Modern Screen 1936-06 Vol. 13, No. 1

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SCREEN MAGA ZLIN HE PRIVATE LIFE OF

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(Gh j/ \RRESISTIBLE SWIVEL LIPSTICK | THAT LURE USE IRRESISTIBLE 4 ‘ PERFUME / Ana z BEAUTY AIDS FUROANAU Die IRRESISTIBLE PERFUME, AS POWDER, ROUGE, LIP LURE, MASCARA, COLD CREAM, COLOGNE, BRILLIANTINE, TALCUM POWDER ONLY 10% EACH AT ALL 5 AND 10¢ STORES

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SAYS MODERN SCREEN LA ie SAYS DENTIST (But the civilized way to build firm gums is IPANA and MASSAGE) Ve know any matron would say: “That picture is disgraceful. I see no excuse for such outrageous manners.” And she’s right. There is no excuse— socially. But your dentist will retort: “Excuse? —The picture needs no excuse! I hope everyone sees it. More vigorous, energetic chewing like that, and a lot of gum trou- bles would vanish completely.” Dental science points out this fact— our gums need work, activity, exercise... and our modern soft-food diet does not give it to them. It’s our creamy, well- cooked foods that are primarily to blame for sensitive, ailing gums—for the more frequent appearance of that dental warn- ing—‘‘pink tooth brush.” “Pink Tooth Brush” is a warning “Pink tooth brush” is simply a distress signal! When you see it—see your dentist. The chances are relatively small that you are in for a serious gum disorder — but your dentist should make the decision. Usu- ally, however, it only means gums that have grown tender and flabby under our modern soft food diet—gums that need more exercise, moré stimulation—and as a your dentist will so often advise—gums that need the help of Ipana and massage. Ipana is especially designed to benefit your gums as well as clean your teeth. Rub a little extra Ipana into your gums every time you brush your teeth. You'll feel those lazy gums quicken. You'll feel new circulation waken the tissues and soon you'll feel a new healthy firmness in the gum walls themselves... So improve your good looks. Heighten the charm of your smile. Make a definite start toward complete oral health ... Change to Ipana and massage today. — ———— =a SS SS eS SSS SSS

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| if | MAY ~L 1900 YESTERDAY | TIRED... | NERVOUS... | BiLiOUS... eB TODAY — FRESH, RESTED, | FEELING FINE HERE’S HOW I DID IT **A friend told me how to clear up that logy, bilious, ‘all-run-down’ condition caused by constipation. Before I went to | bed last night, I chewed delicious FEEN- A-MINT for 3 minutes. * It’s this chewing, they tell me, that makes FEEN-A-MINT so much more effective. Well, it worked wonders for me. Today I’m fresh and rested—feel like a new person. This easy 3-minute way is so much nicer than taking harsh, griping, ‘gulped’ cathartics.’’ FEEN-A-MINT is fine for children too. No urging necessary to make them take FEEN-A-MINT, because they love its cool, fresh, minty chewing-gum flavor. And it’s not habit-forming. Go to your druggist today and get a generous family- sized supply of delicious FEEN-A-MINT. Only 15c or 25c. Slightly _ —©cis 298789 aps | |sMonay Kor 37 FEY Z.}Rate= E \¢ i ih fete SS) V (st PRK) KS, . ZN Th Se Fe) Vi ARR Ne IN ai ») // SN Se ee de BULA BE\ © I= eA T\| SNAPN ee | i Zz ) ING | [Z a Nog “) — ROE TE SAIN ABRIL LAMARQUE, Art Editor LEO TOWNSEND, Hollywood Editor REGINA CANNON, EDITOR ADELIA BIRD, Associate Editor NOW SHOWING Whitney Williams THEY LOVETOISAVE aaiccrnciie ents atatclelo ects sec okies 14 Amazing economies of the stars ABSENT-MINDED ‘WIZ 20 2iocc ven, care Reser Sve teee eee Dora Albert 18 Elizabeth Allan just “forgets” THE PRIVATE LIFE OF JOAN AND TONE................-+-- Jerry Asher 34 Meet Mr. and Mrs. Tone at home SECOND ‘CHANCE. oc ce ccac cc uscstn seen eee Beene ae Ruth Rankin 36 Eric Linden’s new climb to fame LE:OMBARD; ETD 3.5 2 ooo eee ee ee ee eee Muriel Babcock 38 Carole’s pal, Fieldsie HOLLYWOOD'S BAD: BOY Son. sge cnet eiees caine J. Eugene Chrisman 40 N And it’s Wally Beery! A LADY INS LOVE2262 022 ee aoe eee Mildred Mastin 42 Helen Vinson admits she is THINGS JUST HAPPEN TO ANNE.........0.00cecceeceeeees Lois Svensrud 43 The Shirley gal 1s lucky that way THAT. CAGNEY “GY.GEONEID <i wisiers croracin cin everreriereioie inven ieeine Martha Kerr 44 The why of Battling Jim NO FLATTERY, PLEASE!............. sieiaroretsvapohaiavat eisseisueVokeuersveneye Mary E. Parks 50 Preston Foster doesn’t like it WON BY AN’AGGENT) 52..:.00 cine ci iene ase eeeee Katharine Hartley 51 Margaret Lindsay’s little hoax 4 DO WOMEN SPOIL 'MEN?..........-0ccecceceecees aie Gladys Hall 52 Virginia Bruce gives her answer j WHY BART MARSHALL "GETS" YOUI..............- wie eroieets Faith Service 54 You’ll be intrigued, too SYLVIA SIDNEY PLAYS TRUTH..............2ecccceveees Katherine Albert 56 She confesses her faults DO YOU BELIEVE IN MIRACLES?..................0008- Madame Sylvia 60 You will after this HER BOARDING HOUSE DAYS .............ecececeeceeece Frank Easton 62 Ann Harding’s early days ; CLOTHES THAT GO PLACES!.......... 0. cc cece cc ceccvccens .. Adelia Bird 64 You’ll want them all ¢ SHORT SUBJECTS Modern Screen Scoreboard.......... 6 Stars’ Studio Addresses............. 23 Modern Screen Patterns............ 8 Between You 'n’ Me.............. 24 Reviews sac se Sen aoe eas 10 Exclusive Portraits ...........-.--e- Q7 Foods That Score a Grand Slam...... 16 Good News:.)..5 ss.ss sce pelle soe 46 That Beauty Called ‘‘Smooth”...... 20 Academy Award Night............ 58 Me and My Shadow............-- 29 Aboard Universal’s “Showboat’”.... 68 Information Desk ...........e-+ee0. 70 Published monthly and copyrighted 1936 by Dell Publishing Company, Incorporated. Office of publication at Wash- ington and South Avenues, Dunellen, N. J: Executive and editorial offices, 149 Madison Avenue, N. Y. Chicago, Ill, office, 360 N. Michigan Avenue. George T. Delacorte, Jr., President; H. Meyer, Vice-President; M. Delacorte, Secretary. Vol. 13, No. 1) June, 1936¥ Printed in the U. S: A. © Price in the United States, $1.00 a year, 10c a copy. Canadian subscriptions, $1.00 a year. Foreign subscriptions, $2.00 a year. Subscriptions are to be mailed to the Subscription Department at 149 Madison Ave., New York, N.Y. Entered as second class matter, September 18, 1930, at the Post Office at Dunellen, New Jersey, under act of March 3, 1879. The publishers accept no respon- sibility for the return of unsolicited material. Sole Foreign Agents: The International News Company, Ltd., 5 Breams Building, London, E. C. 4, England. | Names of characters used in stories and in humorous and semi-fictional matter are fictitious. If the name of a living person is used, it is purely a coincidence. A RRS aa Seer NEE Ne aoe et TT IR ee Ie ee ON a MODERN SCREEN

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MODERN SCREEN See New Year’s Eve revels in San Francis- co...with champagne flowing in fountains! Jack Holt - Ted Healy ° Directed by W. S. Vi A METRO-GOLDWYN- MAYER See the “Paradise” .hottest spot of Frisco’s most daring days... with Clark managing! See “The ci Ball’... with of gold fc popular ente

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MODERN SCREEN MOVIE SCOREBOARD Picture and Producer enna Accent on Youth (Paramount).......eeeeeeeere 3 Ah, Wilderness (M-G-M)........000e ee eeeeee 4* Alias Bulidog Drummond (GB)........-.-+++-- Q& Alias Mary Dow (Universal).........000+ee0e8 lk PN Tee iA CLO SCRIKO) sietele ciclieicle eiclsialeceteislcialelsislevere 4* Anna Karenina (M-G-M).......2e00eee eee eee 4k Annapolis Farewell (Paramount)........--+---> Wok Annie Oakley (RKO)............2ceeseeeene 4 Anything Goes (Paramount)......-.---+++e5e0s 3 ThamArizoniani (RKO) sieieiesieiclela clcleiste/elejeinta!>/nlele 3% Bad Boy (20th Century-Fox).........--+e2eees Qe Barbary Coast (United Artists)...........--+-+ 3 REGIS CHa Co) hadoceannaoodopeosubodoodo 3 The Bishop Misbehaves (M-G-M)........-.++-+ 3 The Bohemian Girl (M-G-M).......2.--0020005 Wak Boulder Dam (Warners). ..-...- 0-020 ee eee reece 1* Break of Hearts (RKO)......-. 0.0 eee cece recess 3 The Bride Comes Home (Paramount).......-.--- 3 Brides Are Like That (First National)..........-- Wo* Bright Lights (First National).........-...+-+++ 3 Broadway Hostess (First National)..........-.-- 1 Broadway Melody of 1936 (M-G-M).......-.- 4 Call of the Wild (20th Century)............---. 3 The Calling of Dan Matthews (Columbia)........ 1* Captain Blood(Warners)........02+2-2es reece 4* Case of the Curious Bride (First National)........ 3% The Case of the Lucky Legs (First Netional)...... l* Ceiling Zero (Warners)......-..eceeeeeceeeee . 4* Charlie Chan at the Circus (20th Century-Fox)....242%* Charlie Chan in Shanghai (20th Century-Fox).... 2% Charlie Chan's Secret (20th Century-Fox)........ Qk Ghatterbox. (RKO) s acvissiiciscieieicite emetic lk GhinasSeasi(IM-G-M) oie cieciciciele)s cberciels)-iehesoiclcrevel 4* Clive of India (20th Century)..............eeee 4* GolleeniGWarners) sac cciie te cletsnielomstetelsinretereicrsiatele 3% Collegiate (Paramount)..............-seeeeeee hk Coronado (Paramount).........-.+.eee eee eee 1* The Country Doctor (20th Century-Fox)......... 4* Crime and Punishment (Columbia)............+- 3 The Crime of Dr. Crespi (John H. Auer).......- Qa The Crusades (Paramount)............2eeeeeere 4* Cinbalig@idierdoncocuncssoncecsonobodanoncan 3 Dancing Feet (Republic)..............2-2--00: Qe Dangerous (Warners)......--se eee ee eee ree eee 3k Dangerous Waters(Universal)........--..--.+- Qe Dantessiinférno CROx)eiiercrci-1s ovsierwreieleyeistoie steieleleene l* The Dark Angel (Sam Goldwyn)............--- 4k The Daring Young Man (Fox)........-.+-ee-00% l*k David Copperiield (M-G-M).........--.-.--5- 5k Diamond Jim (Universal)............-..--2+0. 3k Don't Bet on Blondes (Warneis)................ lL Don't Gamble with Love (Columbia)............ Var Don't Get Personal (Universal).......-..-..2-05 1* Drift Fence (Paramount)........---.--2eeeeeee lx Dr. Socrates (Warners). ........ccec cece recs eee l*& East cf Java (Universal)........--0. esse eee eee l* Escapadesi(M-G-M) iiejsicisietctoiciare eicicvercinicratsevolevere 3 Escare Me Never (United Artists)...........-.. 3* Everybody's Old Man (20th Century-Fox)....... Wak Every Night at Eight (Paramount).............. Qk Every Saturday Night (20th Century-Fox)........ Ik Exclusive Story (M-G-M).......--2eeccececes Work Fang and Claw(RKO)........ Sos saccoesuancas lk The Farmer in the Dell (RKO)..........-.2+-50+ hak The Farmer Takes a Wife (Fox)...........---05 3% A Feather in Her Hat (Columbia).............. lL RirstiatGirli(GB)riciaciertctesine on eit ieee Mik The Flame Within (M-G-M)..........-.....-05 lk Follawithe Fleet((RK@) 22. cc. cre nere ss ie see re wie 4k Freshman Love (Warners)........---.--.-eeeee I Brisco Kids (Warners) micterccctsvorcleitererstorsiacnerniarerstenete 3 Front Page Woman(Warners)......-.-.eeceeece 3% The Garden Murder Case (M-G-M)............ hk The Gay Deception (20th Century-Fox).......... 3 The Ghost Goes West (United Artists).......... Ak Ginger (Rox) ssn sites acon ee 3 The Girl Friend (Columbia).................... 1* Goose and the Gander (First National).......... lk Grand Exit (Columbia)...................000. 1*k The Great Impersonation (Universal)............ l* Picture and Producer eing? Hands Across the Table (Paramount)........+-- 3% Harmony Lane (Mascot).........-.-2seeeeeeee Q& Hell Ship Morgan (Columbia)..........--+++> Qe Here Comes Cookie (Paramount)............++++ 3x Here Comes the Band(M-G-M)............--+5 1*k Here's to Romance (20th Century-Fox).......... Qe Hold 'Em Yale (Paramount).............+20+0s 3* Hooray for Love (RKO).............--.+-005% lk | Dream Too Much (RKO)........-----eeeeeee 3% | Found Stella Parish (Warners).............- Q*& If You Could Only Cook (Columbia)............ 4* fEive\forioveiGWarners) ees teeteiercierieteriereteteiocale l* [Live My Life(M-G-M)... 2.0. ccc ccc cere cveree Qe The Informer (RKO) siarciscczis ce cote hors antares ale ceaeiolals 4k IniPersom\CRK@) crereretescistoterevelcteieteteteleletotolevorietets 2 The Invisible Ray (Universal)...............00- ak The Irish in Us (First National).............++05. 3 It Had to Happen (20th Century-Fox).........-. 2 It Happened in New York (Universal).......... 3 1stinitherAinCM=G-M) eneiictelstentetieiteieielsiereleicle Q* Jalna CRKO) Wace crnicteccuetersyarcve'sterelotereraialererareterels tame 3 Java Head (First Division)...................- lk King of Burlesque (20th Century-Fox).........-. Sk King of the Damned (GB)..............ee2ee0e Ve King Solomon of Broadway (Universal).......... 1* Klondike Annie (Paramount)................-- 1k The Lady Consents (RKO)..............--.005 Qa Lady of Secrets (Columbia).................-.. 1* Lady Tubbs (Universal).............:.-.2e000- lk The Last Days of Pompeii (RKO).............. 4* Last of the Pagans (M-G-M)............-...-- li The Last Outpost (Paramount)................. lk The Leathernecks Have Landed (Republic)...... 3% The Leavenworth Case (Republic).............. Qk Let ’Em Have It (United Artists)............... 3 Let's Live Tonight (Columbia)..... DOOD Ese OGO lk Little Big Shot (Warners).........-..0.22020ees ed The Littlest Rebel (20th Century-Fox)........... 3 The Lone Wolf Returns (Columbia)............. Ik Love Before Breakfast (Universal).............. Dhak EHoveronzasBeti (RK©)-cceceremoncieninenenens The Loves of a Dictator (GB).................+2-- 3% Mad Love (M-G-M).............0-2eeeeeeee l*& Magnificent Obsession (Universal)............. Dia Manhattan Moon (Universal)................. 1* Man Hunt (Warners).........c2cse-ee eee eeeee lk Man of Iron(Warners)........eeeeeeeecceeceee 1* The Man Who Broke the Bank at Monte Carlo (20thiGentury-Fox) so can ieee Wak Mary Burns, Fugitive (Paramount).............. 3 The Melody Lingers On (United Artists)......... l* Men of Tomorrow (London Films).............. 1* Metropolitan (20th Century-Fox).........-..--. 4* A Midsummer Night's Dream (Warners).......- Sk The Milky Way (Paramount)...........-....-- 4* Millions in the Air (Paramount).............-.. 1k Mississippi (Paramount)............-.-.--.2-e 3% Miss Pacific Fleet (Warness)............--..00% ak Mr. Cohen Takes a Walk (Warners)............ Wok Mistersloboi(GB)iaccict-tecreeiae ieee lk Modern Times (United Artists)................. 4* Moonlight Murder (M-G-M)..............---- Wh The Morals of Marcus(GB)................-0.- 1*& Murder Man (M-G-M)...........0202ececeeee lk The Murder of Dr. Herrigan (First National).... 2% The Music Goes 'Round (Columbia)............ le Music is Magic (20th Century-Fox).............. ak MusstEmUpiCRK@) Saseciecreioreie eee Qk Mutiny on the Bounty (M-G-M).............. 4A* Naughty Marietta (M-G-M).................. 4* Navy Wife (20th Century-Fox)................ lk New Adventures of Tarzan (Republic).......... 1* Next Time We Love (Universal)................ 3k A Night at the Opera (M-G-M).............. 4* No More Ladies(M-G-M)........-...0.-000e- 3 Old Curiosity Shop (BIP)..................-.. Wh $1000 a Minute (Repubdlic)................... lk One Way Ticket (Columbia).................. Wh k Orchidsitomny¥oul(Fox) pectic enn eee lk Picture and Producer Benet Rating Paddy O'Day (20th Century-Fox)........-+-++- hak Page Miss Glory (Warners).........++++seeeeee 3% Paris in Spring (Paramount).......-++++--+eeees 3% The Perfect Gentleman (M-G-M)........--++-- Q& Personal Maid's Secret (Warners).........-+0+s Qk Peter Ibbetson (Paramount)...........2+e+e0ee 3% The Petrified Forest (Warners)......-..-+e0ese0e 4* Petticoat Fever (M-G-M)........-.02-.eceeeee 3 Powdersmoke Range (RKO)...........+-+++++ Q* The Preview Murder Mystery (Paramount)...... 3 Prisoner of Shark Island (20th Century-Fox)...... Vik Professional Soldier (20th Century-Fox).......- 3% The Public Menace (Columbia)..........--.+-- 1* The Rainmakers (RKO)..........+0--eeeeeeee 1* ThesRaveni(Universeal)ic.c.. 3% Rhodes, the Diamond Master (GB).........---+ 3 Riffrafl (M=G=M)\-i0 705 ciccie ts sob, state) -savoleteretonetseoite Wak Road Gang (Warners)...........2- eee ceeeeeee Wk Robin Hood of El Dorado (M-G-M).......--+-- Wh Rose Marie (M-G-M)..........-2-eeeeeeeeee 4k Rose of the Rancho (Paramount)........------+ Qe Scrooge (Hagen-Twickenham)..............+«+- Wak Seven Keys to Baldpate (RKO)...............- Qe Shanghai (Paramount)...........--.-ee-erees Qe She(RKO)). (5.1% ware incorevereby otal eyieeteiner enters ed She Couldn't Take It (Columbia)............... Wak She Married Her Boss (Columbia)...........-.- 4k Shipmates Forever (First National)...........- . 3% A Shot in the Dark (Chesterfield)........-.-.++. Qa Show Them No Mercy (20th Century-Fox)....... 3 Silk’ Hat:Kid (Fox) = cj. 12 sicieleie le cite re iano 1* Smart Girl (Paramount)............-+2+-eeees I Snowed Under (First National)...............-- lk Soak the Rich (Paramount)..............--«s-. Wh kk Song and Dance Man (20th Century-Fox)......-- 1* Song of the Saddle (Warners)............-2000- Q* So Red the Rose (Paramourt)..............++-- 3% Special Agent (Warners)..........2-++seseeee Qa Splendor (Samuel Go!dwyn)...........---++-- Qe Stars Over Broadway (Warners)........-..+00. 3% Steamboat Round the Bend (Fox)........--..+- 3% The Story of Louis Pasteur (Warners)..........-.- A* Strike Me Pink (Samuel Goldwyn).........-.+-> 3 Sutter's Gold (Universal)...........-...-.+--s 2h Sylvia Scarlett: (RK@)). sc ele ctalsictelsielensieieneterete Dok A Tale of Two Cities (M-G-M)........+.00+-05 5k Thanks a Million (20th Century-Fox)...........- EL These Three (Samuel Goldwyn)..........-.--++ 4* Mhes39'Stepsi(GB) ese rextertcetaee teeter emetetele tiene 4* This is the Life (20th Century-Fox).............- Qe The Three Godfathers (M-G-M).........--.+00e lk Three Kids and a Queen (Universal)..........-. Q*& Three Live Ghosts (M-G-M)..........-+-20e00s Q*& The Three Musketeers (RKO)..........--+-++> 3 Thunder in the Night (Fox).........-...- 1* The Voice of Bugle Ann (M-G-M)..........--- Wh*& The Walking Dead (Warners).......--+-+-++-+> lk Way Down East (20th Century-Fox)...........- lk We're in the Money (Warners)..........-..05- Q* We're Cniy Human (RKO).........-..--s0eee Qe Whipsaw (M-G=-M) nc cistere sleieorelspeie into nyeteleieiete crane Wok The Widow from Monte Carlo (Warners)........ lk Wife vs. Secretary (M-G-M).........----+---- 3* Woman Trap (Paramount).........+2+-++-eeeee hk Your Uncle Dudley (20th Century-Fox).......... Qk You'll find this chart simple to follow and a valuable guide in choosing film entertainment. Instead of giving you the individual ratings of Modern Screen and authoritative newspaper movie critics all over the country, we have struck an average of their ratings. You'll find this average under General Rating. beside each picture. 5, extraordinary: 44, very good; 34k. good; 2%, fair: 14%, poor.

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MODERN SCREEN | Hollywood Does A Mirthful Martial Musical Up ‘Brown’ joins the army and ‘slays’ the world as the head man of a riotous regiment of singing ONS Including Joan BLONDELL | Beverly Roberts, Eric Blore, Winifred Shaw, Craig Reynolds, Joseph King, Robert Barrat i Those thousands of “Bright Lights” audiences who demanded another song-and-dance show for Joe have had their way! Warner Bros. went right out and bought that famous stage musical ‘Sons O’ Guns,’ equipped it with uproarious cast and all modern conveniences including new Warren and Dubin songs, and a passionate apacne dance number by Joe that stops the show. The riotous results emerge as the month’s top entertainment. TAKE A BOW, LLOYD BACON, FOR YOUR - DIRECTION And the Same To You, Warren & Dubin, for These Great Songs “A Buck And A Quar- ter A Day”, ‘Put On A Uniform”, ‘In The Arms OE on Army Man“

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se YS ae =D 2 F ‘ F & = spats i Lee 4 a Soon i 2 poe 3 < Two typical Hollywood . sports togs jit ee eel — MODERN SCREEN Pattern Service, 149 Madison Avenue, New York, N. Y. | 1 am enclosing (in coin or United States | stamps) for which please send me the following: Pattern Pattern Do you Patterns are 15c each. Books 10¢ when ordered with pattern; 15¢e when ordered separately. Patterns are 20e if you live out- side of the United States. Books 20c separately, 15c with pattern. No foreign or Canadian stamps accepted. 1747—Here’s a dual per- sonality dress! With its long-sleeved bolero jack- et, it's a daytime cos- tume; without it, it is an active sports dress with sunback. Sizes 14, 16, 18 years, 36, 38 and 40- inch busts. 1740—Culottes are new- er than slacks. This clever trouser-skirt has a halter top with a brief bolero jacket. You can have this pattern in shorts style, if you wish as in smallest sketch. Sizes) = lepeloy, b/eand 19 years. ~~ ve

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MODERN SCREEN . ..in the first dancing romance filmed in all the breathless beauty of the new ‘TECHNICOLOR THRILL toa throbbing eer PIONEER PICTURES presents You’ve never seen any- thing like the spectacular “‘Moonlight Dance’’... A CAST OF and a score of other 3 gasping scenes! | HUNDREDS : . featuring CHARLES COLLINS Dancing idol of Broadway FRANK MORGAN Laugh star of 50 hits STEFFIDUNA The girl of ‘La Cucaracha’ 1#PIONEER Luis Alberni - Victor Varconi PICTURES Jack La Rue - Directed by LLOYD COLOR CORRIGAN. Designed in color THE by ROBERT EDMOND JONES. Distributed by * Hear the sentimental RKO RADIO PICTURES songs by the hit composers, Rodgers & Hart:’’ When You Are Dancing the Waltz’ and ‘Are You My Love?” WORLD”

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_— REVIEWS A Tour of Today’s Talkies By Leo Townsend A love scene from ’’Petticoat Fever,’ co-starring Robert Montgomery and Myrna Loy, two of the screen's most popular stars. **k* Captain January (20th Century-Fox) There's no use saying anything derogatory about a Shirley Temple picture. Whenever you start wishing they'd furnish Shirley with a less antiquated story to back up her talents, you come around to the conclusion that the little lady is so good she doesn't need a story. Certainly, she proves it in “Captain January,” for it's the old tale about the nice elderly gent, acting as guardian to the nice little girl and how the nasty truant officer wants to take her away and put her in an institution. With that as her vehicle, Shirley manages to sing, dance and turn on the personality so that when the picture is over you think you've seen something good. What you've actually seen is a child lift ordinary screenfare into the realm of good entertainment by the magic of her presence. As the ward of Guy Kibbee, an aging lighthouse keeper, her best friends are Slim Summerville and Buddy Ebsen. With Summerville and Kibbee, she does a swell burlesque on the Sextet from Lucia, and with Buddy Ebsen she swings into a couple of dance numbers that practically remind you of Eleanor Powell. The antics of Kibbee and Summerville as rivals for the young lady's attentions are often amusing, and the dancing and the comic pan of Buddy Ebsen help things considerably. But it's Shirley who makes the picture what it is. Preview Postscript The new Will Rogers Memorial Stage was used for the first time in filming this story. The problem of devising a waterfront which could be used throughout the picture was finally solved by the art and construction department. A tank, 80 feet square, four feet deep, containing 143,616 gallons of water was finally designed within the huge sound-stage. Its weight of 1,197,216 pounds required special underpinning beneath the floor. Two full-rigged fishing boats and a coast-guard cutter floated upon the artificial sea during the filming. Agitators on three sides, manned by crews of husky workmen, created realistic waves, while vaporized mineral oil, cooled over dry ice, provided fog which clung close to the water. The only accident which occurred was when Shirley Temple became seasick . . . This is Shirley's 10 é “The Singing Kid,” with Claire Dodd, Jolson and Allen Jenkins. Top, Grace Bradley, Fred MacMurray and Joan Bennett in “13 Hours by Air.” eighth film and she has yet to see her eighth birthday. Recently a group of learned gents from all over the world came up to the studio to study this little girl's amazing mental make-up. They discovered that Shirley is a bright child, but not a child prodigy—comforting to those who have seen a few of the latter. *&*xk* 13 Hours by Air (Paramount) A competent cast, and the outstanding performance of young Benny Bartlett provide seventy minutes of good entertainment. There's a bold and bad killer, one of Uncle Sam's sleuths, a fortune hunter, a jewel thief, a prospective kidnapper and just about everything else you can imagine aboard the de luxe air-liner, including young love. You get interesting slants on commercial flying, too, for most of the action takes place while flitting across country by air. Fred Mac- Murray is the handsome pilot and Joan Bennett is one of the pas- sengers. With only thirteen hours in which to get acquainted, Fred and Joan seem to waste a lot of time, but that little matter is taken care of, for the ship is forced down by a blizzard in a remote and rugged section of the country. Others in the cast are Brian Donlevy, as the detective, Ruth Donnelly as the air-hostess and ZaSu Pitts as the harassed guardian of young Benny Bartlett. Alan Baxter, Adrienne Marden, Jack Mulhall and Fred Keating are also aboard. Preview Postscript Ten million dollars worth of equipment, and 1500 employees, were donated to Paramount Studios for the purpose of making this picture outstanding. W. A. Patterson, president of the United Airlines was the donater, who put the entire line at the studio's disposal . . . Benny Bartlett is nine years old and the sole support of his father, mother, and three small sisters. His father's in a veterans’ hospital and until last August when Benny marched into the studio and announced he'd come for a job—and a good one—the Bartletts didn't quite know what to do to keep the family going. Benny's been in four pictures since, and it looks as if he'll be kept busy. (Continwed on page 12) F] ae

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MODERN SCREEN THEY ALWAYS SAY THEY WANT SOMEONE WITH MORE EXPERIENCE... THANK YOU SO MUCH FOR TELLING ME NEX ~ I COULDNT TAKE ON 4 ABOUT THESE JOBS, MRS.WHITE-TLL ) | [1M sorey, Miss BAKER,| ( 4 SIRL WITH PIMPLES WASNT |). — Bey ee THEREAL (7) [och] Besa jorenence ie REASON ||| SHE COULDNT GET A JOB Os NO, MRS. WHITE-I. | MY DEAR, I'M GOING 70 BE MOTHER —L'VE GOTA JOB! 11'S HAVENT HAD ANY. LUCK.I]] VERY PERSONAL. I THINK WHERE ALICE WORKS —-AND SHE { CANT SEEM TO PUT THE TROUBLE MAY BE YOUR SAYS ONE REASON THEY TOOK ME THANK HER MYSELF ACROSS. I SKIN. HAVE YOU EVER TRIED ZI. NAS BECAUSE THEY LIKED AGAIN FOR Y yy A WISH I KNEW WHAT.- EATING FLEISCHMANN'S K is MY LOOKS! IT muST TELL TELLING You YEAST TO CLEAR UP WR = MRS. WHITE! ABOUT FLEISCHMANNS | THOSE PIMPLES 2 > { JIMMY. ARE You I'VE GOT STILL — | SURE YOURE Nor Don’t let Adolescent Pimples | ANOTHER TRADE- MAKING UP ALL. \ LAST FOR vOU- THE NICE THINGS . bea handicap to You YOU TELL ME? c= JP Ons the beginning of adolescence—from 5 about 13 to 25, or even longer—many young people are troubled by pimples. During these years, important glands develop and final growth takes place. This causes dis- turbances throughout the body. The skin gets Oversensitive. Waste poisons in the blood irri- tate this sensitive skin and pimples break out. Fleischmann’s fresh Yeast is often prescribed to help get rid of adolescent pimples. It clears these skin irritants out of the blood. Then —pimples go! Eat 3 cakes daily—one about % hour before each meal. Eat it regularly—plain, or in a little water—until your skin clears. Start today! by clearing skim irritants out of the blood Copyright, 1936, Standard Brands Incorporated

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Shirley Temple prompts Jerry Tucker in a classroom scene from ‘Captain January.” Guy Kibbee and Slim Sum- merville are featured, too. ** A Message to Garcia (20th Century-Fox) Carrying that missive from Washington, D. C., to inland Cuba is a task which includes fighting one's way through miles of swampland and hundreds of treacherous Spaniards, but John Boles, as the hand- some U. S. Army Lieutenant, manages to go through all that and meet Wallace Beery and Barbara Stanwyck, besides. According to history that message, when it was handed to General Garcia, led to victory in the Spanish-American fracas in 1898. On the screen its actual delivery is prefaced by such unexciting episodes that one almost wishes it could have been phoned to the good general. Mr. Boles’ long trek through the swamps with Miss Stanwyck and Mr. Beery as his companions becomes a trifle monotonous, but the situation brightens when he falls into the hands of the opposition, for you get the idea that something is about to happen. What happens is that the U. S. Army swoops down on the enemy and rescues Mr. Boles, who hands over the message to the General. You'd probably call it Wallace Beery's picture, for he has more audience appeal with his stock “lovable villain’ character than have Boles and Stanwyck with nothing to do but carry on a rather phlegmatic romance. Preview Postscript This picture was based on Elbert Hubbard's essay, which was in- spired by the message sent to General Garcia by President McKinley, and dwelt on the moral of initiative and devotion to duty. Gene Fowler and W. P. Lipscomb did a real job of script-writing in making a scenario from such meager material . . . Most of the picture was filmed in a studio-built jungle and swamp. Part of this, together with a Cuban village, was built as an exterior set on the back lot, occupying 10 acres of the !10-acre studio. Much of it was also bui!t on sound stages where a swamp was filled with a dozen live alligators through which Wally Beery and John Boles had to wade. The alligators were in a hibernating stage when brought to the studio and were made active by being placed in warm water. Two tons of ice were kept close at hand to cool the water should they become dangerously active... The role that John Boles plays in this picture parallels his war-time career in the U. S. Secret Service in France. On his 12 Warner Baxter and Margo in ‘Robin Hood of Eldorado.” Top, Barbara Stanwyck and John Boles in "A Message to Garcia.” Wally Beery is the villain in this. return from the war, having no money with which to continue his studies, he took up singing to make a tiving. The hardest part of his career, though, came during the filming of this picture. He had to go into solitary continement for three months during the shooting on account of the stubble blooming on his chin . . . To insure realism in the picture, Francois De Valdes, Cuban technical director, had the shirts, machetes, dried tobacco leaf and even the bread which is eaten imported from Cuba. ** The Singing Kid (Warmers) Done in the typical Al Jolson manner, it presents the country’s Number One mammy shouter in a manner which should meet with the approval of every one of his followers. This time he's a famous musical comedy and radio star, in love with Claire Dodd, who does him in by running off with Lyle Talbot, Al's crooked attorney. Things like that go straight to the heart of a mammy singer, so Al suffers a complete breakdown and is forced to sojourn in the woods for a rest. Here, of course, he meets a simple country girl (Beverly Roberts) and her niece, Miss Sybil Jason. The country life seems to be the life for Al, for it is no time before he has recovered his voice and is back on his knees again in a Broadway musical. With, of course, the girl of his bucolic interlude. The comedy in “The Singing Kid" is the type you hear on the average radio program—in other words, it's not very good. The song numbers are much bettter, and the real stars of the picture are The Yacht Club Boys. The picture's high point, in fact, is a number called "| Love to Singa," in which the Yacht Clubbers and Jolson hand the mammy and Dixie numbers a terrific kidding. Another Yacht Club gem is ''My, How This Country Has Changed.’ Beverly Roberts is a welcome addition to the ranks of the new screen players, and Sybil Jason is effective in a song number. Preview Postscript Al Jolson'’s secret of success, for lo these many years, will make you blush. He's found that an audience mustn't be out- smarted in the matter of wisecracks. If that is done the spectators

