young man’s life, past and present. So go to it, and read your fill. P.S. He's 6 feet tall, weighs 173 pounds and was _ born in 1901. _You can write Mr. Eddy at the Metro-Goldwyn-Mayer Studios, Culver City, Cal., and if you want his photo just send 25¢ to him along with your request. “Rose Marie’ will be his next picture. MARY O’BRIEN, Upper Darby, Pa.—No, June Knight has not retired. You will see her soon in “‘Broadway Melody of 1936’’—and believe me, she and Robert Taylor certainly make an attractive couple in this opus. As for Max Baer’s ‘‘Kids on the Cuffs’’— that just got lost in the shuffle. He may appear in “The Vanished Steamer’’ later on, however. VIOLET HERRINGTCN, Corning, N. Y.; A. BRUGG- MAN, Rosebud, Tex.; ELLA CHILDERS, Jay, N. C.; MELBA DEVEREAUX, Grand Island, Nebr.; FAYE QUEEN, Morganton, N. C.; EVA WEITZ, Kau, Wisc.; VIRGINIA HOLBROOK, Detroit, Mich.; CHRISTINE HARTMAN, Youngstown, Ohio; KATHLEEN CURRY, Hattiesburg, Miss.; DOROTHEA PURUIS, White Springs, Fla.; DORO- THY WINECOFF, Salisbury, N. C.; MILDRED WEATHERLY, Sumter, S. C.; ANNA JERGULL, Mt. Tom, Mass. LUCILLE MAHAR, Hot Springs, Ark.; VWALORIE JARVIS, _ Brownsville, Tex.; HELEN KAY, Pittston, Pa.; MILDRED ASKLEY, Rockford, Ill.; SADIE CALHOUN, Monroe, La.— Now we have a Western star of_great popularity. None other than John Wayne. John was born in Winterset, Iowa, on May 26, 1907, the son of Clyde Leonard Morrisey and Mary Brown. His real name is Marion Michael Morrisey. He was educated at the George Washington Grammar School of Keokuk, Iowa, and later at the Lancaster Grammar School in Lancaster, Calif. Following his graduation from the latter, John entered Glendale High School and from there entered the Uni- versity of Southern Cali- fornia, where he played on the football team. In his junior year he de- cided to leave college to get into the motion pic- ture business. His first job was prop boy and it was through this that he Il. obtained his first crack at acting. Wayne has one brother, Robert Em- met, and is married to Josephine Saenz._ They have one child. John is 6 feet 2 inches tall, weighs 198 pounds, has dark brown _hair and grey eyes. is latest picture is ‘‘Paradise Canyon’ with Marion If you would like to see a brief synopsis of your favorite's life in this department, fill in and send us the coupon on page General questions, of course, will be answered here, too. frequently and the most interesting ones receive first preference. many at a time, please. Address: The his Information Desk, Modern Screen, Madison Ave., New York, N. Y. Burns, and his next will be ‘““Westward, Ho’ with this one. | Sheila Mannors. He'll sing a ditty in Write him at Republic Productions, Inc., 9336 W. Washington Blyd., Culver City, Cal. so think up your questions in a hurry JEANNE H., Washington, Ind.—Gail the part of Florence McCrickett and Frances Grant that of Peggy Burns in “‘Doubting Thomas.”’ Albertson was in love first with Gail, then Frances, in this picture. Does that help any? BETTIE CULLEN, Alliance, Ohio; JEANETTE ANDERSON, Superior, Wis.; CHARLOTTE STAETZNER, Sacramento, Cal.; RUTH BERRY, Victoria, Tex.; BETTY KEIN, West Orange, N. J.; RUTH FRANK, Milwaukee, Wis.; MISS A. CON- NER, Belleville, N. J.; VIRGINIA SYND, Eliza- beth, Ill.; JOAN JOHNSON, West Orange, N. J.; | MARION McTASIN, New York, N. Y.; LELA GABLER, W. Lafayette, Ind.; ELEANOR EL- DREDGE,. Chatham, Mass.; MARY VARNER, Omaha, Neb.; HELENA STASH; MARY SMITH— Lots has been written about Joan Crawford, nee Lucille LeSueur Cassin, sumée of her life. So here goes. Born in San An- tonio, Tex., on March 23, 1908, Joan’s family moved to Kansas City when she was quite young, and re- sided there for 16 years. She received her education at a private school in that city. Billie Cassin, as she was then called, was brought up in the wings of } a theatre, as it were, since her father was a theatre owner. She was determined to go on the stage, against her family’s wishes, and left home to make her debut in a Chicago revue. Upon the completion of a successful engagement in the Midwest, Joan cane to New York where she appeared in several plays. Hollywood under contract. Her first picture was in 1925 as an extra in “Pretty Ladies.’’ She was still Lucille LeSueur then, but because her name was so difficult to pronounce her fans gave her the name of Joan Crawford in a magazine contest. From that time on her rise was steady and she is now one of the top ranking stars of Hollywood. Joan is 5 feet 4 inches tall, weighs 115 pounds, has reddish-brown hair, and brilliant blue eyes. Her favorite color combination is blue and white, she adores sport clothes and loves to wear lounging pajamas. She is a marvelous dancer and has a lovely soprano voice. Joan is divorced from Douglas Fairbanks, Jr., and 1s rumored married, or at any rate engaged, to Fran- chot Tone. Her favorite sports are tennis, swim- ming and riding. Joan’s next picture will be ‘‘Glit- ter’’ (tentative title) with Brian Aherne, followed by ‘“‘Elegance’’ with Clifton Webb. Both of them should be up to the usual Crawford standard. Write ler at Metro-Goldwyn-Mayer Studios, Culver City, Gal: HAZEL WOOD, Newport News, Va.—Yes, Gene Ray- mond really did his own singing in “Sadie McKee’ and ‘‘Hooray for Love.’’ His next picture will probably be ‘‘Believe It, Beloved.’’ Florence El- dridge, Fredric March’s wife, took the part of Fan- tine, mother of Little Cosette, in “‘Les Miserables.” DCROTHY AURRICHIO, New York, N. Y.; JEAN SHEARER, Carroll, Iowa; LILLIAN CALLAHAN, Kearny, ‘N. J.; SHIRLEY HOWLAND, Sea Bright, N. J.; MAE DEL SIGNORE, Rehoboth, Mass.; CATHLYN STRAIT, Troy, N. Y.; G. ZARBA- TARY, Montreal, Canada; HELEN PHILLIPS, Charlotte, N. C.; OSCAR SILOM, Jr., Key West, Fla.; EVELYN SMITH, Mattapan, Mass.; MARY GOODWIN, Oil. City, Pa.; MELVIN MICHAELS, MARIE JANE ZECCA, Bronx, N. Y.; NICOLETTA DE VIRO, FELICIA SALERNO, BILLIE DENARO. Brooklyn, N. Y.; M., Boston, Mass.; LOUISE HUSTIN, Washington, D. C.; ELEANOR FELAND, Pharr, Tex.; ELSIE LAMB, VIRGINIA HANCK, Chicago, Ill.; MARTHA LEPAGE—There’s no get- around it. A biography of Bing Crosby is not com- plete without that of his better half attached to it. So first we'll have Bing and then Dixie Lee. Harry Lillis Crosby (that’s really Bing) was born in Ta- coma, Wash., May 2, 1904, but at a very early age his family moved to Spokane. where he re- ceived his early school- ing. Bing has two sis- ters and four brothers. The nickname, Bing, was obtained on account of he could shout a rapid string of them louder than any kid in the city when he was playing ‘“‘cowboys and Indians.”’ He dabbled in grease paint during high school years and even played ‘Julius Caesar”’ in a school pro- duction, His _ family, however, wanted him to (Cont'd on page 11) Those asked most And not too 149 NOTE: Next month the Desk will run a biography of Bob Steele, | Patrick took | Frank but one rarely finds a re- | She was seen by Harry Rapf, and brought to | (is i jo

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MODERN SCREEN | PAGE MISS GLORY -»,and you'll find magical Marion Davies in her first picture for Warner Bros. —her finest for anybody! Look who’s Marion’s new screen sweetheart... Yessir, it’s Dick Powell! And when he sings to Marion he does things to her—and youl HE’S back, boys and girls! Back with that glamorous gleam A | in her eye...that laughing lilt in her voice... that : _ merry, magical something that makes herthe favorite of millions. Of course you read the headlines a few months ago about Marion Davies’ new producing alliance with Warner Bros., | famous makers of ““G-Men,’ and other great hits. Well, ‘Page Miss Glory’ is the first result of that union—and it’s everything you'd expect from such a thrilling combination of screen talent! It’s from the stage hit that made Broadway’s White Way gay—a delirious story of Hollywood’s ‘Composite Beauty’ who rose from a chambermaid to a national institution overnight... It has a 12-star cast that makes you chuckle with antici- pation just to read the names... It has hit-maker Mervyn LeRoy’s direction, and Warren & Dubin’s famous song, ‘Page Miss Glory’. . . It has ‘Picture-of-the-Month’ written all over it! Don't think you're dreaming! All these celebrated stars really are in the cast of Marion's first Cosmopolitan production for Warners:—Pat O’Brien, Dick Powell, Frank McHugh, Mary Astor, Allen Jenkins, LyleTalbot, Patsy Kelly, and a dozen others

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: ) | Bellamy peeks over Fay Wray’s A new idol gets into the and Del Rio's shoulders, Virginia autograph swing! Nelson Bruce grins—at polo matches. Eddy at “Anna Karenina.”

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Sweeping on to new fame together, three distinguished play- ers join hands with a distinguished pro- ducer fo start the new season with a pro- duction of unparal- leled dramatic force. MODERN SCREEN SAMUEL GOLDWYN presents FREDRIC MARCH MERLE OBERON HERBERT MARSHALL in The tenderly beauti-- ful story of two who loved a woman... beyond the hope of _ ever loving another! To one, she was a dream he could nev- er realize - - to the other, a memory he ~ ‘ could never forget! THER ARK@AING EE with JANET BEECHER - JOHN HALLIDAY - ee CROSMAN - KATHERINE ALEXANDER From the play by Guy Bolton Released thru UNITED ARTISTS Directed by SIDNEY FRANKLIN

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modern screen scoreboard Name of Picture and Company § / : 0 ips 7 va NI Robe PaVerson 10

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Information Desk (Continued from page 6) become a lawyer so they shipped him off to Gonzaga College. He played a little football, but, was prin- cipally interested in the glee club, in which he was quite successful. He and Al Rinker, another student, organized a seven-piece orchestra which became very popular—-so much so in fact, that they decided to give up law and enter the entertainment field. Rink- er’s sister, a radio singer, got them an engagement in Los Angeles, after which they toured the Pacific coast until Paul Whiteman adopted them and with Harry Barris formed that group known as the Rhythm Boys. They toured with Whiteman until 1930, when they were in California making the picture ‘‘The King of Jazz.’’ They were engaged to sing at the Cocoanut Grove; Bing made records which became best sellers; then signed a radio contract—and after all that, signed a screen contract. Bing is 5 feet 9 inches tall, weighs 170 pounds and has light blue eyes and light brown hair, His next picture will be ‘““Two for Tonight’’ with Joan Bennett. Write him at Paramount Studios, 5451 Marathon St., Hollywood. Now we come to Dixie Lee (her real name is Wilma Wyatt), who became Mrs. Bing Crosby in 1930. Born in Harriman, Tenn., twenty-three years ago (November 4, 1911), she was educated in New Orleans and Chicago. It was in Chicago that Dixie first decided on a theatrical career. After winning a singing contest at the Hotel Sherman there in 1928, she accepted an engagement to sing at the Lincoln Tavern, and in October of the same year was sent to Pittsburgh to join the road company of “Good News,’”’ in which she made a distinct hit. She was then summoned to New York to play a fea- tured role in the New York production of the same show, and was considered the best “Southern Blues” singer on the stage. She was selected from 50 ap- plicants for a role in “‘Fox Movietone Follies_ of 1929’’ and was signed to a three-year contract. She is 5 feet 3 inches tall, weighs 110 pounds, has blonde hair and sparkling brown eyes. She is modest and retiring, almost shy, loves pretty clothes and enjoys swimming, horseback riding and dancing. Her fa- vorite colors are blue and orchid. After her mar- riage,to friend Crosby, she gave up her screen career, and later presented Gary Evan Crosby to her husband on June 27, 1933, and the twins, Phillip Lang and Dennis Michael on July 13, 1934. Her first picture after the birth of the twins was ‘‘Love in Bloom” followed by ‘‘Redheads on Parade’’ which you will see shortly. She is under contract to 20th Century- Fox Studios, 1401 N. Western Ave., Hollywood, Cal. HELEN LOUISE BROWN, Woodland, N. C.—Robert Taylor will be Irene Dunne’s Jeading man in “‘Mag- nificent Obsession.’ Robert Allen is 29, is not mar- ried, has been in Hollywood about a year and will be in ‘“‘Bodyguard’’ with Florence Rice, next. Jean Harlow’s first picture, ‘‘Moran of the Marines’ was released in 1928. Yes, Ginger Rogers’ first, picture was “Young Man of Manhattan’’ released in 1930. IT don’t believe she ever played in westerns. _ For the most part, the stars are as good looking off the screen as they are on. Of course, their features are the same but the hair is apt to be different and freckles have a way of changing their appearance. JANE CARROLL, Hartford, Conn.; MARY PLASKY, STANLEY BOGDAN, Camden, N. J.; NORMA FEINTHAL, MARGARET MULROONEY, Y. LE- VINE, G.D., New York, N. Y.; EDITH VERDE, Amsterdam, N. Y.; BARBARA SHANNON, Nor- wood, Mass.; JEAN CALLEWAERT, Detroit, Mich. ; ALICE WALSH, Long Beach, Cal.; NAOMI DIS- MUKES, Dallas, Texas—She was. born Gretchen Young in Salt Lake City, Utah, on January 6, 1913, but became Loretta Young when she embarked upon a motion picture career. She has two sisters also in the movies, Polly Ann Young and Sally Blane, a brother, Jack, who is now an attorney, but was the first of the family to enter the cinema business, and a younger sister, Georgiana. Loretta is descended from American-English-French parents and was edu- cated at Romona Convent in Los Angeles. Her screen career started when she was a tot of four. A baby was needed for Fanny Ward’s picture and Loretta was chosen. Her real chance came later, though, when a director called the home and asked for Polly Ann, who was away at the time. Brother Jack sug- gested that Loretta might do, as she looked so much like her sister. She made such a good impression that she was immediately awarded a role in Colleen Moore’s ‘‘Naughty But Nice,’’ and has been in the movies ever since. Outside of dramatic work ‘she is most interested in dancing and art. She plays the piano well and loves good music of all sorts. Blue and white are her favorite colors, and salads and desserts her favorite foods. She likes lilies of the valley and gardenia perfume. Swimming, horse back riding, bicycling and ping pong are her favorite sports, and she likes to watch football games, horse races or polo matches, Loretta’s hobby is shopping for pretty clothes, and she likes popular novels, at- tends the movies frequently and has a pet canary. In 1929 she married Grant Withers, but divorced him a year later. Has not married since. Loretta is 5 feet 3 inches tall, weighs 107 pounds and has _ light brown hair set off by huge grey-blue eyes. Write her at_Metro-Goldwyn-Mayer Studios, Culver City, Cal.. Don’t fail to see her in “The Crusades.’’ She is simply ravishing as Berengaria in this opus. INFORMATION DESK, MODERN SCREEN, 149 Madison Ave., New York, N. Y. Please print a brief life story of in your department. MODERN SCREEN {Intimate conversation of a lady with herself} Ange been doing nasty things to my palate with bitter concoctions. I’ve been abusing my poor, patient sys- tem with harsh, violent purges. The whole idea of taking a laxative be- came a nightmare. Why didn’t I dis- cover you before... friend Ex-Lax. You taste like my favorite chocolate candy. You’re mild and you're gentle ... you treat me right. Yet with all your mildness you’re no shirker... you're as thorough as can be. The children won’t take anything else... my husband has switched from his old brand of violence to you. You’re a member of the family now...” Multiply the lady’s thoughts by mil- lions... and you have an idea of public opinion on Ex-Lax. For more 5 7 OG g ” . Tune in on “Strange as it Seems’’, new Ex-Lax Radio Program. See local newspaper for station and time. people use Ex-Lax than any other laxative. 46 million boxes were used last year in America alone. 10c and 25c boxes in any drug store. Be sure to get the genuine! MAIL THIS COUPON—TODAY ! EX-LAX,Inc., P. O. Box 170 Times-Plaza Station, Brooklyn, N.Y. MM-105 Please send free sample of Ex-Lax. INE NOVO seco Seika Sn ee ee en eS NO I ae a (If you live in Canada, cane RIOR, 736 Notre Dame St. W., Montreal) When Nature forgets= remember EX-LAX THE ORIGINAL CHOCOLATED LAXATIVE 11

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BEAUIY 2D Marion Davies as the drab litle chambermaid in ‘Page Miss Glory.” orous . Not very glam- .. but wait. BY MARY BIDDLE ALL THE world loves a lover . . and all the world loves a Cinderella story. The modernized story of the little Cinderella who becomes: the Princess is the theme of many a Hollywood scenario where the work- ing girl who might be one of us be-— comes the glamorous lady we've dreamed of being. “Page Miss Glory” turns another page in the same book of Cinderella stories and Marion Davies portrays the drab little cham- bermaid who is transformed into the radiant “Miss Glory.” Such stories are not “just fiction.” They have happened, and can happen in real life. But how do you suddenly go about acquiring charm... . glamor . a new personality? Well, make- up, a new coiffure, clothes . . . these things can accomplish marvels in the way of transformation. But it’s a feeling of confidence, a sense of power within oneself, which in the final analysis achieves the transforma- tion. Take Hollywood, for instance. Year after year new girls come to Hollywood, anxious to “break into the movies.” Unsophisticated, most of them, gawky, untried, and some- times none too pretty. A year or so later they amaze us by blossoming into exciting, glamorous women. MoperN Screen has run stories from time to time showing pictures of the stars “before and after,” the way they looked when they first came to Holly- 14 BE EXCITING! INTRIGUING! wood, and the way they look now. It always gives me a thrill to see the glamorous transformations that have been achieved. The magical thing that most of those raw Hollywood recruits get is confidence. A director sees the vital spark of ... shall we call it glamor? . in a new girl, an extra girl in the The fly-away coiffure which Perc Westmore is giving Marion transforms her. crowd, for example, and as he grooms her for a role he gives her confidence by telling her that she has glamor, by believing in her. When she begins to realize that he believes in her she feels her power. She is no longer timid and afraid, and the spark of glamor becomes a flame which lights up her personality from within. YOU DON’T have to be beautiful to have glamor and to be a personality. Nor do you have to be young. But one thing is certain... you have to have confidence in yourself. Glamor goes when confidence goes. All right now, in order to have con- fidence, you have to have something to be confident about. You don't have any Hollywood director to instill in you a feeling of confidence; you have only yourself to depend on. I know what you’re up against. Your letters are really what led me to write BE DIFFERENT! HERE'S THE SECRET BE this kind of an article. Selecting comments at random from your let- ters I run across things like this: “T’m hopeless, I guess I’ve just got an incurable inferiority complex,” “People say I’m pretty but it doesn’t seem to get me anywhere;” “I’m so tired of being the same old me, I want to be different;’ “Maybe you think it’s silly for me to want to be attractive.” Of course it isn’t silly for any girl to want to be attractive. It’s one of the few really normal 1m- pulses we have left in this rather crazy world of ours. Of course you want to be different. Even screen stars get tired of “being typed” and playing the same role all the time. And as for an inferiority complex, it can be an incentive as much as a handicap. Two famous actresses, Joan Craw- ford and Katherine Cornell, both con- sidered themselves “ugly ducklings” when they started out. Why, Joan Crawford almost ran away from one in all her glory— radiating glamor and per- sonality from every pore. Marion of her big chances because she thought there were so many girls prettier than she at the casting office that she wouldn’t have a chance. Joan has fought against an inferiority com- plex most of her life and now she’s

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at the “top” simply because she made that complex drive her on rather than drag her down. She licked it by proving herself to herself. Now, the trouble with most of you is that you don’t have enough confidence in your own ability to do things. And that’s what you must acquire. A very famous Hollywood direc- tor gave me this advice once. The best way to gain confidence and poise, according to his sincere belief, is to learn to do some one thing excep- tionally well. Learn to dance, learn to swim, learn to play tennis, learn to do anything well, and you'll profit by it in the poise you gain. You'll have better command over yourself. Lots of you are self-conscious about your hands and feet. You don’t quite know how to handle them gracefully. If you learn to dance or excel in some sport to the extent that you be- come physically sure of handling yourself, then you won’t be self-con- scious when you're with other people, or when you enter or leave a room. You won’t be hampered by a lack of confidence in your ability to meet a social situation gracefully. UST as you may have aptitudes for certain sports, you may have aptitudes for certain types of clothes, or a certain type of coiffure. Above all, then, be individual. Why has Gloria Swanson’s name always been a synonym in Hollywood for “glam- or?’ Because she has always been so supremely individual, so entirely herself. She wears exotic clothes that would make Janet Gaynor or Jean Parker look ridiculous. But then she would look just as out of harmony with herself if she affected the demure type dress of Janet Gay- nor. If you would have glamor, don’t be imitative. Don’t try to be a second Garbo or Crawford, or Col- bert, or a second anybody. There was a time when every other girl and her sister affected a shoulder- length bob in order to “look like Garbo.” Most of them looked like freaks. Regular features are essen- tial if the shoulder-length bob is to prove successful, and generally the arrangement needs a few curls clus- tering at the nape of the neck in order to insure some softening in- fluence. Be individual. If your hair is thick and lovely, don’t have it cut and thinned and plastered down in a flat silhouette. Let its color and texture and abundance mean some- thing in your life. The charming thing about Marion Davies’ hair is that it always looks just a wee bit fly-away, as though it were so glor- iously alive it just couldn’t be bound down with fixed waves and_hair- pins. (Continued on page 90) MODERN SCREEN “Wash hand-knits with IVORY FLAKES.” URGE THE MAKERS OF MINERVA YARNS “Gosh, | hope my sweater turns out as nice as yours. mine's dirty already I. TAKE MEASUREMENTS or trace out- line of sweater on heavy paper. 2. SQUEEZE LUKEWARM SUDS of pure Ivory Flakes through garment. Do not rub, twist or let stretch. 2Be RINSE 3 TIMES in lukewarm water of same temperature. Knead out excess moisture in bath towel. A. DRY FLAT, easing back (or stretch- ing) to original outline. WHEN DRY, appearance is improved by light pressing under damp cloth. But “4 “Oh, | washed mine when | finished it. These Minerva yarns wash beautifully with lvory Flakes.” Knit one, purl one—when you put a lot of time into knitting a sweater you don’t want it to become little-sister’s-size after its first washing! Wool is sensitive—it shrinks at the mere mention of rubbing, hot water or an impure soap! So wash your woolens with respectful care. And be especially sure to use cool suds of Ivory Flakes. Why Ivory Flakes? Well, listen to what the makers of Minerva yarns say: “‘We feel that Ivory Flakes are safest for fine woolens be- cause Ivory is really pure—protects the natural oils that keep wool soft and springy.” Read the washing directions on this page, follow them carefully—and your hand-knits will always stay lovely as new! , a 99 44/100 %/0 — PURE TVORY FLAKES 15

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Brent in Woman.” teamed in See Modern Screen's Movie Scoreboard, page 10 kk Front Page Woman (Warmers) Well, it may be all in the spirit of good, clean fun and, then again, you may be meant to take it big, but anyway you look at it, this is good entertainment. As its title indicates, it's about the ever-colorful activities of the newspaper tribe and how they pay each other off by grabbing news beats—known in the profession as scoops—from each other. Bette Davis and George Brent are on rival sheets. Of course they're in love and, since all's fair in IT and war, they go to it on a big murder yarn. The fact is that their goings-on will give you a laugh and the people in City Rooms throughout the country a big shriek for, believe it or not, these two young people are the only ones on their respective sheets covering the big tale. Of course, it could only happen in reel life, what with every cub on a staff collecting “info on a real daily. However, this little (2) deviation from truth was doubtless injected for plot purposes. The dialogue is snappy and Miss Davis pretty fine. Mr. B. is slightly more convincing than usual and Roscoe Karns rates high. Preview Postscripts No wonder George Brent proves so devastating to some of our best leading ladies, for he has both Irish Blarney and a romantic past. A deadly combination. He was born on the Emerald Isle and was educated there—at least he went to school when there weren't any revolutions to distract him. But in spite of his meager schooling George developed into a bright young man, so bright, in fact, that he was asked to leave his homeland after leading one uprising too successfully. He went back, though, and joined forces with the Irish Players in Dublin. From there he came to America and Hollywood. Miss Ruth Chatterton is his "ex" and her former husband, Ralph Forbes, is his best friend. Miss Garbo and Mr. Brent were great pals before Greta sailed for home. While she’s on her vacation, George may be found in dim corners of restaurants or behind grand pianos with Miss Katherine De Mille . . . Bette Davis hails from the East where she had some stage training. Hollywood regarded her (Above) Bette Davis, Ros- coe Karns and George “ror (Left) Charles Boyer and Loretta Young “Shanghai.” (Above) The picture you've been waiting for—’’China Seas.’ And wotta cast—Wal- lace Beery, Clark Gable and Jean Harlow! (Leviouws Page A TOUR OF TODAY’S TALKIES BY REGINA CANNON as just another attractive, entertaining gal ‘til she created the biggest furore yet seen or heard during the recent Academy Awards. The country rose in arms when Bette was not mentioned as a possibility for the prize due to her splendid work in ‘Of Human Bondage.’ She attained far more publicity because she wasn't mentioned than if she'd won the grand sweepstakes. Married to Harmon Nelson, a childhood sweetheart and orchestra leader, she claims their marriage is a success solely because neither of them meddle with the other's business. When Harmon plays in San Francisco or other cities close by, Bette lives with him in an auto camp and cooks and scrubs like any hausfrau. She keeps a watchful eye on his diet at all times but never his business. That's Harmon's idea, too, so maybe the fact that the little woman earns thousands of times more than friend husband won't send this marriage on the Hollywood rocks, after all . . . Roscoe Karns has the fastest talking apparatus and the deepest dimples of any actor in the studios. Things are ever lively on a set where Roscoe hangs out—and he's on plenty of them because when a scene falls flat the director howls, ''Get Karns." He made his Los Angeles debut on the stage in ‘Front Page’ and was the only one in the house not breathless. Has had a penchant for newspaper tales ever since and was in his glory on this set. This set, though, would put any editor in his glory. It was more complete and perfect in every detail than any newspaper office that ever existed. Teletypes, air-cooling systems—every modern improvement down to extra large spittoons made this a Newspaperman's Paradise. There was plenty of excite- ment on other sets, too, what with burning down a huge apartment house for one scene and having a fancy electrocution in another. %%*k%* Orchids to You (Fox) A filossy, frivolous number about life as it parades through a swanky New York flower shop, this is guaranteed not to tax your mental capacity, although it may prove a strain on your credulity. Even though it is handsomely cast and produced—they use twelve truckloads of flowers and have the (Continued on page 91) TALKIE TIPS ON CURRENT CINEMA FARE

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MODERN SCREEN THE GRANDEST ROMANCE EVER BORN FROM THE FIRE-DIPPED PEN OF DUMAS! Reckless sons of the flashing blade ride and fight for love ee % again! This month a real thrill comes to the screens of the ‘world as RKO-RADIO gives you one of its finest pictures. WALTER ABEL, dashing young Broadway stage star as D’Artagnan, gay and audacious, as Dumas must have dreamed him! Beloved PAUL LUKAS as Athos, MARGOT GRAHAME, who soared to dramatic heights in the year’s most praised picture, “The Informer”, plays the alluring Milady de Winter together with a superb cast including Heather Angel, Ian Keith, Moroni Olsen, Onslow Stevens, Rosamond Pinchot, John Qualen, Ralph Forbes and Nigel de Brulier as Richelieu. Casi to perfection! Produced with a lavish hand by Cliff Reid. Superbly directed by Rowland V. Lee. von miss The Muectecrs| Fencing anandements by Fred Cavens RKO-RADIO PICTURES YOU WILL WANT TO SEE! Fred Astaire and Ginger Rogers in “TOP HAT.” Music and Lyrics by Irving Berlin . . . Katharine Hepburn as Booth Tarkington’s most loved her- oine “Alice Adams”... The superb screen play from Mazo de la Roche’s prize novel “Jalna” . Lionel Barrymore in David Belasco’s greatest stage success “The Return of Peter Grimm” and Merian C. Cooper’s spec- tacle drama “The Last Days of Pompeii“

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MODERN SCREEN TRAPPED IN THE WHEW. OF MODERN LIFE they Hight. KNW 00.. tor the rig yj to love / ENTHRALLED- youn watch this BLAZING SPECTACLE OF TODAY TORTURE THE BEAUTIFUL AND THE DAMNED! See this man and woman living your veh Nei dreams, your despairs. Fascinated ... behold the raging spectacle of hell here and hereafter ... of Inferno created by Man and Inferno conceived by Dante! This drama blazes with such titanic power that IT WILL BURN ITSELF INTO YOUR MEMORY FOREVER! FOX FILM PRESENTS SNF E Ke SPENCER TRACY « craire TREVOR © HENRY B. wh Produced by Sol M. Wurtzel Directed by Harry Lachman THRILL as vou MEE Ten million sinners writhing in eternal torment —cringing under the Rain of Fire—consumed in the Lake of Flames—struggling in the Sea of Boil- ing Pitch—toppling into the Crater of Doom— wracked by agony in the Torture Chambers— hardening into lifelessness in the Forest of Horror! Plus the most spectacular climax ever conceived! A STARTLING DRAMA OF TODAY... AND FOREVER! TIMELY AS TODAY’S NEWS... ETERNAL WITH ITS CHALLENGING TRUTHS! 18

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“Kona Karenina’ returns —and Greta Garbo speaks the lines of Tol- stois tragic love story which she played silently a number of years ago. Those who have been on the set during its produc- tion and those who have seen a preview of the picture, say that you will find Garbo imbued with all the old fire and glam- orous excitement that she seemed to have lost in recent roles. Fredric March plays her roman- tic lead and Garbo seems happier and more beau- tiful than ever before. And isn't she a painting in this ball gown from the picture? 20 f- w ya POR Ia 50. FEN RN TITS as ie AP ae i Se eRe eee TS y

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ae we PETS Here's a girl who had to live down her resem- blance to a great star! Julie Haydon resembled Ann Harding so much that it looked for awhile as if she would never have a chance to be a personality on her own. However, along came the Messrs. Hecht and MacArthur with “The Scoundrel’ up their sleeves and lo, Julie be- came a definite and ex- citing person over night! Paramount has Julie . signed to a long contract —but she’s hoping they wont type her to dra- matic roles exclusively. She would like to play high comedy. 21

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YOU can listen in on most of the big stars of this great picture, but it’s somep’n when you can listen and look, too! All your best radio and screen bets are lined up to give “The Big Broadcast” and it’s a treat you won't be missing. Bing -———~ Crosby crooning “I Wished On The Moon.” Ethel Mer- man torching “It’s The Animal In Me.” Jessica Dragonette singing that old favorite “Alice Blue Gown’’—not to mention Oakie, Roberti, Amos n’ Andy, Burns and Allen, Ruggles and Boland, Wendy Bar- rie, Henry Wadsworth, Sir Guy Standing, Bill Robinson, Ray Noble and his Orchestra and the Nicholas Brothers. 22

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| 4 PREVIEW OF A PARAMOUNT PICTURE- (MORE STARS THAN THERE ARE IN HEAVEN

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i It took several good rousing “hoss operas” to bring Randy Scott any attention from Hollywood producers. But when they did notice the tall good-looking Virginia engineer. he started to get the breaks. To date his best piece of luck is landing the role of Duncan Bedford in “So Red the Rose” with Margaret Sullavan as the spirited cousin, Valette Bedford. Of course, you saw him in “She” with Helen Gahagan. Pio Ren ng eee we one

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nat eae : 2 Be ee % —_ A; era WEBB - JEAN ARTH Two of Broadway's pets are Clifton Webb and Jean Arthur. When Jean's earlier cinema career took a dull turn, she hopped right back to the’ stage. Then, once again, she burst upon the screen in a sparkling new guise, that of the wise-cracking, cynical gal of '’The Whole Town's Talking.” “Lady Beware” is her next. Cliff's suave, sophisticated dancing and diy comedy will make new excitement in screen fare when he appears in the tentatively titled “Elegance” with Joan Crawford, which she will do after ‘Glitter.’ 27

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Nelson first discovered that he had a voice when he used to follow oper- atic records on the phono- graph at home. (Above) As a child and right, as the ro- mantic Captain War- rington with Jeanette MacDonald in “Naughty Marietta.” 28 (Below) Sudden acclaim hasn't turned his head. He likes the screen bu, his first and real love is: (Above) Nelson with his youthful mother, also. a singer. She has been his teacher, guide and great in- spiration. concert work. e -

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ORUMS dems—church bert and Sullivan operettas—drums . . The singing Nelson Eddy was born on a July 29th, in Providence, Rhode Island, the only child of Isabel Kendrick and William D. Eddy, with the beating of drums, the anthems of choral singing a part vor his heritage. It may sound as though the small Nelson had been born either to the Comanche Indians or into a professional world of entertainers. Nothing could be farther from the truth. As a matter of fact, so alien was any idea of theatrical life in any ‘of its aspects to any one of the Eddys that Nelson has been poor man, rich man, newspaper “man, advertising man, iron worker—all but beg- garman and thief—before his golden baritone came into its rich and .sightful own. - For’ Nelson is of Puritan strain, of old New England heritage on his father’s side, of Dutch descent on his mother’s. The Methodist Church, the _ Ten Commandments, long Sundays of the Old Testament—the iron virtues of those stiff- spined forebears of his, forged and welded the trong unmeltable metal of his character which 1as brought Nelson Eddy to the high place he oc- rie cupies today. It is necessary to one’s understanding of a man == to discover who or what has been the dominant force in his life, the ruling influence. In the life of Nelson Eddy his mother has been, and still is, that force. A mother-complex, the Freudians would say. Well, why not? For Nelson’s mother has been more than a mother in the biological and _ affectionate sense of the word. She has been a ___ fellow-worker, an ardent sympathizer, a faithful believer and a staunch companion along every path he has‘trod. She has shared his dreams, partaken of his deeds. And when, at tea the other day in his spacious and beautiful Beverly Hills home, he went to the foot of the stairs and called, “Mom! Ma-ma!” and a young, animated wo- man came running down to pour the tea, you felt that the little boy was calling, with a man’s voice, the one who had made success possible for him in the past and sweet to him in the present. NELSON EDDY said, meeting his mother’s eyes which are like his own forget-me-not blue ones, “I probably am the happiest man in the world. If I had it all to do over again I would solos—Gil- can trace, was christened John Eddye. over from England and settled in Massachusetts. A bit later, when Governor Winthrop paid the BY GLADYS HALL DOYS TRUE LIFE _ HE'S A NEW SCREEN IDOL AND HERE'S YOUR _ CHANCE TO READ HOW HE GOT THAT WAY! do just what I have done. I have no reoriee -T have no nostalgia for ‘the things that might have _ “been.” The world | ‘is, to me, a workshop and a playroom with toys, tools and things which are simply inexhaustible. better to be good than to be bad.” Nelson’s heritage on his father’s side is sturdy New England stock. He said, “My ancestors did not come over on the Mayflower, however. The missed it by ten years. Result, I have no ane father’s clock! coe a tour of inspection with the object of listing the various trades and vocations of the colonists, he found bakers, chandlers, farmers and fishermen, mechanics, dentists. But when he came to John Eddye, he was stumped. For John Eddye had no job. He wrote him down, finally, as ‘John Eddye, gentleman!’ “My mother’s mother was of Dutch descent. Mother was born in Atlanta, Georgia—and she was a well-known oratorio singer of her day.” I'VE SAID that the small Nelson was born to the tap of drums, the beat of rhythm, the wings of song, He was. were musical. His father was, at one time, drum major in the Second Regiment Band of the Rhode Island National Guard. His grandfather played the drum and previously had drummed for fifty- — five years in another famous American band. As a small boy Nelson acted as mascot for the outfit. -He also played the drum in a school orchestra which consisted of drum and piano—when they could get a pianist! And he used to rat-a-tat-tat for his small schoolmates as they entered and departed from school. He said to me, “Drums have always played more of less of a part in my subconscious.” (Remember how he sang the stirring “Tramp! Tramp! Tramp!” in “Naughty Marietta” ?) His childhood was threaded with the notes and octaves of music. His mother was, at one time, soprano soloist in a church in Providence and he, until his voice broke, was boy soprano soloist at Grace Church in the same city. All during his little-hoy years his (Continued on page 83) 29 And the only ‘secret’ to it all is to keep in tune with the elemental force— call it God or what you will—to realize that it is The original Eddy, so far as | He came — Both his mother and his father -

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William S. Van Dyke, below, famous for his two-fisted directing methods, made “The Thin Man” and thus gave greater lustre to Bill Powell’s and Myrna Loy’s careers, BY RUTH BIERY ONE OF Hollywood’s most famous stars was about to begin a new picture, a production already ballyhooed as one of the greatest of coming attractions. One of Hollywood’s best-known directors had been assigned. On the day before they were to start shooting, several years ago, the star telephoned the director and asked if he would go to a certain beauty parlor where she was STARS CAN FALL IF THE MAN BEHIND THE 0 GREATER THAN Below, Clark Gable felt he was slipping when he was loaned out for “It Hap- pened One Night’”—but Frank Capra’s genius gave Clark and Claudette Col- bert the Academy award! being made-up. He had known her since their first days in Hollywood and he went at once. “T just wanted to remind you that when we knew each other, I was a different person than I am today. Now, I am a star. When we get on the set, please do not call me by my first name. I wish to be addressed as Miss Blank.” The director rose and bowed from the waist. “That is perfectly agreeable to me. But please remember, that I, too, am no longer the person you used to know.