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ios “in the paid seats will squirm and mutter, . "This guy's not so hot after all.’ But if you play the part of a normally blundering hu- man being, says Al, they'll think, "Poor dope, let's give him a hand." In short, just give your audience a superiority complex and they'll give you a fortune .. . The day when the star surrounded himself with mediocre and negative talent is a thing of the past. This picture's a good example of changing times, as witness radio and stage rivals which Jolson is mixed up with. There are The Yacht Club Boys—tops on radio in this coun- try and in England; Cab Calloway, best known cullud band leader in the world; Mitchell and Durant, and a host of others Frank Mitchell and Jack Durant were both amateur champion boxers when they formed an acting partnership twelve years ‘ago. Finding themselves pitted against each ~ other on a fight program one night in New York City, the pair mutually agreed to clown _instéad of swap punches. The act" was such a success with cash customers that Mitchell and Durant decided then and there to -book it on the vaudeville circuit. Re- cently the pair dissolved partnership and entered the movies—only to be teamed again » in their-first celluloid appearance. cokkk Mr. Deeds Goes to Town (Columbia) SEOs. ‘There should be more pictures like this. Everything you're looking for in good en- - tertaimment is packed into “Mr. Deeds ' Goes To Town.’ There’s rich humor, stark tragedy, sentiment, satire and all the elements that make a picture a “natural,” including one of the most un- usual love angles you've seen. ~ Gary Cooper, -as Longfellow Deeds, the pride of Mandrake Falls, has his best role to _ date and handles it with a deftness that _ should send his cinema stock soaring. A\l- though he’d never been outside of Man- drake Falls in his life, there’s no happier man in the world than Mr. Deeds. That is, until he falls heir to twenty millions and goes to town. From then on he is the victim of a series of heart-breaking eyents, since everyone with whom he comes in contact tries to take him for a ride. The girl of his dreams, Jean Ar- thur, New York’s ablest sob-sister, is us- ing him for copy as the “Cinderella Man.” Jean Arthur’s performance is entirely con- vincing, with her courtroom plea one of the high spots of the picture. But then, there are so many high spots in this flicker that practically every actor can take credit for a few. John Wray’s plea for the half- starved men in the country is an outstand- ing bit, while Lionel Stander, H. B. War- ner, Raymond Walburn, George Bancroft and Ruth Donnelly all give excellent ac- counts of themselves. Preview Postscript This is the fourth picture made by Holly- wood's Brain Boys—Frank Capra and Robert Riskin, the outstanding example of a success- ful writer-director combine. ‘“'Lady for a Day,’ “It Happened One Night" and "'Broad- way Bill’ are the other three, in case you don't believe us. And the next is ‘Lost Horizon.’ . . . George Bancroft has had his ups and downs in celluloid. But he will never be broke. Some years ago George and George M. Cohan tore hundred-dollar bills in two, with both keeping one-half of each as souvenirs. Thus if there's ever a question of financial embarrassment among the two Georges, it's just a matter of getting to- gether to put the pieces together . . . Ray- mond Walburn came to Hollywood from the New York stage, not because he felt the screen offered a better medium for express- ing his pent-up emotions, nor for the better checking account. : (Contuued on page 113 MODERN SCREEN Tere was a young actor --. Oui, oui! No respect for convention had he. He got slapped on the cheek And jailed for a week Just for kissing a girl in Paree! * * * Tue reason is not hard to see... The answer is simply that he ' Never met the young miss Till he stole that sweet kiss But things happen fast in Paree! PICKFORD-LASKY PRODUCTIONS presents Funes LEDERER » (ON FI RAINY NOON with IDA LUPINO HUGH HERBERT ROLAND YOUNG Erik Rhodes * Joseph Cawthorn Directed by ROWLAND V. LEE Released thru United Artists

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Walter Connolly regards the manuscript of the first three- act play ever presented in America as his lucky talisman. + i | Fas a foil, but they have their souvenirs The blond wig Myrna Loy wore in her first picture, “What Price Beauty?” is seldom removed trom By Whitney Williams IPs” MVOIRIEIEES) ~ 2) small place, after all. No habit finds such uni- versal response among people as saving ... and in a mutual regard for this trait Hollywood and the rest of the globe lie closely akin. From star down through the ranks to extra, there’s scarcely a player who doesn’t keep something cher- ished, something very dear to his heart, in his safety deposit box. Every manner *{ chattel may be found in these strong-boxes of the stars some of great monetary value, but the majority are kept only for sentimental reasons. The blond wig she wore in her first picture, Mrs. Rudolph Valentino’s ‘What 14 Price Beauty?” lies in Myrna Loy’s, more cherished than the deed to her home. Nothing could ever persuade Myrna to part with this personal “prop” that figured so importantly in her cinema debut. Seldom removed from the vault because of the high value attached to it, Kay Francis’ most treasured possession is a ring, more than two thousand years old, which her great- grandmother found in the Cata- combs in Rome. When she had reached the ripe old age of five years, Evelyn Venable was taken backstage to meet Walter Hampden, the Shakespearean actor and her father’s closest friend. He her safety deposit box. presented her with a pomegranate. “Who knows,’ said Hampden, “but what someday you may be an actress with me?” Some twelve years later, Evelyn did appear with Hampden as his leading lady in Shakespearean reper- toire. And in memory of that early childhood day, the day she first de- cided to go on the stage, Evelyn has kept the pomegranate. It reposes now, its dried and shriveled shell packed carefully in cotton, in a bank vault. Safeguarded in the hidden recesses of her safety deposit box are the funny little Mary Jane pumps that Janet Gaynor wore in ‘Seventh y THEY LOVE TO SAVE ! Stars may not hoard string or tin | ; ji ee Pela tt

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John Boles treasures the passport which entitled him to go anywhere he wanted to in France and Belgium during the World War. Heaven,” the film that sky-rocketed her to lasting fame. They’re only a plain pair of battered shoes, but rather than permanently be separated from them Janet would sacrifice any- thing she possesses. Once in every MODERN SCREEN NO PICTURE? picture the popular actress dons them for a scene. Then back to the box they go. NORMA SHEARER owns one of the most gorgeous diamond _ brace- lets in Hollywood, an engagement present from her husband, Irving Thalberg. Very infrequently does she take it from its resting place at the bank. And therein lies a tale. A number of years ago while visiting New York, the publicity office of M-G-M requested her to make a photographic sitting. A young man by the name of Hubert Voight accompanied her to the pho- tographer’s. While she changed her costume, she asked Voight to hold the brace- let for her. He slipped it into his pocket and instantly dismissed the incident from his mind. Apparently, Miss Shearer did likewise, for not until that evening while dressing for dinner did she think of the bracelet. A frenzied search was made to locate Mr. Voight. Metro officials, Newspaper reporters, even the police were called in by the frantic Miss Shearer. Not that she considered for an instant the possibility that the publicity man had absconded with the bracelet .. . it was to satisfy her peace of (Continued on page 122) —> Impossible to print a picture that would make its point and still stay within the bounds of good taste <<a k’D LIKE to take some person who had just taken a harsh, over-acting cathartic ... and turn on the X-ray camera. We'd like to print micro-photographs, too, of the tissues of the alimentary tract. We'd like to show you just what happens within you when you take so drastic a purge. If you could see those pictures, you wouldn’t be likely to take such medicine again. You would be super-careful to take only a laxative that is correctly timed. A laxative like Ex-Lax. WHY HARSH CATHARTICS ARE BAD FOR YOU When you take a cathartic that over-acts, it throws your entire system out of rhythm. It hurries unassimilated food through your body, causing violent muscular action in your ali- mentary tract. You have pains and griping. You feel weak afterwards... all worn out! Authorities agree that strong purgatives and cathartics should never be taken except upon the advice of a physician. WHY CORRECT TIMING IS VITAL Now, what happens when you take a correctly timed laxative like Ex-Lax? Well, except for the relief you get, you hardly know that you’ve even taken a laxa- tive. And that’s as it should be ... You take a little Ex-Lax tablet, preferably at night. It tastes just like delicious chocolate. It works gently, taking 6 to 8 hours to be effective! You will have no stomach pains. You won't be nauseated. You'll experience no unpleasant after-taste. In the morning your constipation will be completely relieved. You'll feel fine! 30 YEARS’ PROOF New laxatives constantly appear with mirac- ulous promises. But, remember this . . . for over 30 years, Ex-Lax has been the approved family laxative. More people use it than any other laxative in the world. You can count on it for mildness, gentleness, thoroughness, cor- rect timing. A box costs only 10c at any drug store. Or 25c for the economical, family size. When Nature forgets = remember EX-LAX THE ORIGINAL CHOCOLATED LAXATIVE (anes TRY EX-LAX AT OUR EXPENSE! —— =| (Paste this on a penny postcard) | Ex-Lax, Inc., P. O. Box 170 MM-66 Times-Plaza Station, Brooklyn, N. Y. 1 I want to try Ex-Lax. Please send free sample. I --------- Tune in on“Strangeasit Seems,” Ex-Lax Radio Program. See local newspaper for station and time 15

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| Arline Judge's Jam Cake was greeted with deserved en- thusiasm when i Paula Stone, ~ Marsha Hunt and © Wynne Gibson got ~ together for bridge at Arline’s house — remerigills;, Iwi whether you are a bridge addict or 1 merely like tempt ing refreshments, 2 youll enjoy mak- ing the sweets ; these gals serve. 3 Right, home-made raspberry ice cream sundae THAT SCORE A GRAND SLAM | | rrp ALMOST EVERYBODY in Hollywood is playing that fascinating new game “Monopoly’—buying and selling imaginary “property,” mortgaging and fore- closing and cornering parcels of land to “build on.” But the members of one afternoon bridge club I know of are not going to let this new real estate game muscle in on their weekly (film work permitting, naturally ) bridge bouts which provide such fun. The attractive foursome of which I speak consists of Arline Judge, Marsha Hunt, Paula Stone and Wynne Gibson. And many’s time to eat, the cards were simply pushed aside and the “eats” brought on, with the hope that there would be time to resume the game after eating. BUT THE girls, you see, didn’t figure on me or on Scotty, our omnipresent photographer. For between the two of us we took up hours of their time, wrecked their game, drank gallons of Judge tea, ate pounds of Judge cake and altogether made ourselves at home and them miserable! But all in a good cause, of course! And since the end the pack of cards they’ve cut between B ¥. Ma ryorie is said to justify the means, I walked them, many’s the score they’ve totalled and many’s the cup of tea and piece of cake they’ve consumed. This particular afternoon was Arline Judge’s turn to have “the gang” at her place, so I found them in her garden, the table set up beside the swimming pool where they could acquire an early coat of sum- mer tan as they played. They were deeply engrossed, when I arrived, in “positively the very last rubber game before refreshments!” It all looked so jolly and sounded so amusing that although I had only stopped in for a short chat I stayed for what devel- oped into a long and delightful tea party. It was not an elaborate tea party, by any means, for bridge was the first consideration and when it was 16 Deen off without one little twinge of con- science—proudly aware of the fact that there were pictures in Scotty’s camera and a raft of notes in my bag. It has been ages since I’ve written one little word about afternoon entertaining and I was beginning to think it was high time that I said something about the way it is done in Hollywood. Then this golden opportunity presented itself, enabling me to get some first hand information on the subject from four dif- ferent sources instead of the usual one. And such charming sources—if I may be permitted to use that unromantic term to describe such attractive screen hostesses. “What do you serve when the charming members ee ee ee ee ea sat nitgeent deh ables

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| i i i Courtesy Borden's The tea-time re- freshments these stars serve will delight you, too of this bridge club meet at your house?” I asked Wynne Gibson when Arline had excused herself to go in and see about the tea. “T’m the sandwich maker-upper of this crowd,’ mumbled Wynne, biting her pencil thoughtfully as she tried to make the scores balance. “I like variety, and you can get plenty of it with sandwiches,” she con- tinued. “We’ve made a rule, you know, that only one particular food shall be served with the tea—a salad, sandwiches, cake or cookies— any one dish, but not several differ- ent ones.” “We had to make that rule,” in- terrupted Paula. “Why it was get- ting to be funny—and fattening,” she declared, eyes twinkling. “It became a sort of friendly rivalry to see which of us could serve the most elaborate concoctions, the largest number of delicacies! The result was that we upset the entire kitchen department! And for what? So that we (Continued on page 88) MODERN SCREEN SEE THAT MAN, MOLLIE—I BET HE'S KNOWN AS THE LITTLE GRAY MOUSE. “Aw, Honey, I’ve never met your father—how’'d I know? Besides, it’s not his fault if his shirts look gray— who washes them so badly?”’ “My mother does—and goodbye!’ “Pshaw, we |] patch that up. My own washes used to have tattle-tale gray— and it wasn’t my fault. The trouble was left-over dirt. Tell your girl her mother ought to change to Fels-Naptha as I did. That golden soap is so full of naptha that every bit of dirt goes.”’ TOMMY BAKER, YOU'RE AWFUL. THAT’S MY FATHER—AND DON'T EVER TALK TO ME AGAIN. “Heavens above, who bit you, Son?” “My girl did! | made a crack about her father’s dingy shirts—then I said her mother didn’t wash ’em right— and now I’ve got the gate!”’ FEW WEEKS LATER “Say, Looks like we're going to have a wedding soon.”’ “Sh-h-h! He may be calling you ‘Dad’—but he’ll never call you-‘gray mouse’ again. Since he tipped us off to Fels-Naptha Soap, my washes would make a snow-man jealous!”’ © FELS & CO.,1936 Banish “Tattle-Tale Gray” with FELS-NAPTHA SOAP!

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ABSENT-MINDED Lid Yet Miss Allan’s not light-headed when it comes to work I'VE LOST the receipts to my trunks,” said the young By Dora Albert woman with the green eyes, “and my boat is sailing in a few hours. There was one brown trunk and one black trunk, and they were sent out either under the name of Elizabeth Allan (that’s my stage name) or under the name of Mrs. William O’Bryan, my married name.” The official at the dock, whose business it is to take care of such matters, glared up at Elizabeth Allan. Was this young woman trying to josh him when he was so busy? But Elizabeth’s eyes were very solemn under their long lashes. She looked demure, appealing and completely helpless. “Sometimes I use one name and some- times the other,” she explained, “and I never can remember which I’ve used.” “For heaven’s sake,” the clerk said, “don’t you know receipts are given you for a rea- son? Why didn’t you take care of yours?” At that Elizabeth looked so downcast and unhappy that the grim lines on the official’s face softened. “All right,” he said, “Ill see if I can find your trunks.” But he couldn't. Elizabeth had to sail without them. Several weeks later, to be sure, they arrived in England, but that was just a happy accident. To complicate things still further, Eliza- beth lost her passport. Telling me about this recently, she said, waving her hands helplessly, “I’m a com- pletely irresponsible person. I always was that way. My mother, who’s very sane and practical, did everything she could to cure me. She’s still trying. But it has never helped. _ “T was irresponsible even when I was a youngster going to school in England. When we were supposed to be having our silent study period, I’d sneak out and play tennis. I did this innumerable times but I never got away with it. Always I was found out. I cut many classes in the same way. And when I did go to class, I nearly always came late, not because I wanted to, but because I haven’t the remotest idea of time. I daw- dle, even now. I don’t mean to come late for all my appointments, but I inevit- ably do. “At school I had great difficulty in passing Elizabeth Al- lan is now in England mak- tea pe IE Gr Sil Meets West” with George Arliss for Gau- mont-British. 18

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a exams—and no wonder! I was so completely befuddled. When I was supposed to sweat up for a geog- raphy exam (you call it cram- ming) I’d sweat up for a history exam instead. “My parents hoped that I’d be a school mistress, but the only thing I wanted to do was to go on the stage. I used to sneak out of the house and watch Pierrot shows, or drape myself in spangles and a scarf of mother’s, lock my bedroom door and emote for the sole edification of Elizabeth Allan. I played Juliet, on the edge of my bed, without a Romeo in sight for miles. “At first my parents were hor- rified at the idea of my going on the stage. Finally my father weak- ened and said that, since I was too young to take my final degree as a school teacher, I could play Shakespearian roles at the old Vic diteatce: “So youll get this stage idea out of your system,” he told Eliza- beth, shaking a warning finger at her. “But mind you confine your- self to Shakespearian roles.” And she did just that for several years. But she didn’t get the stage bug out of her system. Instead it flourished and grew worse until finally she decided to go out on her own, and got herself a job in her first London play, ‘Michael and Mary,” with Edna Best and Herbert Marshall. The play was a hit, and Elizabeth was a hit along with it. IT WAS then that she demon- strated once again that streak of impracticality that amounts almost to genius in her. An American manager came to her, offering her a glittering contract. He had his own repertory theatre, he said, and he would like to star her in a series of plays in the United States. While he couldn’t pay her a large salary, she would have the advantage of an assured income over a period of at least a year. Delighted at the idea of getting a chance in America, Elizabeth signed the contract. Several London managers were offering her contracts, but she turned them all down airily, say- ing, “I’m going to America.” Then, without investigating any further, she took her savings, got in touch with her family, and rushed off with her mother to spend some delightful weeks in the country. (Continued on page 94) MODERN SCREEN Imagine! You can keep your whole wardrobe colorful... fresh. . . appeal- ingly dainty all season long for less than a quarter! Yes, that’s all it costs you when you buy “‘Ivory-washables.” And this year it’s so easy to find sports clothes, afternoon dresses—even evening clothes—that will come out of - Ivory Flakes suds looking like new. { Because many fine stores and dress | manufacturers have arranged to have fabrics tested by 6 Ivory washings. So keep your “Ivory-washables” lovely with chiffon-thin flakes of the soap that’s pure enough for a baby’s skin. Your clothes will stay bright . . . crisp. And you'll always be ready to go places and have fun! 99 *%o0% PULL 19

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THAT BEAUTY Via CALLED THERE’S a one-word description, popular with all you young things, which puts a finger right on our whole beauty set-up for this spring. It’s a current bit of slang and an apt one—‘‘She’s smooth!” Now a “smooth” look isn’t just a matter of clothes or make-up or hair. It takes in a gal from her head to her toes and puts a general stamp of fresh good looks upon her. And when you are described as “smooth” looking by the young-blades- about-town, you can give yourself a good congrat- ulatory pat, because it means that you’ve achieved real attractiveness without letting on about any of the artful dodges of modern beauty routines. And this spring beauty of yours will look natural, just as it should. Nothing is less to be desired than a studied look of either prettiness or beauty. You can’t look “smooth” unless you are up on all the latest news from the beauty purveyors, those hard-working people who go into painstaking re- SS) (=) Paulette Goddard's natural look and Madge Evans’ sleek appearance are perfection points to shoot at! search to bring forth the latest improvements in both cosmetics and hairdressing. Here are some of the discoveries I’ve just made and I want to pass them on to you in time to put a finishing touch to your springtime good looks. The Vitamins are popping up in beauty talk these days. It seems that you need Vitamin D to give you a really knockout complexion. D is the sunshine vit- amin, in case you get them mixed up, too, and you can have it all done up in one cake of soap! Use with water, and there you are, cleansed with speed and your skin all pepped up with filtered sunshine. Really, this new soap is grand and there is no spoofing about its actually containing this healthy, invigorating vitamin. In place of, or to aid and abet the healthy glow of this tonic soap, don’t forget the cooling, soothing touch of Eau de Cologne. I came across one that has a de- lightful spring bouquet scent and a large bottle of it makes a very small dent in your pocket money. I like

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It's a sleek and natural look that gets you beauty compliments this springtime! By Mary Biddle Eau de Cologne to splash on prodigally right after my bath. And in hot weather it is so re- freshing, you can’t get along with- out it. MERE Se NOTHING better than a pick-up beauty treatment before you set forth for evening gaieties. | However, heretofore, it’s been hard to find a simple one that could be done in a jiffy and still have all the beautifying effect of a more protracted one. Now you can have a “mock facial” while you dress. This “five o’clock” beauty cocktail is a delightful new cream that you smooth on your face after cleansing. Leave it on for fifteen or twenty minutes— meanwhile you will see it bring a rosy tingle to your face. After you remove the cream, there’s a skin tonic or lotion which is made to go with it and which you pat on your face. There isn’t much more to the whole beautifying routine than there would be to powdering your nose carefully. Want to know a new trick about applying lipstick smoothly? It’s clever as the deuce and just as simple. Powder your lips first. Aren’t you amazed? This dusting of powder leaves your lips dry and ready (Continued on page 105) "Fora smooth, soft skin- N= ENGLAND can well be proud of Viano Tobey—she has that wonderful pale gold hair...smiling hazel eyes—and her skin... well, she’s proud of it herself and gives Camay most of the credit. Mrs. Tobey keeps her skin soft, smooth and attractive with Camay. Camay can do this for you, too, you know. It cleanses thoroughly, but ever so gently... that’s because CAMAY | The Soup oe it is made milder, far milder! Just try Camay. Then see for yourself whether your skin isn't softer, smoother—lovelier to look at! And Camay’s price is so very low you should get at least half a dozen cakes today. Let Camay bring your loveliness to light. 21

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ME AND MY SHADOW. . - Here are some interesting people you never see on the screen. They're the stand-ins who pose tirelessly be- fore the cameras to save their famous stars tedious work when scenes are being rehearsed. Below, Shirley Temple with her stand-in, Marilyn Granas. And Claudette Colbert with hers, Pluma Noison. Right, top to bottom, Jane Withers with her shadow self, Gloria Fisher. Virginia Weidler with hers, Barbara Campbell. And the most striking likeness of all is Ann Harding and her stand-in, Phyllis Yates. Height, weight and coloring must be similar to the star’s for this job.

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MODERN SCREEN | | STARS’ STUDIO tis Waning Love | ADDRESSES chin SJ ON oe RUIN DILIED) AGAIN Y Gaumont-British, Lime Grove, Shep- herd's Bush, London, W.12, England. Metro-Goldwyn-Mayer Studios, Wash- ington Blyd., Culver City, Calif. Paramount Studios, 5451 Marathon St., Los Angeles, Calif. Republic Studios, 4024 Redford Ave., North Hollywood, Calif. RKO-Radio Studios, 780 Gower St., Hollywood, Calif. Samuel Goldwyn Studios, 7210 Santa Monica Blvd., Los Angeles, Calif. 20th Century-Fox Studios, Box 900, Beverly Hills, Calif. United Artists Studios, 1041 N. For- mosa Ave., Hollywood, Calif. Universal Studios, Universal City, Calif. Walter Wanger Productions, 1040 — North Las Palmas, Hollywood, Calif. Warner Bros.-First National Studios, Burbank, Calif. THERE'S BETTY CRYING. I'D LIKE TO KICK THAT FIANCE BETTY, DEAR, | WANT TO OF HERS FOR RUSHING IT ISNT ALL HIS TELL YOU A PERSONAL PEG ALL EVENING... FAULT. YOU RUN : SECRET PEG AND J ALONG. | WANT TO LEARNED IN PARIS TALK TO BETTY. & LAST SUMMER... ey rol RRS ¥ ROS IT WAS NICE OF HELEN Tete Cote f BETTY, YOU'RE ADORABLE. | ABEL, WALTER: RKO-Radio. - : u ! Y : ALWAYS SO FRESH AND SWEET. ACURNE BREAN Src FRAGRANCE. IU S90 | LOVE YOU MORE EACH DAY! ALBERNi, LUIS: Free lance. Write him at 20th Cen- FEMININE! AND WHAT 5 A PLEASANT WAY tury-Fox. pee LONE FRANK: Free lance. Write him at M-G-M. ALBRIGHT, HARDIE: Free lance. Write him at TO KEEP DAINTY. United Artists. eee KATHERINE: Free lance. Write her at M-G-M. ALEXANDER, ROSS: Warner Bros. ALLAN, ELIZABETH: M-G-M. ALLEN, GRACIE: Paramount. ALLEN, JUDITH: Paramount. ALLEN, ROBERT: Columbia. ALLWYN, ASTRID: 20th Century-Fox. AMES, ADRIENNE: Free lance. Write her at Para- mount. AMES, ROSEMARY: 20th Century-Fox. ANGEL, HEATHER: RKO-Radio. ARLEDGE, JOHN: RKO-Radio. ae: RICHARD: Free lance. Write him at Co- umbia. ARLISS, GEORGE: Gaumont-British. ARMETTA, HENRY: Universal. ARMSTRONG, ROBERT: RKO-Radio. ARNOLD, EDWARD: Universal. ARTHUR, JEAN: Columbia. ASTAIRE, FRED: RKO-Radio. ASTOR, MARY: Columbia. ATWILL, LIONEL: M-G-M. AUTRY, GENE: Republic. BES SE cone. ER, : aramount. ® : e BALL, LUCILLE: RKO-Radio. S h d eee d 4 ates hy S BAL OFT GEORGES. Columbia, tart the day—and the evening—with MAVI BARBIER, GEORGE: Paramount. BARNES, BINKIE! Unnetsal ...it gives you that alluring all-over fragrance BARRAT, ROBERT: Warner Bros. BARRIE, MONA: 20th Century-Fox. BARRYMORE Jon ACN me is ae than a taleum soe its ee sv from ees ae it, | BARTHELMESS, RICHARD: “Warner Bros. ae ne Ea fee oe soos Bonne n ae ee S | BARILETT, MICHAEL: Columbia, 8 oe _ w ae aoe you fee pic a < you ee erious scente BAXTER, WARNER: 20th Canoe: oe vous im POs a re charm that men adore! Ee ON ie SO 208 Century. Fox. oa ¢ ae a er ; a : BAT € Mavis Talcum in 25¢, 50¢ and $1 sizes at BEERY, NOAH, JR.: Universal. pee you oes uste See 2 ONES drug and department stores —convenient BELLAMY. RALPH: Columbia. with Mavis Talcum. Mavis is pure, 10¢ size at 5-and-10¢ stores. We invite you Benoa Se none ee soft as velvet, silken-fine. It protects to try Mavis—use coupon below. BENEDICT, WILLIAM: 20th Century-Fox. BENNETT, CONSTANCE: Gaumont-British. BENNETT, JOAN: Walter Wanger. BENNY, JACK: M-G-M. BERGNER, ELISABETH: 20th Century-Fox. BERNIE, BEN: Paramount. BICKFORD, CHARLES: Free lance. Write him at Paramount, BIRELL, TALA: Columbia. BLACKMER, SIDNEY: Free lance. Write him at RKO-Radio. | BLAKELEY, JAMES: Columbia. e | BLANE, SALLY: Columbia. ontmmne | BLONDELL, JOAN: Warner Bros. | BLORE, ERIC: RKO-Radio. 5 BLUE, MONTE: Free lance. Write him at M-G-M. BOLAND, MARY: Paramount. ants S me wr V. VIVAUDOU, INC., le 680 Fifth Avenue, New York City. Bel Tenclose 10¢. Please send by return mail the convenient size of Mavis Talcum—so | | I can try its fragrant loveliness. BOLES, GLEN: Warner Bros. Name | BOLES, JOHN: 20th Century-Fox. Address | BOND, WARD: Columbia. alow “BOYER, CHARLES: Walter Wanger. Cit BRADLEY, GRACE: Paramount. Y- RA BRADY, ALICE: Free lance. Write her at Republic. IN TH E R ED State a ES Se *“BREAKSTONE, GEORGE: Free lance. Write him at Universal. _ 2 $ Ses g (Continued on page 72) CONTAINER

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| The Dancing : Divinity, MODERN SCREEN Ef ET TET EME DAD LDN STI BI ob ELLE IOLA EEE LIED SIS UE RO RUDI IO with ROBERT YOUNG ITS LOVE AGAIN . . .. . Romance, omedy, Adventure in | Rhumba Rhythm... COMING TO YOUR FAVORITE THEATRE Hollywood doesn’t know a thing about portraying poverty on the screen, says a gal from Newark. One fan used to see cer- tain pictures in spite of Bette Davis’ presence; now she goes because of it. BETWEEN YO Readers, have your say and win a cash prize to boot! $5 PRIZE LETTER It Happens in Hollywood It is amusing to watch Hollywood try- ing to: portray a poverty-stricken family on the screen. The people themselves are so accustomed to elaborate settings, what can they know of need in a town of plenty? Granted that many extras are practically starving, still one always sees them well- clothed and putting on the well known dog even though their belt has been taken in a few notches. In “Riffraff” Jean Harlow plays the daughter of a drunken pauper living in a squalid section of town. Her uniform for the job in the fishery, alone, is well tai- lored. When she rises from bed, a beautiful satin nightie drapes her lovely form. On her wedding day she wears a satin gown that is entirely too elaborate. Which re- minds me of “The White Parade,” with Loretta Young, a few years back. Loretta is a nurse—a student, at that. Everyone knows that nurses receive scarcely any pay at all. Yet, when she steps out with the boy-friend, she wears a lovely frock—too lovely to buy on a nurse’s salary—topped by a glorious velvet, full-length cape—also too expensive. Another funny-bone tickler is when the hero tells the heroine that they could get along on $50 or $60 per week and act as if it were pin money. Well, they don’t know: poverty like I do. No, Hollywood still has to go some to make pictures real and true to life— Marion Rae, Newark, N. J. $1 PRIZE LETTER Once a Bettie Davis Avoider There was a blonde motion picture ac- tress who seemed insipid and unattractive to me. I avoided any pictures in which she appeared. It did not occur to me that her roles were insipid and unattractive, too. _ To my surprise she won the leading role in the cinema version of one of my fay- orite novels, opposite one of my favorite actors. I went to see the picture in spite of her presence, and left the theatre cheer- ing the film because of it! You've guessed it—the blonde was Bette Davis; the pic- ture, “Of Human Bondage.” However, I remained cynical until her portrayal in ‘““Dangerous” proved that her “Mildred” had been no artistic accident. So it was that I went to see “The Petri- fied Forest” because of Bette Davis. Her portrayal of “Gabby” is unforgettable. I was wrong in my attitude toward Bette Davis and I’m glad to admit it, and glad to admit as well that she is now my favorite actress—Anna K. Hawkes, Bris- tol-wkay $1 PRIZE LETTER What About Public Taste? It is not surprising that ali the trashy pictures spilled out of Hollywood are so well attended, for it is only too obvious that public taste is low. Real feminine beauty is not a matter of geography, age, dress or social status; it is universally ap- preciated and admired. Why, then, do producers strain so in- tensely to foist their leading ladies on the public as beauties when they are not? Why do they take half-baked girls with a violent ego and a desperate, unscrupu- lous will to wealth and fame, and glorify them? I wonder! Take these “stars,” remove their expensive jewels, their mink wraps, their $250 gowns, their war-paint and their lavish settings, put them in the ordinary walks of life, and nobody would Jy ee

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ae RE 7 THY A Brooklyn reader says that most of us would be amazed to see the stars minus their glamor. Fan F ever notice them. In spite of their trumped up glamor, they are unnatural, out of place, pathetic. I crave real, natural beauty on the screen —a lovely, rounded form, a classic face, natural hair, and an expression that radiates kindness, intelligence, capability—Bertha Koenig, Brooklyn, N. Y. $1 PRIZE LETTER A Movie Fan's Unusual Letter to His Wife Dear “Colleen,” Surely, Dearest, you have not forgotten how “It Happened One Night” that I whispered to you “Be Mine Tonight’’ and how you replied, Darling, “As You De- sire Me,” I will. That was indeed “One Night of Love” and what a “Grand Hotel” we chose for our honeymoon and how kind “The Little Minister’ was! But now it seems you are quite an (Continued on page 78) We lend a willing ear to anything and everything you have to say con- cerning motion pictures—new players, old players, censorship, current trends in pictures, double features, shorts, books you'd like to see filmed, and so forth. Ten dollars in prizes will be awarded each month for the six most interesting letters submitted—Ist prize, $5; five 2nd prizes of $1 each. Be sure to send your full name and ad- dress. Modern Screen reserves the right to publish letters in whole or in part. Address: Between You and Me, Modern Screen, 149 Madison Ave., New York, N. Y. MODERN SCREEN Ponds_ First to Give You GIARE-PROOF Powder The full glare of the summer sun throws a hard light on your skin New “Sunlight” shac catch only the sun's softest rays—flatter you! Now Pond’s softens the harsh glare of the sun on your skin... flatters you—with new “Sunlight” powder shades. “Sunlight” shades are scientifically blended to catch only the softest rays of the sun... give you in glaring summer, the becoming color of soft spring sun- shine itself! Flattering with light- est tan, deep tan, or no tan at all! Completely away from the old dark “sun-tan” powders. MONEY-BACK TRIAL—Try Pond’s Sunlight shade (Light or Dark). If you do not find it more flattering than ordinary sun-tan shades, send us back the box and we will refund purchase price plus postage. Pond’s, Clinton, Conn. 2 Sunlight Shades—Light, Dark. Class Jars, 35¢, 70¢. New big boxes, 10¢, 20¢. Copyright, 1936, Pond’s Extract Company 29

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MODERN SCREEN OVE as burning as Sahara’s Sands From Ouida’s romantic novel of the French For- eign Legion, flashes this elorious spectacle -drama of men’s heroism and women’s devotion, enacted by one of the greatest casts the screen has ever seen.. UNDER TWO FLAGS COLMAN COLBERT (Beau Gesie) (It Happened One Night) VICTOR ROSALIND McLAGLEN RUSSELL (The Informer) (Rendezvous) with GREGORY RATOFF e NIGEL BRUCE e C. HENRY GORDON e HERBERT MUNDIN AND A CAST OF 10,000 a DARRYL F. ZANUCK 20th CENTURY PRODUCTION (Les Miserables . . House of Rothschild) Presented by Joseph M. Schenck Directed by Frank Lloyd (Cavalcade .. Mutiny on the Bounty) Associate Producer Raymond Griffith Based on the novel by Ouida

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Answering all the questions you've asked about Joan and Franchot at home Both Mr. and Mrs. Tone are taking singing lessons. Left, you see them in the music room of their newly decorated home. Above, with their dachshund, "Pupchen.”’ THE PRIVATE LIFE aa ND SO they were married. In story books this i would have marked the happy ending. But this happened in real life, and it’s just the beautiful beginning. I mean the married life of Joan Crawford and Franchot Tone. I did not know of Joan’s and Franchot’s marriage plans until Franchot’s air mail, special delivery, written right after the ceremony, arrived. “You are the very first person we’ve told,” wrote the bridegroom. “Our happy moment came this morning at ten-fifteen in Fort Lee, New Jersey. Nick Schenck made all the arrangements and the secrecy was complete. The ceremony was. performed on the lawn of the residence of Ex-Mayor White, overlooking the Hudson River from the Palisades—and Mayor Jenkins of Fort Lee conducted the ceremony. We exchanged rings, Joan’s a narrow diamond and platinum, mine a plain platinum circle. Mr. Schenck and his associate, Mr. Friedman, were the wit- 34 nesses. After the ceremony they toasted us in champagne and we rushed right back to New York to get Joan to a rehearsal of a radio broadcast. We each wore a red carnation. We had visited the place the preceding Wednes- day night to sign the application for a license. The moon was shining over the Hudson and outlined the slender sweep of the George Washington Bridge in the back- ground. It really was a heavenly spot.” THAT WAS the last I heard from the newlyweds until Joan wired me to meet them in Pasadena and share their first Hollywood meal, as Mr. and Mrs. Franchot Tone. What a privilege, I thought, to be the first to greet them and witness their new-found happiness. But two hun- dred others were of the same opinion. While Joan and Franchot saw reporters, signed autographs and tried to dodge camera fiends, I managed to wave a feeble hello from the ragged edge of the crowd. Finally, with a

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dexterity that placed Fred Keating’s bird-cage trick in the amateur class, we made the car and headed for home and Hollywood. “IT want to see our house,” cried Joan gaily. “I want to see our new dining-room, the new music room and the garden.” Kicking off her shoes and shoving her hat to the back of her head, Joan pressed her face against the window. Every time we passed a tree or a house, she would wave her hand and cry: “Hello, tree—hello, house, I’m home again.” Is it necessary for me to add that Mrs. Franchot Tone was hilariously happy? During Joan’s and Franchot’s absence, William Haines had gone ahead with the decorating plans that Joan had okayed before leaving. When we arrived at the house, the transformation was little less than a miracle. The entire exterior had been cleverly changed. Bill Haines, himself, was waiting to greet the bride and groom and proudly conduct them on an inspection tour. , on SOR ne 5. Above, Joan Crawford and Franchot Tone in their very attractive bar. Isn't the drum- shaped wall bracket which lights it tricky? By Jerry Asher | OF JOAN AND TONE The entrance hall was filled with baskets ot flowers, packages and stacks of wires and letters. In the very center stood a huge vase of white blossoms. It was ad- dressed to Mr. and Mrs. Franchot Tone and conveyed the sentiments of the cook, butler, chauffeur and night watchman. Joan ran out to thank them immediately and placed the flowers in her sitting-room. Just then the butler entered. “Where does Mrs. Tone want the trunks?” he inquired, addressing himself to Franchot. FOR A minute Franchot looked startled. ‘“Oh-h-h— oh, the trunks,” he repeated hesitatingly, as the full sig- nificance of just who Mrs. Tone was swept over him. Then swallowing hard and looking a trifle embarrassed, Franchot replied, “Put my wife’s trunks in her room, please.” Turning to me, he winked, as he continued, “I haven’t had the courage to call (Continued on page 90) ; 35

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By Ruth Rankin Eric Linden‘s two- year absence from Hollywood has done much for him. : 7 porary retirement. “ ERIC LINDEN is the lad who walked out on a Holly- TN \\ rary 5 1% ’ Frances Dee, now happily married to Joel _McCrea, is said to have been one of the rea- sons for Eric’s tem- wood career which was going great guns, because he had girl-trouble. That may sound facetious, but there was nothing face- tious about Eric at the time. He was torn wide apart— raw, sensitive, quivering in every nerve. At twenty-one, you get that way. When the girl is Frances Dee, I suppose you get it a little bit worse, for Frances is in a Class by herself. That wasn’t all, either, although no one ever credited anything else, in spite of Eric’s protests. They thought it was an uncomplicated case of lovelornness (now there’s a word) which is quite a romantic thing to think, and Eric certainly looked the part. He couldn’t have made up for it any more convincingly. The trembling hand, the downcast eye, the lonely hill-tramping, the complete and total loss of appetite—all unmistakable evidence.