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Below. Grace Moore had had only tepid response in two former pictures but Victor Schertzinger directed “One Night of Love” and made both Grace and Tullio Carminati famous. Most directors stand in awe of Kate Hepburn’s reputed temperament. But not George Cukor. After Little Women” Kate called him “great” and wanted him to direct her always. THEIR DIRECTORS _ Iam now a great director and I wish to be called Mr. Blank !” Those who heard the conversation, floating from the booth of a beauty salon, exchanged wise smiles which said, “What a flop that picture will be, starting out that way. He can’t make a great picture from such a beginning.” WHEN THE production was one-third finished, the director: appeared upon the set one morning with a stranger whom he presented to the star. “I have hired this man to do nothing but say, ‘Yes, Miss Blank!’ We want you to be absolutely happy while working with us.” Those working on the set looked wisely at one an- other. They knew this production would never make motion picture history! They knew he was a great director and she was a great actress but they understood no director could be great under those circumstances and that no star is ever greater than the man who directs her. (Continued on page 79) MEGAPHONE ISNT SYMPATHETIC AND HELPFUL

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BOB TAYLOR'S STILL A SMALL-TOWN BOY At left, Robert Taylor in person—one of the swellest fledgling stars in all Hollywood. ‘ Right above, with June Knight in a scene from “Broadway Melody of 1936.” And below, dining out with Irene Hervey who is his best girl and his greatest inspiration to succeed. They go steadily together but to quiet, simple places like any small-town couple, he says. BY FAITH SERVICE TAKE A young man off’n a college campus, spin the wheel of chance and place him in a studio, his feet on the Milky Way to stardom —and you have a human equation worth studying. ; ened to Robert Taylor, née Brough. He was born in Filley, Nebraska, “raised’’ in Beatrice, the only son of the late good Doctor Brough and his wife. Conservative, small-town people, the Broughs, unworldly and of simple tastes. People who still thought that theatre folks belonged in some sort of zoo, along with the circus animals and spangled performers. If you had told the late Dr. Brough that his only son would live to become a “moom-pitcher’”’ actor you would :have found yourself laughed right out of his surgery. YOUNG ROBERT had a careful, a religious upbringing. Sunday School and church every week, grace at table, prayers at night. He was raised to believe that drink is a curse indeed and that the demon nicotine is not for godly young men. He was taught that good is good and bad is bad and that there is no blurring the line between. He has not failed that teaching. Even now he does not smoke nor take a drink—certainly not in the presence of his mother, if at all. And so Robert, the only child, had a happy, comfortable and normal childhood. All of the necessities, few of the luxuries. People in Beatrice did not, for the most part, hold with the flesh-pots. Such things as de luxe parties, opulent cars and romances to (Continued on page 64)

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She'll deny vehemently that she makes the rest of her cast step to keep up with her dramatic pace, but her leading men will tell you that Bette Davis is a worry! At right you see Bette and George Brent listening intently to Director Keigh- | ley on the ‘Special Agent’’ set. [ “IT’S HORRIBLE to be a star,” said Bette Davis. She said it with a finality that brooked no argument. ; One couldn’t doubt her sincerity, although she presented anything but the picture of a disgruntled actress, as she waited in her studio dressing room to be called to the set. Wearing a smart satin pajama suit, she looked exactly what she is—a successful and contented young woman who has made up her mind exactly where she is going, and most people think she’s there already. 4 BY FRANC DILLON In fact, if Bette were one to rest on her laurels, she could relax, secure in the knowledge that she has just about reached the top in acting art. It is well known around the studios that when Bette is in a picture, it is up to the rest of the cast to keep their minds on their work or she'll walk right away with the honors. James Cagney, Leslie Howard, Paul Muni, John Eld- redge, George Brent—all of her leading men—have only the most enthusiastic praise for her work even though there must have been times when they worried a little and wondered how they were (Continued on page 86) BETTE SETS AN ACTING “HIGH” HARD TO FOLLOW!

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SOME WITTY SLANTS ON JOLLY OLD ENGLAND BY ROWENA CURTIS DEAREST ANNE, I’m wearing sack cloth and ashes! Not that it’s fashionable in London. But I’m wearing it anyhow. For you. On account of,-1’m so sorry for not having written you sooner. But what a whirl I’ve been in since landing in England. I’m dizzier than usual. But [ll try to stop going around in circles, and start at the beginning, my little one. For [ know you want a full confession. London is a divine place, and I’ve completely fallen in love with England. (Don’t repeat that aloud in Holly- wood—it might start rumors of a romance.) AS YOU may remember, I arrived just at the start of the King’s Silver Jubilee. And don’t you ever, ever believe the English are staid and unemotional. For two solid weeks the town went mad—people filling the streets night and day, singing and cheering. I saw the procession, and confess that I hurrah-ed as loudly as any Cockney present. But it was thrilling— brilliant with color; gorgeously uniformed troops of Hus- sars, Bengal Lancers, Horse Guards and Dragoons; Rajahs in cloth of gold, wearing diamonds as large as turkey eggs; cathedral bells ringing, and millions of voices raised in rejoicing. However, life isn’t all cathedral chimes and national anthems! I’ve had troubles, too. It’s the language. You’d better study English before you come over. I wish I had. You avoid lots of trouble by knowing the language. Boner Number One I pulled at the Savoy the evening I arrived, at a reception Gaumont-British gave in my honor. I asked for a napkin. In England, napkin means diaper. Serviette is the word, of course, Darling. Yes, T blushed. Further confusion was caused by the fact that in Mer- rie Olde England “ladies room” (Continued on page 68) Britishers think Helen speaks “funny American” because of the Texas accent she can’t conquer. Above is Helen with her father and mother when she sailed to make "King of the Damned.”

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Likeable Gene, who makes feminine hearts flutter, puzzles over his romantic future. Above, with Ann Sothern, reputedly his current heart teamed: again in “Believe It Beloved.” : throb, in “Hooray for Love.” They will be | { | i GENE RAYMOND TELLS WHY HE HASN'T ONE BY MARTHA KERR GENE TOLD me I couldn't tell this story. So I’m going to tell you the missing romance chapter in his life. Gene said, “I’ve never been in love because no girl has ever given me a chance to be.” And as utterly unbelievable as that may sound to you, it’s the stomp down truth! If you’ve been wondering why (or how) Gene Raymond—twenty-seven, handsome, successful—is still single, here’s the answer. And not only is it one of the most amazing stories°I ever ran into, but it’s a look-in on fame such as I never got before. ‘ IF YOU’VE been wondering why Gene Raymond is still single you haven’t been by yourself, either. Over the boudoir ashtrays and strictly hen tea tables of Hollywood’s younger femmes his blessed bachelordom has undergone many a conversational dissection. I’ve been in on some of them. But nobody ever seemed to find the reason. It’s too hard to believe a fellow like Gene couldn’t woo and walk off with almost any fair lady who caught his fancy. He’s certainly hand- some enough. He has shoulders like the Lincoln Memorial, blue eyes with a swift gay grin in them, and a physique that’s young and hard from consistent exercise. His hair is by no means the platinum product the camera gives it credit for being—it’s plain, bona-fide blonde. A blonde that’s entirely loyal to the Guion family tree—for Gene’s real name, you know, is Raymond Guion. He’s certainly popular enough to rate all kinds of chances at love, for Gene evermore does the masculine equivalent of “getting around plenty.” A beau-by-beau description (Continued on page 76) 37

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IT TOOK CHARLIE FIVE YEARS TO RECOGNIZE AND LOVE HIS SONS THERE comes now from Hollywood a story stranger than the majority of odd tales which originate in that odd city of oddities. And it concerns a man who is concededly one of its strangest and most- unconventional inhabitants. It’s a story of Charlie Chaplin. A story of the metamorphosis of Charlie Chaplin from a man who, for years, unnaturally ighiored—aye, apparently even resented —his two sons, into probably the fondest, kindest, most ' doting father Hollywood has ever known, So strange is this transmutation of the man Chaplin that even Hollywood, usually blasé beyond belief, stands amazed! There is today nothing too good for Charlie’s two little- sons—Sidney Earle, now nine, named after Charlie’s: beloved brother, and Charles Spencer Chaplin, Junior, ten. There is no kindness too great for Charlie to shower on them. There is no limit to the pride Charlie displays in them—and yet . . . AND YET, up to less than three years ago, Charlie had refused to see them. After his-divorce from Lita Grey, their mother, he ignored them—save for the gesture, at court order, of setting aside a trust fund for them which would forever insure them against want. But of fatherly devotion, of that natural yearning of a father. te see his own flesh and blood, of these things there was €yi- dent in Chaplin not one iota. And today he’s, utterly mad about them. Let me tell you. about it—from the beginning to today; from the birth of the youngsters to the things Charlie does now to demonstrate his pride in them. Or maybe. it'd be better to begin with “The Little Mouse.” Below, Sidney Earle Chaplin, age 9, and Charles Spencer Chaplin, Jr., 10 PAPA YOU SEE, many years ago Chaplin confessed to a friend that it was his ambition to make his life an unsurpassedly vivid one. And one of the facets of his philosophy was to try to experience, during his lifetime, all of the thrills that fall to the lot of a human. In colloquial words— “try everything once!” That’s never been told before —but one of the experiences he wanted was to be a father—to have the sensation that from his own flesh should come and survive a living entity. When he was married to Mildred Harris he fulfilled that desire. But there was a tragic ending. The story of “The Little Mouse” is an old one—you probably know it.. Shortly after Charlie Chaplin’s baby was born to the lovely Mildred, it died. It did not even, yet, have a name; the gravestone calls it “The Little Mouse.” was saddened for a mighty long time; he used to sit at the graveside and mourn, mourn, mourn. And so, when in the middle of 1925, a son was born to Charlie and Lita Grey, who had by now succeeded Mildred Harris as Mrs. Chaplin, naturally all Hollywood ff. thought Charlie would lavish the same mad affection on this newcomer as on that first lost child. Maybe he did. Charlie and Lita were happy then. They were happy, too, when the second oe came, less than a year later—another boy. : But then came ‘troubles. That’s another old story. Everyone who knows anything at all about Hollywood knows that in 1927, after a super-sensational complaint, Lita divorced Charlie, got around $650,000 for having been his wife tor a while, got the custody of the two children—each less than two years old at that time. From that moment, Charlie’s love for his two boys seemed to vanish. Maybe it didn’t. Maybe in justice Below, Charlie with Paulette Goddard whom both boys adore and respect. Charlie aS 15> BS arte ee, ey

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| || one must say that his love for Lita, blackened into some- thing bitter by the things that had been said against him in the divorce case, was so utterly outraged that some of the resentment turned, too, against her children—even though they were his own. LAS THEIR father, naturally, the courts of California ‘held him to accounting for the children’s welfare. Be- \cause he was rich, it was, a handsome accounting. Into the bank went a trust fund of some half million dollars! It guaranteed to each of the youngsters an annual income ict $6,000. But beyond that, Charlie did not go—then. For five years, Charlie did not see his sons. For much of that time they were abroad, being educated in foreign jschools. Lita thought that was the thing to do. Too, they had governesses and chauffeurs and a hundred and lone things that belong to little boys whom more rugged, self-reliant little boys call “sissies”. Wasn't it strange | that, a few years later, Charlie should have exploded with that same word?—that he was sick and tired of Lita bringing his sons up as sissies. Well, at the end of that five years, there happened something that aroused at last, to a fighting pitch, the father-love that had been lying dormant in this Chaplin | who didn’t even bother to see his sons; to do anything personal for them; to visit them or have them visit him. | That thing was the sudden move of Lita Grey to put the | two boys in the movies. For them, as their guardian, she signed a three-year contract with the Fox studio, calling for them to appear in a series of pictures. Of course, it was in the papers, with a grand ballyhoo of press-agentry. And, of course, Charlie saw it. Charlie, below, as you will see him in "Charlie Chaplin in Modern Times.” enaere-- SeGee: GEE45 UHAPLIN BY HARRY LANG IT WAS then that there occurred in the heart and the mind and the soul of this father the metamorphosis that has made Hollywood history. Like a tiger, he leaped into the arena—the courts. With almost as much bit- terness as Lita had hurled at him in their divorce, he fought her move to put the boys into pictures. “T want them to grow up to be normal children, with- out any undue attention and publicity. I want them to enjoy their youth; to romp and play like other children,” he told the world. “It is their future happiness I have in mind. I, myself, had to go to. work when I was five years old, but—’ (and he called the court’s attention to that half-million-dollar trust fund he had established for them) “they do not have to!” There were big lawyers in the case. Charlie’s wealth was thrown into the fight. Suddenly, everything he had was none too good for the youngsters whom, for five years, he had seemed to spurn. He suddenly seemed to realize they were his own as much as they were Lita’s, and out of that realization perhaps came a flaming parental love, much stronger for having been, for so many years, crushed down, denied, choked. Well, Charlie won the fight. The court ruled that the written consent of both parents was necessary before the children might be put to work—and the judge in no uncertain terms chastised Lita Grey for having made the effort. And, of course, Chaplin never would and never will sign any authorization for those youngsters to be employed in a movie studio or elsewhere. And now came another phase of this awakened father- consciousness. Charlie, who for five years hadn’t gone about seeing his children, suddenly wanted to see them. He demanded that he be (Continued on page 72) His fans have waited long for comedy like this. Still another amusing scene from his new film.

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600 WON SENSE+SENSIBLE 1 Place your right y] Take hold of your left hand on the back of a chair. THE WEATHER man says it’s Indian summer, but for me, it’s winter. I’m snowed in. And just trying to dig my way out from under. I need a shovel to help me through all the letters and photographs that have been dumped in my lap. But listen, babies, I love it. The only kind of heaviness I don’t complain about is the heavy morning mail. The more problems you present to me the better I like it. My mission in life is to help everyone of you to overcome your face and figure faults. And that’s from the heart, because [ know that every fault can be turned into an attraction. The only thing that can’t be corrected is wrong bone structure. But just a minute! I can teach you how to hide it. How’s that for you? It’s swell to know that I can help you thousands and thousands of girls to happiness. You can’t be completely happy when you're dissatisfied with your looks. And I’m ankle with your left MADAME SYLVIA REVEALS THE INSIDE DOPE ON Lc =z a pull your leg up with 3 Lean forward and left hand. i| hand. here to tell you how wonderful you can look if you'll do jy, what Sylvia tells you. if LAST MONTH I asked all the gals who look like Jean ,J.) Harlow to send me. their pictures. Well, I don’t believe |} in steam baths but I feel as if I’m in one when I go over || these pictures. I never realized there was so many girls }| who could double for the platinum kid. And believe me ,f, little Jeanie had better watch her step. She’d better be § a good girl and not cause her studio any trouble or I'll |f, tip her bosses off that the world is full of Harlows im f., the making. a In next month’s article you'll find my selection of the girl who looks most like Harlow. I'll tell her how she \§. can overcome her defects and [ll publish her picture in J- MODERN SCREEN. The month after that I will decide on the girls who look |

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of the same exercise as shown on page 40. A Hore is a back view E Pull hard for good- “like Joan Crawford. There’s still time for you Crawford doubles to get your photographs in. ' And now for Constance Bennett. Come on you willowy blondes. Remember you don’t have to look exactly like her. Connie didn’t always look as she does now. Believe me, I know. I gave Connie a course“of treatments she shouldn’t forget—although sometimes when I see her on the screen I think she has forgotten. IF YOU bear the faintest resemblance to Dick Ben- nett’s girl send me your photograph. The best one will be published in this magazine and I will send the winner a complete personal course of instructions, telling her exactly how she can remodel herself. Maybe all this sounds as if I’ve been too busy answer- ing your letters and looking at your photographs to do anything else. But that’s not so. I had to get a few looking legs and bulgeless thighs. times, left and right. Increase to 20 times. oe Do this exercise 5 laughs for myself, so I’ve been reading the newspapers. I’ve been reading what some of the so-called beauty experts have to say about the “feminine figure divine.” And of all the bunk! Some of them tell you to do every- thing but hang by your teeth from the chandelier if you want beautiful toe nails. And I wouldn’t be surprised some morning to read about that. ; The little item that got me down was the one about Rosa Ponselle and her bicycle. Rosa is quoted as saying, “Tf I can work off some poundage and my tests are satis- factory I’m going to, make pictures.” So what does she do? She rides a bicycle! Pll admit that bicycle riding, swimming and all such - violent exercise may make you weigh less. But I just wonder if La Ponselle ever heard about muscles. When you exercise the wrong way muscles become as over- developed as some movie (Continued on page 88) “BEAUTY BUNK” AND FALSE REDUCING METHODS Illustration by- Riveron

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LET'S GET GRACE MOORES TEMPERAMENT’ STRAIGHT SHE DOESN'T DENY SHE'S “HARD TO HANDLE” BECAUSE SHE'S MADE A SUCCESS OUT OF IT! MANY STARS have said, “I am not i] going to let Hollywood spoil me! I am go- 4 ing to remain myself, no matter what hap- iW pens.” Hepburn has said it—Claudette Colbert, Garbo, Dietrich, Kay Francis. So far-as I know, Grace Moore has never given such an interview ; has never said it, Yet Grace is one woman who has re- fused definitely to let Hollywood make any change in her. She left Hollywood, after her first two pic- tures partly because she wouldn’t sacrifice the temperament which makes her a great singer and a. fascinating woman. When a producer told her, during the making of these original productions, “You're acting like a prima donna,” she answered, “But I am a prima donna.” She emphatically refused to become more or less than what she was. She spurned the opportunity to pattern herself to what was then the model for a motion picture actress. As a result, she is not just one more picture star, today. She is a prima donna starring in motion pictures and as such, she is mak- ing big money for the box-office. It is because Grace Moore refused to lose the temperament of a prima donna for the sake of be- coming a motion picture actress that we have “One Night of Love” and “Love Me Forever.” For it is true that, if temperament is leashed, you can still act well in the eyes of a clever camera. But you cannot sing well, anywhere, when the fire, the passion, the temper has been processed from you by caution. Grace Moore has never denied she was “hard to handle’”” when she made those first two pictures, “A Lady’s Morals” and “New Moon.” She does not argue about being “difficult” today. Why deny the truth? How well I remember the stormy impetuosities of that fiery-eyed newcomer. I dropped onto the set of “New Moon” to chat with her. Her eyes were twin balls of a very blue flame. Her lips trembled, her hands clasped and unclasped, indicating nerves pitched to the screeching point. Her words tumbled like water, gushing from an overflowing fountain. They knew nothing about singing! They knew nothing of song! A woman could not sing a scene she could not feel! She might act it but not sing it! A woman could not sing with the well-oiled mecha- nism of an automobile engine running in high gear. These pictures! They were not for artists. They were for technicians. They were not for one who understood what would please or not please, in song. What did Hollywood know of pleasing with song? What did Hollywood know of Grace Moore? The picture would be bad. She would be bad. Should pictures ruin Grace Moore, the opera singer, who had appeared before crowned heads in Europe? She walked from the set. Not once but again and again. She cried. She lost her temper. But the pic- ture went on—with the usual motion picture for- mula; a formula proven successful for actresses but not for prima donnas! : TAKE THE huge press party thrown in her honor. It was in the imposing and regal home, perched on a high knoll, looking down upon the studio where she was working. This was the only possible house worthy of a prima donna to be found in Culver City. She had a chateau on the Riviera; she had lived in Mary Garden’s be-satinned villa, even while she was studying. They told us Grace Moore appeared at this party she was supposed to be giving. If she did, many of us did not see her. We swam, we listened to or- chestra music, we ate of heavy foods and drank of delicate liquids. Rumors flew among us as swiftly — and stingingly as mosquitoes. Some said Miss Moore refused to play hostess to a group whom she had not invited personally but had been bid through a publicity department; others said she was tired, too tired to be merry among strangers. Again, we heard this was her day for remaining in bed, drink- ing milk—a ritual not to be disturbed for any reason. True or not true, we left in various moods but with one concerted idea: it wouldn’t take Hollywood long to extract the temperament from this hoighty-toighty iady from New York and Europe. And that was our mistake. We didn’t know then that we were expecting Grace Moore to lose for Hollywood everything she had learned for the sake of her singing. It was not easy for Grace (Continued on page 70)

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“GYAN Ta SERGE FARNESE ADO Oot NIT nF AMMEN REN EEE 8 —— NEE. PP Me RAE SRT EO eT Oe EST IS ia ear. = TST RE Oe We Oe RE RES A RN Oe SLT SR TE 2 NN ROSATO ant CR ARNE em! . BY RUTH BIERY Grace Moore was told that she would never really sing until she acquired fire to her person- ality and had run the gamut of emotions. So, she tried the temperamental diva role and found it amazingly successfull Now a star, she’s a famous spitfire, too, and she won't change back to the docile little singer from Jellico, Tennessee. Right, a scene from ‘Love Me Forever” with Leo ‘Carrillo—her second big screen success.

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I HATE to make it tough on all you gals EXER xp 4 draping yourselves languorously on a divan and looking up through fluttering eyelashes with smoldering eyes—but all that is out! Yes, my. dears, there is a new school, a new cult, a new creed in Hollywood. They haven’t a word for it yet but the lexicographers, scientists, technicians and Greeks are working on it right this minute. We'll stop the presses, hold the wires and call out the police cars when the word is coined. In the meantime all I can do is to tell you the story, describe the new sex appeal and tip you off on how to'go about getting it. As a matter of fact, Myrna Loy is responsible. No, no, Genevieve, I don’t mean the Myrna Loy who mowed men down and left ’em writhing with one exotic death ray from her slanted eyes. ; I’m talking about the new Myrna Loy—that spritel gal of “The Thin Man” and other films, who could take sex or leave it alone (even with a hangover), who was a real pal, could match wisecrack for wisecrack who have just mastered the gentle art of IT ISNT IN THE WHAT ISNT? THE NAME FOR THE NEW GLAMOR. with any male, could look cute with an ice bag on her head and didn’t need a single revealing negligée to trap a man. ~ THAT’S THE new girl. That’s the 1935 version of allure, appeal, charm, “it,” vamp, flapper, glamor. And if you're going to be popular, if you’re going to have all the men ca-razy for you, you’ve got to master the new technique. If you do, you'll be dancing away with the captain of the football team while the glamor girls are sitting there untangling their eyelashes. Hollywood sets the fashion not only in clothes and kitchens, figures and bathrooms, but in sex appeal as well. And if you'll listen carefully to my story, you can be your own barometer and one jump ahead of the other girls in your set. Just glance down the pages of the history of sex appeal—and the gals with that quality knew how to make history—and you'll see that the world’s behavior has been dictated by the grease paint folk. There was Theda Bara. Remember her? Well, your mother does. In fact, probably your mother wound x \ \ ON \\ SS ees NAAARAAREN EBs ee

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DICTIONARY. her hair around her neck, put on a long, slinky black satin dress and lured your father that way. Anyhow they called Theda a vamp. And what she did was known as vamping. And it must have been pretty gosh-awful if you ask me. For the very sight of Theda and her ilk coming onto the scene was enough to tip off the innocent gent that trouble was-about to brew. THE WAY to vamp was to slither (and how is your slithering today?) into a room, run your two hands down the side of your body until they reached the hips.and then stand there and heave your chest up and down for a count of thirty. After this you dilated your nostrils for twenty counts and then your victim would either fall into your arms or run scream- ing from the room. could say “Bela Lugosi” there was a brand new type of sex appeal as exemplified by Lillian Gish. All the girls exchanged their black satin dresses (those that hadn’t been torn to shreds) for dimity. (Who knows Vamps, “it” girls and glamor girls are passe. . . there’s a new type of sex appeal on the market. You've got to be smart, sophisti- cated, and chic... in the Myma Loy manner. | YOU SUGGEST ONE- Then the movie mood changed. And before you. WE HAVE GIVEN UP what dimity is?) And instead of slithering about they fluttered. What Lillian Gish had wasn’t even known as sex appeal then. It was only after it was discovered that the helpless Lillian’ could get anything she wanted from men—from new drapes for her dressing room (from the prop boy) to million dollar contracts (from the executives)—that we tumbled. You see, coming so close on the diamond heels of Theda Bara every- one was taken unawares by Lillian and thought she was just appealing. to the spiritual in man’s nature. And that, girls, is the secret of being one jump ahead and the reason it’s such a good idea. The minute a man catches on that a certain type is out to lure him, it’s time to change the type. It throws him off guard and off balance—this change. And he doesn’t’ know the new mode is really the same old sex appeal until he’s walking down the church aisle and reluctantly murmuring “I do.” NO, GISH had ’em all confused. She jumped up on one little step and jumped (Continued ‘on page 82) BY KATHERINE ALBERT - PICTURES BY ABRIL LAMARQUE SS 45

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OF AWEXTRA GIRL OA GREAT STAR PROMISES TO HELP HER Part 3 23 a -) 7 bt assadavagh a. daad Aa The “bit” part With Garbo in ‘“"Ro- mance” which she muffed because of a girl’s cruelty. NOW WE enter the third installment of this exciting true story of a young girl who went to Hollywood for fame but found many obstacles in her way. Her anonymity must be kept because she still is working in pictures. Discouraged, at first, by scheming and unscrupulous men in cheap “quickie” pic- ture companies, she meets an artist on a bus who asks her to come to his studio to pose for a stocking ad. Fearing further insults, she decides not to go but a lack of funds drives her to it. To decide an argu- ment between the artist and his uncle, who is a famous and eccentric director, she is given the long hoped for screen “test’”’— only to find it is all just one of the eccen- tric director’s whims and doesn’t bring her even a job. However, the artist, realizing that he has done her an injustice, secures a job for her on the Garbo picture, “Romance.” Pick up the story here— AND NOW I actually was at work, whisked from the wardrobe department, to the make-up rooms, to the set. It was all so exciting, so glamorous and I was so eager to make good that I didn’t hear what was ros being said around me. I didn’t pay much attention to the other extra girls. And that, I learned to,my sorrow, was a mis- take. : I was all eyes, awaiting the arrival of Garbo. I had seen her once, you remem- ber, as she whizzed by me going into the studio. Then I had been on the outside looking in. And now I was working, actu- ally on a set. Clarence Brown was the director. His assistant told us where we were to stand when the scene was filmed. And then we were allowed to sit on benches, waiting. One of the extra girls—whom I shall call Peg—said to me in a loud voice, “You're new, aren’t you?” I DIDN’T want anyone to know I was new because I was afraid they would think I wasn’t capable. So I whispered, “Yes,” and turned away so she would not pursue the subject. That was mistake number two. It seemed as if I always were making mis- takes in Hollywood. I didn’t have time to realize it was a false move for at that mo- ment Garbo arrived. (Continued on page 73) Sig. so -

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BY SCHEDULE her hair down, both figuratively and __ literally. SHE KEEPS BEAUTIFUL CAROLE LOMBARD GIVES YOU HER BEAUTY ROUTINE BY MARY WATKINS REEVES I CAUGHT Carole with her hair down the other day! IL caught her right in the act of doing what she does to stay glamorous! And, when you wit- ness La Lombard in an episode like that-——well, it’s just too swell to keep. You have to go around telling people all about it. These girls—like Carole, ] mean---who always look so flaw- lessly well-groomed. These perfect girls who always manage to carry around such impeccable waves, manicures and make- ups that no matter where they go, or when, they invariably look like Exhibit A. You've seen them-—they just never have a suspicion of shiny nose, a hair out of place, a grin out of gear or a wayward eyebrow, even. Well, I don’t know what they do to you, but they practically turn me green. Now, of course, any gal can look glamorous once in a while. [f something big 1s doing at the Club on Satur- day night, and you don’t mind hibernating in a beauty parlor all afternoon, you usually can rig yourself up to look heavenly for an evening, anyway. But when it comes to staying that way 168 hours a week. no matter how busy you are. that’s different. Most girls can’t do it. And the blessed few who can, | decided, were hoarding .a_ secret they’d hoarded long enough, SO I went and picked on Carole, who happens to be the smoothest star I know. And I caught her with “Cmon up,” she called, leaning a mop of wet sunny curls over her upstairs banister. “Sorry, | couldn’t finish this before you got here, but to- day’s the day for my shampoo and I had to ‘tend to it.” She gave her hair a few more vigorous rubs, slipped into a-pair of gay crimson pajamas and fluffed her crowning glory over the back of a chaise longue. “Now. shoot—what’s up?” “Carole,” I said, “for heaven’s sake how do you do it? 1 mean how do you manage to look so darn well-groomed all the time? I never can find a single run-down item about you to harp on--noet even one lota of cracked fingernail polish!’ She laughed the Lombard laugh. and wiggled her toes into oyster piqué mules. “Simple, old booby,” she answered. “In- stead of doing everything to myself on Saturday, for (Continued. on page 67) Sleek, lovely Carole, always impeccable, as she is in “Hands Across the Table.”

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Claire Dodd’‘s dull gold cloth evening ensemble with silver fox lavishly used. ALL YOU have to do is to write about fashions to have everyone plaguing you about what’s going to be smart | weeks before a season is well on its way. Since every- one has been asking me the question which I am using for the title of this month’s story, I decided to turn the tables on all of you and ask the same question! Mary Ellis’ ermine, ‘Paris in Spring.'' Thelma Todd's suit, in ‘Two for Tonight.” ‘on i ; os fl V nN aye Ta Ae Corded black wool and white velvet in a three-piece suit worn by Claire, also. Francs ON a 5, a * -lamé tunic dinner. gown with brief jacket on arm. St UWoul yt | LOOK FOR SOFT DRAPERY, RICH FABRICS, DEEP If you don’t know what you want to buy, or what style trend you can safely start out upon in these early months | of fall, let’s study what the leading designers in Holly- wood, New York and Paris have to say. ‘They have to be fashion seers, looking farther ahead than weeven can buy, so with a few of their good hints, we can do our Elissa Landi’s wrap, “Without Regret.” Unusual robe wom by Mary Ellis, below. Claire again. this time ina §

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Softly draped bodice and The new rich feeling of the Banton adapts a *’Cru- looser lines for black day- mode in the embroidery on sades” chain mail suit for time dress of Gail Patrick’s. Gail’s dinner costume. this formal gown of Gail’s. | | Sale Mpilles..P COLORS WHEN SHOPPING By ADELIA BIRD shopping with a pretty practical yet smart chart to go by. introduction of style influences derived from the Italian Probably you have heard about the Italian Renaissance Renaissance, gives you a very elegant sweep to your hats trend. Have you? All the designers and stylists are as well as to your costumes. excited about it. Used with discretion it can be charming As you remember, this was the period in Italian history as well as fun, overdone, it can be as sad a flop as the when all art flourished and when painters bedecked their Empress Eugenie excitement of a few years past. The subjects in the richest fabrics, the most elaborate Tweed on. Oberon Madeleine Carroll's Cuff brim beret from Another tweed suit in “The Dark Angel.” coat in ‘39 Steps.” “The Clairvoyant.’ on Merle Oberon.

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Olivia De Haviland steps forth in her new gray kid- skin coat with cord tie sash. ornamentations and rare jewels. It was a time when rich color was spread across all the canvases. And this is the essence of the Italian Renaissance trend in fashion which both Paris and Hollywood designers are intrigued with at the moment. In Hollywood, most of the lead- ing designers are showing increas- ing drapery in their more formal daytime and evening skirts and bodices. They are using jeweled girdles and buckles, rich fabrics and embroidery. Often the fab- rics have jeweled, metallic or em- broidered motifs for surface elaboration. IN PARIS, the following details are characteristic of the Renais- sance influence — open necklines, either square, yoked or off-the- shoulder. Wide, jeweled girdles, large berets, draped and_ be- feathered hats. Lots of velvet in dresses and wraps. Evening capes that are full and long, swinging from the shoulders and dropping in sweeping circles to the floor. And then there are the Italian Renaissance colors which design- ers have dubbed by the names of artists and famous Italian families of that period. There’s Titian red, Medici purple, Botticelli blue, Cellini green and a wine red named for the famous wine poisoners, the Borgias! Rust and coppery tones, many deep purplish colors and much gold in trimming are all typical of this fashion movement. Don’t be led astray by too much elaboration, however. The basic feeling of the whole fall picture is 50 MESS. You can wear your daytime skirts shorter and fuller, if you wish. For drapery, if it becomes you. And, on the other hand, you can turn right around and feel perfectly comfortable in a jersey shirtwaist dress or a trim woolen coat frock. You can stick a feather in your hat, or you can wear the plainest of berets with a sharp jut forward and more fullness to give it a fall flair. One thing I think you are going to cheer, because I know I do, and that is the return of wrappy lines in coats. Somehow, I never feel quite so snug Olivia, again, in a trim box jacket suit and brown felt hat with interesting brim line. as I do when I have my winter coat wrapped around me with a warm lap- over, just for that purpose. YOU'LL LIKE the fuller skirts for daytime. Some have the fullness con- centrated at front, this is achieved either with pleats or a. godet ripple effect below the belt lines of the skirt. Not only dresses but coats are show- ing this treatment. There is back full- ness, too, particularly stressed in short jackets with flaring backs. Did you like tunics last fall? Well, they are in again and in many smart guises. The tunic length jacket on one of simplicity in line with details making the added gaiety and colorful- evening you will still cling to the longer line. You can have skirt and bodice examples of it. Rather than go on listing fall, details and trends which are hard | ‘to remember unless you see actual || garments illustrating the ideas, I have selected a number of Holly-— wood costumes which illustrate’ many of these new points. On pages 48 and 49, you will see some scenes taken from new pictures, each one showing some interesting | fashion idea from that particular At the top of these pages | are some more fashions that are | picture. representative of the clothes the smartest stars are now buying for their fall wardrobes. “Smart Girl” is the pat title of Gail Patrick’s next picture for she | wears some stunning clothes. de- signed for her by Travis Banton. One of these costumes is illus- trated, the other two worn by Gail | being from her personal wardrobe. The gown worn in the picture is | an excellent example of the Renaissance trend. It is black dull velvet with a deep square neckline and short pointed train. The entire front is beautifully em- broidered in gold thread and the long sleeves also are embroidered. | Over this goes a hip-length jacket of gold lamé, reminiscent in design | Tt is* a costume that is simple in line but | of a page boy’s blouse. perfectly balanced by its charming detailing. For a first fall phesator and daytime dress, Gail wears black crepe. The bodice shows the new soft fullness that gives a drape feeling to the gown, the softly folded (Continued on page 64) A striding step ‘on Olivia to let you see the new width and shortness of her fall dress. | ey i: | fall suits is one of the newest |

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Me OED vAN RENSOELAER “For Flavor and Mildness I've never found a cigarette that compares with Camel” Mrs. Van Rensselaer finds America gayer and more stimulating than Europe. “If I’m tired from the ex- hilarating American pace,” she says, “smoking a Camel gives me a ‘lift’—a feeling of renewed energy, and I’m all ready to go on to the next thing.” Camels release your latent energy in a safe way. At home or abroad, Mrs. Brookfield Van Rensselaer smokes Camels. “Once you've enjoyed Camel’s full, mild flavor, it is terribly hard to smoke any other cigarette,” she says. “I can’t bear a strong cigarette —that is why I smoke Camels.” Camel spends millions more every year for finer, more ex- pensive tobaccos than you get in any other popular brand. Camels are milder! AMONG THE MANY DISTINGUISHED WOMEN WHO PREFER CAMEL’S COSTLIER TOBACCOS: MRS. NICHOLAS BIDDLE, Philadelphia MISS MARY BYRD, Richmond MRS. POWELL CABOT, Boston MRS, THOMAS M. CARNEGIE, JR., New York MRS. J. GARDNER COOLIDGE, II, Boston MRS. ERNEST DU PONT, JR., Wilmington MRS. HENRY FIELD, Chicago MRS, JAMES RUSSELL LOWELL, New York MRS. POTTER D’ORSAY PALMER, Chicago Mrs. Van Rensselaer at Palma de Mal- lorca. She says: “Americans abroad are tremendously loyal to Camels. They never affect my nerves. I can smoke as many Camels as I want and never be nervous or jumpy.” Camel’s costlier tobaccos do make a difference! Camels are Milder!...made from finer, more expensive tobaccos -.. Turkish and Domestic...than any other popular brand © 1935, R. J. Reynolds Tobacco Co,, Winston-Salem, N. C.

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RE A LORS m ee AS based on Stark ivalrous when ladies looked like it between Margaret and her husband, Director "So Red the Rose,” S) 1 Paramount No wonder gentlemen were ch in Margaret Sullavan as Valette Bedford Young's saga of the South for Margaret and Willie , deed in idle rumors seem completely devoted But apparently they were very There were rumors recently about a spl William Wyler this.

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MODERN SCREEN Fevery Wrinkle you See... StARTED UNDER YOUR SKI Mrs. Douglas Robinson A Miss Ann Keeble, New York: ‘‘Pond’s not only cleans—It keeps away lines, blackheads.”’ BUT DEEP-SKIN” CREAM reaches down— keeps common Skin Faults away 1 LINES FADE when wasting 3 BLEMISHES STOP coming 5 DRY SKIN SOFTENS when under tissues are stimulated. when blackheads that cause penetrating oils sink in, fail- grandniece of the late THEODORE ROOSEVELT, and granddaughter of his famous sister, the late MRS. CORINNE ROOSEVELT ROBINSON, says: **Pond’s Cold Cream makes my skin look clearer— them are prevented. ing oil glands grow active. 2 BLACKHEADS GO when clog- ging secretions are removed, 4 PORES REDUCE: when kept 6 TISSUES WON’T SAG when and underskin stimulation free from pore-enlarging se- underskin fibres are toned tired lines disappear.”’ GLY LITTLE LINES... dreaded wrinkles U ... don’t “just happen”’ overnight! Every wrinkle, every line that streaks your face had its start under your skin. Tiny fibres hidden out of sight, lost their snap— Tissues you can’t see went thin and sagging. Then, one day the skin you do see fell into little creases. The same way with practically all com- mon skin faults. Blemishes, blackheads, Sagging tissues—all start deep in your underskin, when tiny glands and blood vessels, nerves and fibres begin to fail. Skin faults go—new ones can’t start What your skin needs is a cream that does more than cleanse—a “‘deep-skin”’ cream that goes right down and fights those lines and blemishes where they start. This is exactly what Pond’s Cold Cream does. Its specially processed oils sink deep into the pores. There, patted briskly, Pond’s rouses the underskin. Circulation prevents clogging. cretions from within the skin. up and stimulated. quickens. Lazy glands get busy. Fibres regain their snap. At the same time, long-lodged dirt and make-up Where Skin Faults begin: Below the dark layer is the un- derskin where tiny glands, blood vessels nourish yeur flush out of your outer | skin—if you keep them pores. Loosened by Se this deep-reaching cream! One creaming shows how Pond’s Cold Cream cleans and stimulates. Right after it’s wiped off, your skin blooms fresher, livelier—clean—clear to its depths. As you keep on using it, lines soften— blackheads and blemishes stop coming. Even very dry skin softens into supple texture. Your face takes on a new firm- ness—a radiant fresh-air look! Every night, give your skin this double- benefit treatment. Pat Pond’s Cold Cream in vigorously. See the deep-lodged dirt come completely out. Feel your skin re- freshed, invigorated to its depths. Every morning... reawaken your skin with Pond’s Cold Cream. It leaves your skin so soft and fine that pow- der goes on with a smooth, allover evenness. Pond’s Cold Cream is abso- lutely pure. Germs cannot live in it. Send for Special 9-Treatment Tube Begin to clear YOUR skin faults away POND’S, Dept. K- 50, Clinton Conn, I enclose 10¢ (to cover postage and packing) for special tube of Pond’s Cold Cream, enough for 9 treatments, with generous samples of 2 other Pond’s Creams and 5 different shades of Pond’s Face Powder. Name = — —— - = Street__ 2 = Cy == = State nee = Copyright, 1935, Pond’s Extract Company 53

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| | | Modern Screen’s Movie Scoreboard (Continued from page 10) Name of Picture and Company Enchanted April (RKO) Escapade (M-G-M) Escape Me Never (United Artists) Evelyn Prentice (M-G-M) Evensong (G-B) Evergreen (G-B) The Flame Within (M-G-M) The Florentine Dagger (Warners) Folies Bergere (20th Century) Forsaking All Others (M-G-M) Four Hours to Kill (Paramount) Front Page Woman (Warners) The Gay Divorcee (RKO) George White’s Scandals (Fox) G-Men (Warners) Gigolette (RKO) The Gilded Lily (Paramount) Ginger (Fox) The Girl from 10th Avenue (Warners) The Glass Key (Paramount) Goin’ to Town (Paramount) Go Into Your Dance (Warners) Gold Diggers of 1935 (Warners) Grand Old Girl (RKO) The Great Hotel Murder (Fox) The Good Fairy (Universal) Here Is My Heart (Paramount) Hold 'Em Yale (Paramount) Hooray For Love (RKO) I'll Love You Always (Columbia) In a Monastery Garden (Julius Hagen) In Caliente (First National) The Informer (RKO) In Old Santa Fe (Mascot) The Iron Duke (G-B) It Happened In New York (Universal) Laddie (RKO) Lady Tubbs (Universal) Les Miserables (20th Century) Let 'Em Have It (United Artists) Let’s Live Tonight (Columbia) Life Begins at Forty (Fox) The Little Colone! (Fox) Lives of a Bengal Lancer (Paramount) Living on Velvet (Warners) Love in Bloom (Paramount) Love Me Forever (Columbia) Loves of a Dictator (G-B) The Man Who Knew Too Much (G-B) Mark of the Vampire (M-G-M) McFadden's Flats (Paramount) Men of Tomorrow (London Films) Men Without Names (Paramount) The Mighty Barnum (20th Century) Mississippi (Paramount) Mr. Dynamite (Universal) Murder in the Clouds (First National) (Continued on page 100) 54 32 Bee oe 2H | ZE | Zo ox | 3x | 3x 3% | 2k |b ® 3% |3%ex| 3x ae | os | ox 3 | 3x | 3% 3% | 3x | 3% 3 |2ek| I Ox | Qk |b * 3% | 3x | ox 3% | 3x | 3x 34 | 3x | 3x 3% | 3% |314% 5k | 5k | 5k 34 | 2k | 3x 3% | 4 | 4x Oe | tk | 1* Ak |Dak| 3% 2x |3x| 3x Qa | 3k | lk 2x | 3x | 3x 2% |2%| 3% 3% | 3x | 3x 3% | 3x | 3% re) oe ee ax | 2k | oe 3% | 3x | 3% 3% | 4 | 3% 3% | 3x | 3x 3% |thk| 2e 2x |e] ox 1x | 1x | 1% 3 | 3x | 3x 3% | 46 | Ak 2 3% | 3x | 3x 3% | 3x | 2k 3x | 2k | 3x 3x | 3x | 3x Se | Sk | 5x 3x | 3x | 3x Qe | 1k | ok 3% | 3x | 46 3% | 3 [3k 5k | Sk | 5k 2% | 2k | We 2% | 2k | ox Ak | 4x | 46 3 | ex | ak 3% | 3x | 4x Ik |MWek| Mee Qa | Wek) Qe 2x | ok | 1x 3 | 3x | ok 3% | 4k | 46 291/39 sak 2x | 3 | Wk 3% | 3% | 3% N.Y. American ix} > b * w > b > b De w De N. Y. Eve- ning Journal w ve w ve w De bh % w ve w + tS SS Da ie) + w + b > w + w + ou + w > A* 3 Wak 5k 2a 1* Ak 3 5k 2 2 4* Bok 3 2 *& ak hk 4k ED Wr * 3 sek 4 2 2 4* 2 Sk 18) a3 3 Be jor | Ss} > | oe an | 2k ok | 2k a asl | as | as Age | ae | | Sys | ass a) ey || ose | Ses | oe an | 4x | 4k | 4xe | 3x 3% | 3x | 39en| Sul naue pyre 3 | Mek| 2k Pollo. [es las a ee | as Qn | 3k | ae | 3k | 3k 3 3% |e) 3x | ase | Ss | Os 5k 5k 5k 5*k 5k Qh 3 Q* 3 an | 4k | 4k | 4& | 4k 1* 1% | 1k | 1% Bax | 4k | 4x | 4&k | 3k 3k an | 3% oeejo. |ShAss| ass 3x |2%| 3% |24e| 3x 3k | hk an | 3x 3 | ae ase ee 31k So | ase | os an | 2k | ok | ok | ok 1* an | 2x Sais Praia: an | 4k | 3x | 4k | 4k 3k 3x |2ex| 3x Qk |24%| 3x | 2k | 3x 1* an | Ik TNS as tas Sel se | as | as ae | 4k | 4x | 4k | ok ak We | 2k Peo | ees [ras Qpk| 2k | |x| 3x ee 3x | 26 | 3% ilo 2k | Ik ules los | ss. TA ee | ae | ass | as 2% | 2k an | 2% SS URZe eee Zeo | aes 3 4k 3 3% 5k 5x 5k 5k 5k an | 2k | ae | ok | ok 2k WAr| I fee eee | ass |) Sse pre oe | os 3x | se |2tae| Se Sk Tew | 2m | 3k | 3k | 2x | Wax | 2k | 2k | 2k | Ok ak 2% | tek Wek | 4 [Week| Bk | 3% Ada | Ade) | Ade | aden | ae Ww) 3x |e] 2k | 3x ax | 2k | 3k |24%| ox Ak 33 aoe

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MODERN SCREEN Pimples were “ruining her life +P) “TI had counted so much on my 2 “Those pimples stayed. Even first high school ‘prom’! Then my érew worse. Then, I heard about face broke out again. I could have Fleischmann’s Yeast. I began to died. My whole evening was a flop. I eat it. Imagine my joy when my came home and cried myself to sleep. pimples began to disappear! Don’t let adolescent pimples spoil YOUR fun__ ON’T let a pimply skin spoil your good times —make you feel unpopular and ashamed. Even bad cases of pimples can be corrected. Pimples come at adolescence because the im- portant glands developing at this time cause disturbances throughout the body. Many irritat- ing substances get into the blood stream. They irritate the skin, especially wherever there are many oil glands—on the face, on the chest and ‘“‘Now my skin is clear and smooth as a baby’s. I’m being rushed by all the boys. Mother says I don’t get any time to sleep!”’ Many cases of pimples clear up within a week or two. Bad cases sometimes take a month or more. Start mow to eat 3 cakes of Fleischmann’s Yeast daily! Eat Fleischmann’s Yeast as long as you have any tendency to pimples, for it is only by keeping across the shoulders. your blood clear of skin irritants that you can Fleischmann’s Yeast clears the skin irritants keep pimples away. out of the blood. With the cause removed, the pimples disappear. Eat Fleischmann’s Yeast 3 times a day, before meals, until your skin has become entirely clear. Copyright, 1935, Standard Brands Incorporated _ clewes the shin by clearing skin irritants out of the blood §5

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TEST...the PERFOLASTIC GIRDLE: ... at our expense! *D have REDUCED MY HIPS 9 INCHES” . writes Miss Healy. =Wwuy JEAN WOW DID YOU GET SO TUN 7 “| read an ‘ad’ of the Perfolastie Company we ood sent for FREE | Girdle for 10 days on oe trial. y \ 4 i ie a Ae VI “‘The massage - like “In a very short time action did it...the fat | Ihad reduced my hips seemed to have melted | 9 INCHES and my away.” weight 20 pounds. REDLICE YOUR WAIST AND HIPS INCHES DAYS Zins 10 or ...it costs you nothing! E WANT you to try the Perfolastic Girdle and Uplift Brassiere. Test them for yourself for 10 days absolutely FREE. Then, if without diet, drugs or exercise, you have not reduced at least 3 inches around waist and hips, they will cost you nothing! Reduce Quickly, Easily, and Safely! The massage-like action of these famous Per- folastic Reducing Garments takes the place of months of tiring exercises and dieting. Worn next to the body with perfect safety, the 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. 5310 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 erforated rubber and particulars of your 10-DAY FREE ‘RIAL OFFER. Name Address SS ee Use Coupon or Send Name and Address on Penny Post Card 56 MODERN SCREEN GOOD NEWS (Continued from page 13) happened. He'd forgotten to put a flash lamp in his camera. Claudette screamed with glee and fled across the busy boule- vard with Dr. P. in her wake. And Cary Grant was so amused, he never even set the lad right! It seems that Cary was lunching at the Brown Derby with Marion Marsh when a young man, with a bunch of female tourists in tow, rushed up to his table. “These girls,” he announced, “‘are mad about you! They’ve come all the way from the middle west to see you. Ladies,’ he continued en- thusiastically, “permit me to introduce you to—George Brent.’ And Mr. Grant grinned and answered, ‘Pleased to meetcha.”’ ZH This is about the tops in strange requests for autographs. When the Comedians vs. Leading Men Charity Baseball Game oc- curred at Wrigley Field recently, Minna Gombell was besieged for autographs. Minna had just bought a hot dog when one excited woman rushed at her. “If you'll write your name in ink on the hot dog and your husband signs the other half, I'll have my husband split it and frame both halves. He does artistic framing awtully well!” Truly it happened and trulier still, Miss Gombell obliged. It wouldn't be a movie column if Mae West weren't represented and here’s the best we could grab on her for the month. Mae was leaving the District Attorneys’ Convention Banquet where she had con- ferred a Captaincy’s honor to one of the bodyguards assigned to her after gangster threats. A spokesman for Miss W. had just announced that unaccustomed as Mae was to night life, she would appreciate being excused to go home to her little bed, etc. And so the Diamond Queen de- parted in a round of applause. But on the way out she happened to glance in the cocktail lounge where sat twenty hand- some attorneys doing a little imbibing. “Well,” sez Mae, “this looks interesting!” And b’gosh, it was. In fact, so interesting that the young woman left several hours later; that is, left for the Trocadero where she and her pals had some more fun. Well, Margaret Sullavan and her director husband, William Wyler, are serene once more. That little tiff has blown over and so again they~ appear together at previews, benefits, etc. While the separation was on, however, Margaret continued to go places with the occasional escort of Miriam Hop- kins and Katharine Hepburn. She didn’t re- fuse to be photographed with him, either. In fact, ‘twould seem Miss S. is never averse to a little comment about herself, going on the theory, no doubt, of it doesn’t matter what they say as long as they keep talking. A new angle on “what to do about af- fairs of the heart’ was introduced last month by Lyle Talbot and his girl friend, Peggy Walters. In honor of the anniver- sary of their first date, Lyle invited a few friends in for cocktails, and the muchly off-again, on-again romance was glow- ingly toasted. Favors were, appropriately, Cupids mending their broken arrows, and Lyle and Peggy swore on a stack of French rolls to have no further tiffs. (Continued on page 58) x v L . How do you like Lee Tracy, George Raft and Jim Cagney in base- ball regalia—participants in the Comedians vs. Leading Men Charity Baseball Game at Wrigley Field.

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OFT, smooth skin wins romance —tender moments no woman ever forgets! So what a shame it is when good looks are spoiled by unattractive Cosmetic Skin. It’s so unnecessary for any woman to risk this modern com- plexion trouble—with its enlarged pores, tiny blemishes, blackheads, perhaps. Cosmetics Harmless if removed this way Lux Toilet Soap is made to remove cosmetics thor- oughly. Its ACTIVE lather guards against dangerous pore clogging because it cleans so deeply — gently carries away every vestige of hidden dust, dirt, stale cosmetics. You can use cosmetics all Rynance comes to the girl who guards against COSMETIC SKIN MODERN SCREEN you wish if you remove them this safe, gentle way. Before you put on fresh make-up during the day— ALWAYS before you go to bed at night—use Lux Toilet Soap. Remember, this is the fine, white soap 9 out of 10 screen stars have used for years. It will protect your skin—give it that smooth, cared- for look that’s so appealing. Use Cosmetics? Yes, indeed! But | always use Lux Toilet Soap fo quard against Cosmetic Skin Claudette Colbert STAR OF PARAMOUNT’S “THE BRIDE COMES HOME” 57

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1 | MILDLY MENTHOLATED | CIGARETTES CORK-TIPPED EVERY SMOKE A HIT! A touch of mild menthol to cool and re- fresh. The choicest of choice tobaccos for | the fine tobacco lover. Cork tips to save lips. And a valuable B & W coupon in each pack. Save ’em for a choice of beautiful, useful premiums. (Offer good in U.S. A. only; write for FREE illustrated premium | booklet.) More for your money every way | in KQ@DLS—that’s why sales soar. Try a pack and see. Brown & Williamson Tobacco Corp., Louisville, Ky. SAVE COUPONS for HANDSOME PREMIUMS MODERN SCREEN The popular song-writer-actor Pinky Tomlin with the “Object of His Affections,”” Maxine Doyle, at the Miramar. (Continued from page 56) When is a vacation not a vacation? When Glenda Farrell gets it! Seems Glenda was told by the studio that she could have a couple of weeks at Lake Tahoe. She had no more than unpacked when a wire from Warners requested her immediate return. Miss F. coasted down the mountain into San Francisco, hopped a plane and was back in nothing flat. When she arrived the studio decided to postpone her picture. Last reports from the Farrell abode were that while the roof is still intact, it is still quaking from Irish combustion. Well, the story goes that when Co- lumbia sent for pretty Joan Bennett re- cently, it was to talk over a forthcoming role for the actress. ‘You're not going to play a sweet, little Miss in this one,” ex- plained the scenarist. “You're to play a girl, say, sorta like your sister, Constance, is off-screen.’ Joan took it big and Reh gS — REDEEMABLE- BY THE UNDERSIGNE tir 25! in CANADA RALEIGH CIGARETTES ... NOW AT POPULAR PRICES ... ALSO CARRY B & W COUPONS 58 laughed like the dickens! Maybe she knew what the man was driving at! ZH That personal appearances are a pretty good idea seems to be proved by Gene Raymond’s recent experience of face-to- facing it with an audience. Since Gene's return to Hollywood, his fan mail has leaped so that it’s hoisted him right into a long term contract with RKO. Pretty tasty—eh, wot? We think so—and well deserved, too. Having taken out her citizenship papers in our fair countree, Fay Wray departed for London to make a coupla movies over there. The deal suited her right well, too, for hubby, John Monk Saunders, is doing some scripts for a British company. How- ever, their wedding anniversary occurred while he was there and she was here, and Johnny wired a house full of white flow- ers way across the Atlantic to his utterly charming “little woman.” There doesn’t seem to be much justice in the world no matter from what angle you view it, so Alice Brady shouldnt be dis- couraged! Miss Brady is working on “’Metro- politan” with Lawrence Tibbett. She plays an opera singer and t’other day, the Powers That Be offered to get her a double to warble the Gypsy Song from “Carmen.” Alice, who has a beautiful voice, decided to try it herself, and so successful was the “play back,” that the producers were en- thralled and are keeping it in the picture. “Now,” laments Alice, “probably nobody’ll ever believe J did it!” Clark Gable’s stepson is now old enough to take the high school girls to dances. So, not so long ago, he asked Clark for the use of the family car for the evening. To which Gable assented cheerfully and said, ‘‘What’s more, I'll drive you and the little lady to the Co- coanut Grove myself.” When the pair arrived at the girl’s house, she appeared at the curb, took one look at the car and announced to her youthful and perplexed escort, “If you don’t mind, I think I'll sit with the chauffeur!” Poor Jimmy Cagney! He has such big troubles. While he was away on a recent trip, Mrs. Cagney, planning to surprise him, had the entire interior of their house done over in white. Even to the little room at the end of the hall which Jim likes to call his very own. When he returned, he glanced over the whole set-up and moaned, “Oh, gosh, you've even painted that little cubby- hole where I like to sit and mope!” By the way, ‘tis said that Cagney is up for the title role in “Robinhood.” That gent, you remember, was an arch crook and it looks as if the Warners are just used to casting Jim in crook pictures! i oe Speaking of casting—just about every virile-looking gent in Hollywood was (Continued on page 60)

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MODERN SCREEN A my dealh be a warning Zo all olher CORNS, young or old / (1) “For 23 years I was the power be- hind the throne in the Briggs family. Mrs. Briggs had tried in many ways to get rid of me—even tried to murder me with a razor—but this old corn always won out. (5) When Mr. Briggs came home that night, he founda happy wife. They went out and danced just to cele- ’ brate! And I was for’ gotten. Now, 3 days later, my lifeless form will.soon be ee lifted out. My dying words are — Corns, beware of Blue-Jay!” (3) A kindly neighbor woman, Mrs. Allen, was the start of my undoing. One day when she found Mrs. Briggs crying, she whispered to her, “My dear, why don’t you get rid of that corn with this Blue-Jay?”’ (2) Time after time I almost wrecked that family! I made life so miserable for poor Mts. Briggs that she became cranky and cross—and Mr. Briggs would get mad and leave the house ina huff. Corn suffering ended safely and easily with - “Every corn that ever stabbed a human toe should beware of that arch enemy, Blue-Jay!”— wails this old patriarch, in death-bed testimony : (4) Blue-Jay struck me hke lightning! In just amoment I was smothered in soft, felt prison walls. My cries were unheard and my stabbing went unno- ticed. My 23 year racket was over, I was a doomed corn. this scientific method @ Only a corn sufferer knows how painful a corn can really be. Yet this suffering is absolutely unnecessary. A visit to any druggist —and the purchase of Blue-Jay (the scientific corn remover) for 25c—will bring blessed and lasting relief. Blue-Jay stops the pain instantly. The soft, snug fitting pad cushions the corn against painful shoe pres- sure. The pad is held securely in place by the special Wet-Pruf ad- hesive strip (waterproof —soft, kid- like finish —does not cling to stock- ing). In the meantime, without your knowing or feeling it, the safe Blue-Jay medication is gently un- dermining the corn. After 3 days, you take off the pad and the corn lifts out completely. If you have a corn—even a tiny one—remove it right away with Blue-Jay. Don’t be satisfied with temvorary relief. Insist on Blue-Jay. EXERCISE BOOK FREE Illustrates valu able exercises for foot health and beauty. Also free booklet ‘‘For Better Feet,’ contains helpful information for foot sufferers. Address Bauer & Black, 2500 S. Dearborn St., Chicago. Pas/ing coupon on government postcard saves postage. BAUER & BLACK SCIENTIFIC CORN PLASTER M.S.-L0 59

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Much more is expected from women foday These days are good to women. They have independence unheard of a generation ago. And with this new status every woman is expected to have a frank, wholesome out- look, particularly in those matters which affect her intimate feminine life. Take the question of feminine hygiene. The modern woman has found out that Zonite is the ideal combination of strength and safety needed for this purpose. The day is gone when caustic and poisonous compounds actually were the only anti- septics strong enough. In the. past, you could not criticize women for using them. But today every excuse for them is gone. Zonite is not poisonous, not caustic. Zonite will never harm any woman, never cause damage to sensitive membranes, never leave an area of scar-tissue. This remarkable antiseptic-germicide is as gen- tle as pure water upon the human tissues. Yet it is far more powerful than any dilu- tion of carbolic acid that may be allowed on the human body. Zonite originated during the World War. Today it is sold in every town or city in America, even in the smallest villages. Women claim that Zonite is the greatest discovery of modern times. Comes in bot- tles—at 30c, 60c and $1.00. Supposztories, too—sealed in glass There is also a semi-solid form—Zonite Suppositories. These are white and cone- like. Some women prefer them to the liquid while others use both. Box holding a dozen, individually sealed in glass, $1.00. Ask for both Zonite Suppositories and liquid Zonite by name at drug or department stores. There is no substitute. Send coupon below for the much dis- cussed booklet ‘‘Facts for Women.” This book comes to the point and answers ques- tions clearly and honestly. It will make you understand. Get this book. Send for it now. USE COUPON FOR FREE BOOKLET ZONITE PRODUCTS CORPORATION 'MS-510 Chrysler Building, New York. N. Y Please send me free copy of the booklet or booklets checked below. (_) Facts for Women ( ) Use of Antiseptics in the Home NAIM ES icretemeat-teieas 0516 bob 0000 Un Ob0,0-0:0000 (Please print name) ADDRESS............-- (6s og moo DDO ODUM OOO ODIO Ob STATE). see eee eee (in Canada: Sainte Therese, P. Q.) 60 MODERN SCREEN (Continued from page 58) tested for the role of “Captain Blood.” George Brent thought he had it until he read in the paper that Errol Flynn, Lili Damita’s brand new husband, was the lucky lad. Poor Jean Muir, who made twelve tests with twelve different men naturally believed hers was to be the leading feminine role, when she scanned the news columns only to learn that Olivia de Haviland would play opposite Flynn. We give up, too. However, there must be an answer! Not to give anybody a short answer, but, when Freddie Bartholomew was informed recently that he is now a star, the young- ster replied, “What's the difference?” Fred- die evidently realized that top billing won't get him out of going to school nor rate him an extra frosted chocolate (which he adores) after lunch. Incidentally, a street lamp interfered with the English boy’s view of the Fourth of July fireworks. ‘Someone please put it out,” he requested. “Someone” explained that it be- longed to the city and nothing could be done about it. Whereupon, young Mr. B., who had never before seen a Fourth, re- plied, “Well, I can,” and hastily heaved a rock at it. Fred may be a genius, you see, but he’s a regular fellow, too—and often a baddie. Try this on your friends. You may learn sumpin’.. David Nivens has. Just say, “Did you make up?” David asked Sally Blane, who grew quite red and re- plied, “Yes, Loretta’s (Young) all right again.” He then queried Merle Oberon, who unpremeditatively answered, “No, when I’m through I mean I’m through!” We asked David what was behind it all. To which he blithely answered, “Not a darn thing. It’s just a gag, but they all fall for it. They think you know some- thing you don’t, and so they tell you some- thing they hadn’t orter.” Some fun—eh, kid? Well, that recent Hollywood earthquake literally shook Roger Pryor out of his house. Roger’s been dreaming of owning a litile chateau ever since he came to town and only two weeks before the Big Shiver, he had bought and moved into a Beverly Hills home way up thar on a hilltop. At con- siderable risk to life and limb, Mr. P. per- formed a miraculous paint job on the out- side of the building. Well, came the Quake, came down the plaster, came uf the road- side mud to bespatter the white paint! Oh, dear, oh, dear. Roger may now be reached at a hotel. The gossip columns had it all mixed up, much to the chagrin of the three young people—Paula Stone, Gertrude Durkin and Jimmy Ellison. Just because Paula and Jimmy are playing opposite each cther, the newshounds have them engaged. Gertrude couldn’t understand. Paula, you see, is her friend. Surely Jimmy hadn’t changed—after all those things he’d said. Well, they talked it over, only to discover that it’s still Gertrude and Jimmy—off the screen. Kitty Carlisle recently proved that she could “take it’—and also, dole it out. Seems that those mad Marx Brothers love to kid and razz everyone on the set. Nope, there isn’t a member of the cast, a prop boy nor an electrician safe from their practical jok- | ing. During the making of “A Night at the Opera,” they started on Kitty. one too many on her and so she decided to retaliate. Miss C. actually hoaxed the three Marxes into hiding all day from a process || Since then the |} We server who never existed. brethren have been almost chastened! said almost. Vital Statistics: The have a brand new baby named June, after her beautiful mother, Collyer vorced and they say shell soon wed the socially prominent Van Smith ... His friends claim that Winfield Sheehan is about to lead the opera star, Jeritza, to the altar .. . Ernst Lubitsch and Vivian Gaye are now one. What, no Romeo? With all the handsome, || Irving || love-making gents in Hollywood, Thalberg cannot find a Romeo to play oppo- site Norma Shearer in “Romeo and Juliet.” Laugh as you may, everyone with a pro- || file, that is, every male, has been given a test and so far Juliet and the balcony have it their own way. One man’s too tall, an- other’s too old, another's too short, and so | it goes! What M-G-M is probably looking for is a@ composite picture of Tom Brown's youth, Johnny Weissmuller’s physique, Her- bert Marshall’s voice and Ronald Colman‘s face! Janet Gaynor, star of the Fox lot for i ten years, relinquished Dressing Room No. 1 when she departed for Honolulu re- cently. If you remember, she had pre- viously withdrawn from the cast of “Way Down East” because of illness. There are a lot of speculating meanies around who said that in reality she didn’t even have a teentsie-weentsie headache. Anyway, when queried about removing all articles from her d. r., the Gaynor explained that she expected to be gone so long that it didn’t seem fair to retain the bungalow. However, Shirley Temple didn’t give up her room when she went to Honolulu. Fox officials explain, if you're interested, that Janet Gaynor still has three pictures to make for them. The little girl actresses are having their day in pictures since the advent and great success of Shirley Temple. Recently, at the preview of “The Little Big Shot,” in which she appears, Sybil Jason, aged eight, sat behind us. She was laughing and having a gay, old time viewing herself on the screen. Later she autographed albums just like a Fay Wray or grown-up star. The next day we spied Jane Withers on the Fox lot. She insisted that we see her new dressing room. It contains a little desk, a small low lounge and all the juvenile comforts. We inquired as to her favorite actor and Jane prompily replied, “Jackie Searle—oh, that Jackie Searle!” “Yes, we have some bananas; ripe ones, big ones and plenty of them,” sings Jean Hersholt. And if you’re a pal—and even if you're not—Jean will ask you over to his garden, right plank in the middle of Beverly Hills—highly civilized territory in these parts—and pick you a banana from a huge tree literally loaded down with luscious fruit. The South American touch —eh, wot? They played | Stuart Erwins the former June | Nancy Smith has been di- } — -grr

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THE MODERN HOSTESS ARE YOU one of those fortunate mortals who can include among your childhood memo- ries the pleasing picture of your grandmother’s jam cupboard and remember the delectable flavor of her jellies—spread thickly on chunks of bread? Have you carried over from your youthful days those same jam-loving characteristics? Well, Pat O’Brien has, and Eloise O’Brien, his very attractive and efficient wife, caters to this particular hiking of his in a most original fashion. For, besides seeing that marmalade is served with the breakfast muffins, wild strawberry jam with the Cottage Cheese Salad at luncheon and mint jelly with the roast lamb at dinner, Mrs. O’Brien has de- vised countless other ways to include jams and jellies in the daily menu. Her jam cupboard would have made grandma jealous, I’m sure, while her ideas for using its = TF * sweet contents in- clude several sug- gestions that grandma never even thought of trying. Nor have you, I'll wager— Above, Pat and Eloise O’Brien about to partake of jelly cake and tea. Note pleased expres- so I’m going to sion on our hero. Left, jelly tell you about meringue tarts with cocoanut them in detail fur- filling—enough to make you ther on. ; I had no idea tin with joy, too. 2 that I would learn about so many de- licious dishes when I accepted BY MARJORIE DEEN © 2» invitation to have tea with Eloise. I had just been looking at some new clothes in the little dress shop that Mrs. O’Brien owns and has such fun su- pervising. Conse- quently, at that particular moment, clothes, not foods, were uppermost in my thoughts. (You know how it is when you have your heart set on finding a new evening gown in your favorite color—all else is forgotten!) But when Eloise suggested that I forget frocks for the time being and go along with her, the prospect of tea served beside the O’Brien pool with Eloise herself “‘pour- ing” and the added promise that Pat would be home from the studio in time to join us, combined in present- ing a most pleasant prospect. In just no time flat I had decided that clothes could wait but tea wouldn’t and accepted with alacrity. I’m certainly glad I did, too, for everything conspired to make it a most delightful after- noon and one that was full of helpful suggestions and in- formation for an ever-curious and eager food editor. The first intimation I had of Pat’s liking for SUCCULENT SWEETS TO DELIGHT YOUR MAN

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jams was when three varieties were served with the small hot tea bis- cuits, to be followed by a home made jelly roll cut in most generous slices. “Do have a second piece of cake,” Eloise urged us as she saw with what speed we had disposed of the large servings despite the huge inroads we already had made on the biscuits and jam. “QINCE Pat goes for jellies and |S il ayy Oma, She Coos tinued, “this is the one kind of cake he really likes, so I’ve told our colored cook to have it often. Then I also sug- gested to her that we ought to work out some other recipes that call for jelly—partly because of Pat’s fond- ness for it and partly because, in an ambitious moment, I had bought enough fruit at a wayside stand to supply preserves for an institution. One look at my cupboard shelves and I realized we were overstocked. Then too, with the grape season coming on, I knew more jars would be added since I’m as fond of grape jelly as Pat 1s. ““At every meal,’ was my ulti- matum to the cook, ‘let there be jam!’ And there was jam! It mas- queraded in pies, it came in sauces, it hid in tarts, it was served with meats. And do you think anyone objected ?” she asked, with a gay flourish of the cake knife in our general direction. “No! no! a thousand times no!” replied Pat enthusiastically. “You!” Eloise grinned at ‘her famous husband, “you’d never ob- ject. But, when the guests added their praise to the family’s, the kit- chen department became positively inspired. The result was that our supposedly overgenerous supply has diminished to the vanishing point and we're just waiting for the Concord grapes to come in to replenish our depleted stock. You see we want to be able to have several of the dishes we discovered, again and again.” ND so will you when I tell you more about them. But first I want to give you the recipe that the O’Brien cook plans to use in making her grape jelly. This recipe does not stop at giving you only jelly-making directions, either, but also tells you how to make Grape Butter out of the pulp. That’s a nice economical idea, isn’t it? Well, here’s the recipe: CONCORD GRAPE JELLY AND GRAPE BUTTER Wash and stem about 5 pounds of fully ripe grapes. Crush grapes thoroughly (a potato masher will do a good job.) Add % cup water to crushed grapes, bring to a boil, cover and simmer 5 minutes. Separate juice from pulp by placing hot fruit (Continued on page 78) MODERN SCREEN © FELS & CO., 1936 P S — Billy’s mother did get rid of tattle- at your grocer’s today—and see e e tale gray with Fels-Naptha Soap— how safely and beautifully it washes and so can you! even your very daintiest things— Try it! Get some Fels-Naptha how easy it is on your hands! 63