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Girl trouble caused Eric Linden to drop a promising career, but he’s back now, a wiser young man a Linden followed _ “Kh, Wildemess” ~~ You've been through it! Is there anything more harrow- ing on this earth? Who can laugh at it is a sadist, unless there is sympathy and memory and understanding in the smmles 25 - And there was more to it, too—as if that weren’t enough! “I wasn’t doing what I wanted to do—I hated the parts I had to play. Wild youth and suffering mama's boys— suffering cats!” said Eric. “I was getting labeled, you know how people get the idea you are what you play. I avoided everyone. I was called eccentric. Imagine, at my age! You can be erratic at twenty, but eccentric is out. Well, I just got funny, I guess, and thought it best to have a change of scene.” We'll refer to that later, as the tax-collector says. It was discovered while he was away that a darn good actor was lacking for many a part that no one else could quite fill. Maybe his absence made them realize it all the more. At any rate, when he returned he didn’t have to pick up where he left off. He was way ahead of it. He made a fresh start with one of the grandest juvenile roles ever written, the boy in “Ah, Wilderness.” And some say he beat a Barry- more to the draw. The whole cast was pretty fast company for a kid who was out of practise but, I reckon before things went very far, Eric was pacing ‘em. If he had read every script in town and had his choice of parts to play, he couldn’t fave found one that could approach the anguished dawn-of-love lad in “Ah, Wilderness.’’ There was : something so helpless and lovable Gees and pathetic—and familiar—about the boy in his first relentless grip of love. He has just done another stand-out performance in “The Voice of Bugle Ann.” They have some wonderful things planned for him, way into the future. When a studio does that an actor has arrived. He’s twenty-four now and doesn’t look it. But still, he doesn’t seem exactly a child, either. There is calm confidence in his bearing; he has lost the old too-eager-to-please that had him tied in knots. He says he used to go for days without seeing anyone, then when he did, he talked a blue streak about nothing. He really didn’t want to talk, but was afraid silence would be rude. Not knowing the first thing about act- ing—he says so himself—he played one intensely dramatic part for the Theatre Guild. So Hollywood called him and began talking over contracts and prospective roles with him. “You're emotional, aren’t you?” they-said, in substance. “Okay, emote.” Poor kid, he presided at every death-bed scene and wept gallons and had hysterics and paced cor- ridors and wore his nerve-ends down to the quick. He didn’t know how to act, and he was afraid to tell anyone, so all he could do was be what he was playing. If it happened to be a frantic, jittery, end-of-the-rope kid, why Eric drank gallons of coffee and didn’t go to bed, and thought about terrible disasters, and got him- self in fine shape to scream if anybody looked at him. He relived all the family tragedies that had ever hap- pened to him—things he might better have forgotten. Well, no human can keep that up forever—and be in love, in addition. So he put two and two together and decided that he’d soon be measured for a strait-jacket if he didn’t break loose. He was so young—good gracious, being young is hard enough, just trying to see through the fog of baffling bewilderment, without being it twice—both being it and playing it. Eric didn’t even pause to say goodbye. He boarded a plane for New York, and sailed next day on the Bremen. He found a villa near Nice. Got himself a cook, a police dog, a French gardener, some chickens and a lot of books. He had yearned to write a book for some time, so he wrote one. It isn’t for anybody to see. He wrote steadily for four months. “...and I was purged of all my complexes,” says Eric. “I wrote them down and got rid of them.” He adds, “You have to be in love to write.” Well, I guess that’s as good an excuse (Continued on page 93) 37

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[omem—verrmmemennry By Muriel Babcock Meet Carole and “Fraldaia’ one of the most successful partnerships in all Hollywood NOW, HONESTLY, you would never expect to find Carole Lombard, one of the glamor queens of Hollywood, sitting back of an adding machine, laboriously tapping out figures, would you? Or find her diligently, and not too accurately, typing a business letter ? She has a secretary for that, you’d say. She must have! Isn’t she a star with all the paraphernalia of a star,, a beautiful house decorated in exotic blues and yellows, clothes such as few women can ever hope to possess and a ca- reer? Sure, she has a secretary. It’s the famous (in Hollywood) Fieldsie— Miss Madelayne Field, to you. The tall, hefty lass with the wisecracking tongue and the fund of funny stories, who goes practi- cally everywhere that Carole goes and who is sort of a combination bodyguard, friend, companion, secretary and business manager. The latter is her official title, and her official job. But visualize this picture! It is ten o’clock of a Friday morning. Carole has finished her most recent film, “A Princess Comes 38 Madelayne Fields goes every- where that Carole goes. £3 =] . t t i . ° “eH Across.” Daily, she’s been working under hot lights, she’s been fitted and re- fitted and she’s worked pretty hard, and since then she’s been relaxing. Every day for a week she and Fieldsie have gone and done things. And so on this particular Friday Carole says: “C’mon, Fieldsie, let’s go shopping today, have luncheon at the Brown Derby and then this after- noon, we'll go bumming. C'mon, get your hat and your glad rags and let's take the Ford. We'll ste out.” Now, if you were a secretary and your boss was a glamorous star and she said that to you, you’d probably break all records dumping the morning mail into the wastebasket and hotfoot it for your bonnet. But not Fieldsie, by gosh. She’s apt to say, leveling a stern glance at her employer: “Don’t you remember me? I’m the gal who works for you. I can’t go out today. I have a job to do. Look at those letters! Look at all the bills that have to be totaled. I won’t be through for days!” And no amount of argument will sway her. Sometimes Carole (Continued on page 91)

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OST PEOPLE, who know him only on the screen, take Wally Beery for just a big, dumb guy who got a good break. But they are mistaken. Wallace Beery is one of the few stars who has never hired a business man- ager. He can attend to his own entirely. His present contract is one of the few in Hollywood studio files which calls for a salary several times more than the President of the United States receives. Contracts are usually drawn by lawyers, but Wally wrote his own and M-G-M’s attorneys could find no fault with it. Wally’s investments and adventures in the stock mar- ket have not been as profitable as they could have been, but it has been more due to bad breaks than unwise judg- ment. He has made and lost several fortunes and is now collecting his fourth, if I am not mistaken. Mi Wallace Beery is a hard guy to figure. He plays the piano beautifully and writes music which would sell, if he would put it on the market—yet no photographer ever got a shot of Wally at the piano. On even the hottest of California summer days, he never goes in his swimming pool, at his Beverly Hills home, without putting on a leather jacket, tightly buttoned up around his bull-like neck. He does it to keep warm, he tells people. He is a homely mug and always was, yet he was once the husband of Gloria Swanson, one of the screen’s most glamorous women. He was making his first picture suc- cess then, playing the comic role of a Swedish hired girl at the old Essanay in Chicago. Wally wasn’t handsome to anyone but Gloria, then but a baby starlet and not yet even a Mack Sennett bathing beauty. He owned a yel- low Mercer roadster, which he drove fifty miles an hour over dirt roads, almost breaking the heart of his producer, who feared they would bring Wally home on a shovel, in the midst of a picture. It affected Gloria’s heart, too, but in a different manner. She married him. His father was a Kansas City cop and his mother

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BAD weighed 220 pounds. For a Sunday-go-to-meeting suit, Wally had to wear his old man’s cut-down blue uniforms. To this day he hates a blue suit and will not wear one or associate with anyone who doés. He hated piano lessons even more but stuck with them to please his doting Ma. He ran away from school— “Not because I was the class dummy, but because I knew a fellow could learn more about geography and things in general by grabbing a freight train and seeing life than he could ever get out of books and such.” HieGOl-asjob.in’ a circus and watered the elephants until he be- came a trainer. He ran into old Topsy, an elephant he had once handled as a trainer, on one of his sets in “O’Shaughnessy’s Boy” and the old girl recognized him and trumpeted loudly until. he came to see her. Unlike other big stars, Wally eats lunch in the studio café. He always takes off his coat, drapes it over the back of his chair and takes down his suspenders. He has the appetite of a bull whale and doesn’t like con- versation when he eats, unless he meets a pal or two at the Vendome or the Hollywood Brown Derby, then he puts on the feed bag to the accompaniment of chin music. He is a devoted husband and a real father to his adopted daughter, Carol Ann. He and the blonde Mrs. Beery are probably the best mated and happiest couple in all filmdom. When he was on location making “Trea- sure Island” at Catalina, he chartered a sea plane and, between scenes, flew it to the mainland where a fast car waited twenty-four hours a day, to rush him to the bed- side of his very sick wife. He swears he will make an actress out of Carol Ann and she has already appeared By J. Eugene Chrisman BOY with him in several films. He says that if ever he slips in pictures, he can sing for a living. He is a speed demon and has a positive mania for any- thing which will go fast. He gets more kick out of a roller-coaster than Carol Ann does and he flies his big plane like a demon, but has never had a serious crack- up, although he has made many passengers’ hair raise in fright-wigs style. Recently he flew Carol Ann to New York and back in two days just because he thought she’d enjoy seeing “Jumbo”! He spends weeks alone, or with Mrs. Beery, at his mountain lodge at Silver Lake, always flying his plane up and back. He is a licensed commercial pilot and probably the most experienced among all the air-minded stars. In making “O’Shaughnessy’s Boy” with Jackie Cooper, he had to wrestle a tiger. Proudly he invited the press to see him display his talent as a handler of the jungle demon. In- stead of being a baddie, the tiger wanted to play and Wallace had to scratch him. But the man has no fear in him. His favorite film is still “Robin Hood” and the things he would like most to forget are most of the comic pic- tures he and Raymond Hatton made as a comedy team. HE IS fifty-six years old and admits it. He is six years older than his brother Noah and got the yen to become an actor when he heard that Noah was becoming a big shot by singing on the stage. He likes to play practical jokes on others but can take them, too. He will admit that he’s lazy and he detests to be interviewed by writers or newspaper men—but he always has something worth printing to say. When reading of the latest kidnapping or the latest gang crime or bank hold-up, (Continued on page 82) OLLYWOOD'S

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By Mildred Mastin Pouf OU can make careful plans for yourself, fig- .\ tire out wisely what you must achieve, and VW what you must avoid, then you fall in love— fe and pouf—your plans are gone like feathers in the wind.” It was Helen Vinson, bride of Tennis Champion Fred Perry, speaking. She sat, her hands full of snapshots, her eyes dwelling lovingly on the face that figured in each picture. “I act like a high school girl, don’t I, dragging his photographs out all the time?” She gathered the pic- tures up with a little laugh and slipped them back into the dressing table drawer. Well, perhaps she was acting like a high school girl. That isn’t surprising, for she’s in love. What was sur- prising was Helen’s marriage to Perry in the first place. And the swift romance, culminating in the midnight wed- ding, amazed everybody who knew the young actress. Helen Vinson had sworn, repeatedly, that she would 42 Helen Vinson with her tennis-star husband, Fred Perry. Her latest GB film is ‘King of the Damned.” went practical plans when Helen Vinson married never remarry. The breaking up of her first marriage had been a disillusioning and sorrowful experience for her. She was wed to her first husband when she was little more than a child, in her teens. She was too tall for her age, shy and awkward. Too self-conscious to enjoy much social life and not popular with boys of her own age, she had buried herself in books. Then there came into her life a man fifteen years her senior. He shared and appreciated her intellectual interests. He understood her! She thought it was love. She married the man. And, “For a while,” she says, “I was ecstatically happy.” But as Helen matured, became poised and sure of her- self and ambitious for an acting career, their paths grew farther and farther apart. They were divorced and Helen went to Hollywood. “Shortly after I got there,” she says, “someone told me that California law did not permit a divorcee to re- marry until a year after the final (Continued on page (09) Se re. r ae ancapgnds, Taf lg Be Si Renal A es Spy Pe

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Bey -L.0.i.S Svensrud I JUST couldn’t be any- thing but a movie star. You see, I could never have gone to college, because I’m not smart enough to get the credits. I can’t draw a line or write one, either. I can’t run a typewriter or a sewing-machine. Why, I wouldn’t be worth my soap as a laundress because I'd probably never master a washing-machine! So, I guess I’d just be a flop in anything but the movies.” The speaker is Anne Shirley. Yes, the same Anne Shirley who occupies such a bright spot in the cinema solar system. Surprised? Well, weren’t we! Here we’d come to get the gal’s secrets-of-success-at-seventeen and relay them to a waiting world. We'd expected to get the usual veneer of sophistication plastered over a goodly supply of conceit. And here was Hollywood’s youngest grown-up star, attired in blue slacks and red bobby socks with the friend- liest smile in the world. Focused on us was a pair of brown eyes as amazingly direct as the announcement that was just made. TO ANNE Anne’s only seventeen, but she’s a star with five pictures planned for her. ‘Winterset’ is one of the biggest. “Tf there’s any secret to my success,’ Anne was saying, “it’s. being just plain lucky enough to fall into work that I can do, instead of having to earn my living at something I’d never be any good at no matter how hard [I tried. Because, you see, I practically did fall into it. I was only a year old when a pho- tographer saw me on the street, in New York, with my mother and he asked her to let me model baby- clothes for an ad. A year or so later a talent scout from Fox’s New York studio asked her to bring me out there. A role in William Farnum’s “Miracle Child’ was the result. And I was launched in moom pitchers as easily as that! It’s funny, you know, but that’s the way things seem to happen to me. I don’t do much about it, but nice things just drift around, somehow.” THAT WAS fourteen years ago when Anne first emoted for the camera. What’s more, it was real emoting. For the minute her eyes lit on the magnificent whiskers, which Bill Farnum had sprouted for the picture, Anne set up a howl that shook Manhattan. (Continued on page 80) Without a struggle, Miss Shirley's made the movie grade

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Jimmy claimed that playing two rough- necks a@ year was plenty and so he took his case to court. What's more he won it and was teleased from his Warner contract. + ++ No Kansas tornado has the speed and force of Jimmy Cag- ney when he gets going

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Ardent tennis enthusiasts, Mr. and Mrs. James Cagney enjoy the matches together. THE IRISH are an extraordinary race. God bless them for delivering us from the awful monotony of contin- ual calm. It will be violating no confidence to reveal that Jimmy Cagney is Irish. The fact has been bruited about pretty generally. But he is not “professional” Irish. He himself has never traded upon it. Simply, it is one of those obvious and dominating actualities which simplify the work of the press. One writes, “Jimmy Cagney, fighting Irishman,” and the story is practically complete with a little elaboration, which we shall tie right into with un- disguised enthusiasm. No use trying to hold us back about Jim. We won’t hold. Any Irisher worth his salt, as you well know, is never really happy when things are going smoothly. He has to snarl them up somehow, and anything at hand is wel- come which offers a certain way to embroil his affairs into a lovely turbulent riotous mess. MANY A MAN would sit down in the midst of a serene, unwavering, dull success, and count his fortunes. The only thing with which he could reproach himself, possi- bly, would be the spare tire assembling about his middle. Well, this man bears no resemblance to Jim Cagney. Jim wouldn’t give a spare tire a break, and if he ever indulges in self-reproach nobody knows anything about it. Naturally, Jim goes around with a permanent Cause— the Irish have to have a Cause. Which means they are in the midst of a permanent fight. The Cause always has something to do with freedom—whether for a nation, a group, or an individual. And of course they are militant about personal freedom. As soon as they have it, most of them go right out and get tied up four other ways. They are so marvelous, the world would be utterly un- endurable without them. All you have to say is, “He’s Irish,” for any number Jim made ‘Ceiling Zero,” with June Travis, before his recent studio walkout. of perfect strangers to break into warm expansive smiles and to extend a welcoming hand. It is a universal intro- duction, comparable with none other. You could say, “He has millions my deah, he swam the Hellespont, he just wrote a best-seller, he’s an all-American half-back, women swoon for him, he can drink any man alive under the table and hold it like a gentleman’’—and get no better results. Shucks, I’m not getting away with all this lofty generalization. You know whom I mean. NOTHING SO captures our imagination or so endears an actor to his following as to have him run true to form —to follow through with the type of character he plays on the screen, in his actual life. It is extravagantly satis- fying to discover that your favorite roughneck doesn’t raise canaries or sit down and take it on the chin when he happens to be outside of camera range. The particular actor may be a headache to producers—but if they would figure it out calmly, it’s money in the bank. A natural like that happens only once in a lifetime. If all the world loves a lover, it loves a fighter just a little bit more. The fighter is not only going to get the girl—he’s going to keep her. To paraphrase something I read somewhere, “Every girl has two sweethearts—her own and Jimmy Cagney.” When Jim enters a room, it has all the soporific effect of an electric shock. After years of knowing him, the effect never wears off. He is tangible. He is definite. He is what he is, with no distracting side issues to diminish it. Every gesture he makes has a beginning and a climax —swift, abrupt, and positive. His words are the same. He doesn’t pick around cautiously over sure ground, feel- ing his way. He launches smack into the matter, whatever it 1s—discussion, argument, interview—and gives you something you can get a firm grip on, whether or not you can print it. He isn’t sugar-coating (Continued on page 98)

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—— SS Photos by J. B. Scott The really big news of the month is that Joan Crawford’s shoulders are four inches larger than Garbo’s. Heretofore the mel- ancholy Greta’s measurements were con- sidered tops in that department. But Joan has a tape measure to prove she has more shoulder than Garbo. Just think of the extra disdain that those four inches can give to a fine shrug. Inveterate snoopers have finally located Myrna Loy’s hideout. It’s Lake Arrowhead. For months Myrna has been slipping out of Hollywood for quiet week-ends, but no one knew her destination until it was discovered she owns a lodge at Arrowhead. Evidence that wedding bells are in the offing for Myrna and producer Arthur Hornblow is that the lodge has just been enlarged. When Bob Montgomery did his sulking last year it was because he was on a one- man strike against the superficial, wise- cracking gents he'd been playing in almost every picture. No more of those, said Bob. So he took a long vacation, returned to the studio and the first picture he made was “Petticoat Fever’ with Myrna Loy. It’s a story of the far north, and we were surprised to find Bob playing the same wisecracking gent he had walked out on some months before. Hollywood or Labrador, it looks like there’s no escape for Robert. Another surprise was Joan Crawford Decorations by Hamilton Greene Ly Dick Powell grabs hold of Ginger Rogers and Scotty ee gets a shot at them. All this at Joan Crawford Tone’s party for Leopold Stokowski. Tone’s large reception for Leopold Stokowski, which turned out to be one of the social events of the past season. Joan’s parties, heretofore, had always been gatherings of intimate friends, but some four hundred in- vited guests showed up to greet the famous conductor of the Philadelphia Symphony, who seemed to be enjoying himself im- mensely. Perhaps because no one asked him to bring his baton. This month’s title-changing champion- ship goes to Frank Capra’s “Mr. Deeds Goes To Town.” Originally it was called “Opera Hat,’ but the opera sequences were removed and the hat didn’t fit. “A Gentleman Goes To Town” was the next title, but just when everybody was sitting back it was discovered that M-G-M owned a story called “A Lady Goes To Town.” Rather than have the gentleman bump into the lady in every theatre in the land, Mr. Capra changed his title to “Cinderella Man.’ Someone said M-G-M owned the rights to that title. M-G-M was contacted. Go ahead and use it, M-G-M said. Then it turned out that M-G-M didn’t own the rights at all. Another studio owned the title, and they wouldn’t give it up. Soooo0o —“Mr. Deeds (after some hesitation) Goes To Town.” Hugh Herbert’s brand new ranch attracts a number of visitors these days, but some of them don’t comet back a second time. It seems Hugh keeps four goats on the place, and he’s so proud of them that no one can leave the place without sampling

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fair. a beaker of goat’s milk. You either like goat’s milk or you don’t, and those who don’t—and they are legion—are deserting Hughie in droves. Treason Note: The immaculate white- ness of the picket fence surrounding the Toluca Lake Park home of Walt (Mickey Mouse) Disney’s brother is sullied by an unknown’s pencil sketches. Mr. Disney doesn’t mind that so much, but the draw- ings are of Mickey’s arch rival, Popeye, the Sailor! Spent our first day at Palm Springs re- cently and now we know why everyone who visits the place wants to go native. It is, just as the ads put it, terrific. Saw a number of picture people lounging around the El Mirador pool baking out their income tax worries and watching Anita Louise do some posing for a photographer from her studio. Anita posed sitting, standing and lying beside the pool, and posed gracefully, but somewhat timorously, on the end of the diving board. Then she startled everyone by actually going in for a swim. And just when we had decided that Hollywood bath- ing suits never get wet! Dave Butler, who has directed most of Shirley Temple’s pictures, is one of Miss T.’s favorite men. During the shooting of “Captain January,’ H. G. Wells Three smart-looking gals turn out for the Crawford-Tone af- Left to right, Madge ° Evans, Joan Blondell and Irene Dunne swing along together. \Sre> Movietown’'s latest goings-on as seen first hand by our man-about-town By Leo Townsend dropped in on the set and production stopped while everyone met the great English author. Shirley, who hasn’t yet read much Wells, asked her mother who he was. “Why,” said Mrs. Temple, “he’s one of the greatest men in the world.” “Oh, no,” said Shirley. ‘“There’s God, and then there’s Mr. Butler.” Two years ago she was June Vlasek, playing extra roles and glad to get them. Now she’s June Lang, and 20th Century-Fox is planning big ihings for her. She’s the gal who plays the schoolmarm in “Captain elors—zc11; right, jtluuy ~=oOltewarr ana his pal, Henry Fonda. January,” and Fox executives are so im- pressed by her possibilities that, according to rumors, she is about to be presented with a $6,000 dressing-room. All of which comes under the head of nice going. When Ann Sothern departed these hills for New York by plane recently, Cesar Ro- mero presented her with a box of jumbled mosaics to while away her time in the air. Mosaics, in case you don’t know, are tiny blocks of wood, something like a jig-saw puzzle. Ann worked on the thing all the way to New York, spilling the entire box whenever the plane struck an air pocket. About fifty miles past Pittsburgh she finally got the thing together. It turned out to be a picture of herself. Gene Raymond's still boasting about the 80-pound marlin he hooked off Palm Beach a couple of months ago. On his return to Hollywood, from the Florida resort, he wired the good news ahead, and found himself met at the train by his pal Jeanette Mac- Donald, who handed him a fancy box which contained, when Gene finally got it un- wrapped, a single sardine. When he was signed for the lead in “Dancing Pirate’? Charles Collins, Fred Stone’s stepping son-in-law, was elated. For several seasons he and Dorothy Stone had danced in New York’s better supper clubs, but this was his first movie, and he wanted it to be right. His part called for 47

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Left above, Mr. and Mrs. Temple hold firmly to Shirley at the “Cap- tain January” preview. Erin O’Brien- Moore, above, steps out with James Creelman to see “The Old Maid.” long sideburns, so Mr. C. devoted a month to growing a fine pair of them. Came the first day of shooting, and he reported proudly to director Lloyd Corrigan. Corrigan took one look at the Collins’ handiwork and snorted, “Good Lord! Go back to the make-up department and have those things put on right!” Social Note for Dog Lovers: Charlie Ruggles opened his new See Are Kennels out Ventura way with a cocktail party to which the press and other dog lovers were invited. The party was for the dogs, but we snooped around for a couple of hours and wish to report that not one of them took so much as a single martini. Fay Wray is the jumpingest gal in town. Jumping from London to New York to Holly- wood, she remained here only a few weeks when she hopped back to New York and then to Nas- sau to spend a short vacation with hubby John Monk Saunders, who commuted from London and back to see her. After Nassau, Fay leaped back to New York and on to Hollywood, where a picture assignment awaited her. We think it’s nice that its title is “Roaming Lady.” Lunched with Jean Harlow a few weeks ago and watched her hair- dresser do up those new brownette locks. Left, Irene Hervey Brownette, in case you 4 listens intently gals are wondering, is | while Allan Jones almost the natural : shade of Jean’s hair, talks with Leopold and she looks even Stokowski. better in it—in person

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| H | Fred MacMurray took his best girl, Lillian Lamont, to Basil Rathbone’s party. Andhere they are chatting very animatedly with their beaming host. Two more guests at the Academy Awards dinner. Ross Alexander and _ Rosalind Marquis, new to Holly- wood, talk things over in an un- Fred and Lil are engaged, y'know. and on the screen—than she did in all her platinum glory. A goodly percentage of moviedom’s famous were on view at the annual Awards banquet of the Academy of Motion Pic- ture Arts to see Bette Davis, Victor Mc- Laglen, et al, receive the gold statuette which is known familiarly in Hollywood as Oscar. Naturally, Oscar is the most popular guy in town on that night of nights, and everyone awaits with bated breath the announcement which awards him to the top stars, director and picture of the year. As a matter of fact, the win- ners, who are supposed to be as surprised as anybody, know the results long before the announcement is made. They know because they’re asked downstairs where there is a facsimile of the speakers’ table and a battery of cameras which photo- graphs their acceptance several hours be- fore they actually do any accepting. The real star of the evening was D. W. Griffith, who was awarded a special Oscar for his contribution to the development of motion pictures. The great director of “The Birth of a Nation” was so touched by Holly- wood’s acclaim that he unconsciously joined in the applause for himself. His brief and dramatic speech was easily the high point of the evening. Romance Dept.: Bob Taylor has been devoting most of his time to Barbara Stanwyck these evenings, while Irene Hervey is being seen about with Allan Jones . .. Jean Harlow’s closest pal is still Bill Powell, and vice versa... Jeanette MacDonald giving most of her spare hours to Gene Raymond . . . rumors are persistent that John Barrymore is furnishing a home, and when it’s com- pletely furnished it will contain Elaine (Ariel) Barrie . and the newest big romance is Cary Grant and Mary Brian. Incidentally, when the Brian lass returned from England she found her Toluca Lake home completely redecorated. Whether Mary was as glad, as she was surprised, is dif- ficult to record, for the. decorations were strictly not in the Billy Haines manner. The artists who went to work on it were her Toluca neighbors, which include the Stu Erwins, Glenda Farrell, Jack Oakie and W. C. Fields. Some of the Fields touches are still on exhibit for those of Mary’s friends who can take it. Lunched with Joe E. Brown a few weeks ago, we were surprised to find him a quiet, serious-minded guy. He had just come from having an impression of his mouth immortalized in concrete in the forecourt of Grauman’s Chinese. You can’t put your mouth in concrete, he dis- covered, because your nose gets in the way. So someone took a trowel, and with two generous sweeps made an impression of what the Brown mouth ought to look like. We asked Joe E. about his being among the first ten box-office attractions of 1935, and it’s his belief that the kids put him there. He watches his fan mail carefully, crowded corner. She’s cute, huh? and whenever a youngster complains about a scene in one of his pictures he starts to worry. For example, when his own daughter saw him eating with his knife in one of his epics she said, “That’s not my daddy.” Joe didn’t sleep for a week. The Dionne Quintuplets, whose only rival for female pulchritude is Shirley Temple, have now formally made their screen debut and can safely rest on their laurels. It might interest them to know that little Miss Temple was taken to see their picture. Someone asked her how she liked it and Shirley re- plied, “I think children are cute in the movies.” Dr. Joel Pressman put Mrs. Pressman (Claudette Colbert) plus flowers, candy, etc., on the train bound for New York the other night. Imagine his surprise when an hour later Claudette arrived home plus flowers, candy, etc.! It seems that, enroute to the depot, the doctor had slammed his fingers in the car door and, just as the train pulled out, Claudette began worry- ing so:much about her husband’s wounded condition that she jumped off, flagged a taxi and tore home. And here they’ve been married for over two months. How- ever, satisfied that the injury was minor, Claudette finally made the trip. Where do you think the movie actresses go to relax their nerves? You're right—to the movies! Bette (Continued on page 76) 49

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Preston Foster’s afraid of praise, because it’s killed so many stars NO FLATTERY, PLEASE! HOLLYWOOD’S Public Enemy No. 1 is in our midst,” said Preston Foster grimly. ‘“He’s lurking in ambush. He’s a sneak, a decoy, a destroyer. He’s subtle and sinu- ous and soft. He steals on us unawares. The G-men can’t get him because he’s bodiless. He can’t be put behind bars because he’s invisible. He attacks his victims individually. And each one has to do his own fighting. If we rout the enemy we're as safe as actors ever are. If he defeats us we're as done as cold baked potatoes. “And Hollywood’s mortal enemy is not any one of the things it has been said to be—neither too much wealth nor the ‘other woman.’ “No, Hollywood’s mortal enemy is ‘J’! 1...1...1...the Great Mogul, Me... the puffy-headed, swelled-chested, know-it-all J! “And when that enemy downs a man that man is dead. I’ve seen good actors turn into stuffed shirts. I’ve seen hard-working, humble kids transformed into strutting popinjays. I’ve seen swell girls metamorphosed into silly manikins with their noses in the air and their brains re- moved from their golden heads. 50 “I know a chap, who was a big box-office star a couple of years ago. He was so badly smitten by the enemy that he wouldn’t even act in most of his long shot scenes. He had his stand-in do his acting for him while he stood with his eye screwed to the camera lens, directing how things should be done. He was so good in his own esteem that his job wasn’t big enough for him—he had to direct and supervise the script and camera work besides. He had an ego complex in maniacal form. Well, he isn’t sitting very pretty now. It’s a known fact that when we begin to think we’re pretty good others think we're pretty bad.” Preston Foster, big, hearty and unactorish, lounged in his chair opposite me. He struck me as a combination of Clark Gable and Spencer Tracy. He has some of Clark’s complete casualness and debunking quality, with the ruggedness and stark simplicity of Spencer Tracy. In other words, he is a man’s man. I said, “But aren’t there some ways and means of de- feating the enemy?” “Sure there are,” said Preston, “hold on while Doc Foster writes a prescription. (Continued on page 112)

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Mag Lindsay hoaxed us all and got away with it By Katharine Hartley MRS. KIES dropped her bundles unceremoniously at the foot of the stairs and bounded up them, two at a time crying, ““Margaret! Margaret! I’m coming, dear!” The sound of Margaret screaming and the smell of some- thing burning put panic in her heart. Margaret, you know her today as Margaret Lindsay, looked up calmly and grinned at her mother. “Hello,” she said. She was standing in front of the long dressing “Law in Her Hands” is Mar- garet Lindsay's next picture. table mirror, swathed in some sort of fancy lace drapery —and she was holding a lighted candlestick in her hand! But no enveloping flames! Mrs. Kies sank down weakly on the bed, “Oh, Mar- garet,” she said, “I thought something awful was happen- ing to you!” “Oh, no!’ that one said pleasantly. “Nothing’s happen- ing to me except I’m learning to (Continued on page 107) 51

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D0 WOMEN SPOIL MEN ? DO YOU think that women spoil men?” I asked the beautiful Virginia Bruce. And she replied, “I don’t know whether they do or not, but—they should.” pRonouldie’ “Yes, definitely should.” And then Virginia said one of the most selfless things I’ve ever heard a woman say about the man she loved and will always love. She said, with such sincerity, that she is glad John Gilbert had Marlene Dietrich to spoil him in those last months of his life. It was so good for him, Virginia said. Marlene bolstered up his ego, which so badly needed bol- stering. He could, she explained, still feel that he hadn’t lost the compelling fire of the “great lover” when he could attract one of the most glamorous women in the world. She knew how kind Marlene had been to Jack. She watched over him and she saw to it that he was happy and entertained. “T wasn’t with him,” said Virginia. “I couldn’t be. So I am glad that Marlene was, for that is exactly what I mean when I say that women should spoil men. “JT may marry again one of these days,” Virginia said. “T am not the sort of person to want to go through life a woman alone. I’m not independent enough. And I’m wise enough to know it. But it will be difficult for me to find, ever again, anyone so vital, so electric as Jack Gilbert was. “Perhaps we were both fated, Jack and I. For here is a curious thing that happened to me before I came to Hollywood. A long time before, when I was just a school- girl back home in North Dakota, I went to a clairvoyant one day and she told me that I was destined for tragedy. “T didn’t think,” said Virginia, “that it would come so finally—or so soon. “Perhaps part of my tragedy will be that I do spoil men. I seem to be the type to attract men who are much stronger and more forceful than I am. “T think,” said Virginia, “that it is not irrelevant to what we are talking about for me to speak of Jack. Be- cause, after all, my belief that women should spoil men Virginia and Jack Gilbert on the day they wed. Their love was ill-starred, but it gave her an unusual slant on men. and most of my theories about the relationships between men and women spring, naturally, from my marriage to Jack. “Certainly, if the husband is the dominant factor, the wife quite naturally defers to him, waits on him, obeys him. I was like that and I think I always shall be. I always feel young and inexperienced when I am with a man who interests me. I feel like a child who is being taken out by an older person, and who really should be seen and not heard! “T always do what I am told to do—even as I did in my marriage. I never dreamed, when I was married, of interfering with anything my husband wanted to do. I never thought of opposing my will to his. If there was any waiting-on to be done, J did it. J wouldn’t have dreamed of asking Jack to run downstairs to get me a book or to run any errand for me. If he wanted to be with his friends, for instance, it never occurred to me to join them unless I was asked. “Men should have a masculine world into which neither wife nor sweetheart should intrude. “Men need spoiling more than women do, contrary to some opinion. Biologically, if in no’ other way, men are the ones who are supposed to go out into the world and fight for success. In order to win that success, men should be sent forth armored with self-importance and the con- viction that they are pretty darn good, no one any better. And if that ego is deflated by a demanding, argumentative sort of a woman, he is licked before he starts. I think,” said Virginia, “that a man who is made to feel abused is the most pathetic object in the whole world. “Women may need the kisses, but men need the pats on the shoulder. “Just consider the movie marriages which have been the most successful, the most long-lived . . . the Jean Hersholts, the Warner Baxters, the John Boles, Susan Ann Gilbert, Jack’s and Virginia's lovely child. She fared royally in her late father’s will. ,

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And Virginia herself in the ich wep = peries of her role in “The Great Ziegfeld.” Virginia Bruce’s answer to this question may not be yours, but the men will agree with her unanimously! the Bob Montgomerys, the Preston Fosters, the Paul Munis, the Leslie Howards—they illustrate what I mean. For, in every one of those marriages, the man is the bread-winner, the conquering hero, the star. The wives are what all women should be—just wives. If they had careers, they sacrificed them to those of their husbands. They gave their men the limelight. AND THEN, on the other hand, consider the marriages where the wives have been the big stars—they didn’t do any spoiling, they were the spoiled ones—and so were their marriages. “Women should be,” said this young Virginia with the very mature mind, “two things to their men—mothers and children. Mothers, when it comes to home things, chil- dren when it comes to big things. And I think that’s just what successful wives are. I know that Mrs. Howard mothers Leslie at home—sees to it that his ties and socks match, that he eats the right things, gets the proper amount of sleep. I know that Mrs. Muni goes on the sets with Paul to make sure that he eats regular meals, is not overtired and doesn’t have to think of small details. But in the large affairs of life these wives take orders! “T think that a great many modern women are spoiling men—but not in the right way. I mean the women who are professional, who earn money, who take away from men the right to be the head of the house. “T don’t mean that women should sacrifice their careers, if they have careers which are really vital to them and to the world. But I do think they should be clever about their professional lives. They should spoil their men in the loving way, not the destructive way. They should pretend that they work because it amuses them, not be- cause it is necessary. “They should use the money (Continued on page 102) . By Gladys

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WHY 3B MARSHALL YOU ! Quiet Englishman he may be, but now youll see why he is popular with men and fascinating to women 1 ONCE heard a beautiful woman say, “I would be afraid to fall in love with Herbert Marshall. I know I’d never get over it.” And she was lovely, very young, very self-confident. Yet she admitted that she would be afraid to fall in love with the dark, tall man his friends call Bante Norma Shearer once explained him this way. She said, ‘Women are attracted to him because he has a beau- tiful courtesy and because he suffers so!” And Gloria Swanson, still one of Hollywood’s most fascinating women, has eschewed all other escorts for him. A friend of mine said, re- cently, “Bart is so really kind. For instance, if a bunch of us get together and someone is on the pan and the conversation gets a bit caustic, Bart will al- ways check it before it goes too Pawar ~ 2? #©# @ @ oe ele. @ far, saying, ‘Oh, but we all make the same mistakes, you know, or “We might do the same thing ourselves under similar circumstances.’ And he always uses the ‘we,’ in- cluding himself. He’s a sweet guy, no foolin’.” And it 7} was a man speaking—a man named Robert Montgomery. | The boys on the set at the studio—the sound men, — props, electricians—said to me, “Mr. Marshall remem- bers all of our names and faces the day after we start © to work—and the names of our wives and kids, too. He remembers that my Sammy has the measles and that Bill’s Jim fell off his bike. He seems to care, too. He’s reg’lar, he is!” Bill Seiter, directing “If You Could Only Cook,” a recent picture of Bart’s, said to me, ““Bart is a magnificent fellow—and what an actor! He'll work until he drops © dead. Nothing is too much trouble for him. He never com- plains, is meyer ‘difficult—I’m nuts about him!” Everywhere men say, “He’s a grand guy.” And every- © where women say, something wistful in their voices, 7 | Service Bart, at home. You'll be enjoy- ing him next in “Till .We Meet Again” with Ger- trude Michael.