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dress! and only RIT offers FAST COLORS WITHOUT BOILING Cuance the color—and you change the dress— make it new, modish, flatter- ing again! Unless you’ve tried Rit recently, you’ve no idea how easy it is. Rit contains a pat- ented ingredient that makes the color soak in deeper, set faster, and last longer — WITHOUT HARSH BOILING THAT WEAK- ENS FABRICS and tires you out. Rit is a blessing too for curtains, dra- peries, lingerie, children’s clothes, linens —bringing bright, cheery color to any- thing at such small cost. Rit is a concentrated wafer, quick-dis- solving, scored for easy measuring — won't sift out of the box. Not like other home dyes because patented. Be sure you get RIT. At all stores. N INSTANT TINTS AND DYES White Rit Color Re- mover... takes out color without harm- ing the fabric—really whitens white goods. AT ALL DEALERS 64 MODERN SCREEN HOW ABOUT YOUR FALLCLOTHES? (Continued from page 50) high neckline is effectively outlined in a double strand of pearls. Notice the wide armhole and cuff bell to the sleeve. RAVIS BANTON became so enthusi- astic about the costumes which he de- signed for “The Crusades” that he made a “Crusades” evening gown for Gail’s per- sonal use. Inspired by the chain mail cos- tumes of the 12th century, he used a metallic mesh, similar to chain mail, for the blouse top and a narrow, decorative panel down the front of the full black satin skirt. A girdle of the satin is the only other detail in this simple gown. Orry-Kelly, over at Warners, likes to use metallic cloth in his fall creations. The tunic theme is used to excellent advantage in the dinner costume which he made for Claire Dodd. The tunic, made like a long jacket, is pointed at the front and opens wide down the front to show the chiffon gown beneath. Interesting contrast is ef- fected by the dull gold metal of the tunic, the bright gold kid of the belt, and the soft dullness of the chiffon. Another Orry-Kelly idea stresses the metal cloth and the tunic theme again in a more formal and elaborate evening en- semble for Claire. A tunic-length coat made with a yoke collared in silver fox and a deep hem border of more fox, tops a simple, beautifully cut gown. The bor- der to the coat’s hem dips sharply down to a point at the back. A small collar and a tie belt finish the coat. Black corded woolen and white corded velvet make the other costume worn by Claire Dodd. The jacket was made collar- less so that Claire could wear her own furs with it. The velvet of the blouse also makes turn-back cuffs on the jacket. Now, down to the bottom of pages 48-49 for some ideas to be gleaned from pictures. From left to right, Joan Bennett and Thelma Todd in “Two for Tonight.” Joan wears a simple shirtwaist dress with full sleeves gathered into a tight cuff and a small turnover collar. Thelma’s luxurious suit has the smart fur bordering of silver fox which forms a continuous swirl from the collar, down the front and across the fully flared back. The sleeves have the new elbow fullness that is seen in many fall suits, coats and dresses. Next, Mary Ellis wears a white ermine wrap in “Paris In Spring” which has interesting sleeve detail and a cape collar bordered in silver fox. She also wears a boudoir robe that I thought would intrigue you. It is made of a hairy-like silk that looks not unlike fur. And a huge monogram is appliqued almost in the armhole of the kimono sleeves. Elissa Landi wears a stunning evening ensemble in “Without Regret.” It, too, is lavishly trimmed with the inevitable silver fox. Her gown is topped by a full, hip- length cape that has a great flaring collar and complete border of the fur, much like the flared jacket of Thelma Todd’s suit. They have been busy taking the exotic out of Merle Oberon with the result that you will see her looking very school- girl in many of her scenes from “The Dark Angel.” A heavy checked tweed suit with jacket, buttoning all the way down the front is very charming. The jacket has a turn-over collar of the tweed but Merle also wears her blouse collar over that. Note the trick bound pockets and the smart way the skirt is flared. And to the right of it is another tweed suit she wears in the same picture. This has a very short jacket and is buttonless, held to- gether by a wide, hand-sewn leather belt. In the exciting Gaumont-British picture “39 Steps” Madeleine Carroll wears a very attractive ensemble. The three-quarter length jacket is brown caracul with a deep shoulder yoke of the brown woolen of her dress beneath. The coat is made in the youthful, swagger style that is typical of many of the younger fur fashions this season. It has a deep, turn-over collar. Very Italian Renaissance is the felt cuff brim beret which Jane Baxter wears in “The Clairvoyant.” The cuff brim is so adroitly tucked that it flares out as it reaches the crown, jutting into interesting and becoming points. Look at page 50 for some smart action shots of Olivia De Haviland in her first fall clothes. These were snapped in Holly- wood as Olivia burst forth in all her glory on the first cold day. The new full and shorter skirt is well shown by the fast stride Olivia makes along the street in her beige jersey dress. Isn't it refreshingly young looking? The stripes on her skirt and sleeves are gay Roman colors. The pompon on her small pill-box hat is wool to match the neck drawstring and girdle of her dress. Down the stairs, Olivia comes in a beige woolen suit with flaring box jacket. A brown sweater beneath and her new felt hat and accessories in brown, too. Note the forward tilt to her brim; there’s a jut to practically all the best brims this fall. And for a good, useful yet smart fur coat, nothing could be as perfect as her gray kidskin. Any questions you may have about fall trends, colors, accessories or new ideas that I haven’t covered, write and tell me all about it and I shall be more than happy to help you out. Just send a stamped, self-addressed envelope to Adelia Bird, MopErN Screen, 149 Madison Avenue, N. Y. C. A YOUNG MAN ON HIS WAY (Continued from page 34) which young Robert is now heir, were phases of life read about in garish Sunday supplements, but only half believed. High school over Robert came West to Pomona College with the idea of trans- ferring to Yale after his senior year. Later at Yale to take up the study of physchiatry. He thought, then, to hang up his shingle in New York and to devote his life to un- ravelling the tangled skeins of the lives of men and women who had gone awry. But, in the mid-term of his senior year at Pomona, came _ Destiny. In the person of genial casting director Ben Piaz- za, then with M-G-M, now with Para- mount. Ben was there to watch the col- lege play “Journey’s End” in which Robert played the part of “Captain Stanhope.” Ben cast his trained eye on young Robert, and saw a star-in-the-making. He sum-

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Robert Taylor and June Knight in their zippy dance “Doin the Foolin'’’ for ‘Broadway Melody of 1936." Jack Benny stars in this musical. moned the startled young man to the studio, gave him an audition and a test, both bad, and sent him back to college. But Ben was not convinced by that au- dition. Later, he called for Robert again, there was another audition, another test and—Robert was signed to a long-term M-G-M contract forthwith. He returned to Pomona to get his diploma, then packed his bags and returned to Hollywood and to the studio where he joined the M-G-M school under the direction of Oliver Hins- dale. He played a couple of bit parts in big productions, played leading parts in a couple of Mr. Hinsdale’s little theatre plays and then “Society Doctor” with re- sult that the studio, the fans, the critics, all said, “a star in the making!’ M-G-M believed in him. They consider him their brightest bet, their biggest find since Clark Gable, just as in the feminine ranks, they consider Rosalind Russell their big- gest find since Myrna Loy. Studio and fans appear to be in perfect accord on the starry subject of Robert. For in no time at all he had to engage a secretary to take care of the fan mail that came pouring in, hundreds of letters from hundreds of girls—all wanting to know where he had been all their lives, what he was like, who was his ideal type of girl, whether he is in love, what kind of tooth- paste he uses, and why... SAID to Robert—girls, he has dark brown hair with red lights in it and eyes of a brilliant sapphire blue, black lashes and a golden sun-tan and he is younger looking than he appears to be on the screen— “Tell me about your first year, in detail. What has it done to you, or for you? Has it changed you and if so, how?” “Yes, it has changed me,’ Robert said, in his grave and considering way, “for the better, I hope. I am older than I was, more than a year older. It has stabilized me. I am a great deal more serious than I was. I am considerably more practical. I feel a far greater sense of responsibility toward myself and toward life than I ever did before. “I am in love and have been for some MODERN SCREEN Powder shade too _skin looked Miss Maralyn Tankersley’s fair skin is en- livened by Pond’s Rose Cream. (below) Mrs. M. Bon de Sousa, creamy blonde, uses Brunette. Science finds true cause of many ““dead-looking’’ complexions Loox at this girl. Decidedly blonde, with glorious fair skin—Yet her skin seemed ‘‘dead-looking”’—like the chalk- marked streak above. Her powder had taken the liveliness out of her skin! The Color Analyst wiped it off— “Here’s the color for you,” he said, and applied Pond’s Rose Cream. Amazing, the change! Pond’s hidden color notes brightened her whole face. Brought out her true blondeness. Gone—that dull, pasty look! BLonpe or BRUNETTE, Pond’s Face Powder can work the same color miracle in your skin. With an optical machine, Pond’s an- alyzed the skin of over 200 girls. They discovered the hidden tints that give different skins their beauty. In blondes, a hint of bright blue gives that transpar- ent look. In brunettes, a touch of green brings out that creamy enchantment. light Over 200 girls’ skin color-analyzed to find the hidden tints in lovely skin now blended in- visibly in Pond’s new Face Powder. Now, Pond’s has blended these tints into entirely new shades—invisibly. Yet you see the difference at once! These shades add beauty’s own color notes to your skin. They tone up pallid skin— tone down ruddiness—give each skin what it lacks. Don’t stick to old-style deadening shades. Try these new Pond’s shades. Find the one which will bring out your unusualness! Rose Cream—gives a blonde radiance Natural—lighter, a delicate flesh tint Brunette—gives clear, velvety tone Rose Brunette—warms pale, faded skins Light Cream—a light ivory tone Pond’s fluffs on with a feathery feel, yet clings with lasting freshness. Never clogs or cakes. POND’S, Dept. K94 5 Different Shades FREE!— Mail Coupon Today (This offer expires December 1, 1935) Clinton, Conn. Please send me free 5 different shades of Pond’s new Powder, enough of each for a thorough 5-day test. P ray Name 55¢ size now 35¢ | St City $1.10 size now 7O¢ State Copyright, 1935, Pond’s Extract Company 65

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Amazing 2-minute Oatmeal Facial Combats ROUGH-DRYNESS BLACKHEADS COARSE PORES OILY SKIN! 1. BLEND a little Lavena with water @ Every day, when your skin is tiredest; when blackheads, blotchiness, large pores look their worst, give yourself this 2-minute oatmeal fa- cial. Instantly you'll notice the difference. Your skin will look so clear, so refreshed and rested. You'll find blackheads combated. Large pores counteracted. And oh, how soft, how velvety, how fresh and young your complexion looks. That’s because Lavena deep-cleans. And un- like soap it does not irritate. It cannot clog pores with grease. If you want your skin to look creamy, vi- tal, get a package of Lavena today. Give your skin the benefit of this 2-minute facial every day. We guarantee to refund the price of Lavena if it does not perform exactly as we say. Try either the 10c or 60c size. LAVENA CORP., CHICAGO, ILLINOIS LAV EN A The 2-Minute Oatmeal Facial 66 | Yale, for a time anyhow. MODERN SCREEN time, with one girl. Whereas, before I entered the studio, I was in love con- stantly, or rather iconstantly, with first one girl and then another. “Tl take the external things first. The things which may not matter. I’ve taken an apartment for my mother and my- self. Dad died just before I signed my contract. For so tragic an event it had its fortunate aspect—the contract. I needed it, then. There was enough left from the estate to take care of mother, but there would not have been enough for me. I would have had to forego studying at I would have had to earn my own living somehow and I know that I could never have made the money I am making now in any other line of work that might have been open to me. Not that I’m in the ‘big money,’ heaven knows—but it’s bigger than it would have been for me anywhere else for | many years. And so, I have more money than I’ve ever had before. It might be supposed that this would give me a lavish, spend- thrift feeling, coming as quickly and as easily as it did. On the contrary, I am more careful, more conservative with money than I ever was when Dad was sending me an allowance. I’m beginning to build for a future. I’m learning the value of money. The apartment I’ve taken for mother and me is more luxurious than I could ever have hoped for, during many hard-working years. I have servants, a luxury which never even entered my calculations when, in college, I used to envision my immediate future. I have more clothes than I have ever owned at any one time before. I have a yen for sweaters and have collected about fifty of them. I drive a better car than I’ve ever driven. |e been asked whether Hollywood has made me conceited—whether the pub- licity, the recognition in public, have given me the well-known swelled head. I can honestly say NO. For the first few weeks I must admit, I did think more of myself, of the way I looked, than I ever had be- fore. Certainly, young men in college do not go about considering the angle of their profiles, the set of their heads, which way they appear to the best advantage. If they do, they keep quiet about it, or else—! But I, when I started to work, was camera- conscious. I’ve got over that now. I’ve forgotten the camera. J think no more of my looks now than I did before I ever saw a studio. If I think more of myself it is not, honestly, from motives of per- sonal vanity. It is much the way I would feel about a machine which must have good care in order to function properly and so fulfill its purpose. “Yes, I can really say truthfully that this first year has tended to make me more serious, more conservative, if possible, than I was before I came to Hollywood. Just because so many gay and glittering ways are now open to me, J don’t want to take them. I never go to parties. I sel- dom, if ever, go to night clubs, to the Grove, to any of the places where the cinema clan foregather. “T’ve never saved any money before. I’d never thought about saving. Now I do. I’ve started a couple of annuities. I ponder investments. I read financial sheets. I spend far less than I could spend because I realize how unstable this place and this life and this career can be. “Because I know how haywire young beginners can go; and have gone, I do none of the things that might lead to— well, haywiring ! “T am in love Robert hesitated a moment, his brilliant blue eyes soft... “With Irene Hervey,” he said. “Even in love I’m more stable than I ever was before. I’ve seen enough of emotional instability to frighten me and make me ap- preciate being with one girl, going every- where, sharing everything—my plans and hopes and dreams—with her. Both of us behave a good deal more like a small-town girl and boy than like members of the movie colony with all of the available ex- citements. Every night, after work, we have dinner together. Sometimes with mother at our apartment, sometimes in some quiet restaurant off the beaten track. If we are at my place, we listen to the radio after dinner, or take a walk, read aloud or play cards or something like that. Ii we have dined out, we almost always go to a movie. Both of us are rabid fans, neither of us can quite believe that we are inside a studio ourselves. I’ve often been asked what star, or stars, I would like to be like later on. I don’t want, of course, to copy anyone. But I should say that the work of Bob Montgomery and Fred- ric March, respectively, is the type of thing I’d like to do. NEVER thought of marriage until I came to Hollywood. That is, I never thought about it save as some very remote possibility. Now I think of it far more deeply and immediately. I don’t mean by this that I intend to marry now. I think it would be sensible not to marry for five years. But I do think seriously of mar- riage, of home, of raising a family. “My tastes haven’t changed—hardly at all. I still play the piano. I still continue with my study of psychology. I collected a large library of scientific books, on the subject while I was still in college and I read them more assiduously than ever. With two objectives—if I should go out of pictures like the well-known light I can still take my diploma under my arm, go to Yale and pursue the study I intended to pursue. If I succeed in pictures, as I hope I shall, I’ll need psychology to inter- pret the parts I am to play. “T go to the theater once or twice every week. And someday I’d like to join a stock company on the road and play Captain Stanhope in ‘Journey’s End. ” I SAID, “Before I came over here to talk with you, two young and admiring girls asked me to ask you to describe your Saeal earl? s . 3” Robert looked thoughtful. He said, “Tl have to take a character on the screen, so that the ‘ideal’ will have been seen by them. I know—‘Hester’—the part Jose- phine Hutchinson played in ‘Oil For The Lamps of China’—she’s my ideal girl. I like a quiet girl, a domestic girl, a com- panionable girl. I do not like the grand kind of, look-down-your-nose type of girl. I like a feminine girl. A gentle, conser- vative girl.” Robert laughed, very handsome in his striped sweater and white flannels and beach tan. He said, “I’m afraid I’m not very exciting copy. Better material to write about if I’d gone awfully Hollywood, chased about a lot, hit the bright-light trail. Instead, my first year has made a mature man of me. I stay at home. I go steadily with one girl. I save my money. I get more sleep and exercise than I ever did in my life before. An actor, ’m more of a business man than I would have been in a bank. I suppose it’s because I know what competition I’m up against. It’s also because I figure myself as a one-man cor- poration, I know that I sink or swim alone. “And so—instead of gaiety, girls and elitter, my first year has given me a savings bank complex, a real yearning for marriage and stability and the things I grew up to revere when I was a boy.

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SHE KEEPS BEAUTIFUL BY SCHEDULE (Continued from page 47) instance, and then looking good and aw- ful by Tuesday, I stagger the stuff. I have a special day for attending to each item of my appearance, a sort of week- ly grooming schedule I made up. And as long as I stay on schedule I can’t look run-down anywhere.” So that was it! So Carole’s glamor isn’t all God-given gilt hair and wide blue eyes—it’s partly sensible system! I let her go on. “*’Course the schedule idea sounds simple; learning to keep myself on it was the hard thing. But it’s the only way I’ve ever found of maintaining, as you were nice enough to say, a really flawless appearance. Each day’s_ rou- tine takes a few minutes. If I’m too rushed to spare those minutes, and stick- ing to schedule anyway must mean com- ing home a jerk sooner at night now and then, or occasionally getting up a little earlier than usual, it’s still more than worth it to me. “Want me to tell you what I do?” ANT me to tell you? It’s the swellest idea for keeping meticu- lously lovely, despite a hectic existence, I ever heard of—this weekly beauty schedule of Carole’s. She began her ac- count of it with Friday because, she says, week-ends are usually the times she wants to look best of all. FRIDAY. Manicure and _ pedicure. (Approximate time: 30 minutes) “T do my pedicure first so that when I apply polish remover to my toes it can’t bungle what’s been done to my fingers. After I finish both, I rub soft- ening cream or lotion on my hands and feet and allow it to remain overnight. My pedicure will last a week, my mani- cure till Tuesday.” SATURDAY. Eyes. (Approximate time: 15 to 30 minutes) “T think every girl ought to spend a few minutes one day a week giving her eyes a merciless scrutiny. I do. If I see circles I determine to catch up on my sleep. If the skin around my eyes looks less cush- iony than it should I give myself an extra- luxurious eyebath, apply tissue cream over the surrounding area—well above my brows and down over my cheek bones— and make noble resolutions against care- less wind and sunburn. I set aside this time to try out new mascaras, and different eye make-ups. It’s also the day for my weekly eyebrow arch.” SUNDAY. Skin. (Approximate time: 1 hour) “On Sundays my schedule really gets attention. First of all, I stay on a fruit juice diet all day; I’ve found it a grand pick-me-up and cleanser for my skin and body as well. Next I give myself a good old home-made facial—plain oatmeal paste if my complexion needs smoothing, or an egg-white mask if I need a very mild bleach. (Course you know I do these things for myself; I don’t have a personal maid except the one I keep at the studio when I’m working.) “Then comes my weekly rest-bath. Then _my bath’s not a shower but a long luscious session of soaking. I love it and look forward to it like a kid. If I feel that I MODERN SCREEN “I’m Johnson’s Baby Powder...count on me to keep babies fine and fit! Just feel my satiny-smoothness between your thumb and finger... ’m made of finest Italian talc. No gritty particles in me. ..and no orris root, either. Try me—and don’t forget my partners, Johnson’s Baby Soap and Johnson’s Baby Cream.” g NEW BRUNSWICK 4 NEW JERSEY 67

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Before starting to eat this dry yeast, some of the patients had used laxatives almost continuously! Let Yeast Foam Tablets restore your eliminative system to healthy function. Then you will no longer need to take harsh laxa- tives. You will have more energy. Headaches should no longer trouble you. Your skin will be clearer and fresher. Ask your druggist for Yeast Foam Tablets today. Sai NORTHWESTERN YEAST CO., 1750 N. Ashland Ave., Chicago, Il. i i Please send free introductory package of Yeast i Foam Tablets. MM. 10-35 4 1 1 1 1 GCityao=22 Se ee eee State 322 e=e-5 ! se ate os oe eo ot te otto os ws ed 68 MODERN SCREEN need to relax, I use hot water with soda in it. If I want my bath to pep me I run a lukewarm tub and dissolve a whole box of table salt in it. And then I just lie there and dream (while my facial’s drying at the same time) for an hour or more. I dream about what I’m going to wear during the coming week. I plan parties and new coiffures—I even mentally de- sign dresses for myself and change the living- -room furniture around while Tm soaking ! I couldn’t do without my rest- bath. Frequently it’s the one occasion during the whole week when I really have time to think beauty. And thinking beauty does things for me.” ONDAY. Odds ’n’ Ends Day. (Ap- proximate time: any minutes Carole can spare. ) “Monday’s the day I take time out to attend to the little things about my ap- pearance that I’m apt to overlook when Tm rushed—whether my elbows or heels have gotten slightly scrubby from exercise, whether my eyebrows need a bit of clean- ing up, whether my ardent sun-tanning has freckled the tips of my shoulders, and so on. If I spend a few minutes looking for tiny flaws I can find them and fix them. The little things are important enough, in my estimation, to deserve a day’s schedule of their own.” TUESDAY. Wardrobe. mate time: 30 minutes.) “First of all, it’s time now for a new manicure. But in addition, every Tues- day, I quickly go through my entire ward- robe and see that everything that needs ‘fixing’ gets it. I sort my shoes for run- ning-down heels, I send my soiled dresses to the cleaner (they'll be back in time for week-end wear), I brush my furs and put out the clothes and lingerie that need minor repairs—all those things. I can do it in a jiffy, and it keeps everything I own ready to put on at any time.” WEDNESDAY. Day Off. HURSDAY. Hair. “T always shampoo my hair myself,” Carole told me, “because I like to give it a good stiff massage and a thorough sun- (Approxi- ning. Then I have it set by a hairdresser. I picked Thursday because I think hair looks its best two or three days after it’s been done. It doesn’t fly all over the place then and the wave’s have time to shake out enough to look casual and not ‘just- waved.’ That makes my coiffure right for the week-end. “Today, you see,” she pulled the hood of her pajamas over her damp dandelion- colored curls, “is my regular shampoo day. And I couldn’t even let an interview in- terfere with it because I’m going to Santa Anita Saturday !” Sitting there looking at her, after that exposé of her pet beauty secret, I knew Carole would go to Santa Anita looking like the well-groomed, glamorous star she always is. And I knew, too, that no girl with a scrap of will-power need ever display Scot- tie-pup eyebrows, a droopy dress hem or tweed checks. If her coiffure looks for all the world like a wilted skunk-cabbage it’s probably because she spent yesterday afternoon seeing Clark Gable’s latest, in- stead of her hairdresser. If her vanity lands right in the soup when he notices a cracked manicure holding her spoon, she hasn’t got a legitimate kick coming. For every girl can be as bafflingly sleek as Carole. We talked about it and she made some grand suggestions. You see, you don’t have to use Carole’s actual routine—just use her idea and cus- tom-build your own schedule to suit your particular needs. Make it as brief or lengthy a routine as you want to. Throw in an extra manicure if your nail polish gets hard wear. Omit the facial if your skin’s already the bona-fide peaches-and- cream product. Include your daily reduc- ing exercises if you have any. Plan your swimming dates for the last day before your fresh fingerwave. Take your “day off” whenever you like. But, whatever you plan, you’ve got to stick to it to get glamorous results. “That,” said Carole, “is the hitch!” If it’s a question of glamor, though, it’s worth it. And if it’s a question of glamor, Carole should know! A LETTER FROM HELEN VINSON (Continued is a room for writing, or a waiting room. You ask the way to the cloak room, over here. I learned, too, never to speak of a clothes closet. There ain’t no such thing. Closet means lavatory in English. You hang your duds in a wardrobe, Pal. I got all befuddled shopping for shoes the other day, too. First I wanted a pair of oxfords. Oxford is an institution of higher learning, to an Englishman. The word has nothing to do with footwear. You ask for “lace shoes.” Also, only the men wear pumps. The female pump is known as a “court shoe.” You can imagine the polite snicker when your little friend asked for a pair of oxfords and something in a snakeskin pump. The only other time I got laughed-out- loud at was when I requested cheese and crackers. At this time of year a “cracker” means a fire cracker. At Christmas time it can mean a kind of bonbon. When you want something to munch with your En- glish cheddar ask for a biscuit. Well, so much for your English lesson. Whoaaaaa—wait a minute. If you meet that fellow that told me Italian lessons would rid me of my Southern accent, tell him I said, “Philberts!” Remember how from page 36) I sat up nights over that Italian hand- book? And it didn’t help a bit. The peo- ple over here think I speak ‘funny American.” Then I have to explain all about how I come from Texas. My theme song is “Pahdon my South’n Accent”— even if it is old. The theme song, I mean. Now I'll give you the low-down on the dizzy social whirl. HAD four days off from picture mak- ing last week, and went down to the Duke of Sutherland’s country estate, “Sut- ton Place,’ near Guildford, Surrey. Annie, if ever a place filled me with envy and longing, Sutton Place did! It stands in about two thousand acres of beautiful country, with picture book gar- dens, greenhouses, a pheasantry, and all the trimmings. The house was built in 1525 by Sir Thomas Weston, cousin—or something—of Anne Boleyn’s. Henry the Eighth visited there often. (Not Charles Laughton, my sweet Dope, but the Old Boy himself.) In fact, there’s a picture of Henry, painted by Holbein. And the most gorgeous paintings by Romney, Law- rence, Titian, and dozens of others you don’t expect to see outside of museums.

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But no, 1 didn’t spend my four days among the art treasures. Not this trip! For the estate has marvelous tennis courts, squash courts, speed boats to race on the River Wey, a swimming pool, and a beau- tiful golf course. Lady, I was glad I specialized in athletics, and not dramatics, at the University. Throwing your voice would get you nowhere at the Duke of Sutherland’s. But knowing how to swing a tennis racquet was a help. I forgot to tell you that on the King’s Birthday I saw the Trooping of the Colours. I was given two tickets for the special enclosure with the understanding that I was to be escorted by a man in correct morning formals—top hat, morn- ing coat. I wished to go with one of my fellow countrymen, being as patriotic as I am charitable. So, it became a race among my American friends, as to which one could beg or borrow the proper attire. — Austin Parker, the clever one, was win- ner. He rented an outfit. Arrived in all his glory, and hysterics. With my two tickets clutched in hand, and Austin, look- ing terribly funny, by my side, we started out. Our laughter was suddenly chilled by the somber thought that Austin, pro- vincial American that he is, had forgotten to carry an umbrella. Positively indecent! We finally managed to borrow one from a waiter at the Claridge. That, we agreed, was the crowning touch. Big thrill of the month, however, was flying to Brussels to see the tennis matches. Fred Perry played a beautiful game. And, of course, his winning made it a perfect trip. So far this letter must convince you that life in London is all play and no work. But you’re wrong. True, they don’t work as hard or as frantically fast here as they do in Hollywood. But “King of the Damned” went right along, on sched- ule. It was fun, being the only woman in the cast, even if the males were mostly convicts dripping with grease (movie sweat). And Conrad Veidt is marvelous to work with. Of course you know how I’ve felt about being typed in Hollywood, always playing the selfish wife-or the snippy society girl. I’ve never blamed Hollywood. It was my own fault when I insisted back in 32, on being cast as the spoilt heiress in Connie Bennett’s “Two Against the World.” Just as the lead in “Death Takes a Holiday,” more or less established me as a dramatic ingenue on the stage, so the snippy part in the Bennett film typed me in pictures. But anyhow, it’s nice to play a role again and know that the audience will want you to get your man. We're working hard now on the second film, ‘Transatlantic Tunnel.” Madge Evans and Richard Dix came over to play in it, you know, and they are a pair of darlings to work with. The three of us manage to sandwich a lot of fun in be- tween the work on the set. Let me add too, that Gaumont-British has been mar- velous to us Yankees. All in all, it’s very exciting. I get a little homesick now and then. Felt it coming on the other night, so I phoned New York to have a chat with Dad. He said the Scottie was yipping around the place, and I insisted on saying “‘hello” to Jock. The line was so clear, Jock actu- ally recognized my voice. The precious pup went practically insane with joy. I'll bet there haven’t been that many barks waited over the Atlantic since phones were invented! I can just hear you make some crack about the line going to the bow- wows. Don't do it. Puns are so vulgar. It’s time for me to get to the studios. So, Cheerio, my dear, for this time. Be a good girl, and I'll bring you a crumpet. Love, Helen. MODERN SCREEN Why do minds misbehave ? THE PSYCHIATRIST OFFERS TWO ANSWERS... Case No. 296 F. Age ao 5f English i Oate esuccessful Spout LOLS hat her ted ma avorite. Accused Oars lies school Paranoid sus— picions. ete = wen OAS rr was re- in the course © ‘ consul ta Her mental 12°" Biadedes Deena eee nes d, when quar nts made un- DIAGNOSIS: her fee sure of given in DIAGNOSIS: |e fear that g napkit did not al— lete safety tection. ete — when her fear oF and the Even if “accident panic’ has never haunted you... protect yourself against the possibility of an accident ever happening. Get a box of the new Modess today. Its name—“Certain-Safe”—tells the story... and you can look at the napkin and see why it’s accident-proof: 1. Extra-long tabs provide firmer pinning bases... Modess can’t pull loose from the pins. 2. Specially-treated material covers back and sides of pad... Modess can’t strike through. The day you buy Modess is the day you end “accident panic” forever! MODESS STAYS SOFT... STAYS SAFE 69 N-O-V-O...the new douche powder. Cleansing— } deodorizing . . . for the | fastidious woman.

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CHERAMY Bede Showers S% Tuere’s glorious fragrance — the perfume of youth —in April Showers Talc. There’s luxury supreme in its soothing, smoothing touch. Yet the cost is low for quality so high. No wonder it’s the most famous and best loved talcum powder in the world! Exquisite bape r_o-t Expensive 70 MODERN SCREEN LET'S GET GRACE MOORE'S TEMPERAMENT STRAIGHT (Continued from page 43) to leave Hollywood when she had com- pleted two pretty bad pictures. When a world-renowned artist is hailed as a fail- ure in motion pictures, it means public humiliation in capital letters. Every cor- ner of the world knows about it. Re- member the dozens upon dozens of stories you read about the failure of Grace Moore in pictures? Grace did not need to leave. a contract. She could make more pic- tures; undoubtedly some good ones. Mu- sical comedies—light singing affairs which would make of her an above-average, She had singing motion-picture actress. She could stop being a prima donna. HE stormed off to Europe! She made her choice in a high-headed manner. She chose not to lose what she had fought to learn—not even for thousands of dol- lars weekly and fame, unlimited. She had struggled to get temperament, as she would never have to struggle to lose it! Until a woman can love madly, suffer tragically, lose her temper, run the gamut of emotions—she is a singer but not a great singer. Ask Mary Garden, Mary Lewis or any other prima donna! As a rule, America does not build tem- perament, it kills it. A little girl from Tennessee (Jellicoe was Grace’s home- town) is trained from the cradle to con- trol herself. She must not speak unless her elders have spoken first, she must turn her other cheek when anger would beget anger, she must not fall in love un- less she is certain she is loved first. Such a young woman is raised to live as Amer- ican tradition has dictated for a “lady.” Grace Moore had a marvellous voice. It was well-trained. She sang for the Metropolitan Opera Company judges. They turned her down. She went to Europe to learn why. Did I hear someene say, “But that was the plot of ‘One Night of Love’?” Of course it was! That plot was based largely on Grace’s life story. “Love Me For- ever” is based on another part of it. Real stories about a real opera singer! In Europe, the little American girl went to a maestro who promptly fell in love with her. Madly, insanely in love with her! She was frightened, baffled, amused—but mostly frightened. We are always afraid of what we cannot com- prehend. She ran away. She hid in the palatial home of Mary Garden and com- menced to train with an older and, she thought, wiser teacher. IX months later, this maestro laid the curious truth before her. Her voice was lovely. Her figure was perfect. Her beauty was captivating. But she had no temperament, no fire. She mentally was too well-trained to become a prima donna. She must fall in love. She must learn to live. She must go temperamental. He knew she had fire because he knew all women have it until it is processed from them. She must find that fire and let it burn. Then she would sing, not like a trained parrot, but as a woman capable of enjoying even sorrow and understanding it. Temperament didn’t come easily. Fall- ing in love was not something she could pitch to a proper key, at once, like her voice. A fire that has been well drenched does not find a spark to flare again, on the minute. She was a bit bewildered. And just as she was beginning to flare a ;) little, inspired by an Italian prince who | had been thrown dramatically before her ;fj) door in an accident, Otto Kahn arrived in | Europe and she sang for him. He had ,f; her sing again for a Metropolitan conduc- | tor, who was also in Europe. The conductor did not want to sign her. He felt something was still missing. She talked him into it! The very success of her salesmanship seemed to spring that lock which had been imprisoning her. That very night, she threw a celebration party. An impetuous, riotous, absolutely mad party. She led her guests in wild dashes through the narrow winding streets of an ancient European city. She rang door bells. She stopped to sing before one house and then another. She dropped into cafes, beer gardens, shops which were closed but opened before these mad Americanos. Grace Moore was actually living! From that mad night on, Grace Moore was a prima donna. When the time came for her debut in New York, she let all the wildness of her emotions surge like a hurricane through her. A special train of celebrities came from her home town in Tennessee to be at her first opera per- formance. The Governor, U. S. Senator Lawrence Tyson, U. S. Representatives Francis Garrett and Cordell Hull and other neighbors of her childhood. They held a reception in her honor on the day before her performance. But Grace Moore was too excited, too uncon- trollably excited to talk politely or quietly to neighbors. She sent a note: “It is with deep regret that I cannot be present today to greet personally each one of my faithful friends from Tennes- see. I am conserving all of my energies to give you my best tomorrow and I hope that as you all gather at the Metropolitan you will receive the most sincere message I can give you—in song.” EMPERAMENT—the ability to act differently from others—always causes excitement. There were those from her home town, who could not understand how a little girl, raised among them, would refuse to attend a tea given in her honor. The Metropolitan issued a denial that it had prevented Grace from attending. It did not interfere with the personal lives of its artists! Still, Grace Moore did not go! What American convention demanded was com- paratively unimportant. She stayed in her rooms and nursed the throbs of ex- citement, fear and ambition which were coursing through her tingling body. She remained true to being a temperamental prima donna! And she’s still remaining true! Perhaps you have read stories of how she’s lost that temperament, had to lose it to win eventual success in Hollywood. I can assure you they are not true. I can prove this, and anyone who worked on the set of “Love Me Forever” could prove it, too —each with a different story! I went down to see her off when she sailed on the Ile de France this last time to sing a command performance before the King and Queen of England. The night before, she had appeared before the Society of Arts and Sciences in New York, to receive a gold medal for “rais- ing the standards of metion pictures’—

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MODERN SCREEN the first woman to be so honored; the first ) [R& Cae : yo De RS : motion picture representative. She had a Zo. eos oe : oe oe : . promised to sing at the banquet. The Be os ; G sh ON aa song had been advertised for broadcasting. WO ™m e Nl @) ; : Mm e ee She did not sing. Her voice was ragged Vv @ Cy from the strain of working on her last | Be. Ce oo oe ee : picture. Her nerves were frayed. It was ee ee : ee hot. A motion picture actress would have sung because the song had been adver- vf tised. A prima donna didn’t. ther As she hurried down the ladder from ih the top deck of the ship to meet the news- | paper photographers, she looked tired. She ile || WS tired. She was nervous. But she ~}| smiled and joked and waved her hand and ; posed this way and that. After half a ia dozen shots, she held out her hand to » || Valentin Parera, her husband, and drew [ S = || him before the camera. tat A photographer pushed forward, “I ‘a want you, alone, Miss Moore.” Grace al- l ) ready was posed with the handsome Span- ‘|| iard, she smiled but shook her head in a vl | decided refusal. The photographer per- eels sisted. His gruff voice became dictatorial. The smile on Grace’s face vanished ote swiftly, “But you have plenty of me!” a “T haven't!” ug There were a few more snap remarks. d Now, a motion picture actress would have smiled sweetly at her husband and whis- pered something about, “You understand, My dentist said: 5 : : “EE 99 © "| darling.” A prima donna didn’t. She veryone should chew Dentyne,” my dentist e whirled and walked away. ‘Tears came said. He explained that it gives the mouth ex- il | to her lashes. ercise which it fails to get from our modern ¢ soft-food diets. It strengthens the muscles and : ZE g ; helps improve the mouth structure. It helps Diese ae ieee ihonornal self-cleansing action of the mouth swirled around her. “Sign here, Miss ... and improves the condition of the teeth. Or Moore.”—‘T’ve come all the way from You’ll notice Dentyne’s firm consistency that is so important in giving you these benefits. Jack called it USN ev Ly © Men who are particular always like Dentyne I find. It has that “different” taste — spicy, lively, and refreshing. After trying Dentyne, I certainly complimented him on his good taste. Notice the handy, flat shape of Dentyne —an exclusive feature, making it convenient . for your purse or yest pocket. Margaret Lindsay and Phil Reed at “Anna Karenina” preview. They are often two- soming it about to Hollywood 7 events. Nice couple. 71 H |)

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Ready to use, no clumsy apparatus—no mixing—no danger of overdose or burns, and no telltale antiseptic odor. In- stead, they are actually deodorizing and are used by many fastidious women for that pur- pose alone. One trial will convince you that here at last is the ideal marriage hygiene meth- od—and trial will cost you nothing. Mail the coupon below for a liberal FREE SAMPLE and informative booklet. Dr. Pierre Chemical Co., Dept. P-30 162 N. Franklin St., Chicago, Illinois. Du.Piew** BORO-PHENO- FORM Mail Coupon for FREE SAMPLE Dr. PIERRE CHEMICAL Co.—Dept. P-30 162 N. Franklin St., Chicago, Illinois Please send me FREE SAMPLE of Boro-Pheno- Form and Free Booklet. | Paulette Goddard, MODERN SCREEN Brooklyn, Miss Moore.”—“Here’s a pencil, Miss Moore.”— The cameramen joined the crowd. “Just stand on those steps, Miss Moore, with your husband.’’—‘Without your hus- band, Miss Moore!” The cameramen and autograph seekers were outyelling each other. She looked around a little wildly. The tears spilled from her lashes. Then she turned and ran toward her stateroom and seclusion. She was halfway there when I caught up. She grabbed my hands in her two little ones and they twitched nervously. “I, what could I do? I want to please them. But I’m so tired. I worked so hard on the picture. That banquet last night. If I don’t get some sleep, I'll crack! This is awful, I wouldn't think of hurting anybody. They just don’t un- derstand. I don’t understand. Don’t let them think I didn’t want to sign—’ She was almost hysterical. She had acted as she felt. She was being herself and that self is seasoned with pepper and ginger, cinnamon and sugar. She was angry about the photographer; ready to cry about the autograph seekers and a little frightened of the reporters. She was one big jumble of natural, effer- vescing emotions. Now, any Hollywood actress would have learned with her first picture not to let photographers or reporters or auto- | graph-seekers see her emoting. Katharine || Hepburn once kicked and screamed and plumped herself on the nearest curbstone, when she felt like it. No more. Marlene Dietrich used to wear pants to formal openings when the mood seized her. Not today. Garbo did try a run-away jaunt to the Grand Canyon but she’ll probably not try another. Temperament is not in style in Holly- wood any more. But Grace Moore is not a Hollywood actress. She is a prima donna. She ran away from Hollywood so she can remain what she is. Thank goodness! PAPA CHAPLIN (Continued from page 39) permitted to see them. It was on the twenty-second day of August, in 1932, that for the first time, he appeared publicly with them. E had called Lita and secured per- mission to see them. At two o'clock, in an automobile, he rode proudly through the streets of Hollywood with the two youngsters beside him. He _ went first to the United Artists Studio. Mean- while there was wind that “Charlie was up to something again.” That happens often at the studio of this strange fellow; they never know what queer stunt Char- lie’s going to embark on next. His em- ployees tiptoed around, wondered what was coming. And then Charlie arrived with the boys. Remember, they were only six and seven, then. Well, never have Chaplin’s em- ployees been so astounded—and_ they've had the darndest things happen there !— as when he loudly and imperiously de- manded that everybody in the studio come and see his sons. Why, the mother of Gracchi, in mythology, when she said, so that it has rung down through the centuries, “These are my _ jewels!’— couldn’t have been one half as proud as Charlie when he told his studio staff: “These are my kids!” “Look at them! Aren’t they he demanded. Back into the great open blue Rolls- Royce roadster they went again, after the studio had sufficiently oh- ed and ah-ed and sighed over them, and out to his Bev- erly Hills house. That was the beginning. Today, they are virtually steady. week- end residents there. The rest of the time, they go to a Hollywood military school—the finest, of course. That was Charlie’s idea. Blisteringly denouncing what he called bringing them up as sis- sies, he insisted that they be reared as American kids. He demanded that they learn democratic ideals, the kind that’s hammered into a guy at a military schooi, you know. And he insisted (this is funny!) that they learn obedience. Well, as a matter of fact, they may be well disciplined at school but they walk over Charlie with the utmost impunity. Get them up to that Beverly Hills castle of Chaplin’s, and neither Chaplin, nor nor the servants have swell?” any more control over them than a Hot- tentot might have over an airplane. It’s only natural, perhaps. You see, Charlie, being one of the world’s most confirmed theorists, has a theory about bringing up his youngsters. “Don't,” he says, “punish them when they do something wrong. Or when they lie. It’s natural in kids; it’s like the an- imal instinct of self-preservation. You have to explain to them first what they’ve done was wrong, and why. Then they won't do it again. Of course, if they do, then itd be all right to punish them.” But he never seems to get around to the punishment. Why, let me tell you some of the stunts they’ve pulled on papa! Ore day, loud and urgent cries came from the Chaplin swimming pool. Coat tails flying, Papa Charlie raced to the edge, and there had to fish out his sons. Investigation showed that they had discovered papa’s exercise wheel. You know—those big things you get in and turn around, and it rolls along while you go spinning upside-down-and-back. Well, they’d merely spun right into the pool. Charlie gave them a talking to. But, “you mustn’t punish them,” you know, so all he did was talk. And so came another uproar from the front of the house. There Papa Charlie beheld his youngest hanging precariously from the high limb of a tree. They got him down, ‘somehow, and found a flock of bruises, scratches and things like that. Then papa asked how he got there. Well, it was another of Charlie’s play- things that the youngsters had adapted to their own uses. Charlie had a sort of over-grown roller-coaster, equipped with a sail—something like a land sail boat. But the boys got tired of anything as simple as that, and took off the sails to make wings with. Sydney was the first to try to fly off the roof with it. Again Charlie talked to his sons. “You should only,” he pointed out to them, “use things for what they were intended.” So he took them to a sporting goods store soon after that. It cost him $50, afterwards, to pay for the damage when they used a football for what it was in- tended. One of them kicked it in a little punt; the other ran it back. The showcase lost the game.

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Even papa’s play is mercilessly ruined by the two young Chaplins. Fishing off his yacht one day, he got a bite. That is, he thought it was a bite. He pulled in furiously. ‘This,’ he told all on board, “is a big one.” It was—it was one of his own big prop shoes. The kids had tied it on his line from underneath. (aa loves tennis. He’s such an enthusiast that it drives him into spasms if he’s disturbed in a game. It’s more than a game with him, it’s a seri- ous occupation. And so Sydney and Char- lie, Junior, take their bows and ‘arrows, and usually at the tensest moment of the game—whizz !—there comes an arrow into the middle of the proceedings. They’ve lost more games for papa, that way, than you could count. Charlie talks to them about it. He tells them they shouldn’t do it. “You children,’ he says, with that frigidly polite air grown-ups put on for recalcitrant youngsters, “must not play here. Take your bows and go up on the lawn.” They do—but it’s a fifty-fifty bet that something they do on the lawn will wreck papa’s game just as effectively as a bow and arrow. When they’re at the Chaplin house, of course, they haven’t their mother. Any- way, as this is written, Lita is East. But there’s Paulette. The children adore her. They don’t call her “mama,” not yet any- way, but they call her, simply and charm- ingly, “Paulette.”’ She has more control over them than anyone there, even in- cluding Papa Charlie himself. Ill bet anything that neither of the two kids would ever be anything but delighted if they learned, for sure, that Papa and Paul- ette were Mr. and Mrs. Chaplin. But with all this, it must be honestly said concerning Charlie that he’s making a go of bringing up his children. For what he neglected them before, he’s more than making up. And of love, he doesn’t seem to have enough for them. I’ve seen him in cafés, for instance, both alone and with the youngsters. Alone, he’s a silent, hermit-like crab of a fellow. When the youngsters are along, he bubbles with a glee that’s heart-warming, he wants every- body to come and see his youngsters, he can’t find enough goodies on the menu for them. He’s a different man. The one thing Papa Charlie will not permit them is any ostentation—and con- sciousness that they’re different from other kids. Richer, that is, or important be- cause their dad is famous. In that, he has succeeded remarkably. So remarkably that they don’t even seem to realize that Papa really is famous. “Why,” he explained once, “they love Mickey Mouse—but they don’t even think Im funny.” It was a bit wistful, though . . CONFESSIONS OF AN EXTRA GIRL (Continued from page 46) I’ve never seen anything so lovely as she was in the costume of “Romance.” She took your breath away as, followed by her maid, she swept across the stage and sat down. As she made this gesture I looked across the set and saw a handsome man in make-up and costume. Garbo’s arrival seemed to electrify him. He looked at MODERN SCREEN 44 ERE’S one little medicine-hater who is going to bed happy. She’s just had her first taste of Fletcher’s Castoria —and she loved it! Now mother is back in favor once more. “Hurry up, Mom. We're waiting!’ Do you know that even the taste of Fletcher’s Castoria is made especially for children? It’s one laxative they take willingly. And it’s very important that achild should take a laxative without a struggle. For the fear and resentment a child feels when forced to take a bad-tasting laxa- tive often seriously upsets her nerves and her digestion. But there’s more to the laxative question than taste. Children’s systems are sensi- tive, delicate. So Fletcher’s Castoria is made just for children, of ingredients that “Didn't it taste good?” »..and you can start blessing mother again” are safe ana suitable for a child. It contains no narcotics. No harsh, purging drugs such as some “‘grown-up”’ laxatives contain .. . It will never, never cause griping pain. It will not form a habit. It is gentle, yet thorough. Buy a bottle today. Depend on it al- ways until your youngest child is 11 years old. Be thrifty—buy the family-size bot- tle. And look for the signature Chas. H. Fletcher. Gath’ Fiethen CASTORIA The Children’s Laxative from babyhood to I years 73

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Worlds Most famous Lipstick ANGSS ENDS THAT PAINTED LOOK tains th i FACE POWDER Tenses cals Be peinte ye 4-PIECE MIRACLE MAKE-UP SET THE GEORGE W. LUFT COMPANY MM105 417 Fifth Avenue, New York City Rush Miracle Make-Up Set of miniature Tangee Lipstick, Rouge Compact, Creme Rouge, Face Powder. 1 enclose 10¢ (stamps or coin), 15¢in Canada. Check Shade | Rachel | Flesh Light Rachel Name. Address Please Print City. MODERN SCREEN her with his heart in his eyes as if he loved her more than any man had ever loved any woman. You felt as if you shouldn't be looking at him, as if you were peeping through a keyhole. Garbo, too, seemed to feel that gaze. She looked up, smiled, and said, “Good morning,” in that deep, throaty voice of hers. And as she looked at him, his face lit with a smile so glorious and wonder- ful that it made a lump rise in my throat. NOW turned to Peg and said, “Who is that man?” She actually sniffed. “Well, Miss Ritz,” she said. “You're not so smart as you thought you were.” She nudged the girl next to her, “That’s John Gil- bert.” I looked at the man again. Why, it couldn’t be Gilbert. I’d seen him many times on the screen and no make-up could so change a face. I looked back at Peg and the other girl. They were laughing at me. And I realized that war had been declared. Peg spoke in a loud tone to her com- panion, “Why doesn’t Miss Ritz talk to her pal, Garbo?” She turned back to me. “You and Garbo are chums, aren’t vou, dear? Or maybe someone in the front office got you on this set. I can’t think of any other way you'd be here except by pull.” I could feel myself blushing under the make-up. “I’m here,” I said as calmly as I could, “because I had a test made and it was good.” “Oh, she’s had a test made. Well, isn’t that just too, too divine. And tell us, angel, how you got the test?” <craeieeiatr my excitement the word had been spoken in a very loud tone and I saw the assistant director turn in our direction. “Come, come, girls, a little less noise,’ he called. I blushed again. With elaborate condescension the girl next to Peg whispered, “You're supposed to be quiet on a movie set. Oh—sorry, how stupid of me to think you didn’t know. The next great star, the friend of the executives must surely know that!” I could feel tears coming into my eyes. But those girls must not see them. I looked back at Garbo and somehow from that lovely calm face I received comfort. I can’t explain it but she had a quality that made me feel peaceful and secure. It was as if she were telling me not to mind, to have courage. ROM looking at Garbo my eyes turned to the face of the man with his heart in his eyes—the man they had told me was John Gilbert, but wasn’t. He seemed so lonely. And I was so terribly lonely. Something impelled me to walk over to him. He looked at me and smiled. “You're new, aren’t you?” he asked. Great heavens! Was my newness stick- ing out all over me? “Ves,” I said. “So am I,” he said. “Terribly new. I don’t know what I’d do if everyone weren't so kind.” “They've not been kind to me,” I said. “T think those girls hate me. They’ve kidded me terribly. They told me, for instance, that you were John Gilbert.” He smiled. “I’m Gavin Gordon. Can you imagine my getting a break like this—leading man in a Garbo picture! The chance to work on the set with Miss Garbo. She’s the most wonderful, the finest. . .” he was looking at her again, with those blazing, intense eyes. He didn’t even notice that I had gone, that the as- sistant called me on the set. The “cats” next to me were at it again. ‘Well, Miss Ritz, you must talk to the featured players. Us common ex- tras aren't good enough for you, eh?” And now the tears were really in my eyes and it was just at that moment that Mr. Brown snapped into action and a scene was in progress. Garbo was called on the set, which was supposed to be a stage entrance she was leaving. In a low tone Brown discussed the scene, the assistant standing nearby. Suddenly both Brown and the assistant looked in our direction. The assistant motioned to me—I thought. I started forward. Peg hissed in my ear. “No, you fool, he wants me.” She took a few steps. The assistant shook his head, “No, not you,” he said, “that girl in green.” I could hardly believe my ears. Wearing a green dress! M& BROWN explained the action. As Miss Garbo came out of the stage entrance I was to step up to her and hand her a little bouquet of flowers. I was My God! I was actually doing a “bit.” My first day on a set. It was all too wonderful. The prop boy gave me the bouquet. The other girls were called over. We rehearsed the scene with me—with me— stepping out from the rest and handing her the bouquet. As I did so I looked up and smiled at her adoringly thinking that’s what the character would do. Brown nodded his approval of the action. And Garbo, the great Garbo, smiled down at me when it was over and said, “That was fine, dear.” In a glow of pride and elation I walked back to the others and I’m sure I could not help giving Peg and her friend a glance of triumph. Would I have been human had I refrained? Peg tossed her head. “We'll take it now,’ Brown said. The cameras purred. The sound men said all was okay. The lights flashed on. And I was doing a bit. But just as my turn came and I was about to step forward Peg whispered, “The front of your dress is open.” Instinctively my hand flew to my bosom. I hesitated and looked down at my dress. The bodice was not open. I took another step. “Cut!” Brown called. And the assis- tant said, “What's the matter with you?” And then, in a sudden rush of anguish, I realized that Peg had said that not in kindness but to break me up. Such a re- mark, I later learned, was an old and de- spicable trick. I was so chagrined I could not speak. And then I heard my tormentor saying, “T can do the scene, Mr. Brown.” “All right, let’s get going,’ the assis- tant said. And I had to stand there with the others and watch Peg do the little bit which had meant so much to me and out of which I had been cheated. H, what little dramas go on while the great dramas are being filmed! The men making the picture did not know my heart was breaking. They had_ their problems. They were in a hurry to do the scene and one girl was the same as another. The scene was over. asked. “Okay,” said the assistant, girl in green wasn’t smiling.” Smiling! How could I smile when my heart was a lump of lead in my chest! God! What a business. The rest of the doy is a nightmare to me. I did find, when I got the courage to talk to some of the others, that Peg and her friend were noted for their petty meannesses and that nobody liked them. They certainly were not typical extra girls and it was just my bad luck being placed next to them. But—and I'll tell “Okay?” Brown “except that

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1 my — co 0a DS oa | Parties look up when Mae West appears. Here she is at Grand Hotel opening with big Jim Timony, her perennial escort about town. about this later—I did have a chance to even scores with Peg, during the coming months. And, here’s some irony, when I SNe the picture the “bit” had been cut out! Drama! There was Gavin Gordon on that set hopelessly in love with Garbo—or at least his eyes told me so. (And where is Gavin Gordon now?) And there was I my hopes of stardom shat- tered once more. (And where am I now?) Hopeless Hollywood. Poor, hopeless Hollywood! HEN the day finally ended, I turned my costume back to the wardrobe department and wearily climbed the stairs to the extras’ room to take off my make-up. I sat alone in one corner of the room, listening to the girls talking. Some of them had been called back for the next day. I had not been called. I would never be called again. I could not do the most simple “bit.” I walked out on the little balcony and looked across the green lawn. I had failed, miserably and completely. I didn’t care now. No one could heckle me, no one could see. So I let the tears run down my cheeks. And suddenly I heard a voice. ‘“What’s the matter, dear?” the voice asked. I turned wearily and there standing beside me was Joan Crawford. Something about her made me know that I could talk to her. And it all came out in a rush. I told her everything that had happened—why I had failed and how I felt. She took my hand in hers. “Look at me,” she said. With the back of her other hand she gave me a little slap under the chin. “Keep that chin up,” she said. “Smile!” I obeyed her command. TI felt better already. “Now listen,’ she went on. “At ten o'clock tomorrow morning you meet me at the gate. We're going to show those girls. I’m going to get you a job— yes, a job in pictures. Why, that’s a real smile. Now go home and forget today. Tomorrow is coming.” Yes, tomorrow was coming and with it an amazing experience for me. I knew it. I felt it. Next month I'll tell you all about it. MODERN SCREEN Yes, she used powder, rouge and lipstick, wore a seduc- tive perfume, but neglected her eyes—her lashes were so skimpy that her eyes looked dull, lifeless. ‘Jhon Cama. thia Magic Chang Her lashes now look long and silky, giving ber eyes life and glamour—Winx Mascara transformed her into a perfect beauty. OU’LL never know the amaz- ing, beautifying change that will come over your face until you darken your lashes with Winx Mascara. You may not think your lashes are skimpy, but just see how a touch of Winx gives them an entrancing, long, silky look. Lovely eyes in 40 seconds! ... the fascinating allure that men can’t resist. I present Winx Mascara in two convenient forms, Winx Emollient (cake) and Winx Creamy Liquid (bottle). You can apply Winx per- WIN fectly, instantly, easily withthe dainty brush that comes with each package. Each form is the climax of years of pioneering in eye beautification— each is smudge-proof, non-smart- ing, tear-proof—each is scientifi- cally approved. Buy whichever form of Winx Mascara you prefer today. See how quickly Winx glorifies your lashes. Note it’s superiority. And think of it—long, lovely lashes are yours so inexpensively, ‘ so easily. laine asa Gye Rooutifiora Winx Cake Mascara—for years the most popular form of all. So easy to apply. Its soothing emollient oils keep lashes soft, silky. Winx Creamy Liquid Mascara. Absolutely waterproof. Ready to apply. No water needed. The largest selling liquid mascara. A Winx Eyebrow Pencil molds and shapes the brows with charming curves. Winx Eye Shadow gives depth and glamour to the eyes.

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FAOEN No. 44—Wam, vi- brant, floral and alluring. Ni eee OE = ae ee F AOEN No. 3 = Oriental, exotic, clinging. FAOEN No. 12 Delicate, 4 tvelreshing, fragrant. FAOEN Ria. 19 = Fresh, elusive, intriguing. PAR Zz | &TILF mc (FAY-ON) Meu, MODERN SCREEN HE’S LOOKING FOR A SWEETHEART (Continued from page 37) of the life of practically any of Holly- wood’s unattached actresses inevitably in- cludes a Raymond episode. He _ scores top-high with his fans, too. On a recent personal appearance trip, feminine furors in nine major cities brought out the police to handle crowds around his hotel and theatre. And in New York, where he spends most of his off-screen interludes, he’s undeniably the debs’ delight. Blue Book mamas practically turn Emily Post- ian handsprings for the honor of young Mr. Raymond’s presence at a coming-out party or a weekend at Newport. In addition to his popularity and hand- someness, he has all the other items that are apt to make the ladies go after his sentimental scalp—fame and a fortune and one of the brightest futures in the film colony. ND yet Gene Raymond told me, “I’ve never been in love because no girl has ever given me a chance to be’—and told me the truth. But if it takes as much truth to convince you as I made him re- late to convince me, then you're an old skeptic too. So maybe we'd better go back to the beginning, to the very beginning of Gene Raymond. It’s the darndest thing, his being in pic- tures anyway. It’s story-book, almost, for a mother to say, “My first-born shall be an actor,’ and have it really happen. But Mrs. Guion, a native of Alsace, is one of the most remarkable women I have ever met. From her, her son inherited much of his determination and quiet poise and characteristically French jote-de-vivre. With those three qualities and his mother’s ambitions as well as his own, it isn’t so story-book after all, that he’s Hollywood’s Prince Charming today. I knew what she meant when she told me Gene was a ‘pretty little fellow’ as a child. Not that he couldn’t skin a fence or a cat as professionally as any other Long Island kid, but there was a certain soft fairness about his skin and features that’s unusual in boys. You notice it now, first thing, off-screen—a sort of scrubbed- clean-behind-the-ears look, a firm, fresh blondness that strikes you as being more wholesome, really, than handsome. You'd take him for a Dartmouth senior or a young Wall Streeter before you'd ever suspect him of being an actor. He’s much too down-to-earth to even look or behave like a celebrity, and you like him for it. I don’t think Gene is a ‘born actor’ any- way. He’s a very skilled craftsman who has learned his tools and his workman- ship, who makes a pure business of his art. There’s none of the divine urge or temperament bunk about him, and you like him for that, too. At an early age he was placed in the Professional Children’s School in New York. He studied to become an actor as other boys study to be architects or engineers. Classes meant elocution, ges- tures, voice modulation, fencing, horse- manship, gym—anything and everything that would assist him in the theatre. So outstanding was his progress that at the age of fifteen, wearing his first long pants (white duck, $2.95 a pair, with a crease still warm acon the family iron) he made his stage debut in “The Potters” and quickly became one of Broadway’s leading juveniles. FEW more seasons on the boards, a smash hit in the leading role of “Young Sinners” which ran for two years, “and it was inevitable that Holly- wood, bearing fat contracts, should knock long and loudly on his dressing- -room door. Gene, twenty-one and fond of the foot- lights, wasn't so keen about putting his John Henry on a dotted line that could tie him down to talkies only. He finally came West under what was and has re- mained the only gentleman’s agreement in the film colony—Mr. Jesse Lasky was to have first call on his services. Under that arrangement Gene enjoyed until recently a sort of glorified free-lance career, play- ing the roles he wanted, not the ones that might be dished out to him were he under contract. A month or so ago, however, RKO persuaded him to sign a long term Soe and have big things planned for nim. It’s amusing to hear him tell about his first year in pictures. He was scared to death he wouldn’t ditto his stage success before the camera. So he rented a seven- teen-room house, wrote home for mother, and promptly interned himself in his seventeen rooms like a bearded old hermit. He spent his evenings studying German grammar instead of girls, reciting lines instead of sweet nothings. Frankly, he’d never done a great deal of dating any- way. Getting ahead in the theatre had consumed his time and interest before, then along came a tough new job in pic- tures that didn’t leave him much time to consider the belles of California and how they blossom. I think the romance angle of Gene’s life might have been much different if he had gone about socially that first year. To the girls he courted he would have been just Gene Raymond, a nice young man. But by the time he had leisure for dinners and dances and evenings a deux he was Gene Raymond, idol. Young actor with a couple of hit pictures behind him and all the glamor that goes with screen suc- cess. A celebrity whom women insisted upon treating as such—and that’s just the reason one celebrity’s still single. ENE RAYMOND doesn’t go for high-powered, open adoration no matter whose brand it is—star, fan or society girl! It takes a stuffed shirt to really believe applause, to really believe he’s a national object of romantic interest, something extra special in the way of a young man. And Gene’s no stuffed shirt. Contrary to many lime-lighted males he has no the- atrical sense of himself. Instead, he’s sane and sensible and down-to-earth enough to want and to demand to be treated like a plain, nice young man—not a hero. I’ve watched Gene in lots of flattering situations. I’ve seen him surrounded by women at more than one cocktail party, I’ve heard six feminine “hellos” on his telephone inside of thirty minutes. I’ve even seen him stop traffic at Broadway and 50th Street. Outside his hotel in Chi- cago not long ago, more than a thousand women waited an entire morning to see him come out; at his theatre another vast crowd stood under his dressing-room win- dow in the rain, shouting to him to throw his cigarette butts to them. Adoration like that, I thought, wouldn’t exactly do

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to a young man what water does to a duck’s back. I asked Gene to tell me the honest-to-goodness_ truth. “How,” I asked him one afternoon when we munched pretzels and downed punch at a sidewalk café, “how does it make you feel to be treated like a tin god? To have practically every girl you meet instantly sizzle with sentimental hope, cash your slightest congenial compliment at ten times its face value and promptly fall on your neck with words—if not arms?” Gene shrugged his somewhat massive shoulders, lighted a cigarette and spoke very seriously. “Honestly—please don’t misunderstand this—but I hate it. I hate it. It’s forced me to cultivate a character- istic I loathe in myself—it’s made me wary of women. “Listen, I know I’m not anything won- derful. I know it isn’t really I that they admire, it’s the men I portray on the screen. It’s the lines I say and the make- up and lighting and background and all the other artificialities. I could be the same person and drive a truck for a living and Td go about unnoticed. “So when women, as you say, ‘make a fuss’ over me I feel exactly as though I’m being lied to. I wonder what I have that they want—certainly not myself. I dis- trust them and I’m embarrassed and I want to get away as soon as I can. T does another thing to me, too. If a woman meets me and doesn’t ‘make a fuss’ over me I’m forced to think she’s being cagey, using reverse strategy. It’s a natural reaction. I don’t want to think those things, but if you had this to go through, you would, too. “And that’s why I mean it when I say no girl has ever given me a chance to fall in love. I’m just like any other fellow. I want to do my own pursuing. I want to go about under normal social circumstances and be able to tell when a girl likes me for myself and nothing else. “That would be necessary and right, be- fore I could fall in love.” You wouldn’t like Gene if he really took all the flattery he gets to heart, if he ac- cepted being fussed over as though he were divinely entitled to it. He’s simply a young business man with no more glorified an opinion of himself than the boy next door or the date you had last night. ND when Gene marries what will he want—hbeside a girl who will treat him like a regular human being? I asked him that too. “Of course I want to marry. I want to love and be loved as every man wants those things. As for my ideal girl—well, I do have ideals and preferences. I could say I like independent girls, girls who have known what it is to make their way in the world and really meet life like a trouper. I could say I’m partial to brown eyes and good athletes and southern ac- cents. I could build an ideal... .” Gene lit another cigarette and grinned. “But you know—you know as well as I do that when I fall I'll just fall. And whether she incorporates all. my ideals or not, won’t matter.” So there you are with the exposé of Gene’s bachelordom in a nutshell. It’s an interesting piece of psychology to remem- ber, too, if you’re ever after the senti- mental scalp of a widely popular young man—the campus hero or the best-looking lifeguard at the beach. Treat him exactly like any other not-so-hot male and he’il like you for it. Gene told me I couldn’t tell this. _ He said, “The missing romance chapter in my life? Say listen, it’s really MISSING. You can’t tell that story—it isn’t!” Well, I don’t know. I think it is, don’t you? é MODERN SCREEN (but the person she cheats is herself ) HE cheats herself out of good times, good friends, good jobs— perhaps even out of a good marriage. And all because she is careless! Or, unbelievable as it is, because she has never discovered this fact: That socially refined people never welcome a girl who offends with the unpleasant odor of underarm per- spiration on her person and clothing. There’s little excuse for it these days. For there’s a quick, easy way to keep your underarms fresh, free from odor all day long. Mum! It takes just half a minute to use Mum. And you can use it any time —even after you're dressed. It’s harmless to clothing. You can shave your underarms and use Mum at once. It’s so sooth- ing and cooling to the skin! Always count on Mum to prevent the odor of underarm perspiration, without affecting perspiration itself. Don’t cheat yourself! Get the daily Mum habit. Bristol-Myers, Inc., 75 West St., New York. MUM TAKES THE ODOR OUT OF PERSPIRATION ANOTHER WAY MUM HELPS is on sanitary napkins. Don’t worry about this cause of unpleasantness any more. Use Mum! a7

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6 WEEKS AGO Y-E-a~ Skinny 9 TODAY % Be Posed by Pro. fessional models Compare Her Measurements With Yours H’GHT. 5 FT. 4 In. W’GHT. 120 Lbs. NEW'7-POWER’ YEAST ADDS Srol5 LBS.QUIK Richest imported ale yeast now cone centrated 7 times with three special kinds of iron in pleasant tablets N AMAZING new ‘‘7-power’’ yeast dis- covery is putting pounds of solid, nor- mally attractive flesh on thousands of “skinny,’’ run-down people who never could gain an ounce before. Doctors now know that the real reason why great numbers of people find it hard to gain weight is that they don’t get enough Vitamin B and iron in their daily food. Now scientists have discovered that the richest known source of health-building Vitamin B is cultured ale yeast. By a new process the finest imported cultured ale yeast is now concentrated 7 times, making it 7 times more powerful. Then it is com- bined with 3 kinds of iron in pleasant little tablets called Ironized Yeast tablets. If you, too, are one of the many who need these vital health-building elements, get these new ‘‘7-power’’ Ironized Yeast tablets from your druggist at once. Day after day, as you take them, watch flat chest develop and skinny limbs round out to normal attractiveness. Indigestion and constipation from the same source quickly vanish, skin clears to normal beauty — you’re an entirely new person. Results guaranteed No matter how skinny and run-down you may be, try this wonderful new “7T-power’’ Tronized Yeast for just a few short weeks. If you’re not delighted with the results of the very first package, your money will be instantly refunded. Only don’t be deceived by the many cheaply pre- pared ‘‘Yeast and Iron’ tablets sold in imitation of Tronized Yeast. These cheap counterfeits usually con- tain only the lowest grade of ordinary yeast and iron, and cannot possibly give the same results as the scientific Ironized Yeast formula. Be sure you get the genuine. Look for ‘‘IY’’ stamped on each tablet. Special FREE offer! To start you building up your health right away, we make this absolutely FREE offer. Purchase a package of Ironized Yeast tablets at once, cut out the seal on the box and mail it to us with a clipping of this paragraph. We will send you a fascinating new book on health, ‘‘“New Facts About Your Body.’’ Remem- ber, results guaranteed with the very first package— or money refunded. At all druggists. Tronized Yeast Co., Inc., Dept, 310, Atlanta, Ga. 78 ; pan. MODERN SCREEN THE MODERN HOSTESS (Continued from page 63) in a 2 quart sieve, over a deep bowl. Place a double layer of cheese cloth in a smaller sieve. Run enough juice through this to make 4 cups of strained juice. Make this juice into jelly as follows: GRAPE JELLY cups juice 14 cups sugar (3% pounds) 1% bottle fruit pectin Measure sugar and juice into large sauce- Stir until sugar has melted. Bring to a boil over hottest fire and add bottled fruit pectin at once, stirring constantly. Bring to a full rolling boil, then boil % minute. Remove from heat, skim and pour quickly into hot sterilized glasses. Makes about 11 (6 ounce) glasses. GRAPE BUTTER Rub grapes, from which juice has drained through sieve. There should be 44 cups of pulp. (If there is not quite enough, use any excess grape juice or add water to fill up the last % cup.) To grape pulp add sugar and fruit pectin in the following proportions: 4% cups pulp 7 cups (3 pounds) sugar ¥% bottle fruit pectin Measure grape pulp and_ sugar into large saucepan or preserving kettle. Mix well, bring to a full rolling boil over hottest fire, stirring constantly, both be- fore mixture reaches a boil and while boiling. Boil hard 1 minute. Remove from heat and stir in bottled fruit pectin. Pour quickly into hot sterilized jelly glasses. Makes approximately 11 (6 ounce) glasses. (Follow recipes exactly. Don’t guess about measurements. Time the boiling by the clock. A “full rolling boil” is one you cannot stir out. It is absolutely essential to the success of these recipes.) F you follow these rules and measure- [ ments you'll discover that the above recipes are about as easy and “fool proot” as anything you've ever tried. The addi- tion of bottled fruit pectin cuts down both the chances of failure and the time of boiling. Pectin, you know, is what makes fruit jell. In this refined, concentrated form it contains definite — jelly-making strength for specified quantities. Where the most experienced jelly makers in the old days sometimes had failure, nowadays, by using this bottled produce the veriest amateur can be assured in advance ot success. And now let me describe briefly the jelly-and-jam-dishes made according to the O’Brien recipes. I don’t want to go into a detailed description here because I'll be only too delighted to send you the recipes themselves. All I want to do at this time is give you some idea of the delicious treats you will learn how to make just by sending for Mrs. O’Brien’s recipes. Pat thinks they’re great—and so will you! As usual I’ve had these four recipes made up into leaflet form—four unusual recipes this month! Yet they call for only the simplest ingredients—the kind that may be found on the shelves of your kitchen closet or any grocery store. Oh yes! That reminds me. Even if you don’t want to attempt to make your own jams and jellies, you still will want to have these recipes, for your grocer carries many first rate jams and jellies, too, which you can use most economically in making up these dishes. But be sure you buy. a brand that you know by name and repu- tation so that you will be sure of uniformly good results when making Pat O’Brien’s favorite dishes. First in importance of these sweets is the Jelly Roll that I was privileged to sample. To Mrs. O’Brien’s proportions I have added my own description of the easiest way I have discovered to roll a Jelly Roll. I’m sure you'll be as glad to learn this simple little “trick” as you will be to learn the correct proportions for making a light textured cake. The second of the recipe cards will describe to you how to make a Jam Pie. If you’re looking for a new pie filling, here’s your golden opportunity ! The third recipe card brings you di- rections for making the little Jelly Mer- ingue Tarts so temptingly pictured at the beginning of this article. Under their meringue and cocoanut topping there is a cocoanut custard filling that is just about the simplest thing I’ve ever made. Under the custard there is jam (of course there would be, since it’s a Pat O’Brien favor- ite!). Incidentally, this same recipe can be used to make a novel filling for a co- coanut custard pie—one with an O’Brien touch ! On the fourth card I’m giving you a recipe for Spiced Grape Relish. You'll be surprised to discover what a festive touch such a relish supplies when served with an otherwise prosaic roast. The coupon will bring all these recipes to you at no cost and with practically no effort. If you have a sweet tooth you'll love them all. And if you have a man in your family he'll love you for cooking for him the same dishes that Eloise serves to her typical he-man husband, Pat O’Brien. You'll recall that it’s often said that “men are just grown-up boys.” Well there’s certainly one thing they never out- grow and that’s their liking for jellies and jams. This month’s recipe leaflet will teach you so many practical and novel ways to cater to this liking that you should really send for your free set of these recipe cards NOW. MODERN SCREEN STAR RECIPES 1 HOME SERVICE DEPARTMENT MODERN SCREEN Magazine 149 Madison Avenue, N.Y.,N. Y. Pat O’Brien’s recipes for October, 1935, at no cost Please send me to me. INEHog aah ets Seana entre on coc Golod a UA ddUrESS his oe ee Oe nie (State)