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——— Ee Witty Gloria Swanson is one of Bart's most constant com- panions. He says he’s not a domestic man and likes best to “talk shop” with stage and screen people. “There’s something about Herbert Marshall... .” Now, in Hollywood, as in all small towns, there are gossips who dip their tongues, now and again, in the broth called vitriol. No matter how deserving a person may be, no matter how popular, there is usually some one to pop up, like the devil, and do a mite of lambasting. But never once has the devil popped up, in my hearing, where Bart is concerned. And it’s not because I haven’t been around, either. I’ve even prodded the gossips to see whether I could draw sparks. Not one. And I was intrigued. It seemed logical to me, a Marshall fan my- self, ever since “Trouble in Paradise’ set us all Mar- shall-mad, to believe that women feel about him as they actually do. I felt sure that he is, as Bob Montgomery said, tol- erant and kindly. I could observe the “beautiful courtesy” for myself and I sensed in him a certain haunting and faintly sorrowful “remembrance of things past.” But I wondered zwhy he is as he is. By what road has he trav- elled? Has the hand of Destiny been, for him, a mailed fist or a soft kid glove? I thought it would be interesting to try to take the Marshall apart, to find out how he ticks and why, to analyze the makings of the man he is today. BART AND I had tea together. And I mean tea. In the living-room of his Beverly Hills Hotel bungalow. The walls were book-lined, firelight painted both the walls and the gravely attentive face of the man talking to me. A terrifically modest man he is, I'll tell you that. Not articulate when it comes to talking about himself. He has, indeed, the apologetic manner of one who would say, “But you don’t really care to hear all this about me. ...” It took considerable persistence on my part, and a great deal of that “beautiful courtesy” on his, for me to get what I did. And this is the way I got it: On the wall hung framed photographs. One was of a young couple, Ethel Turner and Percy Marshall, Bart’s mother and father—rather a pathetic young couple, timid. and frightened looking. One was of three little ladies, frilled and deliciously (Continued on page 99) 55 t| i

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56 a a 1 say Ww ray used i day>: ae sleep: i} yve mast — ee ar \ hows ee e now

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) ahead 0) Oo s ba q e) 18) ~ ® i elfen! q ® > ® Ww eat p= | ‘e) ba ae | o) q orl ©) prize gossips by fin

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ette Davis, the ac- rome Denored for her sphemdid work in » *Dangerous.” ACADEMY AW ARID NIGHT And Ida Lupino at- tends with young Tom Brown.

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A "The Errol Flynns (Lili ~ Damita) in the audi- ence at the Biltmore. Each year this gold statuette is given for the two outstanding performances on the screen Norma(Juliei) Shearer with husband, Irving Thalberg. Virginia Bruce with} _ Bob Taylor and Ros Alexander.

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WELL, DO YOU? Because I do! I’ve seen too many of them, out Hollywood way, not to believe in them. I know that you can work miracles on your body. And when I say “work,’ I mean work. You can’t do it by wishing, or quack methods or hocus-pocus. But faith in yourself plus the necessary work has turned many a miracle before this. There are certain parts of the body which, if they are not naturally beautiful and symmetrical, most women are inclined to give up for lost. The legs, for instance. The breasts. The contour of one’s face and particularly the shape of one’s nose. Now children (that’s what you all are to me, whether you are six or sixty), you know by this time that I never mislead you in my articles with a lot of fine- sounding clap-trap that doesn’t mean anything. I’m not reneging on my statement that you can work miracles, because that is true. On the other hand, it would be wrong to tell you that you can take a pair of legs which are thick and heavy because of their bone construction and turn them into a pair of Dietrich-like appendages. But believe me you can do wonders with that same pair of heavy legs by getting rid of any excess fat or bulging muscles, and shape them as you never had hoped possible. However there is a limit. BUT LISTEN, darlings, wouldn’t it be quite worth while to reduce the calf, say, one and a half inches—which is quite possible? And slim the ankles down perhaps an inch? That, too, is quite possible. If your bust is large and lacking in lovely lines, as Bette Davis’ is inclined to be, there is plenty you can do to acquire, as near as pos- sible, the exquisite proportions of a Harlow or a Rochelle Hudson. You can reduce the bust by proper diet to a remarkable extent and firm up the muscles by exercise. Now I’ve been honest about this thing. Are you going to be sensible about it? You'd better! Are you going to be sensible enough to say, “I may not be the most beau- tiful creature in the world, because of this or that, but I can—and I will—be as lovely as is within my power”? People who have some unhappy physical handicap are inclined to put on a great show of indifference and make believe that they care little for the acclaim which all the world pays to beauty. But they can’t fool mama. You’ve ct

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Ankle, leg, By Madame Sylvia heard them... the sad little birds, | | at dances, who spend most of the | evening out in the powder room, 1 playing like they’re waiting for iil someone. A pathetic game it is, too. | |i The girls who say, with a sweet- sour smile, “I really don’t care much | for boys.” The women whom life passes by. Such people make me i want to do two things: first I want to sit down and have a good cry with i) them. Then I want to give them a good, hearty smack between the | shoulder blades and say, “What the | devil’s the matter with you anyway? chest and nose problems can now be solved Rochelle Hudson's figure is beautiful. Snap out of it! It’s your own fault | that you are as you are. Get busy I and stop sulking!” Sorry, children, I didn’t mean to fly off the handle like that. I’m just trying to tell you a few things you | must do if (Continued on page 83)

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HER BOARDING HOUSE DAYS yy io Ann Harding's fellow boarders lida t think she'd get far. “No 7 warmth,” they claimed! © Decorations by Bill Holman FOURTEEN YEARS ago Ann Harding lived in a boarding house at 322 West 88th Street, New York City. Young, unsophisticated, eager for success, she wandered in and out with either a history book or a volume of Shakespeare under her arm. She dressed conservatively, almost drably, with a peculiar flair for unmatched pieces! | The world was her oyster and she was looking for the " pearls only. That was in 1921. During the long years since, Ann Harding has become a stage star and a screen celebrity with a salary reputed to be over five thousand dollars a week. She has been married, is the mother of a child, still wears cotton stock- ings and has subsequently been divorced. Her career has once been on the verge of a complete collapse. Bot (955-8 = She made “Peter Ibbetson” and presto! Ann had made her comeback, salvaged her career. But to get back to the story I have to tell you. 62 Ann with Herbert Marshall in a musical moment from their RKO picture, “A Lady Consents.” Monroe Owsley and I, back in 1921, were in New York. “| it We were attending Columbia University and had taken q rooms at 322 West 88th Street. iq Our first night at dinner we were put at a table with the 4 Gatlee family—a mother and two daughters. Edith, a J | dark-haired siren, was secretary down Wall Street way. 3 But Dorothy, a blonde, had given up her secretarial job, —}) } changed her name to Ann Harding and was studying for 7} } the stage. qt It wasn’t long before Owsley and I got to know the ,7} ! Gatlees quite well, especially Ann. uM Strange girl, Ann, but fascinating. Quiet, studious and J} | aloof, she seemed to live in a world of her own, a world ; of ideals and ambitions which she kept carefully concealed t from even those who thought they knew her well. She a moved ina self-produced atmosphere of peculiar detach- | | ment, not resentful of people exactly, but fearful rather. The folks at the boarding house never really knew Ann. She wasn’t much of a mixer, so they thought her cold and

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Ann, with her daughter, Jane Bannister, plan a trip to England where Ann will do a picture. And right, as you'll see her soon in “The Witness Chair.” austere—too much so to ever make a success on the stage. They constantly prattled about her lack of warmth and understanding. Not that she wasn’t popular. She was.* Everybody liked her. But everybody stood just-a little bit in awe of her. She was charming, but she never invited confidences from people, and never for a moment allowed any one to break down the gates to her little world of isolated de- corum. She was the nearest thing I ever saw to an upper class English woman, living in well-bred seclusion and viewing the passing show of life daintily, specula- tively, almost timidly. But underneath all this frigid exterior Ann was, and still is, thoroughly human and understanding. She’s still consumed with a burning ambition and is one of the most sympathetic persons I’ve ever known. That’s why she has been a success, and why, after having suffered a career-collapse, she will shoot right to the top again. Back in those days in 1921 times were difficult and es a ce money scarce. Ann’s father and mother were separated. The salary of an army officer isn’t large and their income was, I suppose, sufficient to furnish the necessities, but the scheming done to make ends meet took the brains of a financial wizard. That was Mrs. Gatlee’s job—her daughters were a great help. Edith worked and bought her own clothes. As for Ann, she didn’t care whether she had any or not. She was totally disinterested in clothes, being as happy and contented in a cheap print dress as in a Hattie Carnegie ensemble—it was all: the same to Ann. Few people outside the theatre realize the struggles and hardships of show business. The world sees the few who arrive, after they have arrived, and sees only the glamor connected with the stage and screen, not the thwarted hopes and aspirations, the disappointments that they have endured. Night after night Ann would come home dog tired from tramping the streets around (Continued on page 96) 63

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. LOOKING AT MY calendar this month, I discovered § that this issue presents a little problem, whether you know Merk it or not. Why? Well, there are all of you who are about to step off into matrimony between now and the end of June—you want news about trousseaux and such. | 3ut there are all you others who, although you are in- H terested in weddings, too, are much more worried about the first week-end holiday that happens along about Dec- oration Day—you want to know how to pack enough clothes into a suitcase to knock the eye out of any pros- pective bridegroom, of a year from this June, that might happen to loom up! Una Merkel tells you what Left to right below, you see two more evening gowns that hang in the Merkel closet ready for travel- ing orders! A net and lace affair with jacket—and a dinner gown of silk crepe with soft lace trimming. For sports activities, active or pas- sive, there’s a white silk shirt maker dress with blue ac- cents. And for general daytime use, a navy blue two-piece dress printed in white stars. Black lace for evening is not only smart but a good traveler. Una loves all the flare of this one.

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So-o, tossing a coin—and cheating a bit because Una Merkel came into the picture right then, the brides lost until next month when their turn will come. Meanwhile, they can get some excellent trousseau tips from the grand clothes which Una has contributed to this story. Hoilywood, as you know, has the most week-end hol- idaying crowd in the country. A brief dash out of town is about the only way many stars get a vacation at all between pictures. And although they live in sports clothes during the day, they have to take clothes with them that will meet unexpected party demands. Palm Springs, that beautiful desert resort, is a great week-end favorite because it’s within easy driving distance of Hollywood, yet far enough away to insure a rest from the studios’ demands. What is worn by the smart stars at Palm Springs is a pretty good guide to what you will want to wear this summer at nearby lake and seaside resorts. Palm Springs is like Florida in this respect; it forecasts trends for all of us who can’t get away until the hot summertime is practically upon us. Here are just a few of the fashions that have been spotted on recent week-ends at such favorite Palm Springs gathering places as the El Mirador, the Desert to pack for those first week-end holiday trips ahead

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At right, you see two more of Una's week- end fashions story. First there’s the three- piece suit she wears for travel—red, white and blue basket weave woolen, a patriotic trio for Decoration Day week-end. Blue skirt, red jacket and white coat. A green and white silk print is an extra sports dress that’s easy to pack. Inn and the Racquet Club. White in cos- tumes leads as far as colors are concerned— and the white costume is nearly always ac- cented by a color. Next, after white, come those costume shades that look so new and exciting this year —probably because they are more vibrant than the pastel shades which we have become used to for summer. Many yellow shades, ranging from chamois to daffodil. Pinks in the watermelon and coral tones. Aqua and turquoise blues and loads of the new purple blues. Ann Sothern, who gets away to the desert as quickly as a picture is finished, has a knitted silk swim suit in aqua blue—this is very form fitting. She has another one of more formal design in the popular Tahitian flower print. This is in a brown and white color combination and is particularly attractive with Ann’s blonde hair and fair skin. Although shorts are still on the up for popularity in active sports, more and more divided skirts, known as culottes, are seen. Stars are taking to this style more slowly than you would think, it being such a happy com- promise between slacks and shorts. I think the reason for this is that they have been devoted to slacks. for so long, that they don’t welcome any innovations in the skirt line. Speaking of the culotte, however, Ann also numbers a culotte costume in her desert week-end ward- robe. Hers looks like a green silk shirtwaist dress but has the divided skirt instead of the usual pleated one. When slacks are worn, and that is most of the day, whether in Hollywood or down in the desert, color con- trast is cleverly used. One young starlet, with an eye to the unusual, wore wine red slacks pin striped in white with a yellow tweed, mannish jacket. Another gal, with a more feminine turn of mind, wore pink pique pajamas with a blue sweater. Mannish jackets in bright colors are preferred for slack costumes—shirts and blouses also of a tailored type to go with these. Back to Ann again, she wears an ice-blue linen-like cotton coat dress that has the unique feature of a halter neck top. This is one of her pet week-end dresses, along 66 with a one-piece linen in yellow. A new idea in informal dinner dancing costumes has” been seen recently at Palm Springs and it may develop into a fashion for all of you. It is an afternoon-length © dress given formal trimmings and accessories. . For ex- ample, one pioneering gal appeared in a very sheer wool dress, made simply with a rather high collared neckline and short sleeves, the belt, collar clip and bracelet being” of brilliant jewels! Still another wore an evening jacket of brocaded satin over a finely pleated chiffon skirt of average afternoon dress length. It’s something to experiment with, if you like to be the first to start something ! Enough of what goes on at Palm Springs—and what 7) of Una Merkel, are you saying? Well, Una up and of- fered her own personal week-end or vacation travel — suggestions for all of you to copy. Una and her young ~ husband, Ronald Burla, have to be ready to snatch a ~ quick vacation trip whenever Una has a moment to spare © between pictures. And, as Una’ says, she can’t stop © to shop elaborately for clothes when she and Ronnie have | to be ready to leave almost as soon as the idea occurs © to them. So, as a result, Una keeps clothes on hand | that she can depend upon to be adequate for any crazy © trip they may suddenly decide to take. § There’s nothing formal or “big star” about Una—she’s — just a charming, unspoiled Southern girl who has made ~ a success but hasn’t let it change her. That’s why I ~ think she’s such a swell person to talk about vacation } clothes—she has to snatch quick holidays the way we | all do and she doesn’t dress (Continued on page 86)

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Miss RosE WinsLow, of New York, Tuxedo Park, and Newport, dining at the Savoy-Plaza, New York. Miss Winslow is a descendant of Goy- ernor Winslow of the Mayflower Pilgrims. She made her début in Newport in 1932. Miss Winslow says: “Camels couldn’t be milder. They never have any un- pleasant effect on my nerves or my throat. I smoke them constantly —all through the day, and find them particularly welcome at mealtimes.” cc Bic Copyright, 1936, R. J. Reynolds Tobacco Company, Winston-Salem, N. C. Traffic —irregular meals —the re- _ the flow of digestive fluids, foster- sponsibilities of ing a home i sense of well-being and en- A delightful ponsibiliti running a hom ng a sense of well-being a1 n —no wonder digestion feels the couraging good digestion. Enjoy wa y t ° strain of our speeded-up existence. Camel’s mildness —with meals — A That’s why people everywhere between meals —whenever and as ai d welcome the fact that Camel ciga- often as you choose. Their finer, rettes aid digestion—normally and costlier tobaccos never get on your DIGE STION naturally. Scientists explain that nerves—never tire your taste — smoking Camel cigarettesincreases and definitely aid digestion. COSTLIER TOBACCOS - 7° 5 5 a CAMELS ARE MADE FROM FINER, MORE EX- Fastidious women turn instinctively to Camel’s REARS PENSIVE TOBACCOS ... TURKISH AND DOMES- costlier tobaccos. Among them are: 2 TIC ... THAN ANY OTHER POPULAR BRAND. Mrs. Nicholas Biddle, Philadelphia Mrs, Ernest du Pont, Jr., Wilmington Miss Mary Byrd, Richmond Mrs. Henry Field, Chicago aw Mrs. Powell Cabot, Boston Mrs. Chiswell Dabney Langhorne, Virginia Mrs. Thomas M. Carnegie, Jr., New York Mrs. James Russell Lowell, New York Mrs, J. Gardner Coolidge, II, Boston Mrs. Jasper Morgan, New York Mrs. Byrd Warwick Davenport, Richmond Mrs. Langdon Post, New York Mrs. Brookfield Van Rensselaer, New York Sov gestions dake

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ABOARD UNIVERSALS SHOWBOAT It's been reunion time out on the “Show- boat’ set where Irene Dunne is reviving her famous stage role of Magnolia. Many of the original cast have come back to play with her, among them Helen Morgan and Charles Winninger, the first ‘Cap'n Henry.” This part and its romantic songs are dear to Irene.

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SECRET BEGINNINGS OF Miss Barbara Hebbard, New York: “I have seen my pores become finer —eyen blackheads disappear! — after regular treatments with Pond’s Cold Cream.” Rouse hidden glands, nerves, fibres fo win back Smooth Line-free skin ... End Blackheads, Blemishes, too! HATE TO GROW OLD!”’ The same cry from every woman’s heart. . . If you're 20, you fear the 30’s. 30? You dread the 40’s. Yet the years themselves are not bewailed. It’s the unlovely lines, the gradual coarsening of the skin that make some women feel. . . “They hardly had any youth at all!” But these tragic age signs can be warded off—Their hidden starting place is known! Skin authorities say it lies five layers below the skin you see. Down in what’s called your wnderskin. The diagram above shows you what the underskin looks like. There you see the oil glands that should keep skin sup- ple .. . the blood vessels that should in- vigorate the skin, clear it . . . the under tissues that should keep skin firm. Deep-skin treatment needed “Then why does skin age?” . . . Because these tiny glands, tissues, blood vessels lose their vigor! They slow up... give MODERN SCREEN e Sons Ladd bare SKIN AUTHORITIES LAY BLAME FOR LINES, WRINKLES, DRY SKIN ow A LAZY UNDERSKIN™ Lady Daphne Straight granddaughter of the late ANTHONY J. DREXEL and of the late WILLIAM WHITNEY, says: “Pond’s Cold Cream keeps my skin clear, positively glowing. Iteven wipes away little fatigue lines.”’ skin faults their chance to start. But you can rouse your underskin, keep it active —by faithful use of Pond’s deep-skin treatment! Smooth on Pond’s Cold Cream. Made with fine, specially processed oils, it goes into each tiny pore quickly, deeply. Next minute, it’s out again—laden with long- lodged dirt and make-up. Wipe it all off and pat in more Pond’s Cold Cream briskly... That’s all there is to the treatment! Yet followed faith- Right under your skin are blood ves- sels, oil glands, nerves, cells and fibres. When these fail—age signs come. fully, see what happens. As the glands act normally—their oils no longer clog. Blackheads, blemishes can’t come!... As tissues fill out, little lines gradually fade. As your whole underskin wakes up—your outer skin takes on that soft feel, that smooth look which make you feel young at any age! Begin now to give your skin Pond’s care. Remember, ois is the treat- ment that brings true skin beauty... Fight Skin Age this way Every night, for thorough cleansing, smooth on Pond’s Cold Cream to loosen, float out dirt, make-up, skin secretions. Wipe it all off . . Now rouse your underskin! Pat in more Pond’s Cold Cream briskly. Watch how each treatment makes your skin really fresher and younger looking. Every morning, and during the day, repeat this Pond’s deep-skin treatment. You’ll notice that even powder looks better—it goes on more evenly because your skin is so fine, so soft! SPECIAL 9-TREATMENT TUBE and 3 other Pond’s Beauty Aids POND’S, Dept.F50 Clinton, Conn. Rush special tube of Pond’s Cold Cream, enough for 9 treat- ments, with generous samples of 2 other Pond’s Creams and 5 different shades of Pond’s Face Pow- der. I enclose 10¢ to cover postage and packing. Name Street City State Copyright, 1936, Pond’s Extract Company 69

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A NEW PUL FAR SUPERIOR ALL OLD-ST} FORMULAS The most important news in years, forlovely hands H ERE issuch anail polishas you’ve dreamed of wearing! The new Glazo, with its remarkable new formula, attains a beauty of sheen and color far beyond the realm of pol- ishes of the past. Every longed-for virtue of nail polish perfection reaches its zenith in Glazo’s new creation. You’ve never seen a polish so rich in lustre ---so long and perfect in wear. Chipping and peeling are gone—and—forgotten woes. Glazo’s exclusive, fashion-approved shades retain their full beauty for several extra days. Streaking becomes a lost word, for new Glazo floats onto every finger with perfect evenness of color. Evaporation has been so amazingly reduced that the polish is usable down to the last drop. For even a day, don’t deny your fingertips the luxury of this new Glazo. Just 20 cents. MODERN SCREEN Keep up-to-date on film facts NOTE: The following biographies are printed by popu- lar demand. They are the ones most frequently requested during the last month by readers who have sent in the coupon at the end of the article. Each coupon has been tabulated, so if you have requested any of these, kindly consider yours auto- matically responsible. DICK POWELL—Mountain View, Ark., was the birth- place of this popular crooner on a certain November 14, 1904. Richard E. Powell is his real name, and he has two brothers—Howard and Luther. Until he was 12 Dick was just a country boy, but his family moved to Little Rock, Ark., where he attended grade school and college. During this youthful period Dick was very busily engaged in learning to play the saxophone, clarinet and cornet and_ singing at weddings, funerals and in the church choir. His next move was to organize an orchestra. In St. Louis a vaudeville act flopped, so he hastened home and shortly after married Mildred Maund, Things were pretty dull until a visiting orchestra signed him to a contract and took him on tour, After that, Dick held various positions, ending up as master of ceremonies in a Pittsburgh theatre for three years. A miracle in the guise of a talent scout eventually turned up, and in 1932 Dick Powell made his screen debut in “‘Blessed Event.’’ His hobbies, outside of the movies, include music, flying, golf, swimming, horseback riding, bridge and football games, to say nothing of making amateur movies. Dick is 6 feet tall, weighs 172 pounds, has blue eyes and auburn hair. His marriage to Mildred Maund was dissolved some years ago, and now Joan Blondell seems to be his current amour. ‘‘Colleen,’’ with Ruby Keeler, is Dick’s most recent picture and ‘‘Hearts Divided’’ will present him _again with Marion Davies. After that will come “‘Stage Struck’’ in which he and Joan Blondell are co-starred. Write Dick at the Warner Brothers Studios, Burbank, Cal. MIRIAM STRUTT, no address—I’m glad you asked who played the seamstress in “A Tale of Two Cities’’ and Lou in ‘‘Ceiling Zero.’’ Both parts were taken by Isabel Jewell, who is finally getting some credit for being a proficient actress. Jean Harlow was 25 on March 3rd. ROBERT TAYLOGR—Litile Bobby has been doing all right by himself. In fact, Mr. Gable had better watch out for his “popularity prize.’’ To get back to business, Bob was born in Filley, Nebr., on August 5, the son of Dr. S. A. Brough. Moving to Beatrice, he attended school there and then_went on to Doane to college, finishing at Pomona. In the latter insti- tuition Bob Brough was outstanding in dramatics and a_star tennis player. A campus production of “Journey’s End’’ won him a screen test from a talent scout, who immediately sent him back to his books at the first glimpse of it. This was only temporary, it seems, for after graduation Bob was tested again, this time signed _to a contract, and put into training by M-G-M. His first picture was “Handy Andy” in 1934. Tennis and horseback riding are his favorite sports, he plays the cello and piano, collects different kinds of sweaters and is very super- stitious about black cats and ladders. Six feet tall, he weighs 165 pounds and has brown hair and blue eyes. Bob is very popular with the feminine stars these days, and there’s really no telling in whom he is most interested at the moment. His next pic- ture will be opposite Loretta Young in ‘Private Number.”’ Write him at Metro-Goldwyn-Mayer Studios, Washington Blvd., Culver City, Cal. GRACE REYNOLDS, Danbury, Conn.—Ginger Rogers and Fred Astaire are to be teamed again in “‘Never Gonna Dance.’’ Dick Powell and Ruby Keeler will undoubtedly continue their team-play after Dick finishes his current assignments (see biography above), but nothing is set for them at the moment. JOAN CRAWFORD—Lucille LeSueur Cassin has travelled a long road since she was born in San Antonio, Tex., on March 23, 1908. When she was still quite young, her family moved to Kansas City, Mo., where they re- sided for 16 years. There Joan received her earlier education in a | private school, and was initiated into the dramatic arts in the wings of her father’s theatre. Against her parents’ wishes, she left home and made her stage debut in a Chicago revue. Upon the completion of a successful engagement in the midwest, Joan came to New York where she appeared in several plays. She was seen by a Holly- wood executive and placed under contract, appearing in “Pretty Ladies’’ in 1925 as an extra. She was still Lucille LeSueur then, but because her name was so difficult to pronounce, ence. time, please. 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 II1. Gen- eral questions, of course, will also be answered here. most frequently and the most in- teresting ones receive first prefer- And not too many at a Address: The In- formation Desk, Modern Screen, 149 Madison Ave., New York, N. Y. her fans gave her the name of Joan Crawford in a magazine contest. From that time _on her progress was steady, and she now ranks in fifth place among the most popular stars. Joan is 5 feet 4 inches tall, weighs 115 pounds, has reddish-brown hair and bril- liant blue eyes, Her favorite color combination is blue and white, she adores sport clothes and loves to wear lounging pajamas. She is considered an excellent dancer and has a_better-than-avyerage soprano voice. On October 11, 1935, Joan Crawford, the former Mrs. Douglas Fairbanks, Jr., became Mrs. Franchot Tone, And this is a surprise—Joan and Robert Taylor are going to be teamed in “The Gorgeous Hussy.’’ You may write her at the Metro- ee Studios, Washington Blyd., Culver ity, F GERTRUDE GASSETT, MHoppinten, Mass.—Both Spencer Tracy and -Preston Foster are married. Spencer is married to Louise Treadwell, a non-profes- sional, and they have a son who is not far from his ‘teens, Preston Foster’s wife is Gertrude Warren. NELSON EDDY—This is the fourth time Mr. Eddy’s life story has graced these pages—which must prove something or other as to his popularity, since he’s only made two big pictures. To get down to vital statistics, he was born in Providence, R. I., June 29, 1901, the son of Isobel Kendrick and William Darius Eddy, both excellent singers. Educated in grammar school and Rhode Island Normal, the remainder of his education was obtained in night school and from correspondence courses. Nelson’s first job was that of a telephone operator, although his heart was set on being a doctor or a trap drummer. Then came jobs in the shipping depart- ment of an iron works, in the art department of a Philadelphia newspaper and on other newspapers in that city as reporter, copy reader and finally writer of advertising copy. In Providence, Nelson had sung as a boy soprano in several churches, but. it wasn’t until this time that he began to amuse him- self by singing with phonograph records and won- dering if, perhaps, he might not use his pleasant baritone voice as a means of livelihood. e pro- ceeded to take singing lessons from first one prominent instructor then another in the United States, Paris and Dresden. In 1921 he made an anonymous stage debut in “‘The Marriage Tax’’ and three years later was singing for the Philadelphia Civic Opera Company. In 1931 he was ready for New York, and made a sensational hit. In Los Angeles in 1933 he gave a concert and received 18 encores! Screen tests and a contract resulted, with Mr. Eddy appearing in very minor roles in ‘‘Broad- way to Hollywood,’’ ‘“‘Dancing Lady,” ‘‘Student Tour’ and finally starring in “Naughty Marietta’’ and ‘“‘Rose Marie’ which were really worthy of his talents. Six feet tall, handsome and athletic, Nel- son finds relaxation in swimming, motoring, tennis, dancing and sailing. He weighs 173 pounds and has blue eyes and blonde hair. He can sing 32 operatic roles and in French, English, Italian, Spanish, Rus- sian and Yiddish. He has never been married and is not even engaged. The “‘Firefly”’ is tentatively scheduled for him and Miss MacDonald as their next co-starring record-breaker. Should you care to write him, Metro-Goldwyn-Mayer Studios, Wash- ington Blvd., Culver City, Cal., is the address. BRUCE REED, Kansas City, Mo.—The man who played Duke Mantee so excellently in ‘Petrified Forest'’ was Humphrey Bogart, who also played the role originally on the New York stage when that show was so successful last year. Joe Sawyer was Jackie, and Gramp Sawyer’s role was taken by Charles Grapewin. GARY COOPER—Frank J. Cooper is his real name and he was-born in Helena, Montana, May 7, 1901, the son of Alice and Charles H. Cooper, non-profes- sionals. Dunstable School, England, Helena, Mont., Iowa College and Grinnell College gave him his edu- cation. Gary's stage experince was gaethered while playing in amateur produc- tions at high school and college, but he was most interested in becoming a cartoonist, having held a job as such on a Helena News- paper. However, in 1924 he betook himself to Los An- geles and become a house-to- house canvasser, which work was anything but lucrative. So he finally landed a job as an extra in a Western, and continued to play extra roles fora year. His first important picture was “The Winning of Barbara Worth’’ in 1926. Since that time Gary has ap- peared in an amazing num- ber of pictures, and despite the fact that he is so busy he has found time to travel and to indulge in his fa- vorite pastimes — fishing, hunting, riding and swim- (Continued on page 111) Those asked

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Insist on genuine Nonspi at all drug and department stores in the U.S.A. and Canada. 35c and 60c a bottle. - NONSPI _ KEEPS ITS \ PROMISES NONSPI 72 MODERN SCREEN Stars’ Studio Addresses (Continued from page 23) BRENDEL, EL: Warner Bros. Write her at Para- BRENT, EVELYN: [ree lance. mount, BRENT, GEORGE: Warner Bros. BREWSTER, JUNE: RKO-Radio. BRIAN, MARY: Free lance. Write her at 20th Cen- tury-lFox. 3 BRISSON, CARL: Paramount. BRODERICK, HELEN: RKO-Radio. BROOK, CLIVE: Gaumont-British, BROWN, JOE E: Warner Bros. BROWN, JOHN MACK: Columbia. BROWN, TOM: Paramount. BRUCE, NIGEL: 20th Century-Fox, BRUCE, VIRGINIA: M-G-M. BUCK, FRANK: RKO-Radio. BUCKLER, JOHN: M-G-M. BURGESS, DOROTHY: Free lance. Write her at RKO- adio BURKE, BILLIE: Free lance. Write her at Columbia. BURKE: KATHLEEN: Paramount. Paramount. Paramount. BUTTERWORTH, CHARLES: M-G-M. BYINGTON, SPRING: 20th Century-Fox. CABOT, BRUCE. M-G-M. CAGNEY, BILL: Republic. CAGNEY, JAMES: Warner Bros CALLAHAN, MARGARET: RKO-Radio. CALLEIA, JOSEPH: M-G-M. NO, RITA: 20th Century-Fox. CANTOR, EDDIE: Samuel Goldwyn. CARLISLE, KITTY: Free lance. Write her at M-G-M. CARLISLE, MARY: M-G-M. CARMINATI, TULLIO: RKO-Radio. CARRILLO, LEO: Columbia. CARROLL, MADELEINE: Walter Wanger. CARROLL, NANCY: Columbia. CAVANAGH, PAUL: Free lance. Century- Fox. CHANDLER, CHICK: RKO-Radio. CHAPLIN, CHARLES: United Artists. CHASE, CHARLES: M-G-M. CHATTERTON, RUTH: Columbia. CHEVALIER, MAURICE: M-G-M. CHURCHILL, MARGUERITE: Warner Bros. CLARKE, MAE: Republic. CLIVE, COLIN: Universal. COBB, IRVIN S.: 20th Century-Fox. COLBERT, CLAUDETTE: Paramount. COLBY, ANITA: RKO-Radio. COLLIER, CONSTANCE: M-G-M. M-G-M. NALD: 20th Century-Fox. CONKLIN, PEGGY: Walter Wanger. CONNOLLY, WALTER: Columbia. COOK, DONALD: Republic. CCOPER, GARY: Paramount. COOPER, JACKIE: M-G-M. CORTEZ, RICARDO: Warner Bros. COURTNEY, INEZ: Columbia. Paramount. M-G-M. CROMWELL, RICHARD: Paramount. CRGSBY, BING: Paramount. CUMMINGS, CONSTANCE: Gaumont-British. CUMMINGS, ROBERT: Paramount. DARE, DOROTHY: Warner Bros. DARRO, FRANKIE: Free lance. Write him at RKO- Radio, DARWELL, JANE: 20th Century-Fox, DAVIES, MARION: Warner Bros. DAVIS, BETTE: Warner Bros. DEE, FRANCES: 20th Century-Fox. DE HAVILLAND, OLIVIA: Warner Bros. DEL RIO, DOLORES: Warner Bros. DE MILLE, KATHERINE: Paramount. DEVINE, ANDY: Universal. DIETRICH, MARLENE: Paramount. DINEHART, ALAN: 20th Century-Fox. DIX, RICHARD: Columbia. DIXON, JEAN: Columbia. DODD, CLAIRE: Warner Bros. DONAT, ROBERT: United Artists. DONLEVY, BRIAN: 20th Century-Fox. DONNELLY, RUTH: Paramount. DOUGLAS, MELVYN: Columbia. DOWNS, JOHNNY: Paramount. DOYLE, MAXINE: Warner Bros. DRAKE, FRANCES: Paramount. DRAPER, PAUL: Warner Bros. DUMBRILLE, DOUGLAS: Columbia. DUNA, STEFFI: RKO-Radio. DUNBAR, DIXIE: 20th Century-Fox. DUNN, JAMES: Universal. RKO-Radio. : 20th Century-Fox. DURANTE, JIMMY: M-G-M. DVORAK, ANN: Warner Bros, EDDY, NELSON: EGGERTH, MARTA: Universal. EILERS, SALLY: Universal. ELDREDGE, JOHN: Warner Bros. ELLIS, MARY: Paramount. ELLIS, PATRICIA: Warner Bros. ELLISON, JAMES: Paramount. | ERROL, LEON: Free lance. Write him at Columbia. ERWIN, STUART: M-G-M EVANS, MADGE: M-G-M. EVANS, MURIEL: Republic. : . FAIRBANKS, DOUGLAS, JR.: United Artists. FAIRBANKS, DOUGLAS, SR.: United Artists. FARRELL, CHARLES: Republic. FARRELL, GLENDA: Warner Bros. FAYE, ALICE: 20th Century-Fox. FAZENDA, LOUISE: Warner Bros. FELLOWS, EDITH: Columbia. FETCHIT, STEPIN: 20th Century-Fox. FIELDS, W. C.: Paramount. FLYNN, ERROL: Warner Bros. FONDA, HENRY: Walter Wanger. FORAN, DICK: Warner Bros. FORBES, RALPH: versal. FORD, WALLACE: lumbia. FOSTER, NORMAN: Paramount. FOSTER, PRESTON: RKO-Radio. FRANCIS, KAY: Warner Bros. FRAWLEY, WILLIAM: Paramount. FRCGMAN, JANE: Warner Bros. Write him at 20th Free lance. Write him = at Free lance. Write him at Uni- Free lance. Write him at Co- FURNESS, BETTY: M-G-M. GABLE, CLARK: M-G-M. GAHAGAN, HELEN: RKO-Radio. GALLAGHER, SKEETS: RKO-Radio. GARBO, GRETA: M-G-M. GARGAN, WILLIAM: Warner Bros. GAYNOR, JANET: 20th Century-Fox. GIESON, WYNNE: Free lance. Write her at RKO- adio GLEASON, JAMES: RKO-Radio. GODDARD, PAULETTE: United Artists. GOMBELL, MINNA: Free lance. Write her at 20th Century- Fox. GORDON, C. HENRY: M-G-M. GORDON, GAVIN: Republic. GORIN, IGOR: M-G-M. GRABLE, BETTY: RKO-Radio. GRAHAME, MARGOT: RKO-Radio. GRANT, CARY: Paramount. GWENN, EDMUND: M-G-M. HADEN, SARA: 20th Century-lox. HAINES, WILLIAM: Republic. HALE, ALAN: RKO-Radio. HALEY, JACK: 20th Century-Fox. HALLIDAY, JOHN: Paramount. HAMILTON, NEIL: Free lance. versal. HARDIE, RUSSELL: Republic. HARDING, ANN: RKO-Radio. oa HARDWICKE, SIR CEDRIC: Gaumont-British. HARDY, OLIVER: M-G-M. HARLOW, JEAN: M-G-M. HAYDON, JULIE: Paramount. HAYES, HELEN: M-G-M HAYWARD, LOUIS: Ms G-M. HEALY, TED: M-G-\ HENRY, CHARLOTTE: AS AUEG HENRY, WILLIAM: M-G-M. HEPBURN, KATHARINE: RKO-Radio. HERBERT, HUGH: Warner Bros. HERSHOLT, JEAN: M-G-M. HERVEY, IRENE: M-G-M. HILLIARD, HARRIET: RKO-Radio. HOBSON, VALERIE: 20th Century-Fox, HCLDEN, GLORIA: Universal. HOLLOWAY, STERLING: 20th Century-Fox, HOLMES, PHILLIPS: Free lance. Write him at Republic. HOLT, DAVID: Paramount. HOLT, BETTY: Paramount. HOLT, JACK: Universal. HOPKINS, MIRIAM: Samuel Goldwyn. HORTON, EDWARD EVERETT: Universal. HOWARD, JOHN: Paramount. HOWARD, LESLIE: Warner Bros. HUDSON, ROCHELLE: 20th Century-Fox. HUGHES, KAY: M-G-M. HULL, WARREN: Warner Bros. HUME, BENITA: M-G-M. HUNT, MARSHA: Paramount. HUNTER, IAN: Warner Bros. HUNTLEY, G. P. JR.: Universal. HUSTON, WALTER: Free lance. Write him at United ‘Artists. HUTCHINSON, JOSEPHINE: Warner Bros. HYAMS, LEILA: RKO-Radio. JASON, SYBIL: Warner Bros. JENKINS, ALLEN: Warner Bros. JENNINGS, MAXINE: RKO-Radio. JEPSON, HELEN: Paramount. JEWELL, ISABEL: M-G-M. JOHNSON, KAY: RKO-Radio. JOLSON, AL: Warner Bros. JONES, ALLAN: M-G-M. JONES, BUCK: Universal. JONES, GORDON: United Artists. JORY, “VICTOR: Columbia. JUDGE, ARLINE: 20th Century-Fox. KA RLOFF, BORIS: Universal. KARNS, ROSCOE: Paramount. KEATING, FRED: Columbia. KEELER, RUBY: Warner Bros. KEENE, TOM: Free lance. Write him at Paramount. KEITH, IAN: RKO-Radio. KEITH, ROSALIND: Paramount. KELLY, PATSY: M-G-M. KELLY, PAUL: 20th Century-Fox. KELLY. WALTER C.: Republic. KELTON, PERT: M-G-M. KIBBEE, GUY: Warner Bros. KIEPURA, JAN: Paramount. KING, WALTER: 20th Century-Fox, KNAPP, EVALYN: Republic. KNIGHT, JUNE: M-G-M. KRUGER, OTTO: Universal. LAMONT, MOLLY: RKO-Radio, LANDI, ELISSA: United Artists. LANE, LOLA: Free lance. Write her at Universal. LANG, JUNE: 20th Century-Fox. LANGDON, HARRY: Columbia. LANGFORD, FRANCES: Walter Wanger. a RUE JACK: Free lance. Write him at United rtists LAUGHTON, CHARLES: M-G-M. LAUREL, STAN: M-G-M. LAWRENCE, ROSINA: M-G-M. AWTON, FRANK: Universal. LAYE, EVELYN: M-G-M. LEDERER, FRANCIS: United Artists. LEE, BILLY: Paramount. LEE, DIXIE: 20th Century-Fox, ° LEE, DOROTHY: RKO-Radio. LEROY, BABY: Paramount. LERCY, HAL: Warner Bros. LEYTON, DRUE: 20th Century-Fox, LIGHT, ROBERT: Warner Bros. LINAKER, KAY: Warner Bros. LINDEN, ERIC: M-G-\ ie LINDSAY, MARGARET: Warner Bros. LLOYD, HAROLD: Paramount. LODGE, JOHN: Free lance. Write him at Para- mount. LOMBARD, CAROLE: Paramount. LORD, PAULINE: Columbia. LORING, ANN: M-G-M. LORRE, PETER: Columbia. LOUISE, ANITA: Warner Bros, LOWE, EDMUND: eee LOY, MYRNA: M-G-M. LUGOSI, BELA: ltiversatl LUKAS, PAUL: Paramount. LUKE, KEYE: 20th Century-Fox. LUPINO, IDA: Paramount. Write him at Uni-

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MODERN SCREEN * * OS won't trust to luc when it comes to | lovely washables— she insists on LUX Between scenes, Ro rests her dressing room on the set. Its furnishings have the same (19 HILE I’m usually lucky, I don’t: count on ‘luck’ to save mé from stocking runs or faded colors,”’ declares Rochelle Hudson. “Lux is my secret of keeping things like new for ages!” Why risk spoiling your smart wash- ables this summer? It’s so easy—and economical—to keep lovely prints and pastels, sheer cottons and fine linens, always superlatively fresh with Lux. Rubbing with cake soap, or using ordinary soaps which may contain ee ee harmful alkali, is apt to fade colors, rae TeS nay EEInSR weaken threads. Lux has no harmful are Luxable. They're alkali. Safe in water, safe in Lux! forbly,emartilcokingzs Specified in all the big Hollywood studios... “Washing failures, by holding up pervisor. “That’s why at Twentieth production, would cost us thousands Century-Fox studios it’s a rule that of times what they would anindivid- only Lux be used for stockings and ual,’’ says Arthur Levy, wardrobe su- washable costumes—we know it’s safe!” HOLLYWOOD HAS A NEW WORD FOR “WASH’—IT’S | An all-star cast relax- ing! The chows are blue- ribbon winners. Rochelle is the star of Twentieth Century-Fox’s ‘’Every- body’s Old Man.”

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Large 3 oz. bottle or tube......... 10c At leading 5 and 10 cent stores SNO-KIST ... PROVIDENCE, R. I. SNO-KIST SHOE WHITENER MODERN SCREEN Genevieve Tobin and George Brent in ‘Snowed Under.” LYON, BEN: Free lance. Write him at 20th Cen- tury-Fox. MacDONALD, JEANETTE: M-G-M., MACK, HELEN: RKO- Radio. MacLANE, BARTON: Warner Bros. MacMAHON, ALINE: M-G-M. MacMURRAY, FRED: Paramount. MALA: M-G-M. MANNERS, DAVID: Free lance. Write him at Re- public MANNORS, SHEILA: Columbia. MARCH, FREDRIC: 20th Century-Fox. MARGO: Free lance. Write her at M-G-M. MARSH, JOAN: RKO-Radio, MARSH, MARIAN: Columbia. MARSHALL, HERBERT: RKO-Radio. MARTINI, NINO: United Artists. MARX BROTHERS: M-G-M. MATTHEWS, JESSIE: Gaumont-British, MAYNARD, KEN: Columbia. McCOY, COL. TIM: Columbia. McCREA, JOEL: Samuel Goldwyn. McFARLAND, SPANKY: M-G-M. McGUIRE, JOHN: 20th Century-Fox. McHUGH, FRANK: Warner Bros. McKINNEY, FLORINE: Republic. McLAGLEN, VICTOR: 20th Century-Fox. MEIGHAN, THOMAS: Free lance. Write him at 20th Century-Fox. - MELTON, FRANK: 20th Century-Fox, MELTON, JAMES: Warner Bros. MENJOU, ADOLPHE: Paramount. MERCER, BERYL: Free lance. Write her at Republic. MEREDITH, BURGESS: RKO-Radio. MERKEL, UNA: M-G-M. MERMAN, ETHEL: Samuel Goldwyn. MICHAEL, GERTRUDE: Paramount. MILJAN, JOHN: Free lance. Write him at Paramount. MILLAN! RAY: Paramount. MITCHELL, FRANK: 20th Century-Fox, MITCHELL, GENEVA: Columbia. MONTENEGRO, CONCHITA: 20th Century-Fox. MONTGOMERY, DOUGLASS: Universal. MONTGOMERY, ROBERT: M-G-M. MOORE, COLLEEN: RKO-Radio. MCORE, DICKIE: Free lance. Write him at Para- mount. MOCRE, GRACE: Columbia. MOORE, VICTOR: ueOe eho MORAN, POLLY: M-G-\ MORENO, ANTONIO: 20th Century-Fox. MORGAN, FRANK: M-G-M. MORGAN, RALPH: Free lance. Write him at RKO- adio. MORGAN, HELEN: Universal. MORLEY, KAREN: Warner Bros, MORRIS, CHESTER: M-G-M. MORRISON, JOE: Paramount. MOWER Ne ALAN: Free lance. Write him at Uni- versa MUIR, JEAN: Warner Bros. whe GIS JACK: Free lance. Write him at Para- mount. MUNDIN, HERBERT: 20th Century-Fox. MUNI, PAUL: Warner Bros. MURPHY, GEORGE: Paramount. MURPHY, MAURICE: 20th Century-Fox. NG eo CONRAD: Free lance. Write him at RKO- adio. ON MARIAN: Free lance. Write her at RKO- adio. NOLAN, LLOYD: Columbia. NOVARRO, RAMON: M-G-M. NUGENGE EDWARD: Free lance. Write him at Re- public. OAKIE, JACK: 20th Century-Fox. OBERON, MERLE: Samuel Goldwyn. O’BRIEN, GEORGE: 20th Century-Fox. O’BRIEN-MOORE, ERIN: Free lance. Write her at RKO-Radio. O’BRIEN, PAT: Warner Bros. OLAND, WARNER: 20th Century-Fox. OLIVER, EDNA MAY: M-G-M. OLSEN, MORONI: RKO-Radio. O’NEILL, HENRY: Warner Bros. O’SULLIVAN, MAUREEN: M-G-M. OVERMAN, LYNNE: Paramount. OWEN, REGINALD: M-G-M. PALEY, NATALIE: RKO-Radio. PALLETTE, EUGENE: Free lance. Write him at Warner Bros. PARKER, CECILIA: M-G-M. PARKER, JEAN: M-G-M. PARRISH, GIGI: Republic. PATTERSON, PAT: Walter Wanger. PATRICK, GAIL: Paramount. PENDLETON, NAT: M-G-M. PENNER, JOE: RKO-Radio. PERRY, JOAN: Columbia. PICKFORD, MARY: United Artists. PITTS, ZASU: Paramount. PONS, LILY: RKO-Radio. POWELL, DICK: Warner Bros. POWELL, ELEANOR: M-G-M. POWELL, WILLIAM: M-G-M. PRYOR, ROGER: Republic. QUALEN, JOHN: 20th Century-Fox. QUIGLEY, JUANITA: Universal. QUILLAN, EDDIE: Free lance. Write him at M-G-M. RAFT, GEORGE: Paramount. RAINER, LUISE: M-G-M. RAINS, CLAUDE: Warner Bros. RALPH, JESSIE: RKO-Radio. RALSTON, ESTHER: Republic. RATHBONE, BASIL: M-G-M. RATOFF, GREGORY: RKO-Radio. RAY, CHARLES: Free lance. Write bim at RKO- Radio. RAYMOND, GENE: RKO-Radio. REED, PHILIP: Warner Bros. REGAN, PHIL: Republic. RHODES, ERIK: RKO-Radio. RICE, FLORENCE: Columbia. RICHMAN, HARRY: Columbia. ROBERTI, LYDA: Paramount. ROBERTSON, GUY: Republic. ROBINSON, BILL: 20th Century-Fox. ROBINSON, EDWARD G.: Warner Bros. ROBSON, MAY: M-G-M. ROGERS, CHARLES: “RKO-Radio, ROGERS, GINGER: RKO-Radio. ROGER s; JEAN: Universal. ROLAND, GILBERT: 20th Century-Fox. ROSS, SHIRLEY: M-G-M. RUGGLES, CHARLES: Paramount. RUSSELL, ROSALIND: M-G-M. RUTHERFORD, ANN: Republic. SCHILDKRAUT, JOSEPH: Columbia. SCHUBERT, MARINA: Paramount. SCOTT, RANDOLPH: Paramount. SEARLE, JACKIE: 20th Century-Fox, SELLON, CHARLES: 20th Century-Fox. SELWYN, RUTH: M-G-M. SEWARD, BILLIE: Columbia. : } SHANNON, PEGGY: Free lance. Write her at Uni- versal. SHAW, WINIFRED: Warner Bros. SHEA, GLORIA: Columbia. SHEARER, NORMA: M-G-M. SHIELDS, FRANCIS X.: Sam Goldwyn. SHIRLEY, ANNE: RKO-Radio, SIDNEY, ‘SYLVIA: Walter Wanger. SKIPWORTH, ALISON: Paramount. SLEEPER, MARTHA: M-G-M. SMITH, C. AUBREY: United Artists. SMITH, QUEENIE: Universal. SOTHERN, ANN: RKO-Radio. SPARKS, NED: Warner Bros. STANDING, SIR GUY: Paramount. STANWYCK, BARBARA: RKO-Radio. STARRETT, CHARLES: Columbia. STELLING, WILLIAM: 20th Century-Fox. STEN, ANNA: United Artists. STEPHENS, HARVEY: M-G-M. STEPHENSON, HENRY: M-G-M. STEVENS, ONSLOW: Dos STEWART, JAMES: M-G-M STONE, FRED: Paramount. STONE, GEORGE E.: NE Bros. STONE, LEWIS: M-G-\ STONE, PAULA: Washer Bros. STUART, GLORIA: 20th Century-Fox. SULLAVAN, MARGARET: Universal. SUMMERVILLE, SLIM: 20th Century-Fox. SWANSON, GLORIA: M-G-M. SWARTHOUT, GLADYS: Paramount. TALBOT, LYLE: Warner Bros. TAMIROFF, AKIM: Paramount. TAYLOR, KENT: Paramount. TAYLOR, ROBERT: M-G-M. TEASDALE, VERREE: Paramount. TEMPLE, SHIRLEY: 20th Century-Fox. THOMAS, FRANKIE: RKO-Radio. THOMAS, JAMESON: Republic. TIBBETT, LAWRENCE: 20th Century-Fox. TIBBETTS, MARTHA: Columbia. TOBIN, GENEVIEVE: Warner Bros. TOMLIN, PINKY: Universal. TONE, FRANCHOT: M-G-M. TRACY, LEE: Universal. TRACY, SPENCER: M-G-M. TRAVIS, JUNE: Warner Bros. TREACHER, ARTHUR: 20th Century-Fox, TREE, DOROTHY: Warner Bros. TREVOR, CLAIRE: 20th Century-Fox. TWELVETREES, HELEN: 20th Century-Fox. VALLEE, RUDY: WERE: Bros. VENABLE, EVELYN: Republic. VINSON, HELEN: Gaumont-British. WADSWORTH, HENRY: M-G-M. WALBURN, RAYMOND: Columbia. WALKER, JUNE: 20th Century-Fox. WALKER, RAY: Free lance. Write him at 20th Cen- tury-Fox. WALTHALL, H. B.: 20th Century-Fox. WALTON, DOUGLAS: Samuel Goldwyn. WARE, IRENE: 20th Century-Fox. WATERS, ETHEL: Free lance. Write her at Universal WAYNE, JOHN: Universal. WEIDLER, VIRGINIA: Paramount. WEISSMULLER, JOHNNY: M-G-M. WELLS, JACQUELINE: Free lance. Write her at WEST, MAE: Paramount. WESTLEY, HELEN: RKO-Radio. WHALEN, MICHAEL: 20th Century-Fox. WHEELER, BERT: RKO-Radio. WHITE, ALICE: Gaumont-British. WHITNEY, ELEANORE: Paramount, WILCOXON, HENRY: Paramount. WILLIAM, WARREN: Warner Bros. WILLIAMS, CLARK: Universal. WILLIAMS, HUGH: 20th Century-Fox. WILSON, DOROTHY: Paramount. WILSON, LOIS: Free lance. Write her at Universal. WILSON, MARIE: Warner Bros. WING, PAT: Paramount. WING, TOBY: Paramount. WINNINGER, CHARLES: 20th Century-Fox. WITHERS, GRANT: Universal. WITHERS, JANE: 20th Century-Fox. WOODS, DONALD: Warner Bros. WOOLSEY, BOB: RKO-Radio. WRAY, FAYE: Columbia. WYATT, JANE: Universal. YOUNG, ELIZABETH: Universal. YOUNG, LORETTA: 20th Century-Fox. YOUNG, POLLY ANN: Free lance. Write her at 20th Century-Fox. YOUNG, ROBERT: M-G-M. YOUNG, ROLAND: United Artists

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AND WEAR YouR GREY DRESS TONIGHT 2 My _DANCE)G) CUTIE JpROMISED ME, CLINE AFTER MAKING ME WEAR THIS OLD DRESS, You JUST LEFT MODERN SCREEN = ELMONT TRIES TO ss — / THERE'S NOTHING a . SILLIER THAN A MAN WHO THINKS HE KNOWS ALL BUT I'LL FORGIVE YOU, BECAUSE I(T GAVE ME SUCH PUT ONE OVER SORRY, OLD MAN, T THOUGHT I'M CUTTING IN ; THEY WOLILD cA ¢ NOTICE HER IN THAT Y WHAT WERE YOU DOING ALL EVENING, ELMONT 2 I(T WAS VERY IMPOLITE OF YOU TO LEAVE ME ALONE! A WONDERFUL CHANCE TO PROVE THAT NOBODY > ( CAN RESIST My NEW. < BRIGHT CUTEX NAILS! ME TO HAVE You won’t be a wallflower if you wear the new bright Cutex Nails. Try them and see if the grandest men don’t notice you and flock around. Cutex Ruby will make your oldest black frock look as if it were going places. Cutex Rust will make your grays and beiges twice as ex- citing. Cutex Rose will fem- Men rush the girls who wear the New Bright Cutex Nails inize all your sports things. And remember—every Cutex shade goes on smooth- ly, never cracks and keeps its lovely sparkle for days. Only 35¢ a bottle at your fa- vorite store in 8 authentic shades. Let Cutex give you modern glamour today! Northam Warren, New York, Montreal, London, Paris shades Polish, and Sale —==— ur 2 favorite ~ a of Cutex Liquid Polish Remover le of Lipstick or 14¢ m any, Ine. Northam Warren Sal ees New York Dept o-Miop, 0. BOK 2320, Montreal.) n ? T enclose fone Polish Rcgample of Cutex Lipstick w! ee ee he Ss (Nad. ess = —————— aces State City 75

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— More Good News Meet Mr. and Mrs. George Mc- Donald! Little Jean Parker sur- prised everyone by marrying this good-looking young news- paperman quietly at Las Vegas. Davis was so wrought up over the prospect of receiving the Academy Award that, the day of the presentation, she spent the entire afternoon in a picture show, sitting through two features, news reels, a comedy, a travelogue and the latest Mickey Mouse car- toon. Katharine Hepburn can’t be bothered with extra curricular activities. Classed among those are hostessing. So she’s fitted up an elaborate playroom in her new home, complete with every kind of slot machine available. Her guests are ushered from the door directly to the playroom and left to their own devices. The Hep- burn is fast becoming Hollywood’s most popular hostess. The owner of the Gable dimples can get a mad on once in awhile, too. We hear it's blown over now, but not so long ago Clark was seen to storm out of the studio. Seems the news had just been delivered to him that he wouldn't be permitted the trip to the Orient via the China Clipper. Then to top the difficulties, while working on the “San Francisco” set, a building to be used in the earthquake sequence toppled over in Mr. Gable’s direction. The result was a completely ruined dress suit, coiffure and disposition. It was a gala day not long ago at Metro- Goldwyn-Mayer when D. W.. Griffith visited the set of “San Francisco.” And the biggest thrill came to Woody Van Dyke, Metro’s director par excellence, and head of this picture. Years ago, when Griffith directed ‘‘Intolerance,” Woody was his errand boy on the set. As a token of his high regard for the great Griffith, Director Van Dyke asked Mr. Griffith to direct Jeanette MacDonald in the last few sequences of the picture. BS & Understand that the extras on "Big Brown Eyes,” the Joan Bennett-Cary Grant picture, are all on a diet these days. A barber shop 76 (Continued from page 49) sequence took five days to shoot, and every day the extras had to be lathered with whipped cream since shaving soap dries too quickly. We had a nice chat with Freddie Bartholomew lately. He had just met Paul Muni for the first time and announced that he was frightfully impressed. “I have always regarded Mr. Muni as one of the better actors,’ said Freddie thought- fully, “and now I realize more than ever how exceptional he must be to have been selected for the title role in “The Good Earth.” | i ie | Several customers nearly passed out un- der the dryers when a man led a huge wolf dog into Westmore’s beauty shop the other day. A special booth had been re- served for the purp, and here he was treated to a bleach, followed by a white henna pock. “Lightning” is the son of Strong- heart, that famed old dog of silents, and is to appear in the forthcoming sequel to ‘Call of the Wild.” The director thought the new hair-do would improve his features. wood is going more to the dogs every day. At a recent Assistance League luncheon, Buck, the St. Bernard of “Call of the Wild,” was honored guest. He gave paw prints to eager fans. | i ie | Don’t bet on what Katharine Hepburn will do next. The other day she showed up at the RKO lot in a truck, loaded with sweaters, scarves and knitted dresses which she proceeded to auction off on the lot. Seems that Katie had been shopping at Carmel, found a store making very arty knitted goods, and promptly purchased a supply to the tune of $1,500. Hiring a truck she piled her purchases in and headed for the home lot, having promised the shop owners that she would sell the supply within a week at a good profit. Wonder what Josef Von Sternberg’s name actually is. Recently the director got in such a dither over rumors that he was originally called Joe Stern that he offered $100,000 to anyone who could prove that such was his name. Now if the $100,000 had been offered to prove that the name was not Josef Von Sternberg we could all get to work on the Von Goldbergs, etc. Junior Stars’ note: Freddie Bartholo- mew has settled down to the serious busi- ness of teaching his Aunt Cissy to ride horseback. Auntie is serving her appren- ticeship on San Toy, the horse which was given to Freddie by Victor McLaglen. And Jackie Cooper, who rented a horse for the past season at Palm Springs, per- sonally took care of the grooming and handling of his animal. When the season ended, the two of them were such pals that Jackie’s mother had to buy the horse. Everyone wondered where Rosalind Rus- sell’s been spending her evenings of late, because no one saw her around at the so- called gay spots. A spy discovered she’s been sitting home nights with a stenog- Holly- — i Kitty Carlisle’s beautiful voice floated out over the air on Mary Pickford’s program recently. And here are the two pictured at the mike. rapher, dictating a scenario. It’s sort of a story of her own life, says Rosalind. She also adds that, in her opinion, it’s terrible, but that she’s going to try to sell it under an assumed name. We'll keep you posted. One of Madge Evans’ favorite men is a sad young gent named Toughie. Toughie is a dog, and recently he was lost or stolen from Madge’s home. After a frantic search Madge was about to advertise for her lost friend when a boy appeared at her door wanting to know if she'd like to buy a Scottie. Madge took a good look at the merchandise. It was Toughie. “How much?”’ she asked. “A nickel,’ said the young salesman. It was a deal. After Wally Beery announced he was going to Detroit to buy a station wagon, his friends were slightly surprised to see him pull up in a shiny new Cadillac. But, when Maureen O’Sullivan confided she was about to buy a car with sleeping accommo- dations, she really meant it. It’s a sedan with seats which slide back to make a bed, just in case the O’Sullivans are ever caught napping. Incidentally, it’s the first car Mau- reen has ever driven. Glamor Department: One of the sights of the month is to watch Marlene Dietrich slink into the Beverly Brown Derby and sit down to a plate of raw mushrooms. After watching the performance we tried the dish ourselves and all we can report is that, in spite of it all, we still think Dietrich is nice. At the engagement party for Jack Oakie and Venita Varden the great Oakie fell madly in love with Mrs. Pat O’Brien’s eve- ning gown. Next morning Jack was pre- sented with the gown, and a couple of days later Miss V. became Mrs. O. attired in the O’Brien raiment. Looks like Mrs. Pat, who owns a dress shop. is her firm’s best adver- tisement.

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Beverly Roberts and Sybil Ja- son pose willingly at ’The Sing- ing Kid” preview. Both aid and abet Al Jolson in this musical. Streamlining may be a fine thing for automobiles but it’s not so good for dogs, Dick Powell has decided. Recently, be- fore entering his cocker spaniel in a dog show, Dick put his pet on a strict diet to give him that streamlined effect. Came the dog show, and the Powell spaniel, with his ultra-modern chassis, took second prize. “He’d have had first prize,” said the judge, “had he been a little fatter.” Here’s a little romantic item you might like: While playing Romeo, in Metro's "Romeo and Juliet,” Leslie Howard was ferced te take a week’s rest. Do you know whai troubles fiction’s most romantic lover, the pride of the Montagues and the qlamor boy of old Verona? Boils! Becoming engaged to Jackie Coogan brought Betty Grable more than that much publicized sparkler. The Messrs. Wheeler and Woolsey handed her a contract for an engagement gift. She'll appear in the next Wheeler-Woolsey epic as leading lady, replacing Dorothy Lee, who has been in all but one of their previous eighteen picture-plights. Here’s a story to pass on to those inno- cents who believe it’s such a simple matter for a friend of a friend of a cousin of theirs in Hollywood to get them a pass into a studio. A small fire broke out in Paramount studios the other morning. When the engine came dashing up to the gates, sirens wide open, the firemen were met by the grim gateman. He wanted to see their official pass before opening the sacred gates so much as an inch. Charles Chaplin is breaking all precedent about that “one picture to a leading lady” rule of his. There are big plans under way at present for Paulette Goddard’s first starring picture. Charlie will be author, (Continued on page 124) MODERN SCREEN Have you been fair to yourself ... AND TO HIM? Mucu has happened since those glamorous days of courtship. Naturally, you are both a little older—a little more mellow. But have those years dealt kindly with your looks? Or have you aged more than you should for the birthdays you secretly count? So many women lose their good looks after thirty. They fail to realize the importance of what they eat day after day. Over the years, faulty menus can definitely affect their appearance. In some cases, constipation contributes to their troubles. Continued neglect of this condition causes discom- fort, may lead to headaches, poor appetite, listlessness. Common constipation is usu- ally the result of insufficient “bulk” in the meals you eat. For- tunately, a delicious cereal sup- plies this “bulk.” The “bulk” in Kellogg’s ALL-BRAN absorbs mois- ture within the body, forms a soft Serve ALL-BRAN regularly for regularity mass, gently cleanses the system. Scientific tests show that ALL- BRAN is a normal food for normal people. Two tablespoonfuls daily, served with milk or cream, are usually sufficient. Stubborn cases may require ALL-BRAN more often. If not relieved this way, consult your doctor. Kelloge’s ALL-BRAN makes no claim to be a “cure-all”— but it does correct constipation due to insufficient “bulk.” It is guaran- teed by the Kellogg Company. Serve ALL-BRAN as a cereal, or cook into tempting muffins, breads, etc. Sold by all grocers. Made by Kellogg in Battle Creek.

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BEWARE of wax like this in Face Cream! For a penetrating, deep - working skin cream, change to Luxor Special Formula, the wax-free cream. Coupon brings 3-facial package FREE! F you suffer from dry or scaly skin, coarse, ugly pores, blackheads or whiteheads, or other common skin faults, chances are your present way of skin cleansing only hits the high spots. Change to Luxor Special For- mula Cream, the wax-free cream. It penetrates deeply, gets right into embedded dirt, because it contains no wax to keep it from working of in—or clogging pores. xa You can see this for yourself be- Yousmoothiton cause of Special Formula’s amazing visible action. Photos at the right show why you &zow a marvelous penetrating skin-cleansing has taken place, because you seit happen. All cosmetic counters supply Luxor at $1.10 and 55c. Use it, and if you don’t agree that your skin is more wonderfully clean, clear and transparent than ever before, your money will be returned. Sales-people often don’t have all the facts on how cosmetics are made. So insist on LUXOR SPECIAL FORMULA. Guaranteed wax-free! FREE! 3-FACIAL PACKAGE [— ial | (paste coupon on postcard, or mail) | | Luxor, Ltp., Dept. J-4 | | 1355 W. 31st Street, Chicago, III. | Please send free and postpaid without any obliga- | tion your 3-facial package of Luxor Special For- | l mula Cream, the wax-free face cream. I usually pur- | chase cosmetics a (name of store) Name Address. MODERN SCREEN Between You'n Me (Continued from page 25) “Uncertain Lady.” You say that you re- sent my writing to “Little Miss Marker.” Please, Sweetheart, don’t be “Looking for Trouble,’ a man must sometimes corre- spond with “His Private Secretary.” Why “Only Yesterday” I was thinking to myself that of all the “Little Women” I know you are the most “Adorable” and how happy I am that “You Belong to Me.” . “Let’s Talk it Over” and in “The Old Fashioned Way” we will “Kiss and Make Up.” “Let’s Try Again” when next week I arrive at our little home with the “Morn- ing Glory” on the porch. We will have “Dinner at 8,” then I must have “(One Hour with You,” for I want to tell you that were I “The Last Gentleman” on earth and could I choose from “20 Million Sweet- hearts,” you would still be my choice and so, believe me, “Now and Forever,” Yours, “Laddie.”—R. Sienell, Montreal Canada. $1 PRIZE LETTER Not Sensational But— I would like to pay tribute to a little actress who, in my opinion, is one of Holly- wood’s best and loveliest. True, she has not done anything sensational in pictures, but that is because she has not been given the proper vehicle, not because she lacks the talent or ability. Yet, she has been successful and applause is certainly merited her for her praiseworthy characterizations. I feel sure she has a bright future before her, for one with such a refreshing and hauntingly sweet personality, one of such refinement, cleverness and such utterly dis- arming naturalness is bound to reach the top. In her home life she is an exception in the film colony, devoting most of her time away from the studio to her home, her hus- band and her baby daughter, and seldom joining in the gaieties of Hollywood social functions. To me she is an ideal, home- loving, hard-working, talented girl—one I should like for an intimate chum. Who? Evelyn Venable !—Mildred Smith, Denver, Colorado. $1 PRIZE LETTER If Double Bills Bore You— For the first time in my life, I feel im- nelled to reply to a letter written to a mag- azine—that of Mr. Vogt in your April issue. I do agree with Mr. Vogt that the sec- ond half of some double features is bor- ing, but if anyone is interested only in good screen material, he is privileged to leave the theatre if the second feature is unsuitable, or better still, find out from the film marquee just what is playing be- fore entering the theatre. If, by some chance, there is one picture on the bill which he has seen or does not desire to see at all, while the other is one that he has been waiting for, all he has to do is ask the girl in the ticket office for the time schedule and in this way he need not sit through anything unworthy of his in- tellect. To prove that all double-features are not of a poor calibre, I have listed some that I have seen recently. You will agree that it would be very hard to determine which should be billed as the second rater, both being of such high quality and the actors being far from “hams.” “Story of Louis Pasteur” and “Petrified Forest.” “Annie Oakley’ and “Sylvia Scarlett.” “Whipsaw” and “King of Bur- lesque.” “Dangerous” and “The Bride Comes Home.” That’s quite an imposing list, isn’t it? And, I assure you, I know good acting when I see it. I would also like to men- tion that by following the procedure stated in the beginning of this letter, I’ve never lost a picture yet. That is to say, I see all the best and am rarely bored.—N. Brown, Brooklyn, N. Y. HONORABLE MENTION Fascinating Gangsters!! Oh, these fascinating gangsters that we've been seeing lately—Cesar Romero, Jack LaRue and George Raft. In the old days the villain was hissed and hated by excited audiences, but now if they don’t watch out, girls will be fall- ing for the villain instead of the hero. But don’t think we resent it. Isn’t it much more thrilling to see these handsome gangsters who are capable of putting people on the spot and hitting the spot too? Here’s hoping to see more of those three ideal movie gangsters do their worst, while we breathlessly watch, secretly hop- ing the hero won’t be too hard on them.— Margie Hartman, West Allis, Wisconsin. Exploiting Home Talent I note with pleasure that more and more casts are composed entirely of young American actors and actresses. This is a good sign, showing that the talent in our own youngsters is being brought out, and is holding its own with foreign talent in Hollywood. Although the steady waning of the musical comedy will lose many people their jobs, the increase of histori- cal, classical and operatic films is develop- ing more character parts. It takes talent to play such roles, and so acting is reach- ing a higher plane——Elizabeth Hitchcock, Windsor, Mass. Star Tips Did anyone ever tell you that . .. Joan Crawford ought to eat more potatoes? Crosby and Powell croon too much? Bette Davis is the best actress on the screen? Bill Robinson is just as good an actor as tap dancer? Joan Blondell has the most beautiful orbs in Hollywood? Jean Parker is the sweetest doll on the screen? Miriam Hopkins has the best speaking voice? Ginger Rogers ought to stick to dancing; her singing is bad? Hepburn should try to speak like a natural human being? Raft ought to go easy on the vaseline and stop wearing high heels? Ruby Keeler ought to learn how to act? Harlow ought to try eating? Shirley Temple is the most glamorous gal in Hollywood? Connie Bennett should be spanked ?—E. Slevin, Bronx, New York. Insulted! I wonder if other Philadelphia movie- goers are as fed up as I am with hearing our great city continually knocked by third-rate hack writers in their desperate efforts to be funny. The rawest instance of this kind was seen in ‘42nd Street,” which, except for its dialogue, was a per- fect picture. “Metropolitan” and other current films also contain slighting refer- ences to Philadelphia’s ‘‘sleepiness,’ a gag so ancient and disproven that modern ts