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-_| NO GREATER . THAN THEIR : DIRECTORS a (Continued from page 31) Although this is an unusual case—if it were not, we would have few good j pictures—it is used here because it so P strikingly illustrates one of the simplest truths about making pictures. No mat- : ter how capable the actor or actress, no : matter how clever the story (and this 4 was one of the best), no matter how well- adapted the script, how excellent the photography, the musical score, etc., in the end no picture is greater than the man who directs it. The great directors of Hollywood are a its unsung heroes; the poor ones its un- al punished civilians. Although we give the glory to the actor, if we are honest in our research, we dis- oy cover those actors and actresses whom we love most dearly and admire most in- | telligently are the ones who have been fortunate enough to fall into the hands y ll |} largely Oriental. al of a great director for at least one name- making picture. Today, when you say Myrna Loy or eaten 2S | William Powell, what picture do you il |’ think of at the same instant?—“Thin ur Man,” of course! aa i Both Myrna Loy and William Powell were fine actors before W. S. Van Dyke handled them in this record-breaking pro- duction. They had been in Hollywood many years. But had their names_be- come household words as had Clara Bow’s, Greta Garbo’s, Lon Chaney’s, Jean Harlow’s, etc.? Myrna had had modest O | fame, won from playing exotic roles, Bill had been sure-fire And then someone ES SS Se a for consistent laughs. (i ng handed W. S. Van Dyke the script for is “Thin Man” with the names of Myrna at Loy and William Powell pencilled on it. | “Van,” as Hollywood calls this two-fisted, at hard-crusted man, knew that one director | after another had refused to do that story. It But he was used to being sent to the ad South Seas (“White Shadows”); to ch Africa (‘Trader Horn’) or the Arctic to Ocean (“Eskimo”) without uttering a ly grumble even though he detests travel and pe “Jocation” pictures. He is one director who has never said “no” to a picture. The fact that Van never says “no ” 5g was the luckiest thing that ever happened to Myrna Loy or William Powell. Myrna became a star—Bill a great star. The world sang their praises. Justly so. They proved themselves capable of living up to the genius of the man who directed them. His praises went unsung because it is the custom to sing only to the spectacular. Since the director never appears on the screen he is never spectacular. LAUDETTE COLBERT and Clark Gable. How quickly the words “It Happened One Night” follow the men- tal flash of their names. Again, both were well-known. However, it had been | a long time since Clark Gable had had a ; truly great picture. The very fact he was loaned to Columbia for this produc- | tion showed Clark’s prestige was not at the top. Studios seldom loan top-notchers. | He told me, “I was slipping. I knew I was slipping. To tell the truth, I didn’t | want to make that picture. I didn’t like the idea of being loaned. I told Frank ‘ | Capra so. I had to apologize afterwards. I couldn’t and wouldn’t have done any- thing else. I know what Frank did for MODERN SCREEN MIRIAM HOPKINS Starring in Pioneer’s SS BoE CRG Nee SEPA: Paz Max Factor’s Make-Up Used Exclusively Reveals Her Beauty Ook * ah Perel JANET ROSS Tells Her Own Story About Color Harmony Make-Up “MAX FACTOR’S POWDER brought out unexpected beauty in my face through the magic of its color harmony shades. I find it clings for hours, and makes my skin appear satin-smooth even in a close-up. “MAX FACTOR’S ROUGE is creamy- smooth, and blends so perfectly that the lovely tones appear to be my own coloring. It keeps its true color in any light because the color harmony shades are light-tested. “MAX FACTOR’S SUPER-INDELIBLE LIPSTICK is moisture-proof, so I apply it to the inner as well as the outer surface of the lips giving them an even, harmon- ized color that is really lasting.” an and handling. Also send me m e oe NAME es eh @ Illustrated Instruction book, “Zhe New Art of Society Make-Up”... F enclose ten cents for postage | Very Light-—O _ BLONDE Color Harmony Make-Up Chart and 48-page | Faic__—_——O Light--O Dark--O Eb, Creamy_____O BROWNETTE 24-10-98 | Medium___O Light--O Dark. Pvccomen Fyeauliful \ IRIAM HOPKINS and Janet Ross met in Hollywood for the first time since their school days together. Miriam Hopkins was lovelier than ever, poised, charming. Janet was dull-looking, self- conscious, awkward. “Please tell me,” asked Janet, “is there anything an average girl like me can do to be more attractive?” Of course there was! The first step to beauty was to obtain expert advice, so Miriam Hopkins took Janet to Max Factor...Hollywood genius of make-up. “Color harmony make-up will reveal the beauty in your face just as it does with screen stars,” Max Factor told Janet. “ You shall see what powder, rouge and lipstick in your color harmony shade will do.” With the instinct of a true artist, Max Factor ap- plied the colors that would bring out, in the dull little face before him, the priceless thing called beauty. Rachelle powder to enliven the skin and give it satin-smoothness, Blondeen rouge to give alluring lifelike color to the cheeks, Vermilion lip- stick to accent the youthful tone of the lips... the living portrait was finished...and another woman experienced the joy of seeing for the first time, beauty in her own face! Would you like to see what an amazing change color harmony make-up will bring about in your face? If you are a blonde, brunette, brownette or redhead, there is a color harmony make-up that will make you beautiful... Max Factor’s Powder, one dol- lar; Max Factor’s Rouge, fifty cents; Max Factor’s Sup- er-Indelible Lipstick, one dollar. At leading stores. Bl od SOCIETY MAKE-UP—Face Powder, Rouge, Lipstick m Color Harmony 7S 8LOSLOO SOLO LHHLHHOHSHOHHOHOHHO OF OCOHHOOOOHHGHOGHOHOHOOOGOOSOHOVODO9OS : Mail for POWDER, ROUGE AND LIPSTICK IN YOUR COLOR HARMONY @ MAX FACTOR, Max Factor’s Make-Up Studio, Hollywood: © Send Purse-Size Box of Powder and Rouge Sampler in my color harmony shade; olalzol LipatrceaCsloni Sampler Wfaurdahadesyal¢ COMPLEXIONS EYES HAIR Ruddy.____O BRUNETTE Light Dark_-O REDHEAD Light. Dark__D If Hair is Gray, check i Pal ie eS BN Ze pe above and here_O SPHHSHHSAHHVOHDSHSHHOHSHSHAHSHAHHESHHSHADHHSHHOHHAAHHOHSSHHHHHHHHFASHSSSEHASESO® Oo SKIN. Dry O STATE ——_____ Lily Normal 0 SOSH ELOOOOSOOSOD OOS 79

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ALL COLORS EASY OPENER Ps se 10¢ Griffin Manufacturing Co., Brooklyn, N. Y. \ FREE LESSON Home Art Craft with simple ‘‘3-step’’ method and you earn as you learn. Everything furnished, including supply of Novelties for you to decorate, and Homecrafters’ Outfit. NO CANVASSING Just sit at home and make up to $50 a week spare time or full. Write today ; for big illustrated book and FIRST LESSON FREE. Abso- lutely not one cent to pay. Lesson. is free. Openings in \ every locality. Write quick. FIRESIDE INDUSTRIES AVE real dollars. See the lovely new Edna May Dresses priced as low as $1. See the widely celebrated line of Larkin Products and the hundreds of valuable Premiums. _ Read about the Larkin Cozy-Home Club with its 50¢ payments that fit the housekeeping budget. Invest one cent wisely. A postcard brings you your free copy of the new Larkin Catalog. ad 6648S St., Letvkttt Co luc BUOFFALO-N. Y. 80 MODERN SCREEN me in that picture. I’ll never forget.” Claudette Colbert told me, with her traditional, frank manner, “An actress must have a great picture to become known as a great actress. I had ‘Cleopatra’ and ‘It Happened One Night’ in the same year. That was more luck than in all the rest of the years added together.” Two people who realize what they owe to the quiet-mannered, unassuming little Italian who once worked in the technical department at Columbia. Frank Capra’s one rule for a picture is—make it simple. Capra wanted Clark Gable for “Broad- way Bill” and Clark wanted to play it so badly he offered to do it for nothing. “Tt would be worth it to be with Capra again,’ he said. And I think the only time Clark Gable has been jealous in his le was when Warner Baxter played the role. Victor Schertzinger knows music. Very few men or women in Hollywood have the musical training or knowledge of this director. He studied in Brussels, was a concert. violinist with Sembrich, Sousa, Prior, Calve and appeared by himself for several years upon the musical stages of Europe. He was the first man to write a musical score for a motion picture— “Civilization.” When producer Harry Cohn had the shrewd foresight to place him behind the microphone on “One Night of Love,” he made himself several million dollars, and turned Grace Moore from. a woman, who had had no success in two pictures, to one of picturedom’s greatest sensations. We can’t avoid facts! Grace had made two other musical pictures and the world wasn't rushing to name perfumes, soaps, breads, etc., for her. But then a musical genius, who also knew pictures took her in hand, even to writing the script! “Little Women,” “Bill of Divorcement” and Katharine Hepburn! When you think of them you should think first of the name —George Cukor. Supposing Hepburn had first fallen into the hands of a director who did not understand her red-pencil type. (I always think of a red pencil when thinking of Katy because nothing stands out more than a red pencil on white paper.) Cukor not only knows how to direct but he knows how to handle a red-pencil. He told me of a scene which he calls typical. HE day when she was to carry Jean Parker down the stairs in “Little Wo- men,’ she had not been too well. Her father, a physician to whom she had just paid a visit in the East, had instructed her not to carry anything heavy. When director Cukor told her to carry Jean Parker, she answered, “My daddy told me not to carry anything heavy!” “Then don’t do it!” Cukor snapped. “Let me try!” Hepburn retorted. Cukor restrained his smile. He had what he wanted. By telling Hepburn to do as she pleased, she had done as he wanted. And the day after this picture was finished, Katy told me, “ ‘Little Women’ is a great picture because George Cukor is great. I want him to direct my other pictures. I do not want anyone else to direct me. A picture is no yreater than its director!” Katharine Hepburn knew the truth. She appreciated what Cukor had done for her. This situation between these two brings out another striking proof of the necessity of a director understanding and valuing correctly his star. Hepburn is ereater when Cukor directs her because he has the knack of inspiring her to do her best dramatic work. I will tell you a secret. Many directors (are afraid of her. But Cukor is not afraid. The set on which they work is always barred even to within-the-studio- visitors. Cukor says, “That is because even studio people might misunderstand.” Misunderstand the battles. Katy yelling and using explosive but illustrative language. Cukor telling her to, “keep still and do as you please.” Here is a man who understands the woman who gives her best when she is exploding. Few men understand explosive women. A man who does not should never direct Katharine Hepburn, Constance Bennett, Jean Arthur, Nancy Carroll or Lupe Velez. The world miscalls these folk “temperamental.” George Cukor denies this. “They are as God made them and will do their best work only as He in- tended.” HAE you seen Freddie March equal his performance in ‘Les Miser- ables?” He has given us some splendid performances before but I think we are safe in saying this is his first “in- spired” one. He was playing in compe- tition with one of the greatest of actors, Charles Laughton. Fredric March had to be inspired. And what inspiration is better than competition? Director Rich- ard Boleslawski is one of the shrewdest readers of character in Hollywood. Just how much he did to make these two great actors realize the greatness of each other is not written on any studio records! Janet Gaynor, Charlie Farrell and di- rector Frank Borzage! Here is another secret I believe to be untold. Frank Borzage believes romance filters through a screen and out into the bosoms of an audience more poignantly when his lead- ing man and leading lady feel real emo- tion for one another. Only those who worked with Janet and Charlie Farrell know the intense encouragement Director Frank gave to these newcomers in “Seventh Heaven” when they began to look romantically at one another. He would invite the two of them to dine with him to “talk over the picture!” Incidentally, when he directed Loretta Young and Spencer Tracy in the picture in which they met (and I wish the world would remember what Hollywood knows but seldom says—Spencer Tracy and his wife had separated before Loretta and Spencer met) you would see Director Frank and his two stars dining frequently together to “talk over the story.” Of course, this story would not be complete without a mention of Marlene Dietrich and Josef Von Sternberg. And this is the final proof. Marlene Dietrich is more beautiful, more charming, more alluring today than when she arrived in this country—a bashful, chubby, mysti- fied German Frau. Her legs are more beautiful now than when they were first publicized. She refused to be directed by anyone else because she felt Von Stern- berg to be the greatest director in pic- tures. Her loyalty was a great and de- served compliment. I caught Von Sternberg in an off-stage moment when they had completed a pro- duction which the critics had not con- sidered as great as some former ones made by these two. It happens that Von Sternberg has always proved his great- ness by his honesty. There is no “hum- bug” about him. He is both a great di- rector and a great man. He said, “There are just so many great stories in any one man. They come or they ‘don’t come. I need a vacation.” I suppose there are always exceptions— yet when we delve deeply enough we usually discover exceptions do prove the rule. I was chatting with Edward Arnold during a lull in the making of “Diamond Jim.” He said, “George Arliss is a great director.” Remember they worked to-

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gether in “Cardinal Richlieu.” Someone who had worked with Mae West might have said the same of her. These two are the powers behind their own thrones. ... They do as much of the directing as the director. So even the exception proves—no star is greater than the man or woman who directs him! Ginger and Fred Teach You ‘The Piccolino”’ (Continued from page 33) as described above, four times only this time doing a complete box. (5-6) The Piccolino Whirl—repeat the step, dip, kick combination, described above, twice. The girl then stands still while the man takes three steps around her, starting with his right foot. The man then stands still, as the girl steps around him. Repeat three times, alter- nating man and girl. On the man’s last turn he catches the girl in ballroom posi- tion and they both do a complete turn. (7) Man takes girl’s right hand in his. Partners do small steps, starting with the right foot, to counts of one-two, one-two- three. (8-9-10) The Piccolino Spin—Partners come together in ballroom position, step- ping with left foot and kicking high in back with right. Do this four times moy- ing in small circle and putting plenty of zip into it. Partners stop facing each other for one count. (11-12) The finale—do the Piccolino Step and finish with the Piccolino Whirl in which man and girl alternately step around each other and end, then do turn. | 2g ; Jean Harlow and Marlene MODERN SCREEN ‘THE AVERAGE CHILD NEEDS ONE QUART OF MILK PER DAY fet normal growth and cevelomenl” H. C. SHERMAN, Ph.D., Sc. D. “CHEMISTRY OF FOOD AND NUTRITION” courtesy of MacMillan Company ~ ZEN THIS DELICIOUS FOOD-DRINK PROVIDES alodl Lwice THE FOOD-ENERGY OF MILK ALONE IDs dieticians, pediatricians agree that growing children need a quart of milk a day. For milk gives the most valu- able nourishment for strong bones, sound teeth, straight legs and active muscles. Unfortunately, many children do not re- ceive sufficient milk as part of their daily diet—either because they dislike milk—or because a quart a day, every day, soon be- comes monotonous. Doubly valuable, therefore, to growing children is Cocomalt. For not only does Cocomalt make milk delicious, but made as directed, it almost DOUBLES the food- energy value of every glass or cup of milk. Add 5 vital food essentials Cocomalt is rich in five important food essentials. It supplies extra carbohydrates which provide food-energy needed for pep and endurance. It supplies extra specially valuable proteins that help replace used or wasted muscle tissue—for building solid flesh and muscle. It supplies extra food- calcium, food-phosphorus and Sunshine Vitamin D for the formation of strong bones, sound teeth. Doctors advise busy adults and convales- cents to drink Cocomalt in milk every day because it is easily digested, quickly assimi- lated and because of its high nutritional value. A hot, non-stimulating drink, helps to induce restful sleep. Cocomalt taken hot at bedtime helps you to sleep soundly. Cocomalt is sold at grocery, drug and de- partment stores in 2-lb. and 1-lb. air-tight cans. Also in the economical 5-lb. hospital size. In powder form only, easy to mix with milk—delicious HOT or COLD. Special Trial Offer: For a trial-size can of Cocomalt, send name and address (with 10c to cover cost of packing and mailing) to R.B. Davis Co., Dept. MA1o,Hoboken, N.-J. comalt Prepared as directed, adds 70% more food-energy to milk Cocomalt is accepted by the Committee on Foods of the American Medical Association. Prepared by an exclusive process under scientific control, Cocomalt is composed of sucrose, skim milk, selected cocoa, barleymalt extract, flavoring and added Sunshine Vitamin D. (Irradiated ergosterol. ) 81 Dietrich pose for Scotty on the Trocadero steps. ( mepicat j Sy

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Address: (Fig, LITTLE BLUE BOOK CO., Catalogue Dept., Desk 367, GIRARD, KANSAS beautifully speedily happily Here’s that modern way to hot S pec ial starch without mixing, boiling TRIAL and bother as with lump starch. Makes starching easy. Makes ironing easy. Restores elastic: ity and that soft charm of new- ness. No sticking. No scorch- ing. Your iron fairly glides. A wonderful invention. This new test convinces. See for yourself! THANK YOU--—-—--===-; , LHE HUBINGER CO., No.977, Keokuk, Ia. | | Send me your trial offer check good for 5c on the pur- chase of alarge10c package of Quick Elastic Starch, and | your free folder, “That Wonderful Way to Hot Starch.” | HOT STARCH IN 30 SECONDS MODERN SCREEN It Isn't in the Dictionary (Continued from page 45) down off it again. She let Jack Gilbert chase her through a forest—that was in “La Boheme’”—but she never let him catch her. That was the secret. The men never caught the spiritual type. That’s why the next type—Clara Bow, the flapper, the “it” girl, was such a welcome relief. UDDENLY, when men were all ex- hausted and panting from chasing the hundreds of Lillian Gishes they couldn’t catch (and what’s the use of catching a girl who appeals to your Better Nature anyhow?), Elinor Glyn appeared. She coined a new word. The word was “it”— and did she start something! Clara Bow—and all her thousands of imitators—had “‘it.’ Great big scissors were brought out and the fluttering, ankle- length dimities were chopped off at the knees. Little bobbing curls were whacked off with the same scissors and you had a wind-blown bob. The reformers “tchted” “tchted” “tchted” at the flappers and “it” girls (there had been not a single ‘“‘tcht” for Gish) but the men loved ’em. (The reformers loved ’em, too, if the truth were known, but were in the habit of “tcht- ing.’’) It was easy to be an “it” girl. You just ran wild all over the place, were just a little madcap, free as the wind. You had to have a lot of pep and vigor to be an “it” girl. It was just go, go, go from morning until night. Anything for a laugh—jump in the pool with your clothes on, ride a bucking bronco bare- back, stand on your head if you felt like it. JI suppose it was sheer exhaustion that made us turn to glamor. We all turned to glamor when the Chief dumped Gar- bo at the Santa Fe station in Los Angeles. Nobody knew we would — least of all the Swedish girl who was dumped. ARBO was piwed, Dine California climate didn’t agree with her. She didn’t slith- er. She didn’t flutter. She didn’t bounce. She just sat with her eyes half shut be- cause the sun hurt her eyes. And that, gentle reader, was how glamor was born. Imitating Clara Bow had worn us all out. Gosh, but it was nice to sit or re- cline and exude glamor. In the diction- ary, incidentally, the word is defined like this, “Glamor—magic or enchantment; magic influence; spell; witchery; hence, alluring and often illusory charm.” Now you never saw a very busy or active witch, did you? The mystic ones who deal in spells invariably just sit and stir a pot. So the glamor girls just sat. They didn’t talk much—that might break the spell (and sometimes did)—they didn’t do much. They just looked pale and pretty and the men were entranced because they, too, were tired chasing the “it” girls. And for awhile they didn’t catch on that this new behavior on the part of their women folk was glamor. They thought, “Now there’s a nice dumb girl who won't give me any trouble.” It was when the attitude got tagged with a word that the men caught on. And that’s why the style has now changed. They’re on to our tricks, sisters. They’ve tumbled that it’s just good old sex appeal after all. And then along came Myrna Loy. Of course, Mae West had arrived and done her bit in a good cause. But she didn’t fool anybody. You knew right away that Mae had sex appeal. And if the younger boys didn’t believe it—they just asked Dad. And he knew. Mae didn’t create a vogue. Mae didn’t induce women to go in for hips and tiny waists. The girls looked at her and said “How quaint” and went on being glamorous. But little Myrna has a new slant. You can’t classify her—and that’s why she’s so deadly. She certainly doesn’t vamp any- body. Dear me no! Not by the farthest stretch of the imagination is she a Gish. And certainly you wouldn’t call her any- thing so old-fashioned as an “it” girl. Glamor? No, no, she’s much too down to earth for that. Watch her screen technique. She’s a good pal, quick on the uptake, cute (but never coy), attractive, regular. ND if you get in on that style while it is still young, before men catch on that it’s just another link in the sex appeal chain—baby, you'll go far. Myrna and her technique—they’re both as modern as Vitamin E. Smart, so- phisticated, chic and palsy-walsy. Watch her, copy her before someone comes along with something else and you're too late. And maybe it’s bet- ter that we haven't a word for Myrna’s type yet. Words spoil the illusion. And words (and this is important, girl friends) tip men off that it’s an act—the same old act that wowed Adam in the Garden of Eden. Be- cause no matter how you say it it’s the same old thing—just dressed up in a smart frock. polite or glamor, allure or charm. Put ’em all together and _ they spell sex. Oh, by the way, Myrna Loy isn’t the only cinema gal with the new technique. No, siree, there’s someone right on her own Metro-Goldwyn-Mayer lot who has the now formula down pat. And that girl is none other than charming Rosalind Russell. Everyone is going for her in a big way because she belongs to this new school of smartness. She’s snappy, alert, quick on the trigger and a real pal to the boy friend. Very much like Myrna—in fact there’s a facial resemblance between these two that is positively astounding. You've noticed it, no doubt. Men are falling hard for this 1935 ver- sion companion-sweetheart. So get busy and see 1f you can’t acquire this new “‘it.” These two cinema charmers are grand pat- terns to follow. It mightn’t be a bad idea to take a few tips from them. Maybe we should call what Myrna does —Loytering. Oh well, let it go. I can’t be shot for trying!

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NELSON EDDY’'S TRUE LIFE STORY (Continued from page 29) mother taught him the fundamentals of music. She read scores with him. And often, when she was practising a solo for her church, the little golden-haired boy would like it and beg her to teach it to him. She would and so, on a given hour of a Sunday morning, the mother and son would be singing the same solo, both golden-haired, both young. UT at no time did the boy dream or plan to become a professional singer. Nor did his mother, music-conscious as she was, seem to be aware that her son’s slender throat lodged a miracle of sound. He wanted, as a matter of fact, to be- come a civil engineer. “I didn’t,’ he told me, “know what in blazes a civil engineer was but it sounded good. Sort of elegant and important. It’s just as well for me that I never got around to it because I can’t add six and four and make them come out ten, not without a struggle.” But small Nelson’s boyhood was not all dedicated to music. He had a typical, wholesome devout New England child- hood. His paternal great-grandmother owned a farm at Acushet, Massachusetts, and Nelson spent many an_ enchanted summer there. God-fearing people, his father’s people, and they saw to it that he revered the stern, uncompromising God of his father. Methodist by family inheritance, young Nelson, in the course of his travels from one New England town to another, at- tended the Baptist, Congregational, Uni- versalist, Episcopal and Presbyterian Churches. Thus he learned early that sect is not important but that worship is. There never was any one established home in Nelson’s boyhood. His father, a machinist and an inventor of farm tools and naval devices, moved about from city to city, almost from season to season. So that the boy attended the Dartmouth Street Primary School in New Bedford, Mass., the Rhode Island Normal School in Providence, the Edgewood Grammar School in the.same city and the Grove Street Grammar School in Pawtucket, R. I., from which he graduated. A traveling salesman kind of life— but in every town his parents took a house, never an apartment nor a hotel suite. And his mother, the genius of home-making in her heart, made of each transient abode, a real home. ELSON said to me, “I couldn’t give a life story without talking about my grandparents, my father’s mother and father. For they are more important in my life than [ am! Mr. and Mrs. Isaac M. Eddy, their neighbors call them. But they were and they are, Gramma and Grampa to me. Their home in Pawtucket was my real home. I spent most of my week-ends there and it was there, with them, that I learned most of the lessons that have stood me in good stead all of my life. I learned the value of gentle- ness and kindliness—the beauty of simple living. The robust virtues of character and heart. My grandfather it was who taught me to play the drum and the fife. My grandmother taught me a reverence MODERN SCREEN Behind a screen of matter-of-fact efficiency, Julia Scott tried to conceal her love for the man who was her boss. But that didn’t work. She had to leave. When she told him, he made her a proposal—a proposal which was very different from one that was due a beautiful girl. What was the outcome of this strange bargain? You will be surprised to learn what happened to Julia in “She Married Her Boss,” the story based on the Columbia Picture siarring Claudette Colbert. Other complete stories and features in the October issue include “O’Shaugh- nessy’s Boy” starring Wally Beery . . . “The Dark Angel’’ with Merle Oberon and Fredric March . . . “The Return of Peter Grimm” with Lionel Barrymore . . . “The Irish in Us” with James Cagney . . . “Two for Tonight” with Bing Crosby . . . “Harmony Lane” with Douglass Montgomery . ‘ “The Last Outpost” with Cary Grant . . . “The Clairvoyant.’ These and many other special features in the October issue, now on sale. The Love Story Magazine of the Screen OCTOBER ISSUE NOW ON SALE 83

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Avoid Dirt—This large nipple is safest, as it is easily in- verted and cleaned. HYGEIA _The Safe Nursing Bottle N Remembrance Persian Night Hollywood Black Velvet All 4 exquisitely packaged in unique Redwood chest. Send only $1.00, check, stamps or currency. (Regular value $2.00). An {. ideal gift. 4 PAUL RIEGER 1 (Est. in 1872) ) 114 Davis Street San Francisco | know that it was love I felt. | in my Redvoad Treasure Chest conteraine | of these alluring $2.00 to $5.00an ounce perfumes. Chest 6"x3", Made from Giant Redwood trees of California. 84 MODERN SCREEN for old things hallowed service. “T spent dreamy hours among the old knick-knacks and daguerreotypes of that sweet-smelling, sweet-living house. I played with the toys my grandfather had played with. I ate the cookies my grandmother made for me and no food in all the world, neither on the Continent nor here, has ever tasted so good. Their sweetness and kindliness toward me was one of the joys of my childhood and their life-long loyalty and devotion to me is one of the prides of my manhood. They hang onto the radio every time I sing. They play, over and over again, every record I have ever made. And, whenever I record, I make records off the air and send them to them. Their favorites of my songs are the ‘Evening Star’ from Tannhauser and ‘Going Home.’ I think they will be ‘going home’ very soon now—but they cannot make a home in heaven that will be any more heaven than the home they made for a little boy and a grown man, here on earth.” Grammar school was the end of Nel- son’s formal education. There was to be no high school, no college for him. At the age of fourteen he left the classroom forever and began, then, the self-educa- tion which—but of that more later on. “T was,’ the golden baritone told me, “a very dull child. I was good. I was obedient. I was a bit timid—I didn’t run with gangs. If a big fellow wanted to take a poke at me, I’d let him take it rather than start a fight. My deport- ment in school was always and con- sistently ‘D’—not because I was personally mischievous but because I always was minding other fellows’ business, poking my nose in where it didn’t belong. Meddling. “T liked little girls. More especially little girls with curls. And I manifested my liking by pulling their curls, teasing them, sneering loudly, ‘Aw, an old girl!” He first fell in love when he was seven and in the third grade. He said, reminiscently, “That was my first love affair. Doubtless the recipient of my rather murderous attentions didn’t know then and doesn’t realize to this day—if she remembers me at all—that it was love that was animating me. How should she? But it really was. I was seven, the young lady must have been all of six. Her name was Doris—you see, I do remember —and she had very pullable, golden curls, and sweet blue eyes. I teased her daily, hourly, all of the time. I threw spit- balls at her. I dipped her curls in ink- wells. I climaxed my attentions one day by chasing her home from school, throw- ing stones at her as she ran. Weird and wonderful are the ways of small boys, for all the time I was thinking how pretty she was, how much I loved her. At last, one particularly well-aimed stone cut her across the eye, a really bad gash. I followed her into her house and, above the din of her justifiable wails, unctuously asked her mother if I might be allowed to put butter on the bruise. My mother, I said angelically, had always told me that butter was very good. And _ her mother, touched by so much manly solici- tude on my part, allowed me to minister to the hurt I had inflicted. She never knew, until later, that I was the culprit, the desperado of love. That must have been a shock to her illusions! URIOUS. Perhaps in some obscure way I fancied myself as Dan Cupid pursuing the victim of my affection with bow and arrow. I don’t know, I only Love was mind. I was moony regularly about her. When I graduated from school, some years later, she was in the audi- by long love and torium. I saw her there and planned to speak to her after the commencement ex- ercises. But when I went to look for her she had gone and I’ve never seen her again. Doris—where, I wonder, is she? “At the age of thirteen I had my next emotional disturbance. I was spending part of that summer at Sakonnet Point, R. I. There was a little casino there where the summer folk danced two or three times a week. I got the job of ticket collector and had permission to dance when duty permitted. I always gravitated immediately to the acknowl- edged belle of the place, the daughter of the local constable. I had overcome con- siderably my third-grade shyness or I could never have asked her to dance with me, since I couldn’t dance! “She was very kind and patient with me, teaching me how to place my feet and go one-two, one-two so that I could, at least, circle ineptly about the ball-room. And the circle, that ancient and tradi- tional mystic sign, caught us in the ring of love. “We did all of the ’teenish things. We carved our initials on the trunks of trees, heart-enclosed. We _ rode _ bicycles to- gether. We took long walks, saying noth- ing and feeling all of the inexplicable keen agony of love at thirteen. Love which has no tongue, no voice, only a heart! “Tt all came to what seemed to me a tragic and frustrated end when, seated cozily behind a rock one day—getting up courage to kiss her cool cheek—her father, the constable, loomed up behind us and in the best movie-constable blood- and-thunder voice bade me begone and his young daughter to run home to Maw and he’d tend to her later! “And so, we didn’t kiss. We never kissed at all, my sweetheart of thirteen summers, and “Later, much later, came a love which dyed my life with all the colors of the spectrum, from sombre purple which is for pain to the reds and ambers of joy. But that is another, a much later part of my story.” E must diverge now to the day of young Nelson’s graduation from grammar school—his last day in any class- room. For at this time of his life his mother and father decided to divorce and Nelson, instinctively and naturally, went with his mother. He was fourteen when his par- ents dissolved their marriage. He says of them now. “Two perfectly swell people who just couldn’t get along, temperamen- tally.” Two wise people, too, who believed that a child should not be torn between two parents. A mother whose great love claimed her son. A father who acknowl- edged that love and gave it way. And a little fourteen-year-old lad who had, now, to make his own way in the world. Mother and son departed from Philadel- phia and the Mott Iron Works owned by Nelson’s maternal uncle. There was the promise of a job as telephone operator for the boy. The promise was kept. Nelson plugged the switchboard and, a little later, was made shipping clerk which, he said, meant “underdog.” “I was pretty young,” said Nelson, “and I hadn’t the ghost of an idea as yet what my role in life was to be. But one thing I did know—that it was not to be that of underdog.” And so, it is this same quality which, today, makes him take his scripts home, read the scene into the virgin record of a phonograph, then “act” with the records, thus learning his lines and perfecting all of the nuances at incredible speed—this

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same quality stood him in good stead at the iron works. For he made it his busi- ness to know the name, the history, the utilitarian value of every bolt and screw, every gadget and device manufactured in his uncle’s plant. He says, “I’m always interested in anything I’m doing—I have a consuming desire to know all there is to know about it.” He realized, too, that he’d had an in- complete education and that he would, from this time forth, have to be his own teacher, pupil and examiner. He said, “I started to study then and I’ve been studying ever since. Only when you begin to dig for yourself do you realize how limitless is knowledge and how small a chance you have of scraping so much as the surface.” He took all kinds of courses, this in- dustrious youngster. He began with the Alexander Hamilton Business Course, by correspondence. Too poor to buy the text-books offered by the course he dug up a second-hand book store that car- ried them and bought them there. He also, at that time or a little later, bought “The Wealth of Nations,” a famous set of books on economics by Adam Smith. He read omniverously. He read as he walked to and from business. He read, a book propped up in front of him, dur- ing his lunch hour. He read at home, in the apartment he and his mother shared, half the nights through. He read books that would give him a background, familiarize him with the world he lived in, in all of its aspects. H. G. Wells’ “Outline of History,” Plutarch for ancient history, compendiums of science, art, biology, geology, psychology—sets of books that would, he said, “give me the whole picture.” ND strangely and inexplicably, even then he did not know of the golden voice he possessed. At the Mott Iron Works he was pro- moted from shipping clerk to follow-up clerk, a clerical job. He was earning twelve dollars a week and knew that that wage was probably tops for him, at his age. His mother was working, too, at the University of Pennsylvania. They were just barely making ends meet but they played it as a game, joyously, hand in hand. “And then,’ said Nelson, “one sweet day I suddenly decided that I hated it— all of it. And I up and said, ‘I’m quit- ting!’ I knew that I was taking a des- perate step. But I knew, too, that mother would say ‘All right, son, it’s for you to decide” And she did. She always did. Which is why I am here today. “But that day showed no glimmer of the future. I just knew that I had jolly well got to get another job and that with- out delay. And so, a rather shabby lad of some fifteen summers, I began the trek down the whole length of Chestnut Street. I went into every shop, cellar, loft, store and building from 16th Street to 7th. I didn’t miss one. And finally landed at the corner of 7th and Chestnut. It was the office of that famous daily, the Philadel- phia Press. 1 got a job as night clerk, night cashier, night ad taker. I worked from five P.M. to midnight and eight dollars a week was my remuneration. And that four dollars deficit between the eight and the twelve irked my soul as nothing else has ever done. I’ve never been able to endure the feeling of going back, of losing ground. There were some ad- vantages, of course, in that I had more time for reading and also I was taking, at the time, a correspondence course in art. Ill wager that I’ve been the great- est correspondence-school-taker in the country! And in my spare time (spare time!) I tried my hand at writing obits at half-space rates. MODERN SCREEN “SUB ONLY A PENETRATING FACE CREAM WILL REACH THAT UNDER-SURFACE DIRT! Those pesky Black- By Med Ether heads and Whiteheads that keep popping out in your skin—they have their roots in a bed of under-surface dirt. That underneath dirt is also the cause of other heart- breaking blemishes, such as: Enlarged Pores, Dry and Scaly Skin, Muddy and Sallow Skin. There is only one way to get rid of these skin troubles and that is to cleanse your skin. A Face Cream that Penetrates It takes a penetrating face cream to reach that hidden “second layer” of dirt; a face cream that getsright down into the poresand cleans them out. Lady Esther Face Cream is defi- nitely a penetrating face cream. It is a reaching and searching face cream. It does not just lie on the surface. It works its way into the pores immediately. It pene- trates the pores, loosens and breaks up the waxy dirt and makes it easily removable. It Does 4 Things for the Benefit of Your Skin First, it cleanses the pores. Second, it lubricates the skin. Resup- Make This Test Pass your fingers over your whole face. Do you feel little bumps in your skin? Do you feel dry patches here and there? Little bumps or dry or scaly patches in your skin are a sure sign of “‘sub soil’’ or under-surface dirt. Fourth, it provides a smooth, non-sticky base for face powder. I want youtosee for yourself what Lady Esther Four-Purpose Face Cream will do for your skin. So I offer you a7-day supply free of charge. Write today for this 7-day supply and put it to the test on your skin. See for Yourself ! Note the dirt that this cream gets out of your skin the very first cleansing. Mark how your skin seems to get lighter incoloras you continue to use the cream. Note how clear and radiant your skin becomes and how soft and smooth. Even in three days’ time you will see such a difference in your skin as to amaze you. At My Expense ! With the free tube of cream I'll also send you all five shades of Lady Esther Face Powder. Thus, you can see whichis your most flat- tering shade and also how well the cream and powder go together to give you a lovely complexion. (You can paste this on a penny postcard.) (17) Lady Esther, 2010 Ridge Ave., Evanston, Ill. L plies it with a fine oil that overcomes dry- : Eeekes Recipe cee AAG Lay : ness and keeps the skin soft and flexible. ; Esther Face Powder. : Third, becauseitcleanses the poresthor- : ame : oughly, the pores open and close naturally 3 4gdress : and become normalin size, invisiblysmall. : ¢;,, Sine : © (If you live in Canada, write Lady Esther, Toronto, Ont.) & 85