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writers should be ashamed to use it. I cannot imagine why producers permit their pictures to be cluttered with these disgusting slams against America’s third largest city. Anyone who has ever been here knows that its “slowness” exists only in the torpid minds of scenario writers who haven’t the mental capacity to think up something more original—K. L. Greene, Philadelphia, Pa. Silly Stuff I think that the cowboy serials and pic- tures are getting sillier and sillier. They are all alike. The heroine is taking some important papers somewhere; bandits ap- pear on the scene and shoot the driver. Just then Tom Mix or Buck Jones, or whoever the hero is, comes galloping on a fine white horse named “Silver” and takes the driver’s seat, shoots the bandits and saves the day. All so thrilling! Nuts! If the bandit falls off a cliff, he usually breaks an arm or a leg, but if the hero falls off a cliff, he gets up, brushes him- self off and gets on “Silver” and rides away. I think this stuff is much too old, don’t you?—Patricia MacWilliams, Wash- ington, D. C A Line or Two From Lots of Letters If Jean Harlow would study the selec- tion of the plays given her instead of the effect of “startling” new hair tints, she might find a “startling” increase in her fan mail—S. Henderson, Tucson, Ari- zona. If your budget permits but one show a week, see “The Petrified Forest.” Ii it permits two, see “The Petrified For- SESE Sin s a Se MODERN SCREEN est” twice. It is the strangest love story ever unfolded on the screen—C. Toles, Colorado Springs, Colorado. Won't some- one tell me what type of audience “Tar- zan’ pictures are made for? The in- credibility of these pictures is amazing, I have even heard children remark on it. To me it is all a lot of noise, unreality and waste of time on the part of the audi- ence, not to mention the effect on the nervous system.—Dora Starr, Bronx, New York. Music to instill the proper mood in the days of silent pictures, where the orchestra always played an appropriate accompaniment, may have been not only all right but pleasant. But to use music in an all-talking production at points where absolute silence is supposed to reign supreme is going a bit too far.— Mary Sharp, Indianapolis, Indiana. I wonder why they've never teamed Bette Davis with George Raft? It takes some- thing more than mere acting to do justice to such difficult, hard-boiled parts as Bette and George portray—it takes natu- ralness and technique. Give us a Davis- Raft team and you'll give us a new kind of thrill—Loreen Pallas, Cleveland, Ohio. If Hepburn and Hopkins ate more spinach they would be calmer and healthier, but perhaps not such interesting personalities. The recent, overzealous beautifying of the stars has led to some pretty disastrous re- sults. It is responsible for Garbo’s wan- ing popularity. She would be as popular today as she was five years ago, if they hadn’t devitalized her beautiful face. That heavy line drawn on the upper eyelid, the droop of the mouth, and the heavily shadowed cheeks may be all right on a Benda mask but an actress’ face should ex- press animation. That goes for Dietrich, too—Mary Peterson, Philadelphia, Pa. Gail Patrick and beautiful green orchids seem like a perfect alliance. And what an original way she wears them, pinned to the back of her evening gown! “Fresh air and exercise rate the top of my list for keeping fit. But I’m not swinging along blindly. My daily diet is mighty impor- tant, too. For breakfast, every one I know is changing to Shredded Wheat. And I’m right with them.” i “(PACKED WITH VITAL NOURISHMENT Crisp, delicious Shredded Wheat gives you vital food essentials because it’s 100% whole wheat—nothing added, nothing taken away. Eat it every day for a rich supply of carbohy- drates, vitamins, mineral salts and proteins. Ask for the package showing the picture of ip Niagara Falls and the red N. B. C. Seal A Product of NATIONAL BISCUIT COMPANY 79

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Zonitors make use of the world famous Zonite antiseptic principle, favored in medical circles be- cause of its antiseptic power and freedom from “burn” danger to delicate tissues. Complete instructions in package. All druggists. Mail coupon for informative free booklet, Each in individ- \ual glass vial FOR FEMININE HYGIENE Snowy Whites Greaseless Zonitors,ChryslerBldg.,N.Y.C.Send, in plain envelope, free booklet, “A New Technique i in Feminine Hy giene”’ Ms-66 VEGETABLE CORRECTIVE DID TRICK They were getting on each other’s nerves. Intestinal sluggishness was really the cause—made them tired with frequent headaches, bilious spells. But that is all changed now. For they dis- covered, like millions of others, that nature provided the correct laxatives in plants and vegetables. moet try Nature’s Remedy (NR Tablets). How much better you feel—invigorated, refreshed. Important—you do not have to increase the dose. They con< tain no phenol or TO-NIGHT mineral deriva- \ TOMORROW ALRIGHT. tives. Only 25c— all druggists. g Beautiful five-color_1936 Calendar-Thermometer. Also = samples of NR and Tums. Send stamp for packing and = postage to A. H. Lewis Co., Desk 68H-9, St. Louis, Mo. 80 MODERN SCREEN Things Just Happen to Anne (Continued from page 43) Ice cream cones, toys and lollipops were rushed to the scene in an effort to calm the new actress’ temperamental outburst, but to no avail. The day was finally saved by Mr. Farnum and a quick shave. Of course, she wasn’t Anne Shirley in those days. Dawn O’Day was the name then and for the next twelve years in Hollywood. For after “Miracle Child,” Mrs. O’Day decided to bring her small daughter to the film capital. She was con- vinced that her child had talent. So con- vineced that she gave up the job in a New York department store, where she had worked since her husband’s death, to gamble her all on a ticket-and-a-half to the coast. “Tt was a good gamble, too,” Mrs. O’Day will tell you now with a twinkle in her eye. But there were a dozen years between then and now—years when direc- tors just gave occasional roles to the shy, brown-eyed child with the coppery curls. For Mrs. O’Day was not a good movie mama. She had never taught her little daughter to smirk beguilingly at important directors, to hang adoringly on the skirts of important stars, or to clamber up on casting directors’ knees. She knew Dawn had talent, the studio would know it in- evitably—so what was the rush? In the meantime, there wouldn’t be much money, but neither would there be the danger of sudden success turning that head of bright curls. Mrs. O’Day didn’t have valuable contacts, wealth or social position to give her daughter, but she had something that beat them all—plain, or- dinary common sense. The result, of course, you saw for yourself in “Anne of Green Gables.” The Anne Shirley whose sincerity and lovableness shone even in cold celluloid and sky-rocketed her to star- dom. "VE been out in the ‘cold, cruel woild of the woikin’ girl’ since I was a year old,’ Anne told us, “but I never realized it. I was having such a good time! I’ve always felt so lucky just to be in the movies at all. And I knew that I was more fortunate than most girls in being able to earn and learn at the same time. Of course, there were plenty of times I didn’t earn much, but the smaller the role the more chance I had to watch the stars on the set. And I got a thrill out of every minute of it. As for worrying about whether I’d get big roles or big money, I just didn’t. Mother taught me that I could only do my best in what they gave me, and if I were really good, my chance would come. I’ve always agreed, anyhow, with that old darky who said, ‘I’ve wor- ried about a lot of things in my life, but most of them never happened,—and don’t you?” Who doesn’t? But how many in this vale of tears have the sense to remember it? Yet a seventeen year old girl has learned to take life in her stride and “get a thrill out of every minute of it.’ The twelve years when she was a “bit” player held as much fun for Anne Shirley as the last two years since she’s achieved fame. “Of course, I’m terribly happy that the studio thinks I’m good enough for im- portant roles, now, 7 Anne said, her sen- sitive face very serious as she tried to ex- plain, “but what I mean is that I’ve always been so happy in my work that it’s prac- tically impossible to feel any differently now. Except for more time at the studio, I do about the same things I always did. I go to school (she'll graduate from high school this spring) which I dislike just as much as I ever did, incidentally. I have game-parties, read magazines and plays, go to the movies and sit around and munch candy and talk and—munch candy. Having money enough to buy this house and a car—my first!—and a dog, now that is different!” Anne’s eyes shone as she explained about the dog. “We've never been able to afford a house before, and they won't let you have dogs in apart- ments ever, so I feel really ritzy about my dog, even if I did get him from the 1” pound! HE new house from the outside looks just like any other pretty stucco California bungalow. But inside there is that indefinable something that makes a house a home. It simply exudes the friendly charm of its owner. In actual money, Mrs. O’Day and Anne haven't splurged on the furnishings, but in time and thought they have spent a young for- tune. Gayly painted furniture, crisp bright curtains and potted plants are in every room. The sun-porch, made from what was formerly a screened-in porch, is where the family practically lives. The “family” consists not only of the collie, Anne and her mother, but Phyllis Fraser, the nine- teen year old cousin of Ginger Rogers. “Phyllis has been living with us for over a year now,’ Anne explained. “We met at a party, and she asked me to have lunch with her some day. You know how people are always saying ‘let's have lunch some day’ and never mean it? Well, I knew Phyllis meant lunch! We've been prac- tically inseparable ever since. It’s funny, too, because we're exact opposites. Phyllis is the amusingest person you ever saw, while I never know what to say. I’m still looking forward to saying something witty and she has yet to say something dull. She’s—well, she’s swell,” finished Anne simply. Another difference that being a star has made to Anne Shirley is that she can go to more movies! In the years when the pennies counted, movies were her idea of the grandest treat in the world. And they still are—the difference being that now she can afford to go. And go she does, holding the all-time Hollywood record for attendance. “T just eat them up! Any and all kinds. There’s something to enjoy about every one of them—even the weepy kind with mascara trickling down your nose. The ones I like the most, though, are like ‘These Three—you know, the kind that you want to go right home and think about.” We wanted to know if Anne liked the roles which she has been playing, and were assured that she had liked every one of them. “Besides,” she said earnestly, “T’m so lucky to be able to play the par- ticular type of young girl I do, because I’m the only one who is doing that type of thing now. I think that the studio knows what’s best for me to play anyhow. What- ever they say is all right with me.” That remark should be framed and hung on Hollywood Boulevard. Here is an ac- tress who doesn’t think she could out- languish any Camille to date. Such genu- ine modesty is rare if not extinct in this town. You can probably understand now why Anne could play in pictures for over (Continued on page 82) ——

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Smart, strea and generous—in keeping with the gorgeous polish it contains . .. Make no mistake—Chic is as fine a polish as moneycan buy. The ultra smart shades are the last word in tone beauty. With them .on your dressing table there is no mood or costume that may not be accented with glamorous fingertips, almost. as quickly as the thought occurs. Chic applies so easily—so smoothly and so lustrously, yet it never peels or cracks. Chic Polish Remover, or Oily Polish Remover, a boon to brittle nails, and Chic Cuticle Re- mover complete your finger tip beauty treatment. Chic. Manicure Ads at all le Five and. Ten Cent Stores MODERN SCREEN (Continued from page 80) twelve years before she really got a “break.’’ Oh, yes, she was in over a hun- dred productions in that time, and did her small roles with unmistakable ability. But the minute the director was through with her would be the last he’d see of the big- eyed small girl. Anne would have retired into the shadows off the set and settled down quietly to looking and listening. When there was a picture plum to be handed out, the directors would give it to some child who was either underfoot her- self or had a mama and a_ press-agent there. She only forgot her bashfulness with people who didn’t look or act too im- portant. George Nicholls, Jr., a cutter on “Rich Man’s Folly,’ a picture in which Anne appeared when she was twelve, was one to whom she felt friendly. Four years later, when Mr. Nicholls was co-director on “Finishing School,” he suggested that the little O’Day girl be given an important role. And the next year, when he was given the directorship of “Anne of Green Gables,’ Mr. Nicholls insisted that the little O’Day girl be given a test for the lead. Every youngster, and not-so young- ster, in Hollywood wanted that role—but the rest is history. It was then, too, that Anne had her name legally changed to her present one. Since then she’s been starred in “Only Yesterday” and “Chatterbox.” She co- starred with Will Rogers in “Steamboat Round the Bend.” “Will Rogers was so grand,’ Anne told us, her face lighting up at the mention of his name. “Whenever he saw a camera- man coming near for a close-up, Will would turn around and say, ‘Come on, Annie, be a sport and let ’em get one of 29 you. You will be seeing Anne in “M’Liss” and also in one of the prize packages of the year—Maxwell Anderson’s “Winter- set.”” But we wish you could have seen her as we did—curled up in the window-seat of the sun-porch and looking for all the world like a youngster without a respon- sibility in her life. And yet this girl has known bad fortune and good. And she can take them both. And romance? Of course, we asked Anne about THAT, being female as well as news-sleuth. “T guess romance will drift around, too, in time,’ she said, and added with spark- ling brown eyes, “At least I certainly hope it will!” And that’s Anne Shirley. She wastes as much time kidding you as herself. Which totals no time wasted. As honest as she is pretty, as sincere as she is tal- ented, and as level-headed as she is red- headed, this girl couldn’t side-step suc- cess or “flop” in anything. Hollywood's Bad Boy (Continued from page 41) Wally always remarks that his old man was right. “He believed that a stiff rap over the head with a nightstick was the best pre- ventative of crime.” He attended the funeral of Carol Ann’s mother and, when one of her little brothers asked why they threw that dirt on his mama, Wally cried. He’s a sentimental and tender-hearted goof. He liked to work with the late Marie Dressler and still thinks “Min and Bill” a good bit of business. He isn’t ill-tempered but he stands up for his rights against the world. An executive once said to him, after a set-to on the lot: “Wally, why don’t you be a good guy? Why are you always scrapping with someone? That won't get you any- where!” “Veah?” said Wally. “And I suppose you got from running a five-cent theatre to where you are by letting people walk on your face?” The executive walked away, very fast, without saying a word. Wallace laughed. Wally once walked from Times Square to New Rochelle to get a job as a cop in the movies, but it rained and he had to walk back in it without getting the prom- ised five bucks for the day. He was once a chorus man, but so were James Cagney, Jack Oakie and several other he-men stars. Once, when a girl told Wally that his face was drooping like a frost-bitten pumpkin, he saved a hundred bucks to have it lifted, but the specialist wanted five hundred, so Wally let the face ride as was. HE role he disliked most was the one he played in “Grand Hotel.” He's a baby and, when he gets a pain or a tummy ache, he walks right out of the picture and goes home to mummy and hot packs. He cannot stand physical pain as well as most men. His trousers, even when he is dressed up, seem always about to let everything go and fall off. He once di- rected a picture in Japan. He insists that the two best rules for a happy mar- Triage are, speaking of picture stars: “Keep your wife away from the studio. She hasn’t any business there. Let her run the house, you haven’t any business trying to butt in.” “Never marry a woman who wants to have a career!” He tied with Fredric March in 1932 for the Academy Award for the best male performance of the year. He insists on quitting, even if there is more work to do, at 5 P.M. every night. He and Garbo! He has no complaint about life and thinks he’s done darn well. “Edison started out as a newsboy and a train ‘butcher, ”’ says Wally, “and he ended up being the world’s greatest in- ventor. Ford thought up a way to make cheap automobiles and now is one of the world’s richest men. I started out as a chambermaid to a herd of elephants and I live now in a swell dump in Beyerly Hills. It’s a funny world, ain’t it?” He calls all men “Keed!” and all women “Dear’—nothing can break him of the practice. On location with “Old Iron- sides,” he made a pet of a seal which in- sisted on swimming close to the ship. When Jimmie Cruz prepared to dynamite some of the old ships for a battle scene, Wally held up several hundred people, on production, for two hours until he was sure his seal was safe. He once owned a yacht, but when his wife made him buy and wear a formal yachting costume, he sold it. Claimed the damn thing made him uncomfortable. He walks right through mud puddles and never seems to know they are there while others go around them. He has a robust sense of humor and isn’t afraid to laugh long and loud.

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Do You Believe in Miracles? (Continued from page 61) seemingly insurmountable. difficulties stare you in the face. And I’m going to do it right now. ET’S start on legs. If your legs are fat, the problem isn’t so difficult. If they are muscular, it’s more difficult, but still possible! Here’s what you.can do, first, for the calves: sa Sit down on the floor, one leg bent up at the knee—the leg you’re going to work on, Now take hold of the fleshy part of your calf with your two hands. Squeeze, and put plenty of energy behind it. Keep your thumbs against the shin bones and with the fingers, thumbs and palms, dig in under the leg muscles and squeeze the fat off. Don’t pinch yourself, that’s wrong, and it won’t do any good. Squeeze with the heel of the hand and the fingers. The legs must be absolutely relaxed. Your hands do all the work. Give ten minutes to each leg, every day. You won't see any world-shaking improvement by just doing it once. You've got to keep this up and keep it up. And, babies, it will work! I used this same treatment on Constance Cummings. You know Connie was a dancer in musical comedy in New York before she went to Hollywood. And she had developed muscles in her legs like Pop Eye the Sailor. Now, they are slim and lovely—mama did it! And I’m tell- ing you how you can do the same thing. Now, the ankles. Let me repeat, if it’s bone construction that makes your ankles big, you can expect to do only so much. But for goodness sakes do what you can. Above all, don’t sit back and say, “It’s no use.” It is some use, because the follow- ing exercise will slenderize your ankles remarkably and besides that, keep them supple. Then, with a clever choice of hose and shoes, and graceful management of your feet and legs, you can even make the ankles appear much slimmer than they actually are by measurement. Here is the exercise for slimming the ankles: Lie flat on the floor, feet to- gether, toes pointed. Arms straight out above your head. Now, from this straight- line position, bend up and try to touch the tips of your toes with your fingers. Be sure to keep the knees stiff. You prob- ably can’t do it at first, but never mind, keep at it until you do it correctly. An- other thing, don’t turn your toes up— keep them pointed away from you. You'll feel a tingling, pulling sensation in your ankles. That’s swell. That means you are doing it correctly. That sensation means that the fat is coming off and the muscles are being stretched within an inch of their lives. Incidentally, this same exercise will limber up your whole body and strengthen the abdominal muscles. ERE’S another ankle exercise, just for variety’s sake. I’m certainly gen- erous this month, am I not? But, babies, I expect you to be just as generous with your will-power and gumption to do as I tell you. That’s fair enough, isn’t it? Now here we go: sit on the floor, legs stretched straight out. Hands placed be- hind you to brace your body. Now lift your hips off the floor, so that a straight line is formed from your shoulders to your toes. You are now supporting your body with only the palms of your hands and your heels. Everything else off the floor. Now bend your toes forward and down, trying to touch the floor with them. MODERN SCREEN “What! Go to bed? .. . Well, that’s a dirty trick! We let you get us dressed up, and we did stunts for your old company ... and now your dinner’s ready, you pack us off to bed!’ “We won't lie down and go to sleep! Not one eye will we close all night long. . . you'll see how much noise twins can make! Our feelings are hurt—and we’re prickly and cross!” “Ah-h...! She’s getting the Johnson’s Baby Powder! (Good teimwork, eh?) When we get rubbed with that silky-slick powder, we'll purr like kittens. Mother—we forgive you!” “Vm Johnson’s Baby Powder—the comfort and joy of millions of babies, because I soothe away prickly heat and all the little chafes and irritations that make them cross. The talc ’'m made of is the finest, rarest Italian kind—no gritty particles and no orris- root. And I have three helpers in taking care of babies’ skins—Johnson’s Baby Soap, Baby Cream and Baby Oil. Try them, too!” f p 83

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el SS STE ESM A SRT AA SRE SCR En SSS = SE =e PRES F Perspiration { L — you’d jump to pro- tect yourself from its ravages! Yet the insidious corroding acid of perspira- tion can destroy the under-arm fabric of your dresses as surely, as com- pletely, as the scarifying claws of a tiger’s paw! a, Answers to thousands of question- naires revealed the astounding fact that during the past year perspiration spoiled garments for 1 woman in 3! What appalling wasteful extravagance, when a pair of Kleinert’s Dress Shields would have saved any one of them at trifling cost. And this surest form of perspiration protection is now the easiest also! Kleinert’s Bra-form is a dainty uplift bra equipped with shields — always ready, without any sewing, to wear with any dress at any moment. A supply of two or three solves the perspiration problem for the busiest woman and they’re as easily swished through the nightly soapsuds as your stockings and lingerie! Just ask for “‘Kleinert’s” at your favorite notion counter — shields, 25¢ and up; Bra-forms, $1.00 and up. einerL T. M. Reg. U.S. Pat. Off. : DRESS SHIELDS aa BY GOOD HOUSEKEEPING AS ADVERTISED THEREIN MODERN SCREEN Go on, stretch and touch those toes to the floor. Now come back to the first posi- tion and repeat. Do either one or both of these ankle exercises a few times every day and work up to at least twenty times. And here’s another little trick. After the calf-squeezing and ankle-slimming routine is over each time, spread a heavy turkish towel over your legs and ankles and beat hard through it, with the palm of your hand. Don’t be a “softie,” slap good and hard; that smashes down the fatty tissues and helps the good work along. Keep the muscles entirely relaxed, always. Don’t tighten up at all. Now get busy and show mama how good you are, and I give you my word that you can work miracles with fat or heavy legs and ankles with the above treatments. It’s hard, uphill work, I’ll admit, in the exaggerated cases. It’s no snap even in the milder cases. I’m not kidding you on that score, and you must not kid yourself. But who cares? Isn’t it worth it? Just think, in the next few months, you will have so slenderized your legs and ankles, you need no longer feel self-conscious about them! It costs not a dime, it just takes time! Well, for heaven’s sake, did you hear that? Sylvia’s getting poetic! Me and Shakespeare. Gosh, I’d better cut that out and get back to business. When ankles are bloated and puffy from too much standing, as can happen to people who must stand at their work and to the housewife who must traipse around all day, here is a treatment which will make those puffy ankles look better and feel better: ILL the bathtub partially full of very hot water. Place a basin of cold water on the floor beside the tub. Sit on the edge of the tub and put your feet into the hot water. It should be just as hot as you can possibly stand it. Keep your feet there as long as you can. Then out with them, and pop them into the cold water for just a second. Now back into the hot water. Alternate between the hot and cold plunges for ten minutes. Dry them carefully and thoroughly and then march into your bedroom, taking with you a bottle of rubbing alcohol. I said rubbing! Lie on the bed and take up one foot at a time and give it an alcohol rub. Massage the toes. Take the toes in the palm of your hand and rotate them. Knead the instep. Your: feet will feel so good that you'll want to do an Astaire around the room when you get through. It’s a good idea to sleep with your feet on a pillow, too, to get rid of puffiness. You'll be surprised how it rests them. Bow-legs are another problem which I want to take up. There’s a trick to this: you take the fat off the outside of the leg and leave it on the inside, thereby making your legs look straighter than - they actually are. You can use the same squeezing-slapping treatment I just men- tioned for the calves. Here’s another good exercise: you need someone to help you do this. Lie flat on the bed, on your back. Your assistant puts one of your feet on her shoulder. Then she takes the heel in one hand and pulls it hard, meanwhile pressing against the toes and sole of your foot just as firmly as she possibly can, with the palm of her other hand. Encourage her to put plenty of energy behind this—a slow, not a jerky, pull. It will help straighten out the out- side of your legs Give five minutes to each leg and don't waste a minute of the time. For heavy thighs and upper legs, there is an exercise I gave last month, in con- nection with that little matter of reduc- ing the abdomen. I mentioned at the time that it would turn a trick for the thighs, too. If you missed it, you can have it by writing to me for it. Thin legs are another problem which most sufferers are inclined to regard as hopeless. “Oh, I know my legs are pipe stems. All my family have thin legs. There’s nothing I can do about it.” That’s the usual excuse and what a thin, skinny excuse it is! The earlier one starts to develop skinny legs the better, of course, and I do hope mothers of spindle-shanked children will take the hint. If you're thin all over, you want to develop all over, naturally. For that, a building-up diet, which I’ve given in these pages before and which I’ll send you for the asking if you’ve missed it and need it. However, since legs are my immediate problem, I must tell you that flesh won’t settle on the legs with the ease that it sneaks up on the hips and such. Correc- tive exercises are necessary. Swimming is excellent, riding a bicycle is good, too. And tap dancing is a good leg developer. If you haven’t a bicycle, here’s the bicycle exercise: Lie on your back. Bring your legs up into the air, and keep them there. Now just make believe you are riding a bicycle. That’s all—but put plenty of knee action into it, and push as if you were pedalling up a hill. NG my darlings, I want to give you a diet and exercise for the bust. The reduction of this part of the body takes patience, common sense and work. You can’t rush headlong into it. You must never use strenuous methods on this part of the body. Never massage the breasts for reducing. You must depend mostly on diet to decrease their size. First, you should go on my general reducing diet for ten days. I’ve given it here before, but if you haven't it, send for it at once. After the ten-day reducing diet, you do the following: When you get up—and get up early, if you don’t mind!—drink a glass of hot or cold water with a little lemon juice in it. Two hours later, take six ounces of buttermilk. If you think you don’t like buttermilk, learn to like it— it’s good for you. If you c7't learn to like it, drink it anyway. You've got to do a lot of things in life that you don’t want to do, and one more little thing isn’t going to hurt you. Continue to drink six ounces of buttermilk every two hours, from the time you get up until you go to bed. And don’t forget the glass of water every morning. If you find that too strenuous, you can take a cup of beef broth, con- somme, tomato juice or fresh fruit juices occasionally in between. But re- member, three days on liquid. Then the other four days of the week, back to my general reducing diet, with the single ex- ception that you eat very little meat. Go heavily on the fresh fruits and vegetables. Stay away from starches and take no soup or water with your meals. Stick to this alternating routine until your breasts are the size you wish them to be. And always be sure that you eliminate properly. Now comes the exercise. This is to firm the muscles and flesh of the bust while re- ducing, or if they are flabby or sagging. You've got work to do, so let’s begin. First, get yourself a good uplift bras- siere, one that gives you proper support. But be sure it doesn’t bind you. Then: get a broom or a yardstick. Stand straight. Hold the broom or yardstick in both hands, horizontally across the body. Arms at the sides. Now raise the arms straight out in front of you, and continue on up until your arms are straight above your head, with the stick still in a horizontal position. Stretch up as high as you can. Now, as you bend the arms at the elbows, —

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brine the stick down behind your head until it passes the neck and is across the back of your shoulders. This will force you to keep the shoulders back. Now follow the same course back to the first position. What does this do? I'll tell you: there are muscles on each side of your chest, which run from the top of the breast to the shoulder. This exercise will tighten those muscles and _ strengthen them so that they can support the weight of the bust. Think about these muscles all the time you’re doing this exercise. Concentrate on them. Work in front of a mirror, so that you'll know you're do- ing it properly. Ten times a day at the start and work up to twenty times. Do it every day, and no back-sliding, do you hear? ERB’S one last thing: I’m planning an article on beautifying your face by other means than slapping on a little make- up, although make-up is important, too. But right here I want to mention that diff- cult feature that can make or mar a lovely face, the well known nose. Noses that are too broad, too flat, or too pudgy, you can change. You can’t change the bone formation, of course. But the rest you can do. Here’s how: Go to work on that part of your nose which you don’t like. Say your nose is too broad. With the second and third fingers of each hand, press firmly on either side of the nose. Use a slight rotary movement and press firmly. Ease up on the pressure.a little as you work outward away from the nose, and then move up- ward and off toward the cheek bones—al- ways a circular movement and never pull or stretch the skin. If you have fat on the tip of your nose, follow this treat- ment there. (That’s what I did for Ruth Chatterton.) A few minutes a day and you'll be surprised how quickly you will notice a marked improvement. A finely chiseled nose is elegant—and for the movie stars it photographs much better. That’s a tip for little Alice Faye. Now, run along and get busy. And write to mama when you want help or get stuck. I’m sitting here with a nice pile of fresh stationery and a brand new ribbon in my typewriter. Don’t forget, you supply the envelope, with your name and address and a stamp on it for your reply. That goes for my special consultation and measurement chart, too. Those of you who have had one, will need another one for the next four weeks—and the rest of you had better send for it right away— it’s free. So, babies, get out your scis- sors and clip! Madame Sylvia, MODERN SCREEN, 149 Madison Ave., New York, N. Y. Dear Madame Sylvia: Please send me your Special Con- sultation and Measurement chart for weight control. MODERN SCREEN FROM HoLLywoop... POWDER, ROUGE, LIPSTICK The Powder Shade That Can Make You Lovely Max Factor’s Powder in the color harmony shade for your type will enliven your skin with youthful ra- diance and give you a satin-smooth finish that lasts for hours. When you see the magic effect of this powder on your skin, you will know why Hollywood stars call Max Factor the genius of make-up... Max Factor’s Powder in color harmony shades, $1. i beeecrich Shades That Can Make Your Lips Alluring Max Factor has created lipstick in color harmony shades that dramatize every type, and harmonize with the powder and rouge...Max Factor’s lip- stick is Super-Indelible...the alluring color lasts indefinitely. Keeps lips smooth and young. Max Factor’s Super-Indelible Lipstick in color harmony shades, $1. Maw actor ¢ Hollywood © 299 OOO LOGO OOOOSOSH8 OOOOH 089888 OO 0000800000 89099 0080080089088 000008 Mail for POWDER, ROUGE AND LIPSTICK IN YOUR COLOR HARMONY @ MAX FACTOR, Max Factor’s Make-Up Studio, Hollywood: Color Sampler, four shades. I enclose ten Also send me my Color Harmony Make-U; @ Send Purse-Size Box of Powder and Rouge Samples in my color harmony shade; Created to | vee OF BLONDES, BRUNETTES Discover how you, too, like screen stars, can dramatize your beauty with Max Factor’s i new make-up...powder, rouge and lipstick created in color harmony shades for every type. The Perfect Color of Rouge For Your Type Rouge in your color harmony shade will give your cheeks an exquisite || color that looks perfectly natural in | any light because Max Factor has created it for your individual color- ing...The creamy-smooth texture blends easily and clings persistent- ly for hours. Max Factor’s Rouge in color harmony shades, 50c. MERLE OBERON in Samuel Goldwyn’s “THESE THREE” illustrates her color har- mony in Max Iactor’s Make-Up. EYES HAIR Blue___O) BLONDE DO} Gray O] Light--0 Dark-O Green__O BROWNETTE Hazel__OJ Light-G Dark._G pevn——O) BRUNETTE COMPLEXIONS cents for postage Chart and 48-paze $ Illustrated! Instruction book, “The New Art of Society Make-Up”... FREE. 0 24-6-2 2 NAME . s e@ STREET. ° ° 7 © CITY STATE Black Light. Dark--O REDHEAD Light Dack__O If Hair is Gray, check type above and here_O SKIN DyQ OilyO Normal Of 7” 900929 99FFHHTH9HT90FH9HTT9FH9H9HD0DHT99THOH99HTHSTH9HH99999T 999999900900 ih OSHRHOHSROTOEEVOREHOEE 85

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YOU CANT FOOL ME... THAT POWDER ISN'T 1 ANTISEPTIC | MENNEN POWDER cause it protects me gainst Infection “See here Mummy! Aren't my owtsédes as important as my ¢nsédes! You give me pas- teurized milk ‘stead of plain milk, ‘cause you want to keep my insides safe from nasty germs. Well, I want my outsides protected, too! That’s why I want the baby powder that’s Antzsepric. | mean Mennen. A feller’s entitled to more than just a dusting powder for his skin, nowadays. This Mennen Powder makes the skin a mighty UN-healthy place for germs to try to do their breeding. Besides . . . I like the way it prevents chafing and rawness. So be a sweetheart, mummy—give me the greater SAFETY of Mennen Antiseptic Powder—please. ...”” America’s first baby powder is now Anti- septic. But it doesn't cost a penny more. How foolish to use any other! MENNEN POWDER 86 MODERN SCREEN Clothes That Go Places! (Continued from page 66) with such a lavish hand that her ideas and suggestions will be impractical for us. Una told me that her idea of really en- joying a trip is to have enough clothes packed in her suitcase so that she doesn’t have to stop and ponder on what she can wear every time she makes a change —yet not be so burdened down with bags that her husband wants to drop her off the train before she gets half way to her destination. There’s a hint for you brides- to-be who think you have to take along a year’s supply of clothes on your honey- moon. ER first consideration is a good, comfortable and smart traveling out- fit. You can see it on page 66. It’s a very patriotic color scheme for Decoration Day being red, white and blue basket weave woolen. Her skirt is blue and the smart, trimly buttoned jacket is flame red. Topping this is a white coat made on the new straighter lines with front button closing. A blue and flame red chiffon scarf tucks into the neckline and her brimmed felt hat is red with blue feather trim. Her handbag matches her coat fabric and navy blue sandals with flat heels complete this very wearable and good looking costume. Of this ensemble, Una said to me, “I really think that I favor this ensemble over any other in my entire wardrobe. This is the season of the year when colors impress me and I amaze myself at the brilliance of the colors I choose.” Still very patriotic is a two-piece silk print that Una recommends as an alter- nate traveling costume and for general daytime wear, wherever you might go. The print is a white star design on a_blue background. The blouse is made like a jacket with buttons of the print brought through pennant-like appliques of white to form a unique trimming detail. Be sure to take a good look at Una’s sea-blue felt hat—it’s one of the new mannish types that looks so giddy in contrast with a feminine dress. The banding is navy blue ribbon. Two sports dresses go into Una’s suit- case. One is the classic shirtmaker dress that tops all sports lists every year. This is shown on page 65 and it is an example of the white dress with color contrast which I was mentioning earlier. Of silk crepe, the bodice has a deep yoke with inverted pleats used to give a soft fullness below the yoke. Blue buttons fasten the blouse up to the high turnover collar at her throat and also hold down the flap pockets on the skirt. A navy kid belt and navy grosgrain ribbon band on the wide- brimmed hat further carry out the color accent. Again, you will notice that Una wears the sandal type of shoe, this time with the new high-low heel, a heel slightly higher than the flats. In her second sports dress, Una reverses the color accent by using white touches to contrast with green in her green and white silk print. This dress, too, is simple in Here is one of Hollywood's pet play hats. Just a brim of linen with straps which Jean King designed to unbutton for laundering purposes. A perfect hat to pack for week-end jaunts—so cool, too! They come in all the gay pastel shades. The stars are wearing them with their sport togs. ete s 4