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All Maybelline eye beau- ty aids may be had in purse sizes at all leading 10c stores. Accept only genuine Maybelline products to be assured of highest quality and absolute harmlessness. 86 will instantly transform your eyes into glowing Fesced and : Approveg™ | Good Housekeepi tr — a nad MODERN SCREEN “Tt was after a few such _ intensive months,” said Nelson, “that I conceived the idea of becoming a reporter. My obits read pretty slick, I thought. And I'd picked up a lot of reportorial knowl- edge by keeping my eyes and ears open and my mouth shut. And so, one bright courageous morning I advanced upon the City Editor and reminded him that he had once said to me, in an affable mood, ‘Tll make a reporter out of you one of these days, young feller.’ “But alas for my Puritan upbringing which had stressed truth-telling though the stake be the reward! When the C.E. asked me my age I said ‘Sixteen, Sir.’ And the answer was, ‘You have to be eighteen in order to be a reporter.’ ” It didn’t take Nelson longer than the walking distance to get down to the offices of the Evening Public Ledger and to the desk of that sheet’s City Editor. Where- upon the following pithy dialogue took place: Nelson: “I want to be a reporter.” C.E.: “How old are you?” Nelson: “Eighteen, sir?’ CE: : “What do you know about re- porting?” Nelson: (lapsing haplessly into truth again) “Not a damn thing, sir!” CEs; Youre hired:? ANE a full-fledged reporter he became. And then, just as things were going full tilt, came one of the newspaper’s periodic shake-ups and, young Nelson was shaken off the Ledger and onto the Eve- ning Bulletin where he did every type of reporting from murders, which he some- times had to see, to major league baseball of which he had never seen a single game. “There wasn’t much of life I didn’t. get to know first hand,” remembers Nelson, “the seamy side and the silken side. And all the while I was studying advertising. When I left the paper I went into adver- tising agency work. And got to be a pretty expert copy writer and make-up man. “It was about this time that I began to amuse myself by singing with phono- graph records. I’d buy the records, learn the songs and sing ’em. I also bought a guitar and accompanied myself. I learned opera arias by phonograph and always sang them when mother and I had company evenings, using the records for accompaniments and drowning out, I am afraid, the original singers thereon. “Tt never dawned upon me, however, with one of those dramatic sudden sun- bursts of revelation that I had a ‘voice’ which I should give to the world. It did occur to me that here, in my singing, in the pleasure I got from it, might be another avenue of work, another ‘job.’” Everyone in Philadelphia, in the whole world of music for that matter, knew of David Bispham, the great American bari- tone of his time. And it was while he was still copy-writing and making-up that Nelson walked himself into the atelier of David Bispham one fine morning and said, “You teach, sir? Will you teach me?” David Bispham said, “Sing.” And Nel- son, very young, totally untrained, stood there and sang an Italian aria memorized from one of his records. Did the fates stand still and listen? Did the goddess of Music murmur and stir? The next day a message came for Nel- son. It was from David Bispham. It said— (To be concluded next month) STAR WORRIER (Continued from page 35) doing in the picture. On occasion they have admitted as much. It was during the filming of “Of Human Bondage,” that Leslie Howard, at the end of the third day’s work on the picture, walked off the set mopping his brow. “My God!” he exclaimed. “The woman is walking away with the picture! She’s tremendous !” When the picture was finished, critics and audiences agreed with Mr. Howard that if Bette hadn’t stolen the picture she had, at least, done all right for herself, and her work in it nearly won her this year’s Academy award. Although she failed to receive this award, Bette was recently honored by the Amer- ican Institute of Cinematography, which is the organization of motion picture cameramen. Once a year they pay tribute to those in the motion picture business whose work is outstanding enough to war- rant it and this year they honored Bette Davis and Helen Hayes. This was a sincere tribute from a non-political group of men whose opinion and knowledge of acting certainly is not to be taken lightly. Bette appreciates these tributes sincerely. What girl wouldn’t? But she refuses to let her head be turned, and goes serenely on her way, doing her best in every pic- ture. And her best is a little too good for the mental comfort of the other peo- ple who work in her pictures. She has come to be known as Hollywood’s star worrier. Being aware of all this, it was the more amazing to me to hear her make that startling statement, as she did, not in the heat of argument or thoughtlessly, but calmly, almost disinterestedly. I was curious to know the reason for it. “In the first place,” she said, “I’m not a picture stealer because there is no such thing as stealing a picture. The person who has the part steals a picture. Some- times a bit will stand out because it is showy and gives the actor an opportunity to do something with it. That is why a person playing a minor role will so often be pointed out as having stolen a picture.” ND then she said she thought being a star was horrible. “But don’t misunderstand me,” she added hastily. “I wouldn’t want not to be a star. What I mean is that the star Is continually on a spot. Everyone is wait- ing for some other member of the cast to ‘steal’ the picture from the star. They take a fiendish delight in pointing out some minor player and declaring that he or she has stolen the pic.ure ‘right from under the star’s nose.’ “The star, who carries the weight of the picture on her shoulders has, natur- ally, the longest part in it. She cannot hope to have a part that stands out every minute. She is on the screen so much that people get tired of looking at her and say, ‘Well, for heaven’s sake! Is she going to be on all night?’ “Consequently, when some other actor comes on for a brief flash with one smart line to speak, it is a refreshing diversion in the picture and someone is sure to say

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he stole the picture. “A star has to make each picture better than the last one, and that is an impos- sibility. You can’t expect even to make every picture a good one. If you have two pretty good pictures out of three you are doing well. That can’t be helped when a star is under contract. The studio has to make a certain number of pic- tures and Warners isn’t a woman’s studio. The good pictures made there are all men’s pictures. When I get a good part I regard it as a bit of luck.” Good philosophy for a girl Bette’s age, isn’t it? Bette takes life philosophically, but not too much so. After her success in “Of Human Bondage,” a natural hopeful- ness led her admirers to believe that eventu- ally she would be given other good roles. Bette, however, is not one to sit idly by on the chance that this hope, which she shared, might turn into a movement all by itself. On the contrary, she con- stantly is on the lookout for stories that would make good picture material for her. She reads books and manuscripts by the dozen in a search for roles she feels she could do well, and when mediocre roles are given her, she makes the best of them. And mediocre roles, in Bette’s ex- pert hands, invariably attain a respecta- bility not even hoped for by their brain parents. Bette refuses to take herself seriously. “How could I?” she laughs, and _ re- minds you of her arrival in Hollywood. The press agent, who met her train, re- turned to the studio and reported that she had not arrived. “He said he couldn’t find me because I looked so unlike an actress,” Bette laughed. “Of course I had no make-up on. In Boston, where I come from, people just don’t wear make-up on the street. “That was one of the first lessons I had to learn in Hollywood—to make people notice me,” she continued. “I had one friend at the studio who told me over and over: ‘Make them notice you, Bette. Don’t be a little brown wren.” She had to unlearn everything she had been taught was right in social life. She had to learn to project herself and her personality. She had to appear physically flamboyant in order to make her em- ployers suspect she would have glamor on the screen. They told her she had pop eyes, that her mouth drooped, that her figure was bad. Obviously she could do nothing about these defects, if she had them and there is some difference of opinion on that point, so she did the next best thing. She learned to rise above them, to make her good points so important that any bad ones passed unnoticed. ETTE’S first year in Hollywood was a series of disappointments but she held her head high and, possessed of an indomitable will and amazing courage, kept on. No one suspected the depth of her hurt when her own studio failed to notice her and time after time gave roles that would have been suitable for her to other actresses. She was no star worrier in those days. She was a worried starlet. In those days she had lovely, long, very light hair that was her pride and joy, but she finally yielded to studio pressure and had it bobbed. And then, to quote her, she became “another Hollywood blonde.” Whether it was the bleached hair or the bob that did it will never be known, but something caused her to be noticed about that time. And once given an opportunity, the clear quality of her work won her the recognition she deserved. “Experts insist that hair this gold color photographs better,” she said with a wry face, “but I hate it. It embarrasses me when I go home to visit because in Bos- MODERN SCREEN She Serene Conf the Slt WOMAN ATURE being what it is, all women are not born ‘“‘free and equal.” A woman’s days are not all alike. There are difficult days when some women suffer too severely to conceal it. There didn’t used to be anything to do about it. It is estimated that eight million had to suffer month after month. Today, a million less. Because that many women have accepted the relief of Midol. Are you a martyr to regular pain? Must you favor yourself, and save your- self, certain days of every month? Midol might change all this. Might have you riding horseback. And even if it didn’t make you completely comfortable you would receive a measure of relief well worth while! Doesn’t the number of women, and the kind of women who have adopted Midol mean a lot? As a rule, it’s a knowing ALWAYS HERSELF Do you know a woman who is never at a disadvantage, never breaks engagements, never declines dances (unless she wants to!) and whose spirits never seem to droop? She is apt to be that eighth woman who uses Midol. woman who has that little aluminum case tucked in her purse. One who knows what to wear, where to go, how to take care of herself, and how to get the most out of life in general. Of course, a smart woman doesn’t try every pill or tablet somebody says is good for periodic pain. But Midol is a special medicine. Recommended by specialists for this particular purpose. And it can form no habit because it is not a narcotic. Taken in time, it often avoids the pain altogether. But Midol is effective even when the pain has caught you unaware and has reached its height. It’s effective for hours, so two tablets should see you through your worst day. You'll find Midol in any drug store — usually right out on the toilet goods counter. Or, a card addressed to Midol, 170 Varick St., New York, will bring a trial box postpaid, plainly wrapped. 87

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“COULDN'T TAKE A STEP IN PEACE! Every Move, Every Position, Cost Me Pain’”’ AN* person with Piles knows what suffer- ing is. Piles cause you physical suffering. They cause you mental distress. They make you look worn and haggard. Piles can take various forms— internal or external, itching or painful, bleeding or non- bleeding — but whatever form they take, they are a cause of misery and a danger. A Scientific Formula Effective treatment today for Piles is to be had in Pazo Ointment. Pazo is a scientific treat- ment for this trouble of proven efficacy. Pazo gives quick relief. It stops pain and itching. It assures comfort, day and night. Pazo is reliable because it is threefold in effect. First, it is soothing, which tends to relieve sore- ness and inflammation. Second, it is lubricating, which tends to soften hard parts andalso to make passage easy. Third, it is astringent, which tends to reduce swollen parts and to stop bleeding. Now in 3 Forms Pazo Ointment now comes in three forms: (1) in Tubes with Special Pile Pipe for insertion high up in the rectum; (2) in Tins for applica- tion in the ordinary way; (3) in Suppository form (new). Those who prefer suppositories will find Pazo the most satisfactory, as they are self-lubricating and otherwise highly efficient. Try It Free! All drug stores sell Pazo in the three forms described. But a liberal trial tube is free for the asking. Just put your name and address ona pen- ny postcard or the coupon below and by return mail you'll get the free tube. Write for it today and prove the needlessness of your suffering. p--------------- mes Grove Laboratories, Inc. FREE, Dept.37-M, St.Louis, Mo. Gentlemen: Please send me, in PLAIN WRAPPER, : your liberal free trial size of PAZO Ointment. 1 i} NAMB parted ect: “ial, SALE Appell Ee AE 1 i] ADDRESS ok a eee US ei ee ance CLIP sears sep STATE i ih AEE aR Mae ANE OE CN ce ! MODERN SCREEN ton—well, nice people don’t wear hair this color.” ND she is planning an experiment in the near future, the first time she has a few weeks between pictures. She is going to let her hair grow back to its natural color and see if it can’t be photo- graphed effectively. “That’s one advantage of being a star,” she laughed. “They light you and do all sorts of things to make you beautiful if you aren't. A star gets all the breaks, really, in money, roles, lighting, everything.” As Bette looks to the future she has no definite plan except that she wants to quit before she gets old. _ “TI couldn't say that I want to retire in five years or ten because I don’t know, but I don’t want ever to be old on the screen. I think everyone wants to be remembered as young and vital and for some outstanding performance. I sup- pose I'll be remembered for my role in ‘Of Human Bondage,’ which I think stood out because people were so amazed that I had the courage to play the girl as she was, without one redeeming feature. But I couldn't bear to have that remembrance dulled by ever being old on the screen.” So there is Bette Davis as I see her— young, beautiful, a finished artist, happy in her marriage, serious about her work but not taking herself seriously. She re- fuses the title of star worrier. She says being a star is horrible but admits in the next breath that it’s horribly nice. She’s a menace to the peace of mind of her rivals and whether she admits it or not, she really is Hollywood’s star worrier. COMMON SENSE + SENSIBLE EXERCISE = REAL BEAUTY (Continued from page 41) queens’ opinions of themselves. And when you put on a lovely soft evening dress you look as if you could double for Carnera. Big muscles are swell in a young prizefighter. But they’re hideous in a woman. Believe me, I know about bicycle rid- ing. I come from a country where bi- cycles are the thing. In Copenhagen everybody rides. And I’ve seen people’s strained, haggard faces, their big thighs and iegs and broad hips bulging all over the place. Swimming and bicycle riding will not reduce you in proportion. No violent sport will give you a perfect fem- inine body. You've got to relax when you exercise. And you've got to exercise my way. Honestly, it seems to me that when peo- ple recommend things like swimming and bicycle riding and standing on your head all they’re trying to do is to confuse you. They keep you in a constant state of be- wilderment. The only apparent reason for their doing it is so that you'll keep on reading their stuff. Otherwise why would they give you such wrong dope? UT that isn’t my way. I’ve never given anyone a wrong steer yet. I couldn’t. I am only interested in having you solve your beauty problems. I want to teach you honestly and sincerely how to be lovely and happy. And I promise I'll never hold out on you. And now will you promise me—and promise yourself, which is more impor- tant—that you won’t let me down by fall- ing for this bicycle riding and swimming nonsense, if you want to reduce properly? But don’t weep and wail if you’ve done these things through ignorance. In Hol- lywood one of my jobs is to take down over-developed muscles. And you can do for yourself what I do for the stars. Study my pictures on pages 40 and 41 carefully. In them I show you how you can reduce fat and muscles in the thighs and legs. Put your right hand on a chair back. Take hold of your left ankle with your left hand. Relax. Keep re- laxed the whole time you're doing this Lean forward and as you do so exercise. pull your leg up with your hand. Ouch! I thought that would get you. Feel that pull? Feel it in the left thigh and the right calf? Then you're doing the exer- cise right. Now repeat with the left hand on the chair back and the right hand holding the right ankle. Begin by doing it five times on each side and, day by day, increase to twenty times. You'll feel the muscles flattening out and the flesh melting away. And that’s the right way to reduce. Another thing that handed me a big laugh in the papers recently was the so- called brand new discovery of paraffin baths. Well, it isn’t such a new discovery. Your mother used paraffin to seal up her jelly jars. And how would you like to be all sealed up like a jelly jar? The idea is that the paraffin bath is supposed to open the pores, create circu- lation and cleanse the skin. What it really does is to make flabby muscles and make your heart pound like a steam pump. Be- lieve me, baby, you don’t need paraffin or any other paraphernalia to get circula- tion. You don’t need paraphernalia to re- duce. All you need is a lot of common sense and proper exercises and diets. Reducing isn’t easy. Nothing worth while is easy. And flesh doesn’t roll away unless you make it roll away. There are no reducing short cuts. You'd think it pretty silly if I told you that the way to clean your house is to sit down and watch the dust roll away. Come on now, don’t be the type to swallow the nonsense some people hand you hook, line and sinker—partic- ularly the sinker. Because if you do you're sunk! Work for beauty. Follow my routine, because that is scientific and proven. Have youth, beauty and courage by climbing on the band wagon with Sylvia. And remem- ber, I’m ready at all times to answer ques- tions concerning all your problems. If you so desire, your letters will be kept in strictest confidence. And you girls who look like Joan Craw- ford and you girls who look like Con- stance Bennett send in your photographs. Send them to Madame Sylvia, Moprern ScrEEN, 149 Madison Avenue, New York, N. Y. And be sure to watch for next month’s MopErRN ScrEEN. I’m_ showing you the girl who looks most like Jean Harlow and telling that girl—and all you other girls—how she can completely re- model herself, the right way—without an ounce of bunk in the article. And—look—if you want a_ personal reply to some personal problem, would it be asking too much of you to enclose a stamped, self-addressed envelope? Please. Ill answer any beauty, weight and gen- eral health problem you pop at me but send the stamped envelope.

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ANNOUNCING THE WINNAHS! Here are the names of the lucky ones who were awarded the cash prizes in our recent MODERN SCREEN-Warner Song Contest: First Prize, $250: Mrs. Mae Ross, 664 West 163rd St., N. Y. C. Second Prize, $100: Mrs. R. Kwasman, Dwight Street, New Haven, Conn. Third Prize, $50: Mrs. George Olsen, King’s Highway, Brooklyn, N. Y. Fourth Prize, $25: Mrs. A. Lipman, Rochester, N. Y. Five Fifth Prizes of $10 each: Miss F. Mersley, Syracuse, N. Y. Mrs. B. Filney, Brooklyn, N. Y. Miss B. Yelverton, Rehoboth Beach, Delaware. Mrs. Pearl Bowen, Glendale, Calif. Mrs. C. W. Remaley, Springdale, Penna. Five Sixth Prizes of $5 each: W. Stuart Shaw, Philadelphia, Penna. E. M. Harvey, San Francisco, Calif. Louis G. Gilbert, Washington, D. C. John Paul Brennan, St. Louis, Missouri Fulton A. King, Weyers Cave, Virginia. MODERN SCREEN MILLIONS NOW USE FAMOUS NOXZEMA Shin Veoubes. Which troubles you? LARGE PORES BURNS BLACKHEADS CHAPPED SKIN BABY RASH SHAVING IRRITATION PIMPLES (from external causes) Greaseless Medicated Cream brings instant relief promotes rapid healing — refines skin texture UST THINK! Over 12,000,000 jars of Nox- zema are now used yearly! Noxzema was first prescribed by doctors for relief of skin irritations like eczema and burns. Nurses first discovered how wonderful it was for their red, chapped hands, and for helping to im- prove their complexions. Today Noxzema is used by millions—bringing soothing com- fort and aiding in healing ugly skin flaws. Women enthusiastic If you are troubled with large pores, black- heads or pimples caused by external condi- tions, apply Noxzema after removing makeup —and during the day as a foundation for SPECIAL TRIAL OFFER Noxzema is sold at almostall drug and department stores. If your dealer can’t supply you, send only 15¢ for a gen- erous 25¢ trial jar—enough to bring real comfort anda big improvement in your skin. Send name and address to Noxzema Chemical Company, Dept. 510, Baltimore, Md. powder. Notice how it refines large pores— helps nature heal ugly pimples — helps make your face smoother, clearer, more attractive. If your hands are red, irritated, use Nox- zema for quick relief—to help make them soft, white and lovely. Use Noxzema for burns, itching, baby rash and similar skin irritations. For shaving irritation Men! The news is flying around—/f you are troubled with shaving irritation, use Noxzema —it’s marvelous. Apply Noxzema_ before lathering. No matter how raw and irritated your face and neck may be, note whata quick, cool, comfortable shave you get shaving this new way. i a a a i a 1 a i 1 1 1 i 1 1 1 1 t] i] J 1 iy 1 1 i i i i 1 i i 1 1 1 ‘ 1 ‘ oO \o

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Low-cost; easy terms. Satisfaction guaranteed. Free Catalog gives full details. NATIONAL ACADEMY OF MUSIC Dept. 664 1525 East 53rd Street, Chicago Make Extra Money , New easy way toearn | d : money taking orders &@ . s from friends and others for new Initial Playing Cards. Also, many other smartly styled decks not shown in stores. Popular low prices. Start earning at once. Thousands of prospects near you. No experience need- ed. Men or women, write for sample outfit— FREE. General CardCo., 1202 W.Jackson Blvd., Dept. 164, Chicago, Ill. No JOKE TO BE DEAF .. ~Every deaf person knows that= # Mr. Way mace himself hear his watch tick after abeing deaf for twenty-five years, withhis Arti- ‘ ae Jficial Ear Drums. He wore them day and night. : “,They stopped his head : noises. They are invisible » andcomfortable,nowires ’ or batteries. Write for & TRUE STORY. Also ¥ booklet on Deafness. Artificial Ear Drum 4 THE WAY COMPANY. my 717 Hofmann Bidg. Detroit, Michigan MAKE BIGGER PROFITS! wy ...with THISTLE CHRISTMAS GREETINGS More sales--easier, quicker, bigger sales--and big- ger profits when you show Thistle Greetings. Com- plete new 19365 line--all original, exclusive, distinc- tive, outstanding in quality. Better line than ever ! ° 6 Fast-Selling Assortments Sensational values. 15-card box parchment folders, 50c. Three 21-card assortments, also DeLuxe, Re- ligious, Every Day and Gift Wrapping assortments sell for $1.00. Beautiful French-fold Greetings with customer’s name as low as $1.50 for 25. Big profits and commissions... prizes . . . cash bonus! Sent On Approval. No deposit required. Your re- quest brings saleable assortments postpaid on ap- proval. Write today ! Get an early start ! THISTLE GREETINGS DEPT. 7-K, CINCINNATI, 0. BVA) eS ae es LAC RT 23 Ds | (1. SGA et b) MODERN SCREEN BEAUTY ADVICE (Continued from page 15) Now maybe you’re the type who has a small, well shaped head that can be as sleek and well cut as a boy’s. Or per- haps you would look adorable with your hair built into a nimbus or halo of ring- lets. Perhaps you’re lucky enough to look well in half a dozen different types of hair-dos. Then you can be a different woman every shampoo. About this business of types . . . lots of you write me, and maybe you en- close a snapshot of yourself and you say “What type am 1?” Well, sometimes it is a little bit difficult to judge. You just can’t pigeonhole people off into types now- adays because a woman who has to be efficient enough to hold a job and feminine enough to hold a man can be a dozen dif- ferent types rolled into one. Look at Myrna Loy. If she hadn’t been typed for so many years as the girl they called in when- ever they wanted someone to play the part of a Chinese, East Indian, or half caste exotic, we would have had our own wholesome, grand, American Myrna de- lighting us with her modern roles a long time ago. They typed Claudette Col- bert as a sweet, demure, goody-goody girl. And what did she turn out to be? The siren Cleopatra, the seductive Poppae, and “Tt Happened One Night’ that she turned out to be a sparkling comedienne as well. What have you been typing yourself as? A drab little back number, a self-conscious twittery Jane, a girl with an inferiority complex? Well, then, be somebody differ- ent! I’m in favor of every woman sort of “kicking over the traces” once in a while. If you go back to your old home town after being away for some time, you de- serve the treat of dramatizing yourself with gusto. If you have a party frock that’s cut a little low, wear it to the Fire- man’s Ball. If you have some exotic pa- jamas, give a tea in your mother’s parlor for your best girl friends. Wear silver eyeshadow and blue mascara. Do things that make you feel glamorous, that help your confidence along. OU don’t have to be freakish in your attempts to be individual. Nobody ex- pects you to wear leg o’ mutton sleeves when simple plain ones are the order of fashion, or to wear short skirts when long ones have been in since the war. But if everybody from the chambermaid to the Park Avenue debutante is wearing a tailored suit, why don’t you choose a sports ensemble with a three-quarter length coat? Try to strike an individual bal- ance between dowdiness and what every- body is wearing. There’s glamor in individuality, and glamor in freedom. Be free. Don’t wear clothes that seem to bind you in physi- cally. Joan Crawford, for example, says that she can’t bear to wear any dress that is tight around the shoulders and arms, because then she seems to be bound in physically, and mentally. Incidentally, walking is the best corset in the world. If you exercise enough, you won’t need tight foundation garments for lumpy hips and abdomen. Good posture helps to strengthen your personality within yourself. helps you to look well. It helps you to feel well. It will help you carry on the whole business of living more gracefully, and with more vitality and less of that tired, draggy feeling. Put into your sub- conscious mind the feeling that the body is a lovely thing, not a lump to. be slumped into. Don’t sit on yourself. That’s what most of you do .. . settle down on the hips. Here is an easy way to obtain correct posture. Stand with your head and shoulders and buttocks against the wall, your heels out two or three inches. Now touch the wall with the small of your back. Walk away from the wall, and keep that position. When you pull in the low- est muscles of your buttocks, that makes the buttocks drop, and the abdomen draw back and up. Your chest should be com- fortably high, your shoulders straight but loose, and your head back with your chin up. If you have any particular problems of posture . . . if you want ex- ercises for that common failing lordosis (sway-back) . .. drop me a line and let me help you. It not only ET into the habit of correct facial ex- ercise too. Marion Davies has one of the most lovable personalities because she has a smile for everyone, from the “prop boy” and electrician up to the di- rector. Optimism is catching. JI remem- ber Irene Rich once telling me that the best facial she knew of was a smile. Every once in a while just let yourself think a smile, let it creep from the corners of your mouth to your eyes. It will act as a sort of inward and outward facial. Why don’t you start taking stock of your personality right now? You can’t change your personality by waving a wand, and saying: “Presto, here’s the new me.” It isn’t done by any overnight trick. Only the discovery of hidden power within oneself will do it. You can dis- cover that power. You can learn to be at- tractive and to feel attractive. I have set down in a special bulletin for you the things that I feel to be most important (from a beauty editor’s viewpoint) in the development of a new personality. Re- member this about personality. No one is born without the makings of a charming personality. You can dream it into being, and work it into being. Send in the coupon for “The Secrets of Acquiring a New Personality” today. Mary Biddle MODERN SCREEN 149 Madison Avenue, New York, N. Y. Kindly send me your free bulletin on “The Secrets of Acquiring a New Per- sonality’. Please enclose stamped addressed envelope Due to lack of space BETWEEN YOU AND ME will not appear in this issue. Watch for it next month.

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REVIEWS (Continued from page 16) endorsement of the National Florists’ As- sociation—it is still a pleasantly ingratiat- ing effort gone wrong for lack of plot. Charles Butterworth, slyly humorous, is a rich play boy proposing on the dot of 5:30 p. M. daily to crisp blonde Jean Muir, the fashionable lady florist. John Boles, agree- ably handsome, is a rich corporation law- yer whose marital difficulties become en- tangled in a strange fashion with the flor- ist shop. Other times, he sings for you and right nicely, too. Sidney Toler, Ruth- elma Stevens, Harvey Stephens, and Spring Byington are others in the cast which was directed by William Seiter. Preview Postscripts Jean Muir moved her make-up box all the way from the Warner lot to Fox to appear in this one. The first time she's ever been loaned, either, and the Powers That Be over in Fox Hills were that pleased with their bargain; in fact, they liked the idea so well, they gave Jean fifteen gowns to wear in the film. The floral background is something to contemplate. Truck loads of fresh blooms appeared at the studio every day and there wasn't a prop boy whose best girl didn't have gardenias every evening. Fact is, every- body seems to have gotten something out of this picture ... William Seiter, its director, landed a long term contract and Shirley Temple rated the model doll house used... . John Boles may have missed out on gifts, but he's doing all right anyway. One good job after another for John and, at the moment he's over at Paramount playing op- posite the operatic Gladys Swarthout in ''Rose of the Rancho.’ He's living at Malibu these early fall days with the wife and kiddies—the same wife and kiddies he's always had. Nothing, you see, seems to turn Mr. B's profile. Which is cause for congratulations on his good judgment. *%*«*&x* China Seas (M-G-M) It’s a very red-blooded, he-man fare —this picture! Wally Beery doing his dirtiest and, cinematically speaking, W. B. can be pretty soiled; Jean Harlow, loving well AND wisely, Rosalind Russell, very charming and competent, and Mr. Robert Benchley, known as a wit, acting as a drunkard, and such a convincing one at that, that he should be embarrassed. There’s mutiny aboard and cruelty, too, for when Mr. Beery decides that a man shall speak up and tell secrets, he has a way that would convince most of us that speaking up and telling secrets was the thing he wanted to do most. But not Gable! Nope, Gable won't let you down! He’s still the hero, torture or no torture, broken foot or no broken foot. The settings are colorful, the fighting scenes handled expertly, the storm sequence thrilling and the various performances nicely done. Miss Harlow gets better in each picture, Miss Russell more restrained and charming, and the boys, Gable and Beery, each deserve a big, gold star for histrionics. We think you’re going to like “China Seas,” that is if you don’t go for sissy movie material. Preview Postscripts Clark Gable's real leading woman in this picture wasn't Harlow a-tall, according to Clark's own statement. ‘Twas Carol Ann Beery, the six-year-old daughter of Wally. Carol's simply mad about Clark, too, but she contided to her Dad that she really con- MODERN SCREEN it | FUDGE LATE saucepan and nd Sweetened sugat i ol ame un- 2 cups granulated pe ee - Milk and boil eat Ree in water Condens init WEN ws ae (1 can) Eagle til mixture will ee OP F.). Sur Bee 3 ¢ Con- hie . ve trom rene Jd water ng. Remo rand Swee co ¢ burning: ** 4 sed Mi constantly t0 PIEVS™ + small pieces eo 3 ee res unsweetened fire, add gn Beat until thick ae squa 2 add. hen coo}, meats an : an. Whe ele osa. ae nut my. Pour into puttered P 1 cup nu creal © (optional cut in squares +. This recipe is REVET eedn t. ie it. heir fudge failures. YOu th perfection. Clip ae @ Let others Ne cn but creamy-s™mO” succeed in this nas n ean abe eV ae ace Milk woh Sere et the name OBE A ® But remember Ever nse Milk. Just re™ Sweeteneé must use rere FREE! New Cook Book of Wonders! New! New! NEW! Just off the press! “Magic Recipes” is a thrilling new Ql successor to “Amazing Short-cuts.”’ Gives you brand-new recipes —unbelievably quick and easy—for pies, cookies, candies, frostings! Sure-fire custards! Easy- : to-make refrigerator cakes! Quicker ways to delicious salad dressings, sauces, beverages, ice creams (freezer and automatic). Address: The Borden Sales Co., | Inc., Dept. MM-105, 350 Madison Ave., New York, N. Ys Name Street City : State (Print name and address plainly) This coupon may be pasted on a penny postcard. H E i J Constance GS W sag Tae, it 101, Cy y Cary Grant and Betty Fur- MUCISISE) Cita tle Club Lamaze. Cary has been beauing Betty quite steadily lately. 91

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Now available to the general public forthe firsttime. ‘Tested and approved by Good Housekee) Dre your crue e gist for H OSAL—liquid or ointment—30¢ or 60c size. Hydrosal.... 92 MODERN SCREEN sidered him far handsomer than Mr. Gable. . Rosalind Russell hails from Connecticut and is one of a large family of seven young- sters. Rosalind is the only Russell who turned to the stage, but it looks as if she's made a wise choice ... Robert Benchley's never been drunk before—in pictures anyway. But he's won the coveted title already of giving the best performance of an inebriated gentle- man as yet seen on the screen. Mr. Benchley faithfully amused the cast every afternoon, living up to his reputation in fine style. But in the mornings he was completely useless for work or play. Seems that civilized people, according to Mr. B, never come to life until past noon... Tay Garnett, director of the picture, should know about the sea, since he's spent every possible moment in it or on it since he was a kid. He even got Clark so enthused over his yacht that they've enrolled in a navigation course together. One of the most beautiful sets ever built was erected on the Metro lot for the Hong Kong water-front scene. Buildings patterned exactly after those seen around the Chinese water front were put up alongside a huge iron tank of water on a_rear set. Real sampans and junk were imported to be used on the water and at least half of Chinatown was brought in for background in the scene. All over the lot signs were posted in Chinese so that the new extras would not get lost, strayed or stolen. *k** Welcome Home (Fox) While this is the somewhat old saw of a group of guys living by their wits and some of the situations are easily antici- pated, you’re going to have plenty of fun watching the antics of Jimmy Dunn, Wil- liam Frawley and Raymond Walburn, a few “take” artists who would just as leave sell you what doesn’t exist as not. Jimmy rates himself an invitation to the old home town, which is Opportunity spelled with a capital O for Raymond, who is all prepared to do big business of the not too honest variety. A little bond un- loading, to be specific. Of course, it’s up to Jimmy to eventually get himself and his pals out of trouble, which is no mean task when you witness the nifities that are being pulled right and left. The story is replete with bright dialogue of the strictly slangy variety and the players each make the most of the evenly distributed good roles handed them. Messrs. Frawley and Walburn especially rate praise as does the ever-pert Arline Judge. You will see an old silent day picture friend, Charlie Ray, in this one, too. Charlie does a choice bit of pantomime extremely well. Preview Postscripts James Dunn has been one of Hollywood's most eligible bachelors for some years now. But so far no real romance seems to have entered his life except a Grande Passion between him and Miss Shirley Temple. The stalwart Jimmy is simply reduced to pulp in that blonde's hands, -while Shirley admitted to reporters that she's really serious this time about Mr. Dunn being her Big Moment, es- pecially since he built her a two-story doll house. This is Jimmy's twenty-third picture, so you can see he's kept pretty busy, what with being a bachelor and an ardent aviator, too. He has his own plane and takes off to parts unknown without a moment's notice... This is Rosina Lawrence's first real chance in pictures, although she was practically brought up on the lot. Her father's a carpenter out there, so Rosina was able to crash the gates at an early age, and being pretty besides, she managed to get some "bit" parts off and on. Finally she landed her first big job. Sally Eilers was playing opposite James Dunn in ‘Dance Team" and the director decided that Rosina was close enough to Sally's size to become her stand-in. So she sweltered under the kleig lights and stood for hours on one leg and then on the other in order to arrange the best lighting for Miss Eilers. And now Rosina is Mr. Dunn's leading lady with a stand-in of her very own. Such is Holly- wood ... Arline Judge is the pertest, prettiest cutie in Hollywood. She looks like she be- longs in the eighth grade, but will have you know that she's the very domesticated wife of director Wesley Ruggles and the very dutiful mother of a two-year-old son. Ar- line's been in pictures for several years, and each passing year finds her playing more || youthful parts . . . Raymond Walburn is more familiar to Broadway play-goers than to movie ticket buyers, but his fan mail is be- ginning to show that this new audience is not without its appreciation of the finer points in histrionic ability. *** Farmer Takes a Wife (Fox) | When you see this picture, you'll be addressing fan mail to a Broadway stage | recruit called Henry Fonda. This young | man appeared in the theatrical version of | this story, scored heavily there, and so-o-o | —Fox are grooming him for stardom. The | yarn deals with the struggles of men in- terested in the Erie Canal. and their | efforts to combat a prospective railroad. |} Need we say that it all happened in the nineteenth century? The fighting river boatmen are headed by Charles Bickford, as competent a heavy as ever crossed the screen. It is on his barge that Janet Gay- nor works. Of course, for purposes of conflict, Mr. Fonda claims the dear old canal is a thing of the past. That, as you may gather, makes no hit with Mr. B. and Miss G. However, Love eventually makes the latter listen to reason, as does a big, rowdy row make the former. Fox has spared no production expenses and the background and scenes are A-1 inso- far as realism is concerned. The various roles are handled expertly, with Slim Summerville, Andy Devine and Roger Imhof coming in for especial honors. Miss Gaynor is adequate and the director and cameraman splendid at their respective tasks. Preview Postscripts This was taken from the New York stage hit—but with a difference. When the studios do a play they do it up right or know the reason why. On the stage, f'rinstance, such things as the Erie Canal is left to your imagi- nation, but not at the Fox studios. And wotta price this little project developed into. Engineers, architects, historical authorities and a corps of helpers got their high-priced heads together for several months, resulting in an exact replica of the Erie Canal of 1853. This included the water, bridges, locks, landscape and all the adjacent buildings, even to the old Hennessey Hotel. The set looked more like Rome, Italy, than Rome, New York. Janet Gaynor just loved this part. Sweet, simple roles are right up her alley, though she's redheaded, freckle-faced and with a temperament to match. The big romance of her life was Lydell Peck, San Francisco socialite, whom Janet divorced after a year of holy matrimony. Now she divides her time between a mysterious dentist and Gene Raymond... . Henry Fonda used to be fonda Margaret Sullavan, even going so far as to marry her. But she divorced him a few years ago. Originally planning to be a gentleman of the Fourth Estate, Mr. F. studied journalism diligently at the University of Minnesota and worked for a time on an Omaha paper. Covering a story on the Community Playhouse there, he decided act- ing really looked like more fun and took if up seriously. His first big break was in the