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design—it features the same short sleeves | but the pockets are on the bodice this time instead of the skirt. The full white tie is one of those nice feminine gestures, just what you'll see time and again on the simpler tailored daytime clothes. Right at this point I want you to notice particularly how well Una has planned her accessories so that she needs only a few changes while away. Her color scheme of blue and white is repeated all through her travel and sports clothes, with the exception of the green and white print in this group. But, there again, she has used her head because she can inter- change her white accessories with both the blue and the green costumes. Thus into her suitcase goes one pair of white sandals and one pair of blue; the latter she wears for traveling. A white tie, white gloves and blue ones, a blue belt and a white one, a white hat and a light blue one and two handbags—there you have all she needs to make just a few out- fits look like a dozen. In fact, the white hat could be the only extra beside the red one she uses for traveling. And even though Una wears navy blue oxfords with her printed tailored dress, she could have worn her blue sandals just as well and eliminated that extra pair of shoes. Sub- traction is an art in packing skillfully. The three charming dresses on pages 64 and 65 are in the Merkel closet, ready for packing in a hurry. Una can make a se- lection from either one of the three, con- fident that they will fit into any evening party while she’s vacationing. And each one being either of lace or lace and an- other fabric, it will look fresh and un- rumpled upon arrival. Una says of her evening clothes, “In buy- ing an evening gown I do just the oppo- site from what I do in selecting my day- time clothes. I pass up the tailored and go thoroughly feminine. I want to feel fluffy, even a bit frivolous—not as though I were dressed in a man’s tuxedo. Formal gowns should be woman’s one outlet for all of her ‘lavender and old lace’ yearnings. Her one great care, however, should con- cern what she wears with such a gown. Adrian, my screen designer, once gave me an interesting tip. It helped me and I am sure it will help a great many others. “He said, ‘When you are dressed for an occasion, whether it is for luncheon at noon or a formal dinner at night, and somehow you don’t feel quite right in what you are wearing—take something off. Don’t put anything more on.’ “That was a true statement; try it some time. Take off that extra clip or bracelet, or perhaps remove the earrings or a hair ornament. Then see how much better dressed it will make you appear.” The first of Una’s evening gowns, pic- tured, is black lace, and it certainly lives up to her credo on evening clothes. The pert, flaring peplum, the unusual flaring line of the neckline and the outflung swish of the skirt all have that frivolous look she cherishes. The second dress isn’t quite as practical a traveler as the first, Una explained to me, because the full net skirt has to be pressed out upon emerging from suitcase quarters. The jacket of pale yellow lace, to match the skirt, is short and tightly fitted with the wide collar piped in the skirt material.” A huge bunch of flowers is pinned on the bodice—these are artif- cial, but Una interchanges them with real ones when they are available. And the last dress is one of those soft dinner dresses that can be worn for a dozen and one different occasions. The skirt is fawn-color silk crepe with a cascade ruffle of brown lace down the front and more of the lace edging the hem. The blouse also of the dark lace, has a jabot at the MODERN SCREEN THEN SHE FREEZES UP— AND MOVES ACROSS THE AISLE! HERE | WAS THINKING 'D FOUND THE ONE AND ONLY..-WHAT DO YOU MAKE OF THE SUDDEN COLD \ SHOULDER? WELL, LET'S GET ON AGAIN,-SAY, IF YOU REALLY WANT SO THAT EVENING... WHAT CAUSES MOST BAD BREATH? IMPROPERLY CLEANED TEETH! | RECOMMEND THE DAILY USE OF COLGATE DENTAL CREAM BECAUSE ITS SPECIAL PENETRATING FOAM GETS TEETH REALLY CLEAN! ... SHE SAID SOMETHING } ABOUT YOUR BREATH— SAID YOU OUGHT TO SEE A DENTIST! MANY THANKS, DOC .-- ULL GET A TUBE RIGHT NO OTHER TOOTHPASTE EVER MADE MY TEETH SO BRIGHT AND CLEAN! YOU HAVE MY ADDRESS...I'LL EXPECT YOU ABOUT EIGHT TONIGHT! jamm yOu BET! WITH BELLS ON! Most Bad Breath Begins with the Teeth! EMEMBER this important fact—and take the svre way to avoid bad breath! Use Colgate Dental Cream. Its special penetrating foam removes decay- ing food deposits lodged between the teeth, along the gums, and around the tongue—which dentists agree cause most bad breath. At the same time, a unique, grit-free ingredient polishes the enamel— makes teeth sparkle. Try Colgate Dental Cream—today! Brush your teeth... your gums... your tongue... with Colgate’s. If you are not entirely satisfied after using one tube, send the empty tube to COLGATE, Jersey City, N. J. We will refund TWICE what you paid. 20 LARGE SIZE Giant Size, over \ twice as much, |

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a er en an Se “No more tired ‘let-down feeling’ for me.” * reasoned that my red blood corpuscle strength was low and If simply took a course of S.S.S. Tonic and built it back.” C is all so simple and reasonable. If your physical let-down is caused by lowered red blood corpuscles—which is all too fre- quent—then S.S.S. Tonic is waiting to help you...and will, unless you have a serious organic trouble that demands a physician or surgeon. Remember, S.S.S. is not just a so-called “tonic.” It is a tonic specially designed to stimulate gastric secretions, and also has the mineral elements so very, very necessary in rebuilding the oxygen-carrying red cor- puscles in the blood. This two-fold purpose is important. Diges- tion is improved...food is better utilized ...and thus you are enabled to better “carry on” without exhaustion—as you should. You may have the will-power to be “up and doing” but unless your blood is in top notch form you are not fully yourself and you may remark, “I wonder why I tire so easily.” Let S.S.S. help build back your blood tone...if your case is not exceptional, you should soon enjoy again the satisfaction of appetizing food...sound sleep...steady nerves...a good complexion...and re- newed strength. S.S.S. is sold by all drug stores in two convenient sizes. The $2 economy size is twice as large as the $1.25 regular size and is sufficient for two weeks treatment. Begin on the uproad today. © S.S.8. Co. TONIC Makes you feel like yourself again 88 MODERN SCREEN neckline. This is definitely the “lavender and old lace” type of dress Una meant. And there you have one of the best planned wardrobes for going places on a jiffy’s notice that I’ve seen in a long time. The reason I said that this group of cos- tumes offered good tips for brides, as well as holiday travelers, is because every item in Una’s wardrobe, pictured here this month, would be perfect for trousseaux, too. Before signing off, I know you'd like a last-minute bulletin on what Grace Moore took with her to Europe from Hollywood shops and designers. Loving the culotte dresses, she took almost a dozen of them, all in cotton or silk, either printed or monotone, with blue predominating, how- ever, and all in a length just below the knee. Grace took Hollywood-designed sports clothes because she believes that no other place inspires quite such perfect sports clothes as does California. A number of more formal afternoon costumes were in delicate flower prints—and she took along a hatbox filled with large-brimmed hats to accompany these. Chiffons and softly tailored silk prints for evening gowns, as well as several of the new dinner suits in soft fabrics, went into her trunks. And there, my friends, are wardrobe ideas for trips from two days to several months! So start your first week-end off in just the right clothes, but not too many of them. There's a trick to packing easily and adequately for short or long trips. Hollywood stars are prize packers and so | have made some of their best tips into a leaflet called "Roundtrip Travel Pointers." - It's absolutely free, merely send a stamped, self-addressed enve- lope to Adelia Bird, Modern Screen, 149 Madison Avenue, New York, N. Y. Foods that Score a Grand Slam (Continued from page 17) could ruin our appetites for dinner, not to mention what we did to our figures.” “All we came together for, primarily, was to visit and play bridge, without a thought of food,” declared Marsha, cast- ing an extremely interested look toward the approaching refreshments which cre- ated some doubt in my mind upon the complete sincerity of her statement. , ON the other hand, viewed the advent of tea with the greatest enthusiasm. Not that I was at all hungry. Of course not! I simply and unselfishly wanted to see if I could collect any bridge-party sugges- tions to pass on to you. Naturally, I had to sample the cake to see if I could recom- mend it. So I did, and I could, and I do. For it turned out to be something entirely different in the line of fruit cake, made with strawberry jam, delicately spiced and light enough in texture to be enjoyed as a spring or even a summer sweet. I got the recipe for this cake from Arline before leaving, you may be sure. With the cake the hottest and most fragrant tea imaginable was served. And the only time a servant appeared during the entire time I was there was to replen- ish the supply of hot water! For Arline, herself, set the table informally, poured the tea, dispensed the cake and passed the tray of tea accompaniments. The latter supplied quite a festive note. The tray it- self was fitted with little glass compart- ments, each filled with something attrac- tively colorful and different. There were lemon slices in one, of course—each with three or four cloves stuck in them. In an- other there were candied cherries, and next to that there were strips of candied orange peel. In still another dish there were pas- tel tinted mints. One glass compartment held salted nuts and one was filled to the brim with kumquats, those brightly colored preserved Chinese fruits that resemble or- anges, but are about the size of small plums. In each of these was stuck a colored toothpick with which to pick them up and eat them. Cheese popcorn also ap- peared on the tray. Ii was the most appetizing-looking tray I’ve ever seen! And the only work en- tailed was in assembling as wide a variety of tempting items as possible. You, too, might try out this idea the next time you have guests whom you wish to impress at a minimum of trouble to yourself. Natu- rally, you can cut down on the number of things you serve, since Arline’s shelves probably are better stocked than most of ours, But try not to have less than five items if you want to make a real impres- sion. After getting Arline’s promise of the cake recipe and after pictures had been taken of the bridge (and tea) enthusiasts, I went about the business of discovering the special dishes the others planned to serve the next time the four met. A’ I told you before, I go in for sand- wiches,” Wynne Gibson assured me between bites. “I constantly invent or dis- cover new sandwich spreads and vary them still further by using different breads. Ever think how many kinds there are? White bread, graham bread, rye bread, bran bread, Boston brown bread, finger rolls and baking powder biscuits, to name just a few. Some spreads taste better on one special kind of bread. Others are vastly improved by tucking them between halves of hot, split biscuits. Still others gain originality by combining two breads in one sandwich—white bread and cracked wheat, for instance. I believe in using sweet as well as non-sweet fillings to al- low guests to sample and choose, particu- larly if no other sweet is served. My fa- vorite spreads include a sardine mixture, two peanut-butter spreads—one sweet and one not—and one meat and cheese combi- nation, among others.” In a few quick words Wynne outlined recipes for them, all of which I carefully copied down and which you will now find printed on a recipe card in this month’s Modern Hostess leaflet. Want to have a copy? Well you’ll find a coupon at the end of this article that will conveniently and quickly bring a set to you—free of charge ! Included in the leaflet also is the Judge Jam Cake I was raving about before. And, of course, I wouldn’t dream of leaving out Paula’s and Marsha’s specialties, so you'll find them in the leaflet, too. Paula it seems is an ice cream addict of the most pronounced variety. During the fresh berry season her symptoms become even more acute than usual, so that, at

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Strawberry pies and tarts are Marsha Hunt's chefs-d’oeuvre. And when served a la mode they can't be beaten. Her recipe is in this month's folder. this. time of year, she always serves a fresh fruit sundae. To make this she places lady fingers, split and cut in half, in the individual serving dishes. The lady fingers are moistened with a little fresh fruit juice before the ice cream is added. Then a big scoop of the smooth, fruit filled ice cream is placed on top of the lady fingers and flocks of whole berries are used as garnish. The Raspberry Ice Cream recipe she recommends—and which I have for you in the leaflet—can be made in an automatic refrigerator, or with a slight change, it can be frozen in an old- fashioned freezer. Directions for both methods are given on the card. Marsha Hunt is a berry and ice cream enthusiast, too, but as she also favors pas- tries, her refreshments take the form of Strawberry Tarts a2 la Mode—a cute idea and a delicious combination. Make the tarts according to Marsha’s recipe, top each with a spoonful of ice cream and wait confidently for appreciation and praise—for you'll get it. That is, you will if you follow this particular recipe. And since all you have to do to get your set of these four food trump cards is to ask for them—you shouldn’t miss this oppor- tunity. Served over the bridge table, the lunch table or the dinner table they’re sure to supply you with a winning hand and hand-out! And this is one game where the rules are easy to follow and the host- ess is sure to be the winner! THE MODERN HOSTESS, MODERN SCREEN, 149 MADISON AVENUE, NEW YORK, N. Y. Please send me a free leaflet contain- ing the tested recipes for Delicious Star Refreshments. SiGeias cotec Coo eRe E aan MODERN SCREEN ARTISTS AND MODELS — EAUTIFUL models, brilliant ar- tists, stage, screen, and society stars agree: wear Marvelous the Eye- Matched Makeup! For here at last is makeup that matches ... harmonizing face pow- der, rouge, lipstick, eye shadow and mascara, in true color symphony. And here’s make-up that’s right for you... for it’s all scientifically keyed to your personality color, that we marvelous hic one of the many famous illus- trators and artists who approve the new MARVELOUS EYE-MATCHED MAKEUP. color that never changes, the color of your eyes. Drug and department stores are now featuring this new makeup... Mar- velous Face Powder, Rouge, Lipstick, Eye Shadow, or Mascara . . . guaran- teed by Richard Hudnut . . . full size packages, each 55¢. (Canada. 65¢). Wear Marvelous the Eye-Matched Makeup . . . and be the girl an artist longs to paint... tonight! COPR. 1936, RICHARD _HUDNUT MAKEUP 4 RICHARD HUDNUT 89

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State___—_ Age. 90 MODERN SCREEN The Private Life of Joan and Tone (Continued from page 35) her Mrs. Tone yet. Guess I'll try that to- morrow.” The changes in the house turned out to be a source of delight to Joan. The old dining-room was now transformed into a music room. Bill Haines had covered the walls with beige leather and inlaid the ceiling with solid cork. Drum-shaped wall brackets supplied a soft light. It is here that Joan and Franchot pursue their vocal work which may some day surprise their friends. The new dining-room is the realization of one of Joan’s fondest dreams. It is so large that Mr. and Mrs. Tone would have to send messages by carrier pigeon, if they hadn’t been wise enough to have an extra small table for two. It is at a bay window at the far end of the room and overlooks the pool and beautiful gardens. It is here they dine when there are no guests to grace the Duncan Phyfe ban- quet board that centers the room. The walls are white and hand-carved in a morning glory pattern. There are under- glass panels of hand-painted taffeta. The draperies are of the finest embroidered dubonnet velvet. Franchot’s room is a combination of artistic beauty and masculine comfort. Joan gave it to him as a Christmas pres- ent and, typical of Joan, she kept it a secret until Christmas Eve. Promptly at five in the afternoon, seyen men in a huge truck drove up in front of the house. Orders had been given weeks before and everything was in readiness. When Fran- chot went down to the library to wrap some last-minute packages, Joan turned on the radio full blast. The men were then given the signal to go to work. Exactly thirty minutes later, Franchot Tone was the proud possessor of a brand new room. Furniture had been placed, rugs put down, draperies hung, with each man having his own particular job to do. Brown and white is the color scheme. The chairs are brown wool, with brown leather backs. The rug matches. The window cornices are covered with brown leather and trimmed with brass nail heads. The moment the workmen were finished, Joan raced downstairs. Grabbing Fran- chot by the hand, she made him close his eyes, as she led the way. Piloting him to the center of the room, Joan cried, “Merry Christmas.” Outside of an occasional dinner at the Ambassador, Joan and Franchot are sel- dom seen in public. Life is so complete, they seldom feel the need of contact with the outside world. One night, when I happened to be dining there, Joan re- marked that it had been months since she had danced to good music. Franchot, be- ing an obliging husband, stepped to the radio. and tuned in on Eddie Duchin’s orchestra. “May I have the honor of this dance?” he asked Joan, in mock-formality. “You may, sir,’ answered Joan coyly. Swinging her up in his arms, Franchot and Joan whirled around the table while the butler, trying to suppress a smile, served the soup. ATURDAY night is the one night that Joan and Franchot entertain . their friends. Usually there are about six peo- ple at the table. On rare occasions there have been as many as ten. The Fred Astaires, Jean Dixon, the Irving Berlins and myself are among the more regular guests. Occasionally, Joan and Fran- chot entertain the Sam Goldwyns, the Gary Coopers and the Gene Markeys. A picture is run in the little theatre and Joan drives herself crazy trying to find a film that no one has seen. One night she had six different pictures of which each person had seen at least one. “Tm going to form my own company and produce my own pictures,’ remarked Joan despairingly. “Then you'll see pic- tures you’ve never seen before—and prob- ably hope you'll never see again!” Every day from four to six, unless they are working, Joan and Franchot sing for Signor Morondo. If they feel that any- one is interested and tolerant of their am- bitions, he will be invited to listen. If he is lucky he may hear them try a duet from “Traviata.” Irving Berlin witnessed a lesson recently and came away completely amazed. Stokowski, the famous conductor, marvelled at their appreciation of good music. During the week when one or both are working, the Tones retire early. They usually go into the library after dinner and sit before the fire. Sometimes Fran- chot reads aloud to Joan. If he has lines to learn, Joan sits quietly over a loom and works on hooked rugs. She has com- pleted three of them since the first of the year and plans to present them to her friends next Christmas. Their pet Dachshunds, “Pupchen’ and “Baby,” receive a great deal of attention. Each dog sits at his master’s feet and gazes up with rapt devotion. When Joan gives the word, “Baby” curls up on the train of her dress and goes to sleep. Franchot usually gives “Pupchen” a better break and allows him to climb up in his lap. HAD never hoped to find so much beauty in one person,’ Franchot told me shortly after their marriage. “Besides her physical beauty, Joan possesses a beau- tiful mind and a spiritual quality that is going to carry her to supreme heights. Joan has a talent that hasn’t as yet been touched. “When I came to Hollywood, I merely wanted to make money. I had no inten- tion of remaining and little dreamed that such happiness could be in store for me. In Joan I found everything I had ever hoped to find—all in one woman. It was through her persuasion that I took up singing. It is one of the thrills of my life and such a soul-satisfying means of ex- pression.” “Franchot never ceases to amaze me,” said Joan. “He is the most honest per- son I have ever met and I do admire honesty. He has a wonderful perspective on everything. We are so good for each other, because when I get upset, I think emotionally. Franchot has a reserve that is a godsend. It saves him so much and allows him to handle a situation so much better. His ideas are good and he has such a nice way of carrying them out. He is a highly interesting conversational- ist. Besides loving him as a husband, I have great admiration for him as a man.” One of the prime factors in the happi- ness between Joan Crawford and Fran- chot is their great respect for each other. Both feel respect and consideration for the other and his work, which is the basic foundation of true love. For years Fran- chot acted on the New York stage and spent the balance of the night in speak- easies. By day he would sleep until it was time to go to work again. The happiness he is now enjoying was an unknown quantity. Joan, having had her fill of gay

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times, more than appreciates the sanctity of her own home and the peace that comes with love and companionship. Is it any wonder that their mutual love for life and living has created a beautiful kin- dred spirit for Mr. and Mrs. Franchot Tone? Lombard, Ltd. (Continued from page 39) goes on anyway, but more than likely, shell say, like a good sport and a good ales “Well, if I help you, then will you go?e”’ And Carole, herself, takes a turn at the adding machine and the typewriter! SUE Fieldsie has a swell job. A lot of very efficient secretaries would give their eye teeth to be in her spot. I ‘don’t know but what I wouldn’t enjoy it my- seli—living right in the same beautiful _house with one of the most famous wom- en of the screen, knowing her famous friends, sharing her pleasures and her tri- umphs, going to swanky parties and wear- ing lovely clothes. : 'Fieldsie thinks so. She told someone recently: “I’d rather be Carole Lom- bard’s secretary than Garbo, Dietrich, Harlow, Shearer, Crawford and Hepburn all rolled into one big glamorous number. I have more fun.” You think she’s kidding? You don’t know Fieldsie. She kids, but she speaks the truth. _She knows Hollywood, for she started out as a Mack Sennett comedienne. She met Carole when Car- ole was a.Sennett bathing beauty. But I am digressing. Before I tell you how she became Hollywood’s No. 1 Secretary, I want to tell you the story back of it. Being a glamorous movie star doesn’t mean that life is always serene, that you are always happy, that you haven’t bumps to take in friendship and business, that there aren’t heartaches and _ headaches. Being a star doesn’t necessarily mean that because you have great worldy pos- sessions that you don’t need honest, genu- ine friendship. And the Lombard-Fieldsie combination started because Carole already had a real and proven friend in Madelayne. I’ve al- ready said Carole isn’t above doing a turn at the adding machine to give her pal a lift over business cares. Why, do you suppose? Because Fieldsie has been giv- ing her lifts ever since they first became friends. Fieldsie has given much to Car- ole and Carole tries to give back in re- turn. That's friendship, real and rare in these days or any days for that matter. ELL, then let’s go back to the Mack Sennett days. Madelayne was a pretty successful comedienne. She’s six feet tall, and in those days she weighed pounds and pounds. This last year she has taken off, under a doctor’s careful eye, sixty of them. With her lovely face and now this approachingly well proportioned figure, she’s a beautiful girl. But that is still another story. As I said, Carole was a bathing beauty. The gals became good friends. How? How do you become friends with anyone? It just happens. They liked each other. Madelayne, with her ready wit and humor, was always the center of an ap- plauding group. Carole found her vastly entertaining. As for Fieldsie: “Although I wouldn’t admit it, I was terribly self-conscious about my weight. I knew that Carole realized this, for with- MODERN SCREEN A Breakfast fit for a Queen of the Screen » BETTE urge LIAVIS 1935 Motion Picture Academy Award 4 DIGESTS FASTERS | QUAKER PUFFED RICE HAS THE SPEEDY DIGESTIBILITY $0 IMPORTANT | | TO BUSY PEOPLE IN THESE HIGH-TEN- SION TIMES.*SHOT FROM GUNS’ EACH ¢ GRAIN EXPANDS 8 TIMES NATURAL SIZE AND FOOD CELLS BURST OPEN TO ABSORB DIGESTIVE JUICES QUICKLY. COMPARE THESE TWO FINE BREAKFASTS: IT for dmg or queen is this favor- ite breakfast of BETTE DAVIS! Mixing lemon juice with prune juice is a delicious new idea from Holly- wood. But the all-star combination that makes this menu such a royal taste-treat is crispy, crunchy Quaker Puffed Rice topped off with raspber- ries. And what a difference just a bit of cream makes in the scrambled eggs! Your grocer is displaying this easy-to- prepare BETTE DAVis breakfast now. Order the ingredients you need and enjoy it tomorrow! RICE BREAKFAST | WAS DIGESTED IN THE STOMACH 45 MINUTES FASTER THAN BREAK FAST NO.IL, ACCORDING TO TESTS MADE BY DR. PAUL | G DICK, CHICAGO. NOTE THE TOASTY PERFECTION OF QUAKER PUFFED RICE THAT COMES FROM QUAKER'S ) DOUBLE-CRISPING METHOD! ... AND NOTE HOW THE RED AND BLUE PACKAGE 15 TRIPLE-SEALED TO GUARD FRESHNESS ! 91

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Sirs: Rush to me without charge (1) 32-page book with list of many = Common educa- oe d > U.S. Government Big Pay Jobs. S o tion usuall = ‘ z (2) Tell me how to get one of these sufficient. jobs. a Mailicaupon EGName nr Meee Sao ERC een ae today sure. / FA COLGSS sterstsctoieinioicicisisicieweicinioncterstefereteiuisioters 92 MODERN SCREEN out mentioning it, she used to say and do things that meant a great deal to me. I remember one thing she said which com- forted me greatly. ‘Beauty is an asset to a woman as long as she has something inside, but if she hasn’t, beauty doesn’t count.’ “We were friends. I used to talk to her about her job and she would talk to me about mine. One of the first sophis- ticated roles Carole achieved—remember she was then that pretty little Peters girl from Los Angeles and quite young—was that of the vamp in the Trem Carr inde- pendent, with Vera Reynolds as leading lady. We got her into a slinky evening gown and although neither one of us knew a thing about false eyelashes then, we had heard about them and we sent out for a pair. Between us, we pasted them on. Carole looked a sight, but she photo- graphed beautifully. The part was suc- cessful and gave her a big boost. “Pretty soon after this came her Par- amount contract. She made ‘Fast and Loose’ in New York and ‘Safety in Num- bers’ here. I continued to help her. People got the idea I was her secretary, but I wasn’t. I was still earning my $35 a day on my own jobs. “Then came Carole’s marriage to Bill Powell. About this time, a friend of mine, Ann Haines, Bill Haines’ sister, de- cided to go to night school to study stenography. I volunteered to keep her company and take French—I thought it might be of some use to me in pictures. I never did take French, but I took short- hand and typewriting. The shorthand characters fascinated me. Lots of girls hate shorthand, but I was never more intrigued with anything. USED to beg Bill Powell, who has the the most perfect English diction of any man I know, and whose letters are fine ex- amples of good English, to let me take his letters. He was obliging, although I must have been a trial, for I was slow and inefficient, as any beginner would be. This proved, however, a marvelous experience and a great help in attaining accuracy and speed. “Carole’s career began to boom. All this time I was taking movie jobs as they came along, but suddenly, as Carole shot ahead so fast, I found I did not have time to go to work. She needed too much looking after. This was the latter part of 1931. “Carole and I talked the matter over —should I go to work as her secretary or should I not? She wanted mé and I wanted the job, but I was afraid of ruin- ing a friendship by a business relation- ship. You know, when money enters, friendship often walks out of the window. But we decided to take a chance. “It’s worked—it’s worked for almost five years, despite the fact that Carole and I have many of the same friends and go to the same places. We live in the same house and are together a large part of the day. A great deal of clowning goes on, but when business, actual cold business in- volving money, comes up we are serious. I do my work as far as I can without consulting her, but when a matter requir- ing her attention arises I make a definite appointment to talk it over with her. For example, I say, ‘I would like to see you tomorrow. How about 9:30 in the morn- ing?’ and Carole will probably say, “Okay, but can we make it 10:30? How long will it take?’ “T run the house, pay the servants and the bills, do her income tax, and pay the insurance. I am really a manager rather than a secretary. “T do not sign checks. Our original agreement was that I would sign no checks. I wouldn’t permit her to give me this authority, for I did not want the re- sponsibility of handling someone else’s money to that extent. Carole sticks to the bargain to the letter and keeps my books straight by not writing checks or borrowing any money which I don’t know about. If she borrows, she tells me about it and I make arrangements to pay up as soon as possible. We have no debts.” It sounds like a pretty sensible arrange- ment, doesn’t it? And Fieldsie’s story a logical enough one of her gradual develop- ment into an ace secretary. But can’t you see, behind her matter of fact remarks how much she must have helped Carole with straight clear thinking and sincere friendship as the glamor queen started upward on the Hollywood success trail? Their real, genuine feeling for each other is covered up with much clowning and some of the funniest wise-cracking you've ever heard. Fieldsie has been known to mutter, when Carole has been Adolph-the- Flying - Dutch- man met an English ad- mirer when Freddie Bar- tholomew vis- ited Jean Har- low on her set. Master Fred, you can see, roller skated overtothe “Suzy” set!

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a little negligent about getting down to business details: “I’m going to fire that gal in the morning!” ND Carole delights in perpetrating jokes on Fieldsie, like the time when the latter was away on a vacation at Arrowhead and M-G-M kept calling her for a three-day acting job. Fieldsie turned the job down flat, saying that she had too much to do at the Lombard head- quarters. But on the second call, while Fieldsie was away, Carole accepted for her and promised to deliver her early Monday. Carole then waited until late Sunday night when it would be too late for Madelayne to break the appointment to call her long distance and tell her she had to do her comedy act at the studio on the morrow. Was Fieldsie mad? Oh, yes, but she couldn’t refuse the assign- ment. Perhaps you wonder how a secretary, or even a business manager can keep pace in clothes with a famous screen star who must always dress beautifully and expen- sively. It is a job, but here is where Carole helps out again. Fieldsie stands pretty much on her own feet, but on the occasion of her birthday and Christmas, Carole always gives her presents and often there is included a lovely evening gown or two, an evening bag and other luxurious accessories. Then there is Carole’s birthday. Carole, it seems, doesn’t like to receive presents without giving them and on her own birthday she gives practically as much as she receives. Nice, indeed, but Carole likes to do it and what would she do without Fieldsie to be hardboiled about business matters and keep her from being buffeted around? A woman with a big career such as hers can use a lot of genuine, unaffected shrewd help to keep it running smoothly. Besides, it’s pretty nice always having a pal on tap for laughs and relaxation. Perhaps you understand now why Carole types letters occasionally to help her sec- retary and enjoys it! Second Chance (Continued from page 37) as any. Then, all his obsessions, aberra- tions and frustrations being neatly cata- logued, disposed of and checked out, nat- urally he fell in love again. E met a girl. She was very young, and recently divorced. She was en- tirely lovely. “She had a lot of healthy young madness in her,” is the way Eric says it. They walked around Juan Les Pins, they swam in the moonlight, they. bicycled. ‘They found a great, empty, haunted old gambling house on the Island of Campiane and gave an animated and inspired vaudeville performance which echoed through the vast vacancy. Eric’s recovery was almost complete when they joined forces with a group of fun-making young Americans, doing Europe and doing it right. Another group, from Cambridge, appeared out of the azure and were instantly members of the same club. Through France and Spain and Italy, they pursued their merry way. Not the usual time-wasters and money-spenders, but happy young intel- lectuals who knew where they were go- ing and why—but were not in any great hurry about it. They knew how to play, and for the first time in his life, Eric Lin- den played. He lost track of time, he MODERN SCREEN Kvery girl owes it to herself to make this Armhole If moisture once collects on the armhole of your dress, the warmth of your body will bring out stale “armhole odor’ each time you wear your dress. ‘WT is a terrible thing for any nice girl to learn that she is not free from per- spiration odor. Yet 9 out of 10 girls who deodorize only will discover this embar- rassing fact by making a simple test. You owe it to yourself to make the test tonight. When you take off your dress, remember to smell the fabric under the arm. If moisture has collected on the arm- hole, even once, you will be able to detect a stale ‘“‘armhole odor.”’ You cannot protect yourself complete- ly by the use of creams or sticks, which deodorize only. They cannot keep the little hollow under your arm dry. You may be completely dainty, but people near you are conscious of the stale “armhole odor’ of your dress! They think it is you! There is one SURE protection Once a woman realizes what the problem is, she will insist on underarm dryness. That is why millions of fastidious women regularly use Liquid Odorono. With the gentle closing of the tiny pores in the small area under the arm, no moisture can ever collect on the armhole of your dress, to embarrass you later by creating an impression of uncleanliness. Odor ‘lest Any doctor will tell you that Odorono is entirely safe. With Odorono, the excess perspiration is simply diverted to less “closed-in’”’ parts of the body, where it is unnoticeable and evaporates freely. Saves your lovely gowns There’s no grease to get on your clothes. And with all moisture banished, there’s no risk of spoiling an expensive costume in one wearing. Just by spending those few extra moments required to use Odorono, you'll be repaid not only in assurance of complete daintiness, but in money and clothes saved, too! Odorono comes in two strengths—Regu- lar and Instant. Regular Odorono (Ruby colored) need be used only twice a week. For especially sensitive skin or hurried use, use Instant Odorono (Colorless) daily or every other day. At all toilet-goods counters. If you want to be completely at ease and assured, send today for samples of the two Odoronos and leaflet on complete under- arm dryness offered below. RUTH MILLER, The Odorono Co., Inc. Dept. 6E6, 191 Hudson St., New York City (In Canada, address P. O. Box 2320, Montreal) I enclose 8¢ for sample vials of both Instant Odo- rono and Regular Odorono and leaflet on complete underarm dryness. Name Address. City

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Canadian 1 fl residents may write H. R. Madill & Co., 64 Welling- 4 ton St., West, Toronto, Ont. ! 94 MODERN SCREEN didn’t have to be any place at eight o’clock, or give out interviews, or consider the consequences, or work up a fine frenzy for the camera, or wear his heart on his sleeve. He was cured. He was well. He had snapped out of it. He felt so good he wanted more outlet for it than play. All of a sudden, he figured it was time to go back to work. The tension relaxed, he was full of health and the pure joy of living. Con- fidence welled in him. He paused in New York to do a play— preparation for Hollywood again. And then Hollywood. Right away there was “Ah, Wilderness,” and he fitted into it like the center piece of a jig-saw puzzle. The company went East to Grafton, Massachusetts. Eric was feted by the Swedish colony in Worcester—he is of Swedish ancestry, though born in New York City. All told, it was a grand trip. Near Grafton, Eric found a charming seven-acre farm with a house two hun- dred and fifty years old. “So cheap,” he says, “it took my breath away.’ He bought it. It will be rented to tenants, and will form a nice nest-egg for the boy whose M-G-M contract is bringing him his first real money. E bought it because he wants to ex- perience the turn of the seasons, the bleak spareness of real winter, which is never felt in California. He says he would like to live the way Robinson Jef- fers, the poet, lives in his stone house looking over the sea at Carmel. He goes up to Carmel and drives ’round and *round the Jeffers place and he sits and looks at it—because there lives a great poet who is a god to the Eric Lindens of the world. You might get the idea that Eric was arty (perish the thought), if he wasn’t so blessedly sincere about it. He is the best-read young man, with whom I have had the pleasure of conversing, in Holly- wood. But why make it geographical—he is a well-read young man in anybody’s town. He would like to be remote and contemplate life, to be a great hermit, per- haps, but a lot of living seems to be going on all the time, and he doesn’t want to miss it. Thinks he won’t be a hermit until next year. Really, he is the nice, well-bred kind of a young man who takes girls to symphony concerts instead of to prize- fights. If you had a daughter, or if you are one, you would be quite flattered to have Eric’s attention, although it might be a good idea to read a book first. He wouldn’t ask a dumb girl twice. He looks out of honest, frank eyes. He is sin- cerely gracious. He hates ostentation and phonies more than anything—but he doesn’t soap-box about it. Just avoids it and them. He does what he wants to do, and refuses to do anything again that he doesn’t be- lieve in. He is intense, but calm about it. And he is “sweet”—not hard, or calculat- ing, or too briskly casual with people. He is sweet without selling it, and wouldn’t like being called it to his face. As for girls, well, Eric says, “You have to be so darn careful about hurting feel- ings and being too out-spoken. The Hol- lywood girls,” he glanced about cautiously as if he were about to break down and hand over the key to the mystery, “are all so career-crazy. If they would just now and then have an honest impulse to do something grandly, magnificently mad— you know, nice mad, like, well, like what? Let me think.” Eric groped for something mad. Then triumphantly, “Like getting up at dawn and going for a ride with the milkman. Or sleeping on the beach, or just walking somewhere. My gosh, they never walk anywhere. They think you're mad if you suggest it. Well, that’s not exactly what I mean. You can’t define these things, they just have to overtake you,.extemporaneously, and you do them. But the girls out here—well, they don’t get overtaken inspirationally. They won- der how it would look in somebody’s col- umn the next day. They are always think- ing of consequences. But I know a girl in Pasadena, now .. . He says he came back to Hollywood enjoying things, and wants to keep on. He likes Hollywood better now because he isn’t too analytical about it any more. He is making up his week of seven days, and living them, until the next seven days. No more glooming into the future. He may have the soul of a poet, but he is a right good trencherman at the table, too. Right now, Eric is up at Lake Arrowhead building himself a sturdy log cabin, where he is going to practise, at odd moments between pictures, being a her- mit. I can almost hear his hammer ring- ing on the nails, and almost see the waiter, wherever Eric takes his dinner tonight, rushing out for double orders. Because Eric has his health back, he’s located his lost perspective, and, barring a little girl-trouble that may crop up here and there, it’s all clear sailing from now on! Absent-Minded Liz (Continued from page 19) Wasn’t she sure of work for a year to come? She could afford to plunge, she thought. She bought herself some beauti- ful outfits for this trip to America. Two days before she was to sail, she got a letter from the American producer. Equity, he told her, had forbidden him to carry out the terms of the contract. Be- cause she was English and, therefore, a foreigner, he could guarantee her only two weeks’ work. If the first play in which she appeared was a failure, in two weeks’ time, she wouldn’t be allowed to appear in an- other one for six months! “T was frantic,” Elizabeth told me, twist- ing a cigarette in her fingers. “I went back to all the English managers who had offered me work and begged them to give me a job. But they laughed in my face. Their attitude was that I had made my bed and that I would have to lie in it. “For months I went without work. I moved to a dingy room, and lived on coffee and buns. “T never told my parents or any of my friends how desperate I was. I was too proud to do anything like that. After all, I had insisted on going on the stage, and [ wasn’t going to admit failure to anyone. Sometimes my friends used to invite me for dinner at their homes. Then I would take a bus most of the way, which was all I could really afford. When I came to the last - street or so I'd grandly order a taxi for myself. Thus I’d arrive in state, although I had very little money. “T always believed in keeping up a front. Why, with the very first thirty pounds I ever earned, I bought myself a fur coat, deciding that money would attract money,