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e stage production of this same play. . Slim Summerville's been gangling around the movie lots so many years that most people, including Mr. Summerville, have lost count. He was a natural in the pie-tossing days out at Sennett's with that basket ball reach, but his first real recognition came in ‘All Quiet on the Western Front.’ Slim isn't really lazy a-tall, even if his favorite sport is fishing. ... Andy Devine is probably the most envied man in Hollywood, since his waistline is strictly his own business. While other screen heroes order a lettuce leaf with a dash of lemon for lunch, in fear of studio sleuths, Andy sits down to corned beef and cabbage on the dot of twelve every day. What's more he has the same kind of disposition which fat men are supposed to have and leads a peaceful exis- tence with his wife and small daughter. Andy comes from Arizona and is still surprised at getting a move on himself long enough to reach California. .. . Jane Withers is a bad example for all little girls, for it was her temper tantrums that made her famous. She stole a picture from Shirley Temple by being too disagreeable for words, and is now a Fox Baby Star. ** Murder Man (M-C-mM) This is another newspaper yarn, slightly more fantastic than its predecessors. The convincing note is casting Spencer Tracy as the man who gets front-page murder stories ahead of rival sheets. Somehow you believe that Mr. Tracy could do just that. The tale is pretty sordid, unreeling the method one man uses to avenge him- self against another, and rather immoral, in that the spectator actually feels noth- ing but sympathy for the murderer. Tracy’s performance is excellent. His quality of naturalness is something to cheer about in these days of overacting. Next, comes Harvey Stephens, who has some splendid dramatic moments as a condemned man who is innocent of the particular crime for which he has been convicted. Mr. Stephens rises to the oc- casion beautifully. William Collier, Sr., too, comes in for his share of praise for the fine portrayal of a small part. Vir- ginia Bruce is the love interest, and dis- plays very little of interest. Somehow this should have been a thrilling story, but somehow, it misses. And, to see the hero turn out to be a villain is very much off the beaten track and a little hard for the audience to take. *kxx* Page Miss Glory (Warners) Nobody is more surprised than Marion Davies, in the title role, to discover that Jean Muir and John Boles in “Orchids to You.” MODERN SCREEN Make Him Learn the secret of Blue Waltz Perfume... ILL the spell of your charm keep him thinking of you long after he says good-night? It will... if you know the secret power of BlueWaltz Perfume! Be one of the clever girls who have discovered how a touch of Blue Waltz Perfume on the hollow of the throat, behind the ears, along the part of your hair, gives a haunting fragrance that lingers in one’s memory. A fragrance that will irresistibly beckon him back again and again. Blue Waltz face powder and lipstick have the same seductive fragrance as Blue Waltz Perfume. Make triply sure of your magic by using all three tonight! You .will conveniently find them in your 5 and 10£ store. Only 10¢ each. All Blue Waltz cosmetics are laboratory tested, their ingredients certified pure, for your protection! BLUE WALTZ PERFUME - FACE POWDER - LIPSTICK - BRILLIANTINE - COLD. CREAM - TALC AMATEURS! HERE'S YOUR CHANCE Suggest a song title and win fame and fortune. Enter this great contest today. FEEN-A-MINT and POPULAR SONGS are offering HERES YouR CHANCE CASH PRIZES ® FREE COLLABORATION ® WINNING TITLES PUBLISHED © ROYALTIES All you have to do is submit a title for a song. Full details of this big contest will be found in the October issue of Popular Songs Magazine. Get your copy now and send in your entry. The contest is for amateurs only. Winning songs will be broadcast coast-to-coast over NATIONAL AMATEUR NIGHT (FEEN-A-MINT PROGRAM) Every Sunday, 6 p.m., E.D.S.T. (Columbia Network) POPULAR SONGS Now on Sale . 10¢

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Send also the special free Beauty Treatment. | Name..ccceeccccccccccsccccscccscescesseccsssssssssessesecens , AddxESS. cc cleln sie s/o sles cclnls/n\ele\elclslele.eslesloiele'eleielelsiclelslsisleislecele eccece | oR Ee SRC codedocoscbaccomancacdautececen seal 94 DEAFNESS IS MISERY MODERN SCREEN she is the most beautiful girl in America and, in consequence, fast becoming a very rich one. In fact, Marion sort of liked it better when she and Patsy Kelly, a coupla happy chambermaids in a big hotel, had a silent crush on Dick Powell, handsome young aviator. And, if it hadn’t been for two fast-talking gents like Pat O’Brien and Frank McHugh, Miss Glory would never have had the permanent and facial that set her on the road to fame. The story, as you perceive, is highly imagina- tive and therefore, rather unconvincing. It isn’t fast-moving enough, but perhaps a generous application of the shears will remedy this defect. Also, the comedy is a bit strained and the whole picture has a definite “trying to please’ effect. Per- haps the director was a bit impressed with the magnitude of his assignment. Anyway, Miss Davies is very beautiful and charm- ing and has an ingrating quality seldom seen in celluloid. The production is lavish- ly mounted and the photography excellent. Oh, yes, let’s give a couple of loud, British cheers for Patsy Kelly, who does much with very little. Preview Postscripts Working in a Marion Davies picture is some fun for the cast and crew. The gal's disposition is as sunny as her hair and she sees to it that ‘an enjoyable time is had by all." Coffee and sandwiches every afternoon and, at the end of production, a gift for each who has codperated to make the whole a success. Naturally everyone does his best. This time the cast presented Marion with a silver plaque autographed by the entire unit. That's a tribute for you! Frank McHugh is a laugh-getter both on and off the screen. He's the lad who keeps the gang in ‘stitches’ even between shots—a practical joker with real wit. . . . Then we have Pat O'Brien who, everyone on Holly- wood Boulevard will tell you is a regular guy and Dick Powell, who rated a birthday during production. What a party Marion staged for the event—and what "“prazants!!"" Dick is sort of lonesome these days, what with Mary Brian making movies in Europe. He's still true to the brunettes, for Olivia de Haviland, pretty and talented newcomer, is his playtime companion. ... Lyle Talbot al- ways does well with the fair sex, too. Still, with all his partying, Lyle takes time to answer his fan mail personally. . . . Seems as if the champion cigar-smokers of the town were concentrated on this picture. Mervyn Le Roy, its director, puffed 22 stogies a day, Pat often got away with 16, while Frank, the big sissy came in a bad third by inhaling merely ten. O'Brien couldn't take a cigarette though. He was called upon to smoke one during a scene and it made him feel as if he was crossing the water to Catalina on a breezy day. The 200 extras voted that they'd never worked with such a congenial bunch of principals. txk% We're in the Money (Warners) The gold-digging blonde babies, Glenda Farrell and Joan Blondell, are at it again. This time they appear as a couple of process-servers, and do they get their men! In Turkish baths, on night club floors; well, no place is too public nor too private for these crashers. The gals are working for an absented-minded attorney, played by that inimitable comic, Hugh Herbert, and what the yarn loses in plausibility is more than made up for in its laugh-induc- ing qualities. Glenda and Joan do their usual stuff in quite the usual way, and if you like them—and who doesn’t—you’re in for a quota of fun. Ross Alexander is good as the masquerading chauffeur and love interest, and Phil Regan makes an ingratiating crooner. Then there is a new- comer, Anita Kerry, who rates a bow and, of course, Mr. Herbert, who sets a mad pace for the picture. The motorboat se- quences are calculated to be side-splitting and the manner in which the daffy attorney is finally caught up with by the scheming little lady who is out to get heart balm— anybody’s cash will do—is a _ riotously funny situation. Yes, as light fare, “We're in the Money” will more than suffice. 3% %&* Steamboat ‘Round the Bend (Fox) Whether or not you are a Rogers’ fan, this new Will, gone dramatic, is going to please you plenty. Stripped of his usual political tirade, Mr. Rogers steps forth as a purveyor of patent medicines—need we say containing 90 percent alcohol—in a simple and interesting story of river folks, saving his money to buy a dilapidated steamboat which he hopes to have his nephew pilot. The boy, John McGuire, in love with a swamp girl, commits a mur- der in her defense. Against her protests, Will turns him over to the sheriff in a most amusing manner. This bit of fun, however, is topped by a fancy jail wedding given the pair of lovers to the musical strains of “Listen to the Mocking Bird.” Mr. Rogers plays Mr. Rogers in his usual charming manner, Francis Ford is simply slick in the role of a converted sinner and Anne Shirley, Eugene Pallette and Berton Churchill all contribute to the general merriment. Preview Postscripts There was as much fun on the set as in the picture in this one, for those two well- known wits, Will Rogers and Irvin S. Cobb, got together on some snappy repartee, much to the amusement of the rest of the cast. Evidently, Robert Benchley's successful cinema career was becoming a little too much for Mr. C., for upon seeing his friend's ‘‘rushes” on "China Seas,'' Irving signed himself a contract at Fox. He likes making movies, thank you, and will probably appear in an- other before returning East for the winter. ... Mr. Rogers still hits the high places at the box office, for his homely comedy is appreci- ated by the deah public. Rogers has a sort of unwritten formula for successful pictures— lotsa laughter and go sparingly on the triangle situation. . John McGuire and Anne Shirley, taking care of the youthful love interest, aren't ''that way" off the screen, despite the rumoring of the rumor hounds. There's an older man in Hollywood who is cuh-razy for pretty Anne but he declares that since he's not a cradle robber, nothing will ever come of it. While Anne doesn't exactly spend “quiet evenings with her books and pictures,” she is not the type to be doing the rounds of a night. Nobody is more serious about her career than this little lady. : Eugene Pallette and Berton Churchill have forgotten more about acting than most middle-aged thespians will ever know. They enjoy talking things over between scenes and reminiscing about the ‘good old days" in the theatre. %%* Dressed to Thrill (Fox) This just doesn’t live up to its title in any department, so not much can be said for it except that it serves to introduce a new face to American moviegoers. What promises to be a sparkling comedy begins to lose its fire early in the telling. However, Tutta Rolf, as the Russian darling of Continental night clubs does what she can to cover story deficiencies by giving a highly interesting characteri- zation. Clive Brook, in a most unsympa- thetic and dull role, lacks conviction in his

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She,” featuring Randy Scott and Helen Mack. The thriller romantic efforts with Miss Rolf. You see, he has had the opportunity to fall in love with the lady on two separate oc- casions, the first of which he let slip by the boards in favor of a beeg bankroll. Robert Barrat comes in for some praise as Clive’s war-time buddy and we must give credit to the designer who created Miss Rolf’s beautiful wardrobe. Also, a nod to the scenic artist. Somehow, that is all that may be said for “Dressed to Thrill,” for if suspense is lacking in a story and you don’t much care how it turns out, you find yourself, like the Easy Aces, anxiously, anticipating the newsreel. %** Shanghai (Walter Wanger-Paramount) Check up another hit performance for Charles Boyer. With pretty slim story material, which is most of the time draggy, this picture is well worth seeing because of Mr. Boyer’s excellent portrayal of an Eurasian, who is ostracized, because of his being a half caste, by the social whites. It is a necessarily sympathetic role and yet, never does the star become maudlin or sentimental. As its title indicates, the tale is unwound against a Chinese back- ground, with Loretta Young playing an American girl over there on a visit to her wealthy and eccentric aunt (Alison Skipworth). Loretta looks more beauti- ful than ever and is seen in close-up after close-up, until one finally realizes that there can be too much of anything— even if it’s as good as Miss Y.’s features. Warner Oland plays excellently the philo- sophic friend of the hero’s and Libby Taylor, is fine as the faithful colored maid. Fred Keating is badly miscast and, there- fore, unconvincing. The art director and cameramen come in for their share of honors, for never have we seen such de- lightful settings and beautiful photography. tx% She (RKO) “She,” based on the curious mystery tale by Rider Haggard, will make the chills run up and down your spine. As a spectacle, it is magnificent, for the sheer magnitude of the background and effects sweep you away from the work-a-day world, even at times tending to make the actors seem unimportant. The plot of course is fantastic and concerns the journey of Randolph Scott and Nigel Bruce to the Kingdom of Kor in search of the eternal flame (youth, to you). No advocate of the cold cream route, “She,” played by Helen Gahagan, has retained her beauty for 500 years by entering the flame an- nually. However, when Randy appears, she MODERN SCREEN decides to concentrate on him and becomes fiercely jealous of Helen Mack. Well, you sort of have the idea: even a queen can’t take it. Of course, anything is liable to go haywire once in 500 years, and in the big sequence, it’s the dialogue that gets pretty weak. You'll like the spectacle however, and Miss Gahagan and Helen Mack. Oh yes, the gentlemen who make the journey to Kor are all right, too, thank you. Preview Postscripts Persistence does have its points, since the movies have finally landed Helen Gahagan after five years of struggle. Miss Gahagan's been too busy with too many things, really, to come to Hollywood, what with acting on the stage, singing in opera, taking care of husband, Melvyn Douglas, and their eighteen- months-old son, to say nothing of several goldfish. Miss Gahagan began this hectic life at Barnard when she co-authored a play with another girl and appeared in it, too. John Cromwell, a Hollywood director now but a New Yorker in those days, spotted her and whisked the seventeen-year-old girl to Broad- way. Helen was starred at twenty, played several hits in the Big City, then snapped her fingers at the whole business and set sail for Europe to become what she's always wanted to be—an opera singer. She had a grand time and sang in several famous operas. In Prague, Miss Gahagan got in a rather tight spot. It seems the opera for the evening was to be sung in Czecho-Slovakian and the near- est thing to that language that Helen knew was pig-latin. However, she blithely sang the score in Italian while the other leads and the chorus warbled back at her in their native tongue ... Randolph Scott is the young man who graduated with such honors from Westerns. He's big, blonde and husky, with jaw and fists like iron and a kind, honest look in both eyes. Naturally, when he drifted into Hollywood he was immediately thrust into tales of the wide open spaces. So he busted bronchos pictorially for three years, until the studio suddenly put him in ''Roberta"’ due to an emergency. Having proved that he can break hearts as well as horses, Randy's been in demand for romantic stories ever since. Randy used to be Georgia Tech's star foot- ball man, then he tried out for the team at the University of South Carolina, roamed around Europe a couple of summers and finally drifted to Pasadena where he joined up with the Community Players. One day he took the street car out to a Hollywood studio and he's been there ever since... Nigel Bruce is well known on the London and Broadway stages. He can make anything laugh. Friends swear that even dogs have been known to giggle when he looked at them sideways. He was born in California, but feels as English as mutton. Bill Powell and newcomer Luise Rainer in “Escapade.” WHAT? only a per week to OWN A CORONA? Yes—it’s a fact! Our new Finance Plan makes it just that easy. Brand- new up-to-date portables, including carrying case. Do this. First send cous pon for descriptive book- let. Then go to a dealer's and see which one of the @ five CORONA modelsyou like best. Try it... free. Then buy it, on these amazingly liberal terms. 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To say that Luise rises to every claim the studio put forth for her is but to put it honestly. She has charm and acting ability which serve her in a cast of highly capable American players who know well the Hollywood ropes and who never have to think of their English be- fore reading a line. The Rainer eyes, too, are sumpin’—sumpin’ gorgeous. The story deals with a pre-war romance in gay Vienna. A famous artist is the philanderer (William Powell); a dutiful (?) wife, his current temptation, (Virginia Bruce) and a little secretary (Miss R.) the gal in whom he falls deeply in love. The pic- ture abounds in color, dramatic moments, irate husbands and character studies of ladies who love unwisely. The perform- ances are quite perfect, too; well, you'd guess as much when you hear that, added to the above-named fine cast are such sterling players as Reginald Owen, Frank Morgan and Mady Christians. Put this on your movie list. Preview Postscripts You'd think Luise Rainer was an old hand at stealing pictures, wouldn'cha? But the truth—and no publicity gag—is that Miss Rainer has never moved in front of a camera before in all her twenty-one years. She thinks the brightest feather in her cap, movie star- dom notwithstanding, is that she's a Max Reinhardt protégée. She's been on the Viennese stage for several years. Without music around her, Luise is as comfortable as a fish out of water. Has an immense ma- chine at home that can play thirty operatic records without pausing for breath, and this she turns on before the bath water of a morning .. . Bill Powell proved himself even “gallanter’’ while playing with Miss Rainer. He spent long hours giving his leading lady the low-down on camera technique and the English slanguage. Bill's one of the busiest men in Hollywood, what with one thing and another. For over a year his biggest worry, next to Jean Harlow, has been the building of a modest twenty-room house in the Holly- wood Hills. Said he wanted to see where his money went for a change—but admits he's already seen too much, and with the house but half finished. *%%*k* Lady Tubbs (Universal) This picture is just “too, too deevine!” as Lady Tubbs was so fond of saying about everything from pancakes to palaces. Lady Tubbs is the “Brainless Brady” at her best and is practically the whole pic- ture in spite of the excellent supporting cast - which includes Alan Mowbray, Douglas Montgomery, June Clayworth, Hedda Hopper and Anita Louise. In spite of Alice Brady’s apparent dumbness in this play, however, she is an extremely smart woman at heart. From a cook in a construction camp to a titled lady who wins the fox hunts at baronial castles, is a jump that requires more assets than a broad “a.” Mr. Mowbray is simply ele- gant as the polished gentleman who teaches her the ropes, and goes through untold tortures when she makes her social debut. He it is, too, who rigs up the horse out of a piano stool, a floor lamp and some leather cushions, on which Miss Brady learns to ride to hounds. Hedda Hopper is in her chronically good role of the social climber and ultra-snob, and Douglass Montgomery is adequate as the son on whom she keeps an eagle eye. Anita Louise plays the sweet young thing who is the object of his affections and June Clay- worth, the ruthless young lady who re- gards Doug as her own property. Miss Clayworth, incidentally, is an actress of decided ability, even if she doesn’t show much talent in getting her man. The pic- ture is one you won't want to miss, for it is one good laugh from beginning to end. Preview Postscripts In sassiety news style, “a good time was had by all’ on this picture, what with a collection of wits like Alan Mowbray, Alice Brady, Hedda Hopper and the others in the cast who aren't exactly stuffy, either. Alan Mowbray's famed in this country and abroad as having the largest fund of top-notch tales ever accumulated by one man. He's an Englishman at that, but far from the stiff- necked, snooty type which too often invades Hollywood ... Alice Brady's known for years as the lady who's never missed a comeback. Miss Brady is well known on the Broadway stage, too, and in the days of silents pulled down the largest salary of any screen actress —$6000 per week, which was big money in the good old days before state taxation. Claims she doesn't live in a home but a dog- kennel. Every purp is welcomed with open arms by her, whether it be a transient or permanent guest. Any time you see eight greyhounds on a leash coming down Holly- wood Blvd., you can be sure Alice Brady will be on the other end. She has an insatiable appetite for detective stories, and every chair, table or corner in her home, not oc- cupied by a dog, is piled with sleuth litera- ture . . . Hedda Hopper is one of the De Wolfe Hopper wives, besides being a Holly- wood fashion plate. Hedda starts talking the minute she hops out of bed in the morn- ing and never runs down 'til she's back there again ... Douglass Montgomery is a shining example of a young man unhampered by his parents’ wealth. Brought up in Pasadena with every possibility to run with the “idle rich, Doug studied acting day and night. Though he had chances to become prominent through the Pasadena Community Playhouse, he chose small, insignificant parts in Broad- way plays for several years in order to gain experience. Finally achieved his goal, then came home to the Playhouse and from there to Hollywood . . . Anita Louise is another who's worked hard all her young life. Though a leading lady at fourteen, Anita kept on studying languages, music, fencing—in fact, everything that might help her in acting. An accomplished horse-woman, she had no double in the difficult fox-hunt rides in this picture. But in one scene she was thrown by her fiery steed and rescued just in the nick of time by the gallant Mr. Montgomery. Alice Brady had better ideas, though. She rode a dummy horse. But it bucked so badly the first day that a prop man rushed out and bought her a whole armful of cotton batting. *k*x* Diamond Jim (Universal) Here is a hearty tale of the Gay Nine- ties with, as its central figure, a famous diamond bedecked character who knew how to throw as mean a champagne supper as ever passed the lips of a chorus girl. You have doubtless heard of the legendary Diamond Jim Brady and here is your opportunity to see him—in the celluloid. Edward Arnold portrays the character role with a deal of realism. He has the opportunity to run the gamut of emotions and comes through like the splendid actor Mr. A. is. Jean Arthur is seen as the little lady Diamond Jim loved and _ lost. Cesar Romero is the mustachioed meanie who treats her the way women seem to like to be treated—indifferently—and Binnie Barnes plays Lillian Russell, fam- ous American beauty. Eric Blore and George Sidney, comedy characters, come

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SS MODERN SCREEN in for their share of praise; in fact, everyone does his bit to make the whole an entertaining programme, and everyone has succeeded. You'll get a kick out of the colorful background too and the rather expert way Director Eddie Sutherland has handled the entire production. Preview Postscripts Binnie Barnes works hard at making Ameri- can movies while her husband carries on his business in England. Theirs is probably the world's champion long distance marriage. Fact is, Binnie's ‘'worser'’ half plans to drop over to this land of equal rights and unequal fights to see his wife this fall Edward Arnold has been tipping the scales puh-lenty lately and the Powers That Be who hold his contract are beginning to worry, ‘tis said. However, Mr. A. is such a swell actor that he may be able to get away with the calories, too . . . We also have the temperamental Jean Arthur present in this opus. She's a clever gal, is Jean, but is known around Hollywood as being one that is hard to handle. A great little scene-stealer, too. The setting for this production set Uncle Carl Laemmle back much munyee; in fact, one set alone cost $103,000. Anything to enter- tain the public! That is Universal's motto. And goodness knows, they're right! This one abounds in color; in fact, that alone makes it worth the price of admission; that, and of course, the consistently clever cast. %*&** Old Man Rhythm (RKO) If you are one of Buddy Rogers’ fans you may be disappointed to see so little of your favorite in this picture, which brings him to the screen after an absence of nearly three years, but gives him little opportunity to display his musical talent. The picture is unusual in that there are fat parts for almost everyone but the star. The plot is laid at Fairview College, with a typical musical comedy background where there is more interest in sex than science. The fun begins when George Barbier, who carries the title role hilari- ously, enters college to watch over his son, played by Rogers. He becomes the life of the campus and succeeds in break- ing up a romance between Rogers and Grace Bradley by pretending he has lost his fortune. Miss Bradley withdraws and all signs point to love in a cottage for Rogers and Barbara Kent. A picture of scattered entertainment, it gives opportunities to several young new- comers. Joy Hodges, a pretty girl, who was discovered singing at the Cocoanut Grove and Sonny Lamont, a very fat boy who handles himself with dexterity, Alice Brady and Alan Mowbray in the hilarious “Lady Tubbs.” ¥ Compare Lander’s with other talcum powders. Com- pare it for quality... and economy! Yousave money without sacri- ficing quality. The big, F over-size tin costs only 10¢ atany dime coun- ter. 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The story required that much ice cream, candy and cake were to be eaten and did the boys and girls have a gay, old time—for the first few days any- way. Now, however, none of them—except lit-tul 270-pound Sonny Lamont can look a sweet in the face. Despite his ‘excess’, Sonny is some mean hoofer . . . Somewhere along the way, it was discovered that Buddy Rogers could take shorthand, and was he kept busy while the script girl was at lunch! Buddy learned that sometimes it's a bad thing to be too clever and willing . . . Barbara Kent used to be a great favorite with the fans. Then she up and got married and retired. Now she's back again, more petite and pretty than ever. Her marriage, by the way, is one of Hollywood's most successful The pulchritudinous Grace Bradley is stepping right along toward stardom and little Joy Hodges, too, looks as if she's a comer. Yep, this picture serves to exploit a lot of youth- ful talent you're gonna hear much more about before very long. **x* Smart Girl (Paramount) Bright and amusing and nothing to give you brain fag is this well- dressed comedy of errors. The comedy is carried effec- tively by Joseph Cawthorn and the errors made by Pinky Tomlin, who proves that he can act as well as write and plug songs, for nary a note does he warble in this one. Ida Lupino and Gail Patrick are left to shift for themselves when their father, caught in the depression, shoots himself. Gail takes the first offer and marries Kent Taylor, with whom Ida also is in love. Ida discover that her ability as an artist is worth money and gets a job designing for Joseph Cawthorn, hat manufacturer. When Sidney Blackmer, an unscrupu- lous oil man, hires Kent to work for him and Ida learns that the company is about to be investigated by the Government, she evolves a plan to save her brother-in-law. Preview Postscripts Gail Patrick has just about everything— beauty and brains. Yep, the cast of this pic- ture was surprised to learn that this charming Miss from Alabama has studied law and still is ambitious to become a senator from her home state. That, despite a growing movie career. If Paramount does right by Miss P. they'll discover she'll eventually become a money-maker for ‘em... Ida Lupino, as you may have guessed, is about as difficult to suppress as a boil. She's everywhere at once, has more energy than a small dynamo and is strong on fast conversation. No, there's never a dull moment when Stanley Lupino's chee-ild is on the scene. Incidentally, she's just signed another contract with Paramount and has a nice role in "Peter Ibbetson" ... Joe Cawthorn, you may or may not know, was a great stage comedian when your mother was a gal. He graced many a Broad- way musical and if there was a laugh to be gleaned from the libretto, Mr. C. would get it... Sidney Blackmer, too, hails from the stage where lhe starred jin several light come- dies where a profile and physique were per- quisite. Now he's gotten older and heavier and consequently finds himself the bad man of the picture piece . .. Pinky Tomlin used to warble at the Cocoanut Grove where the college girls fell, en masse, for his charms. ‘Twas then that the studios investigated and now it looks as if Pinky is to become a per- manent film fixture. *&* Bright Lights (Warmers) The Joe E. Brown fans are gonna have a field day in this one, for theyll see their favorite at his best in a made-to-order story, slim though it be as to plot. Joe plays a tramp comedian who graduates from the sticks to the bright lights of Broadway. Brown’s a married man who falls for a capricious society gal (Patricia Ellis) who joins up with the troupe. How- ever, he comes to his senses—or is brought to ’em—and returns to friend wife (Ann Dvorak) in the last reel. Joe proves that he can dance, Pat turns out a mean tune and Miss Dvorak gives a pretty, slick per- formance in this one. Yes, the entire cast does right by itself, including that old standby Joe Cawthorn, and that new one, William Gargan. The settings are colorful and often amusing and the chorines some- thing to cheer about. Busby Berkeley takes care of the directorial end of the pic- ture and does a most creditable job. Yes, Mr. Brown is fortunate to have landed this opus. It’s a well-nigh perfect set-up for his particular talents. Preview Postscripts The oldest theatre in Los Angeles, The Grand, at First and Main Streets, is em- ployed as the background for this picture. It is now a Mexican vaudeville house, by the way. As a boy of seventeen, fifty years ago, Joe Cawthorn played there and to this day it hasn't been remodelled. Yep, even the same old gas fixtures flicker away. Some of the scenes were made at the Follies, a bur- lesque show in these parts, and the entire troupe were used, even to the soubrette who sings a gay, little number entitled ‘Powder My Back.’ The Maxellos, German tumblers, were brought here especially for the picture because Joe Brown is cuh-razy for acrobatic acts. He had one swell time. The night the cast worked at the Follies—the public as well as extras were used in the mob scene. Wouldn't you have liked to have been around that night ‘cause the Dear Public, too, were paid for the fun they were having? ... Pat Ellis celebrated her seventeenth birthday dur- ing the proceedings and was given a grand party. Pat started her movie career at four- teen and at that time told a great big fib about her age so that she wouldn't have to go to school. tk * Jalna (RKO) You've got to be more interested in character studies than in plot action to enjoy this picture of the doings of a wealthy, clannish Canadian family. But if you like sharply drawn characterizations, you’re in for an evening’s entertainment, for each in his role deserves a big gold star. The picture itself is rather dull and very talkie, yet Director John Crom- well has made a rambling story as com- pact as possible. If the picture is in the three-star class, it is strictly because if his expert handling and the deft performances of the well-chosen cast. We are treated to the spectacle of the Whiteoaks at home. Behold a gabby, old grandmother, a weak- ling poet son, a boy you'd like to strangle, the noble head of the house, a daughter suffering for twenty years from unre- quited love. Into this melée comes a girl of uncertain parentage as bride to one son, and a very self-sufficient New York secretary as bride to another. The fact ON

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MODERN SCREEN The publishers of MODERN SCREEN guarantee that you will | ates | i - P | 3 : : af E : ) _ CS) | be satisfied with your purchase of every packaged product i ee CESS advertised in this magazine. If for any reason you are 7 dissatisfied, MODERN SCREEN will replace the product or, if ty t . . me | you prefer, refund your purchase price. In either case all you EI | have to do is to send us the unused portion, accompanied une ft oye, 7 ° ee Hi | by a letter outlining your complaint. This guarantee also a | : \ 2 ti applies if the product, in your opinion does not justify te the claims made in its advertising in MODERN SCREEN ful me: akes pie: Yes, fi ded Lup # Careful examination before publication and rigid censorship, plus our guarantee, enable you to buy with complete confidence the products you see advertised in this issue of MODERN SCREEN. Jean Parker, looking like an East Indian princess, appears with Margo at the ‘‘Anna Karenina’ preview. Isn't Margo a cute trick? that the brides fall in love with a coupla other guys (sons-of-course) makes for the only real interest in the yarn. Jessie Ralph, Ian Hunter, Kay Johnson, Nigel Bruce, David Manners and Molly La- mont all have almost equally important roles and, as we’ve said, they’re all equally good in them. Preview Postscripts One of the most important members of the cast of this little opera is Oscar, the parrot. Oscar was heard as well as seen during the early days of production. In fact, he was so much in evidence, he was soon banished to his boudoir. Seems that in the big dinner table scene, Oscar, who picked up phrases quickly, shouted, “Lock ‘em up,” which means in studio parlance, ‘'the scene is over; tear down the set." Before anyone could speak walls began to come down on all sides. Well, that was when Oscar was given his walking papers . . . Jessie Ralph, who plays the grandmother has made eight pictures so far, in seven of which she por- trayed characters of different nationalities . . . Molly Lamont, the ingenue, is a little English actress RKO imported from South Africa. She was the ping pong champion there and thus far no one in Hollywood has been able to beat her at the game . C. Aubrey Smith's cocker spaniel, known as Sinner, applied for a job in the picture and b'gosh, got it. Speaking of dogs, a Great Dane adopted the cast. He would arrive each morning and stay with them all day .. . Kay Johnson, who has perhaps the most important role in the picture, was once again directed by her husband, John Cromwell. However, Mr. C. plays no favorites at the studio . . . David Manners, also in this large cast, is about to receive his citizenship papers, David hails from Nova Scotia. Index of Advertisers October 1935 American Chicle Company American School of Photography Bauer & Black Blond exMeee Eee ee tre ee era either 97 Blue Waltz Cosmetics Borden Company, The. Brownatone Camel Cigarettes Century Music Company Cheramy Chicago School of Nursing. . Chieftain Colorshine........ Chore Girl Cocomalt D. D. D. Corporation Doctor Pierre Chemical Company DraschollistZinopPad styrenic telethon stelelsvevel eel else Enterprise Dripolator.......... Factor, Max Faoen Cosmetics Feen-A-Mint Fels-Naptha Soap Fireside Industries Fleischmann’s Yeast Fletcher’s Castoria Fox Films Corporation. Franklin Institute Gayanne Powder Puffs. . General Card Company . Griffin Shoe Dye... Griffin Shoe Polish. . Hollywood Rapid Dry Curlers............... Hubinger Elastic Starch HushyDcodorantipe ye tine rien einne Hydrosal Company, The... Hygeia Nursing Bottles..................... International Typewriter Ipana Toothpaste...... Ironized Yeast.... . Irresistible Cosmetics Johnson & Johnson Baby Powder Justrite Push Clips Kalamazoo Stoves Kool Cigarettes Lady Esther Company Lander Talcum Powders. . Larkin Company... La Salle Extension University. . Lavena Corporation.......... Lavoptik Leonard Company, A. O..... Lewis Hotels Little Blue Books Lucky Strike Cigarettes... Lux Toilet Soap Mahler Company, D. J Maybelline Mascara Mercolized Wax Nadinola Cosmetics National Academy of Music Natural Eyesight Institute. Nestle Colorinse Northwestern Yeast Company... Noxzema Paramount Pictures Pazo Ointment Perfect Voice Perfolastic Pond’s Creams... Pond’s Powders. . . PatetGin Procter & Gamble Company, The Ivory Flakes WUKLO) ICR org on oo 0 ODN HDOODOODO DD OOUDGO RivodeswArthurheeeeee eee os RiegeniCompanyalaulemeneeneeee ee Rit Corporation, The Smith Typewriter Company, L. C Stebbings System Tangee Cosmetics Tempt Lipstick. . err Thistle Engraving Company PRINCE eee miteera nb ks Warner Brothers Pictures WiayaGompanysebhe meric r i enraracie tierra loreweniae Although we make every effort to insure the accuracy of this index, we take no responsibility for an occasional omission or inadvertent error. 99

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Modern Screen’s Movie Scoreboard | (Continued from page 54) "i Name of Picture and Company N.Y. American World- Telegram Chicago Herald- Examiner Los Angeles Examiner Murder in the Fleet (M-G-M) Murder Man (M-G-M) Murder on a Honeymoon (RKO) My Song for You (G-B) Naughty Marietta (M-G-M) Nell Gwyn (United Arrtists) A Night at the Ritz (Warners) No More Ladies (M-G-M) Oil for the Lamps of China (Warners) One More Spring (Fox) Our Little Girl (Fox) The Painted Veil (M-G-M) Paris In Spring (Paramount) 3k The People’s Enemy (RKO) Qa |WMhk| We People Will Talk (Paramount) 2% | Axl] 1x The Perfect Clue (Majestic) 2k | Wk Princess Charming (G-B) 1% [1x] 2x Princess O’Hara (Universal) Wak 3x Private Worlds (Paramount) 3h * Public Hero No. 1 (M-G-M) The Raven (Universal) Reckless (M-G-M) The Right to Live (Warners) Roberta (RKO) Ruggles of Red Gap (Paramount) Sanders of the River (United Artists) i The Scarlet Pimpernel (United Arrtists) | The Scoundrel (Hecht-Mac Arthur-Paramount) | wp ve Te) | ei Io || po s Se [>t [tt w —_ | |x 2 > SS S + Le > > x.) De > xs) De De ix} > es ssc The Secret Bride (Warners) ! Sequoia (M-G-M) \} Shadow of Doubt (M-G-M) | Shanghai (Paramount) | She (RKO) : A Shot in the Dark (Chesterfield) Society Doctor (M-G-M) Star of Midnight (M-G-M) | Stranded (Warners) i! Sweet Music (Warners) 4 Times Square Lady (M-G-M) | Transient Lady (Universal) Traveling Saleslady (Warners) i ! The Triumph of Sherlock Holmes (G-B) i Under the Pampas Moon (Fox) Under Pressure (Fox) Unfinished Symphony (G-B) 1 Vagabond Lady (M-G-M) ; | Vanessa (M-G-M) H The Wandering Jew (Twickenham) The Wedding Night (Sam Goldwyn) The Werewolf of London (Universal) West Point of the Air (M-G-M) When a Man's a Man (Fox) The White Cockatoo (Warners) The Whole Town's Talking (Columbia) A Wicked Woman (M-G-M) Wings in the Dark (Paramount) The Woman in Red (Warners) We! Wk 100 Printed in the U. S. A. by Art Color Printing Company, Dunellen, N_ é.

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eS SS as es eS ee) ee) ee) Ee ee ep Retina MATCHING LIPS AND FINGER TIPS / rps and finger tips must match—that’s the latest rule for make-up! And you had better follow it because you’ll look pretty scrambled if you don’t. It sounds like more work, but it isn’t. You can be all matched up today without wrinkling a brow or lifting a finger. Because Cutex has brought out a complete range of harmonizing lipsticks and nail polishes. 6 smart harmonizing shades Just pick the smart shade of Cutex Liquid Polish that will best accent your costume— you can choose from Natural, Rose, Mauve, Coral, Cardinal and Ruby. Cutex is a polish that flows on evenly, leav- ing no rim or streaking of color. It won’t chip or peel off. Cutex finger tips—and toe tips, too, if you want to be very smart—will stay marvelously smooth and gleaming. Now, you simply complete the color ensem- ble with the Cutex Lipstick that matches or tones in with your nail polish. Natural Lip- stick goes with Natural, Rose and Mauve Polish. Coral, Cardinal and Ruby Lipsticks match Coral, Cardinal and Ruby Polish. And remember—the new Cutex Lipstick shares the famous Cutex quality. It’s creamy and smooth—never greasy. It goes on with the greatest ease and stays on. And it positively won’t dry your pretty lips. You'll find Cutex Liquid Polish at your fa- vorite store. Créme or Clear, with patented metal-shaft brush that holds the bristles in tightly. Be sure to get the Cutex matching Lipstick, in its smart black enamel case! NortHamM Warren e New York Montreal London Paris Smart Young Things say — “Once you’ve seen yourself per- fectly made up with Cutex lips and fin- ger tips all in one smart color key, you'll wonder how you ever went CUTEX ££ 206A and Linitik Seen Vi Vill Vie “ i isda @ MRS. FRANCIS L. ROBBINS, JR., wearing Cutex Ruby Nail Polish and smart matching Cutex Ruby Lipstick. Mrs. Robbins is a beautiful and popular member of Long Island and New York society. Z

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NO THANKS! | 'D RATHER HAV IS WG CIRY Batts B “ inal ‘ ( Koc U oe sis & s) than those