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and that the only way to attract work was to look expensive. “Eventually I did get work with an English company that was going on tour, but I could have saved myself all that heartache if I’d only been a more practical person and investigated that American offer before I signed on the dotted line.” Elizabeth Allan must have someone to look after her or she would be in con- tinual hot water. HERE was the time when she was in love and planned to get married. Her engagement was to be announced at a very important supper party. That very same day Elizabeth was scheduled to work on some scenes in ‘Reserved for Ladies” with Leslie Howard. “Hadn’t you better tell them about our engagement for this evening?” her fiancé asked Elizabeth. “Otherwise, they may keep on shooting scenes till midnight.” “Oh, I’m sure it won't be necessary to say anything,” said Elizabeth airily. “We'll be through in time.” Knowing her, her fiancé was _ still worried. “Do you want me to call for you at the studio?” he asked. “Don’t you Ebi _that would be best?” Elizabeth shook her head. “No, cane: Tll come straight to the dinner. Don't worry. I'll be there before 11:30.” But the picture was somewhat behind schedule, and late that evening the com- pany was still working. Of course Eliza- beth could have explained the circum- stances and asked to have the shooting of the scene postponed till the next day. But with her customary irresponsibility she trusted to luck to be through in time. She wasn’t. At 11:30 the ’phone rang. Where was Elizabeth? Her harassed husband-to-be was waiting for her so he could make the an- MODERN SCREEN nouncement of their engagement. Elizabeth promised she’d be right down. The soup grew cold. The guests grew weary. Elizabeth finally arrived. She was all contriteness. She was so charming and helpless that they forgave her—as people always forgive Elizabeth. “T don’t mean to let people down,” she told me. “But it’s hard for me to realize that there are only twenty-four hours in the day. There are so many things I want to do. And somehow or other I hopetully believe that I’ll be able to do them all. Once, for instance, I had a dinner en- gagement. Then two old friends from the Gaumont-British Company came to see me and insisted on my going to dinner and the theatre with them. So I called up the friends, with whom I had an engagement, and they said that it would be all right if I managed to meet them by midnight. The two men I was with insisted I must go to the Rainbow Room with them. It would be a shame to miss seeing the Rainbow Room while I was in New York! Finally I went with them, hoping I could meet my other friends in time. It was two o’clock by the time we got through there! And after two, of course, when I met my other friends. You can imagine how they felt! “T’m so vague about appointments that it’s a wonder to me that I have any friends left at all.” Just then the ’phone rang. And Eliza- beth made an appointment for the next evening. And after that it kept ringing. She made three or four other appointments for the same evening. It was obvious that her social calendar was hopelessly mixed up. She was like a child who is presented with five or six different kinds of candy, and who cannot possibly choose from among them, so she takes them all. “T’m supposed to see a preview tomorrow night,” she told me, “and I’m supposed to have dinner with Mr. and Mrs. Oh, dear, I suppose I should have told Miss So-and-So that I won't be able to see her. I had an appointment with her for the same time, too.” “How will you get out of it?” I asked interestedly. ‘Do you ever tell white lies or anything like that?” “Sometimes,” she confessed, looking a little downcast, “but this dinner appoint- ment is business, you see. I’ve got to keep it and I’ll tell my friends that. “T think it’s a good thing for an irrespon- sible person to be saddled with responsi- bilities, so after I’d been in Hollywood a short time I bought a house in Beverly Hills,’ Elizabeth continued. “I hired a new cook and invited about six friends to dinner. Then I went out and played tennis. When I got back home it was almost seven o'clock. “What time will you have dinner served?’ asked my cook. ““Oh, I think my friends will be here about seven o'clock,’ I said cheerfully. “The cook’s face turned white. ‘What friends?’ she asked. ‘Why, the six friends I’m having up for dinner, of course,’ I said. ““But, ma’am,’ she protested, ‘you didn’t tell me anything about having any friends up. I thought I was just supposed to make dinner for you.’ “There wasn’t time, in the short interval that was left, to prepare dinner for seven people. So when my friends arrived there was no dinner. After inviting them to a home-cooked meal, I had to take them out to a restaurant for dinner.” 1 VENTUALLY, Elizabeth gave up this idea of having a “home of her own” and moved into a hotel. Afterwards she lived with the Dick Barthelmess’s. And before she left for England she’d been living with the Countess Di Frasso. Like ) a LOON! It’s a NEW DRESS! 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Get Doan’s Pills. 96 MODERN SCREEN all impulsive people, she moves frequently, for no special reason. “Because my people are in England and I’m usually in Hollywood, I’m continually using the transatlantic ‘phone. Now there’s a rule in Hollywood that, whenever you use the transatlantic “_phone, you have to pay your bill within twenty-four hours. But I go off to play tennis or swim or go horse- back riding and I forget all about those darn bills. Three or four times my tele- phone’s been cut off completely for that reason.” The ‘phone bills are lower now that she’s in England making a picture for Gaumont-British ! “T have no sense at all about money,” Elizabeth continued, lighting her cigarette from a tiny shank of silver. “I’m penny wise and pound foolish. I’ll save money for months and then blow it all on some foolish thing that’s caught my eye. “T drive my banker absolutely crazy. He believes that I ought to invest some money, but I haven’t the haziest idea about invest- ments, so I tell him, ‘Just put it away in a safe place where I can get it if I need it. He thinks I’m slightly mad, for he feels that the money could be earning in- terest instead of just being put away. But I’m hopelessly impractical. “Every once in a while, I go over my check books, trying to determine how I’ve been spending my money, but after a short time, | get tired of the whole thing and give it up. I never have been able to live on a budget.” But the peak of all Elizabeth’s irre- sponsibility, the high mark of her absent- mindedness, occurred when she changed banks. At the beginning of the month, she carefully made out checks to all her creditors. Then she sat blithely back, feel- ing that all her worries were over for another month, Suddenly she began to get the most in- dignant letters from the tradesmen whom she had just paid. “It’s a shame,” they wrote furiously, “that you, a rich movie star, should be trying to cheat us. Your check has just been returned to us, marked ‘No Funds.’ ” Elizabeth stared at the pile of complain- ing letters. She turned quite white. Im- patiently she dragged out her bank book. What sort of a ludicrous mistake was this? A glance at the bank book confirmed her worst misgivings. No wonder the trades- people were fuming! She had used the wrong check book and sent out checks on the bank in which she had no money! Her Boarding House Days (Continued from page 63) Times Square in search of a job. Man- agers turned her down with a regularity that was positively nauseating. Miss Harding had had no experience, they said. This went on for months. But was she discouraged? She was not! Owsley was crazy about her. Whether she was crazy about him, I wouldn't know. She saw a lot of him. And at that time she saw very little of anyone else. I am sure she wasn’t in love, though. Love didn’t enter into her scheme of things then. Her only love was the theatre. Of course, she- hadn’t met Harry Bannister at that time. In fact, men didn’t mean a great deal to her. She preferred friendship to romance—and Owsley was that friend. The boarding house gossip had it that he saw her almost every evening. And the gossip was right. They would go to a movie, visit an art museum, attend a lecture, or just sit in the parlor and discuss books, interrupted from time to time by the antique and gos- siping inmates. Owsley was up to his ears in love and, in turn, received a liberal education. You see, Ann didn’t care for jazz parties, so they didn’t go to jazz parties. They spent their time in serious pursuits—Ann adored books, _ so they delved into books, discussing Swinburne and Shakespeare until Owsley was blue in the face. NN’S interest in books was second A only to that of her stage career. She ate, lived, and drank them. Her mind was like a steel trap. She lived on tradi- tions and had a secret fear of life, but never allowed it to interfere with her ambitions. She reminded me of a sad, crushed poet full of the confusion of life and the fear of poverty. She had a burn- ing desire for fame and success and the peace of financial security. Months went by, and one day Owsley and I moved to the University campus and we lost sight of Ann and her family. Of course, we heard of her from time to time. Rumors reached us to the effect that she, at last, had secured a job. Then, practically overnight, she was being fea- tured and within another year she was almost a star. Our paths were separated and the boarding house romance was a thing of the past. Not long ago I saw Ann Harding again for the second time in fourteen years. I had a date with her for lunch at the RKO Studios in Hollywood. I was ushered down long corridors, across streets, through offices, over stages, and finally reached her dressing- room, a spacious and almost luxurious bungalow. Ann was in a flutter. She grabbed my hand and her words tumbled out breath- lessly, “I’m as nervous as a cat. Ive been in the wardrobe all morning, fitting dresses. Drives me crazy fitting dresses. And I’ve got a sore foot, to boot. Big toe, I think—” I laughed and looked at her admiringly. She was a dream in pale blue chiffon. “You look grand,” I told her. Ann beamed with pleasure. “Gee, I’m starved,” she said. “Let’s eat.” The studio lunch room was packed with stars, extras, and the din of babbling voices. Several people came over to our table and chatted a moment; assistant di- rectors with information relative to the picture, technical men, two or three stars. At last we were alone and I had the op- portunity I wanted to talk of the old days and the future. When I brought up the subject of the boarding house days her eyes sparkled with animation. “How’s Monroe?” she asked. “Haven’t seen him lately.” “Fine,” I nodded. “Those were thrilling days,’ she rem- inisced. “I can hardly believe that it was fourteen years ago. Life was one glor- ious dream then.” She paused, looked at me, through me, vaguely. “With all that’s happened since, happiness, heartache, suc- cesses and failures, I’ve never let any- thing disturb that dream. At least, I’ve tried not to. the good with the bad.” Of course, we must accept

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MODERN SCREEN “Have the failures ever discouraged you, Ann?” HE laughed between bites of a chicken | salad sandwich. “Not permanently. | My marriage discouraged me more than anything else. I tried hard to make it a go, so did Harry. But I suppose it just wasn’t to be.” She seemed to think of something and leaned across the table. “Do you ever feel bouncy?” It was my turn to laugh. “Bouncy—?” “Yes. You know, sort of full inside— bubbling over with the thrill of every- thing? Well, that’s how I feel since ‘Peter Ibbetson.’ The picture I’m start- ing now, ‘The Witness Chair,’ will help me regain my former place in the public eye—I hope.” “Then you're through at RKO?” “Ves—off to London to do several pic- tures for Capital Films. I’m looking for- ward so much to the trip. Itll be fuu working over there—and I’m taking my daughter, Jane, with me. I scarcely know myself,’ she said, cupping her chin in her hands. She became enthusiastic. ‘I’ve taken a new lease on movie life and feel like making pictures forever. After all, my life means so much more to me than Se . : just success now. I’ve Jane to live for 2 : RosimaeMoneno and work for.” : ae : = in 7 Bouse OFA a “Are you thinking of marriage again?” ; ; OS ENUECANDLES) I poked “Pye heard rumors...” _ Bc Se aus “Absolutely not. That is, for a while.” Ske changed the subject abruptly. “But you must come up and see that child of UBLY ATTRACTIVE | mine, she’s adorable!” eee | She talked on ecstatically about the i i} details of rearing a daughter. Her ca- Py iy reer was forgotten, the lunchroom faded, ia and she was a mother living in the hopes, SWMUCE S séECLEL. a) the dreams, the future of her child. f She glanced at her wrist watch. | oa FASCINATING EYES | me for running off this way. Do call me 1 ii up soon. Thanks for coming to see me.” "CREAMY _The last glimpse I caught of her, she MASCARA SF EN find her “doubly attractive” since she learned the | was running up a studio street, her ash- las See 3-6) | secret of lovely, fascinating eyes. And it’s the same H blonde hair blowing straight back from her face. It was then that I realized that story over and over again whenever a girl first learns how | easy it is to have long, lovely lashes. | | the successes and failures of fourteen years had made little difference in Ann Harding, except that they had broken down her wall of aloofness. romance, if you bring out the natural beauty and charm of your eyes with Winx Mascara. It works wonders. Just a il | touch of Winx to your lashes and instantly they appear darker, longer and more lustrous .. . your eyes sparkle... your whole appearance seems improved. = | | | | i | 4 You, too, can have that fascinating loveliness that invites i | | if Try Winx today and see for yourself why so many smart, | well-groomed women use WINX regularly for both daytime | and evening make-up. You will particularly like the way its | emollient oils keep your lashes luxuriantly soft and natural- | looking at all times. Winx Mascara is offered in four colors—black, brown, blue, and green—and in three convenient forms—the new Creamy |} Winx (which is gaining in popularity every day), and the old favorites, Cake Winx and Liquid Winx. All are harmless, smudge-proof, water-proof, non-smarting, and easy to apply. LIQUID “MASCARA ON EYEBROW PENCIL Your local drug and department stores carry WINx Mascara CAKE in the economical large size. You can also obtain the com- MASEARA lete line of Winx Eye Beautifiers in Introductory Sizes at p y y all 10¢ stores. After making a picture in England, which she says = - is her best role to date, Mary Carlisle returned to ‘’ Hollywood recently.

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BE A DESIGNER OF HOLLYWOOD FASHIONS Qualify for a good position, or have your own Shor and win financial inde- pendence as Hollywood Fashion Expert, DRESS LIKE SCREEN STARS Design and make glamorous gowns for yourself like those of your favorite film star. Have more clothes and dress more smartly, at even less expense. HOLLYWOOD FASHION CREATORS OUR ADVISERS With the cooperation of Movie Studios and Screen Stars, this 50-year old Col- lege will teach you Costume Designing in your spare time at home. Free place- ment service. If over 16, write at once for Free Illustrated Booklet. WOODBURY COLLEGE Dept. 63-F Hollywood, California MODERN SCREEN That Cagney Cyclone (Continued from page 45) anything to hand out—he strikes with hon- est boldness and no sniveling false mod- esty. He would make a punk diplomat. The world is over-crowded with persons who say “perhaps” when they mean “yes” or Out at Jim’s house the other morning, he was having a grand time in a blue house-robe of warm wooley fabric which Mrs. Cagney wove beautifully on a hand- loom for his Christmas present. He loves the rare opportunities he has to wear this- garment. HE rain poured hail-columbia outside, the fire blazed in the Cagney library. Jim curbed his restless vitality long enough to relax—sometimes for five whole minutes—on a long pigskin-covered couch. Even when he reclines, he reclines briskly. And he does not rise in sections, like mush. He executes a neat pivot on his rear axis, lifting head and feet at the same time, and achieves the floor in one gesture. He must have springs in him somewhere. We had a marvelous talk about his recent fight with Warner Bros. It was going good when the telephone started ringing furiously. Within the following two hours, I guess every person with a grievance in Holly- wood called up Jim and aired it. We had no more opportunity to discuss Jim’s per- sonal battle, he was so busy fighting every- body else’s. (Oh, all right everybody’s else, then, but it sounds terrible.) Fact is, the telephone conversations gave a clearer idea of his opinions on fighting, in general, than would have been possible by asking questions. The telephone was right there at his elbow, I couldn’t help hearing, and what he had to say was certainly no secret to anyone who knows him. It just hap- pened that I never heard it all condensed in one bunch before. The six or seven conversations went like this: “When anything like that comes up, keep it on paper. The only thing to do is fight it all the way down the line, baby. You've made the right beginning, keep a stiff up- per lip and don’t let ’em upset you, that’s what they depend on... “That’s the proper attitude—don’t back down. See it through and stick tight. Sure, they'll try all kinds of pressure, what of it? Keep banging away, baby, throw rights at their chins . . “Hell, no, the ‘publicity doesn’t mean a- thing, it’s read today, forgotten tomorrow. If they can suspend you and then say you can’t come back to work until they say so, that’s virtual slavery. Who’s your law- yere~ ELL, there’s no use being delicate about it. A lot of persons were on the outs with a lot of other persons that morning—and they flew right away to Jimmy Cagney for advice and moral sup- port. It also goes to show that when people are frantic or frightened or desolate, they call up Jimmy Cagney. If they don’t feel a thousand per cent better, then it’s a doc- tor they need. There’s nothing like it for the circulation. Jimmy was in the pink. His eyes snapped, his red-sand hair fairly crackled, his voice was quick. Every few minutes he made one of those character- istic Cagney gestures—the hand snapping The Information Desk appears on page 70 | The Information Desk appears on page 70 | up, the sudden stop—you can’t describe it, but it tells chapters, the way he under- plays it. You've seen it, on the screen. It’s part of him. Between phone calls, Jim said he had no notion or intention of getting away from the type he had been playing, but that two roughnecks a year was plenty. He wants to vary them with other characters and types. He added “The thing that makes you also breaks you in this business, if you hammer at it too hard. The career is short enough, as it 1S. “It is always a good policy to change your pace. “As for stories, it is better to have good plays and stories adapted than to try to fit the player with vehicles tailored to order. “T gave up sitting in on story confer- ences long ago, as most actors have. You always wind up with the same story, any- way. I can do more on the set after the picture is started.” It’s no news to you that Jimmy took his recent studio squabble to court. He won his suit and was released from his con- tract. Naturally, producers are anxious to sign him up, but Cagney would much rather go off to Europe for a year or so and forget all about work. However, the next few months will tell what this spunky gent will do. jee paused to answer another call and give his pep-talk about hitting where it would do the most good. Not that he advised indiscriminately. Far from it. He listened with care and concern to the griev- ance and the groundwork before he gave any advice at all. It would just be tough to ask Jim to advise you if you were fight- ing over something asinine, and what a scorching that baby could hand out in that case. “Ever had any set-trouble?” I asked. “Never!” Jim answered, promptly. “Never an unpleasant experience with any person with whom I have actually worked in a picture—far from it. Before you come out here, the wise-guys warn you about scene-grabbers and camera-hogs and all that rot. JI never paid any attention to it, and it has never happened. “Tt’s only in the business deals you haven’t a chance without a lot of people wanting an edge. My brother is now handling all my business, and are the flesh- peddlers burning. Imagine an Irish agent!” Jim has a way of inspiring a sort of idolatry among his friends, without trying. He is the best company on earth, when the mood is on him. He will sit through lunch until five o’clock with some intimate group in a far corner of a restaurant, his vivid audacious face leaning far over the table, as he recounts some fantastic mad Irish story. He loves them. The wilder the better. He knows a million, a lot of them about his family. Little, fabulously whimsical things they used to do—ridicu- lous, romantic, notional—which makes them peculiarly his. For instance, the way his father used to go around the breakfast table and kiss all of them good-bye every morning, walk to the door, look back and solemnly cross himselfi—then bend over and tie his shoe-laces! Why he left the shoe-laces until then no one knows. God only knows why the Irish do most things, but we are glad that they do! an

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MODERN SCREEN || : Why Bart : Marshall Gets You (Continued from page 55) quaint. Another of a man signed “Uncle Bogey.” One of a man—how well we know him!—signed “Eric Blore.’ An- other with the inscription “N. Carter Slaughter.” Others signed “Nigel Play- fair,” “Frances Wetherall,’ “Gerald Du Maurier” .. . ; And Bart said, suddenly, pointing to the little gallery of framed faces, “They are my past and they made my future. They can tell you my story. They are respon- sible for whatever I am today .. .” ; “My father,” said Bart, fumbling with his pipe in the rather embarrassed way all nice men have when they are embarrassed, “my father was responsible for my dread- ing the stage as a career. Because of his life in the theatre I am one actor who never wanted to be an actor—dquite terri- bly the reverse. My father was a grand actor—better than I can ever dream of being, as a matter of fact—but the world never found out how grand he was. He was, I think, lacking in ‘drive, in the ability to sell himself. I only know that he spent his life touring the provinces, that he never got the breaks and that, as a re- sult, there was never quite enough money and always too much worry. My mother always accompanied him on tour. And during vacations I, the only child, went with them. “And so, I saw the theatre, not as a glamorous world of lovely ladies, cham- pagne in slippers, violets, hansom cabs and late suppers—but as a drab work-a- day world, where discouraged men and tired women tried to make four shillings do the work of eight. I saw the theatre I'VE DISCOVERED [ae 4, AMERICA!" al “I’m an explorer! I’ve found out more about this great country of ours in three weeks than I could have in a lifetime poring | overt geography books. And what a comfortable way to explore...in a big Greyhound motor bus, among congenial fellow travelers, with one of America’s finest drivers at the wheel. The cost of my trip, going one way, returning another, was less than gas and oil for a small private auto! Here are a few of my delightful memories: as a place where actors daubed their faces with grease paint which concealed, only too thinly, their humiliations and heartaches. They were actors, those poor darlings, though the world never gave them a hand. No, I had no reason to love the theatre. “Everyone aboard the big bus smiled when that starry-eyedyoung couple got off at Niagara Falls. As if we didn’t know “As our bus was ferried across San Francisco’s Golden Gate, we could look up and see men, like microscopic spiders, spin- I saw the seams, never the spangles. And all the time where they were Heelan ning the cables of the world’s mightiest bridge. “What a thrill. ..when a tiny fawn burst from the woods, scampered across our road, and went splashing through a Minnesota stream. “I will never forget that wrinkled old Indian woman who sold me the clever little hand-woven basket, beside rainbow- colored Apache Trail. NEEL . i “Our Greyhound bus ul actually passed right over | the top of Virginia’s mar- velous Natural Bridge —an experience I will always remember!” “In the shade of a giant redwood grove, it took fifteen of us, stretch- ing our arms wide, to encircle one of those tremendous trees. Why don’t you plan to dis- cover this amazing America for yourself ? Greyhound offers the most interesting way, and by far the most economical. Start now, by mailing this coupon. PRINCIPAL GREYHOUND INFORMATION OFFICES Cleveland, Ohio . . E.9th& Superior Philadelphia, Pa. . . Broad St. Station Chicago, Illinois . . . 12th & Wabash New York City . . . . Nelson Tower Boston, Mass. . . . . 230 Boylston St. Washiingtonse Dis Caer cameesirei ieee . . « 1403 New York Ave., N. W. Detroit, Michigan .. . . TullerHotel Charleston, W.Va..........+- San Francisco, Cal., Pine & Battery Sts. Ft. Worth, Texas, 8th & Commerce Sts. St.Louis, Mo.,Broadway&DelmarBlvd. Memphis, Tenn. . 146 Union Avenue New Orleans, La., 400 N. Rampart St. Minneapolis, Minn. . 509 6th Ave., N. Lexington, Ky. . . . 801N. Limestone Richmond, Va. . . 412 East Broad St. Windsor, Ont. . . 1004 Security Bldg. . ... 1100 Kanawha Valley Bldg. Lon'don;sEnollandinsncieasasrcnucsameane Cincinnati, Ohio . . 630 Walnut St. A. B. Reynoldson, 49 Leadenhall St. P eanes MAIL THIS FOR FREE INFORMATION, PICTORIAL FOLDERS Send this coupon to nearest information office, listed above, for interesting pic- torial folders about Texas Centennial Exposition LJ, Great Lakes Exposition D, San Diego Exposition L). (Check which one.) If you have some other trip in mind, jot it down on the margin below, and we will send full information. |G Spanky MacFarland’s Scot- tie had an addition to her family recently and here they are with Spanky look- Name | | ing pretty proud! ise aes 99

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These Jaws are serrated or ‘'criss-crossed'' for positive grip and hairs come-out easily and quickly. On sale at all drug and 5 and 10 cent stores. NEWARK NAIL FILES e TWEEZERS e NAIL CLIPS e SCISSORS I a ST 100 MODERN SCREEN Evalyn Knapp and Earl Black- well are enthu- silastic fisher- men on a be- tween-picture holiday. Evalyn has just com- pleted “Laugh- ing Irish Eyes” and Earl has recently re- turned from pic- ture-making in the East. so I never postured before a mirror, at the age of six, aflame with the ambition to play Hamlet. I spent most of my time trying to forget thdse tired faces which the footlights served only to illumine, mockingly.” And as Bart talked, in his eyes the re- membrance of those things past, I under- stood the kindliness and tolerance men- tioned by Bob Montgomery. Of course, he would be kindly and tolerant, remem- bering so much frustration and pain. I understood now what the prop men meant when they said, “He seems to care. . .” Of course, he would care, remembering those hard-working, frightened troupers of his childhood. I understood what Bill Seiter had meant—for, of course, he would work until he dropped dead, un- complainingly—he had seen too much of failure and defeat to dare to take work casually. His is an heritage of remem- bering the problems, pains and perplexities of simple, unsuccessful people. HILE at school, Bart lived with his mother’s sisters, three spinster ladies called, respectively, Aunt Daisy, Aunt Nellie and Aunt Dolly. “It was Aunt Nellie who really brought me up,” said Bart, “during the travels of my par- ents.” They were three frail little mid- Victorian ladies, who lived surrounded by canaries, Nottingham lace curtains and the pressed-flower fragrance of Mr. Ten- nyson. Aunt Nellie used to make poetry, Bart remembered, out of everything she read—advertisements in magazines, slo- gans on soap wrappers—she would read them aloud as though she were reading verse. They lived in a world where Vic- toria was still queen and Lord Tennyson still the poet laureate. And the boy Bart lived with them, drinking in that gentle atmosphere with his tea and crumpets. They were gentle, good and unworldly. They loved Bart and worried over “the good of his soul.” The three little aunts, I believe, explain the “beautiful courtesy.” They, undoubt- edly, conditioned the gentle compassionate manner which is the grown man’s greatest charm for women. “When I was about sixteen,” Bart was saying, as I poured tea for him (“sugar- and-a-dash-of-milk-please” was the or- der), “I had to leave school entirely— not enough money to go on. I took a job in an accountant’s office, not because I wanted to be an accountant, but just because I had to have a job. I was un- fortunate in that I didn’t know what I wanted to be, or to do. My ambitions were not ignited. And I was the office boy, nothing more. Eventually I was fired so I lived again with the little aunts. I was at loose ends, unhappy. Finally came a letter, offering me an as- sistant managership of a musical comedy company going out on tour. The three aunties, bless them, didn’t think it quite nice for me to be going on tour with ‘all those young ladies in the chorus, Bart dear’—but I went. “T took the job for the sake of the few shillings in it. I kept on taking similar jobs for the same uninspired reason. Not yet had Thespis tinged me with his fer- vor,’ smiled Bart (he seldom laughs aloud), “not until I met Eric. Yes, Eric Blore. We were playing, when we met, with Robert Courtneidge’s company of ‘The Arcadians.’ I was playing the im- posing role of a footman, I believe. Odd that I should have been a footman at just that time—and Eric, so much later, so superior a butler! At any rate, we met. And there began the friendship which has never faltered for a moment from then to now! “And it was Eric Blore who was the turning point in my adult life. It was Eric who opened doors for me, the exis- tence of which I had never suspected. It wasn’t that he did anything concrete for me. Quite simply, by the fact of his being just Eric, he spoke a language I had not been hearing in the nice, lazy un- important surroundings of a road-show musical. He was unique in those sur- roundings, and his wit was brilliant. Even those many years ago, he had started to coin phrases that are to me, and to many of his countrymen, near-classics. In short, his already established brilliance (which I had the good fortune to recog- nize) removed me mentally from the genial, hearty but frightfully limiting lan- guage and outlook I was acquiring from the other lads, of more ordinary theatre patterns. He gave me what I can best describe as a ‘flavor’ to life. And I, who had never had any real ambitions, any soaring hopes for myself, began to reach out, to grope, to stir, as it were, in my sleep. I have Eric to thank for this.”

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| Soft Young Shain FoR vou And so, by one of those strange para- doxes, which makes life so fascinating a serial story, we have the magnificently meek Mr. Blore to thank for the sauvity, the subtlety, the ‘flavor’ which is Bart Marshall today. ART was on his way, then. He began to do some good things. He played better and bigger parts. He began to feel himself not just one of the boys around the place, but an actor with a shapening goal. He did considerable touring. He filled in between tours with some short- run plays for N. Carter Slaughter. And then came the war. When Bart came back from the war there was that something in his eyes which has never faded out of them—the living memory of pain. For Bart spent ten months in a base hospital, one of thousands of young men with grievous war wounds, who stared at blank hospital walls and saw no writing on those walls for them! He had eleven more months to spend in a wheel chair before he learned to walk again. It was all over, he thought, before it had really begun. The aromatic flower of living, which Eric Blore’s personality had planted, was now a trench flower mired in mud and stained with his own spent. blood. Then entered Uncle Bogey, his mother’s brother, whose real name was L. Godfrey Turner. “Tf it were not for Uncle Bogey.” Bart told me, “you would not be sitting here now, trying to write a story about me. No one would have heard again of Her- bert Marshall. Uncle Bogey was a jour- nalist, a writer. He was, also, an epicure and something of a dandy. He was sar- torially perfect and he seldom had a sou to his name! He had a lavish joy in life, MODERN SCREEN an embattled mind, keen wit, sensitive ap- preciations and a gallant soul. Many of the things I care about, today, I derive from Uncle Bogey. I love big cities, for instance, as he did. I have no desire to go back to the land. I like sophisticated men and women. I like intelligent talk about good books, plays, the enterprises of others. His rich outlook on life gave me these things. I am really happiest when I am with ‘mine own people’—the people of stage and screen. I adore shop- talk. I’m not domestic. I do dislike cop- ing with material problems. The adven- tures of the mind are so much more sat- isfying—so Uncle Bogey said. I have no interest in politics. I should like enor- mously to write.. “These things and many others I ‘got’ from Uncle Bogey. And something even more vitally important. Uncle Bogey had lost his first-born son in the war. And when I went to stay with him at his villa some twenty-five miles out of London, there within sound of the firing and living under nightly danger of air raids, I came to know him as man to man—both men desolated. He proved to me that a man may face utter desolation without whim- pering. By his fine courage and by his gorgeous humor, which not even grief could crucify, he showed me how a man may know irreparable loss and still in- herit the earth. When I learned to walk again, I returned to London, healed in spirit if not in body, and all because of Uncle Bogey.” ANY so it is to Uncle Bogey that we turn for the explanation of that val- jant spirit which has made Herbert Mar- shall succeed in the very teeth of his ir- reparable disaster. It is Uncle Bogey who gave him back his hope, his confi- OUT ALL DAY CAN'T GO DANCING WITH THIS ROUGH SKIN! OU really have the softest skin imag- inable. If you’d only bring it out! Its true softness is hidden by dull, dead cells— which you yourself can melt away. Day after day, your skin is drying out. Little cells are forever shriveling into dry, flaky bits—mean “powder catchers”! But you can smooth your skin instantly—with a keratolytic cream (Vanishing Cream)! A distinguished dermatologist says: “When a keratolytic cream (Vanishing Cream) touches the skin, an instant soften- ing takes place. Dried-out surface cells melt = Right on top, tw you see the 3 dead surface They hide the young un- derlying cells ...In time, flake loose and ‘‘catch”’ powder. When you Melt away dead ve fle 1 SECOND © UATER OVERNIGHT TOO-FOR EXTRA ; SOFTNESS 7 GRAND! PONDS | | VANISHING CREAM FIXES THAT away. Young underlying cells come into view. The skin quickly acquires smooth- ness and fine texture.” Try Pond’s Vanishing Cream with the coupon below. See how it puts an end to roughness, an end to powder trouble. Starts you toward a young, fine-textured skin! Apply it twice a day... For a smooth make-up— Always before you put on make-up, film your skin with Pond’s Vanishing Cream. More than a pow- der base, it melts away flaky bits . . . leaves your skin smooth. Make-up goes on evenly with a “beauty-salon”’ finish! Overnight for lasting softness — Every night after your regular cleansing, spread Pond’s Vanishing Cream on your face, hands, elbows. It isn’t greasy, won’t show. ' couragous ghost, but disembodied. dence which were literally shot away from under him. It was Uncle Bogey who taught him how to take his first step over the debris—the first lap of the trium- phant journey—to Hollywood. “T want to hand a very special orchid now,” Bart said gravely, “to N. Carter Slaughter, who gave me back my job in life with one casual, magnificent gesture. Magnificent just because it was so casual. He took up the work Uncle Bogey had begun and made me whole again. “T returned to London. I was no longer defeated in spirit but certainly, I thought, I am defeated in my profession. I could no longer see myself as any kind of Ro- meo, famous and footlighted. One night I was in a pub in London. It was one of those thickly foggy nights when men look like ghosts of their former selves. I felt like a ghost of my former self, a very I was trying to face the grisly fact that I had been an actor and that, just as I’d begun to love the thing, it was denied me. “Slaughter came into the pub that night. He strolled over to me, shook hands, said casually, ‘Can you go out for me in such and such a company next week?’ That was all. And it was the beautiful casual- ness of the offer, the assumption that there was no reason why I shouldn’t go out, no reason why I shouldn’t pick up where I had left off that—well, that resurrected me from the trenches, that healed my war wounds. God bless him for that. I want to give him very special honorable mention, for no story concern- ing me or my life could be authentic with- out him.” I think it is N. Carter Slaughter who gives us the explanation of why Bart is the man’s man he is. For he has known Miss Wendy Morgan, daughter of Mr. and Mrs. William Fellowes Morgan, Jr., New York: “I smooth my skin with Pond’s Vanishing Cream. Make-up looks smart!” Just goes on invisibly . . . melting away every last roughness, softening your skin the whole night through! H POND’S, Dept. £136, Clinton Conn. 8-Piece Rush 8-piece package containing spe- Package cial tube of Pond’s Vanishing Cream, generous samples of 2 other Pond’s Creams and 5 different shades of Pond’s Face Powder. I enclose 10¢ for postage and packing. Name— Street City. = State. Copyright, 1986, Pond’s Extract Company 101

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Free Booklet, Monsieur L. P. Valligny, Dept. $9, 254 W. 31 St, N. Y.C. e@ Mercolized Wax Satie melts off faded! aie colored outer skin. Reveals the velvety- smooth, soft, beautiful underskin. Blemishes disappear. Mercolized Wax isa complete beauty treatment in a single cream. Contains everything your skin needs. Cleanses. Softens. Beautifies. Protects. Start using Mercolized Wax tonight. Win new skin loveliness. Mercolized Wax brings out the hidden beauty of any complexion. USE Saxolite Astringent—a refreshing stimulating skin tonic. Smooths out wrinkles and age lines. Refines coarse pores, eliminates oiliness. Dissolve Saxolite in one-half pint witch hazel. Use daily. TRY Phelactine—the ‘‘different’’ hair remover. Takes off superfluous hair quickly and gently. Simple to use. Odorless. Thoroughly reliable. At drug and department stores everywhere. 102 MODERN SCREEN friendship of such metal as would make friendship sacred to him. I think, too, that N. Carter Slaughter further explains the kindness which is so integral a part of Bart’s personality. He has not forgotten the sensitive, great kindness once shown to him. “And after that,” said Bart, as his man lit the lamps in the twilit room and re- moved our tea things, “I began to get places quite rapidly. Frances Wetherall, an actress and a friend of mine, introduced me to Nigel Playfair—later Sir Nigel Playfair, now dead—and that meant the Lyric Opera House in Hammersmith, London, and wider attention than I had yet known. Then came the better thea- tres and bigger parts. And finally Sir Gerald du Maurier came along with the play ‘Interference’ and the memorable oc- casion when Sir Gerald literally turned the play over to me, reversed the order of the thing, made my part bigger than his own, made it the part in the whole play. It Do Women was definitely he, who established me as an actor, with capital letters. Odd, too,” said Bart, smiling, “that I should have scored almost all of my stage successes in the roles of ‘cads with charm,’ where- as, in pictures, I have played, too con- sistently, the long suffering lover, the gal- lant martyr. I rather think I should like to play rogues again—‘on relief, that would be!” Bart rose and together we stood for a moment and looked at the little gallery of framed pictures. “JI really do owe what- ever I am,” he said, “to this little gallery of my friends. Their faces are fading a little, here in the powerful California sun- light, but their influence will never fade so long as I live. They are, really, the ‘why’ of me.. .” And as I drove away my curiosity was appeased. I wondered no longer. I felt that the man had stepped from behind the actor and that the complete explanation of Herbert Marshall had been made. Spoil Men? (Continued from page 53) they earn for non-essentials, or for any- thing. that does not cut into the man’s sphere of supporting his own family. And if they do have to use their money for essentials, they should do some super pre- tending—they should say that they want these silly, superfluous things which are not, of course, really necessary—dear me, no! “But I don’t call this sort of thing spoil- ing. I call it—loving. And there is such a fine art in loving,” said Virginia gravely, “it’s so easy to love too well. Not so easy to love wisely. “Tf a man can take care of his wife and wants to do it, I definitely believe that the woman should ‘spoil’ him by giving in to him. Most of us would make far better wives and. mothers than we make _ poli- ticians, would-be artists or actresses. The world wouldn’t really miss us if we just stepped out of the arena and stayed at home where we belong. “T definitely believe that the man of the house is the one who should be waited on and catered to. (Ah, there, husbands!) BELIEVE that a man should feel free, pleasantly and without nagging, to go off and play golf Sundays, to go to smokers and stag dinners, to clubs and on hunting trips, because,” continued Virginia, “and although I expect the Federation-of- Martyred-Wives to slay me for this, I do feel that a woman has a right to share his life but not to own it. “T believe that most men are fairer than women. They are more apt to give too much, rather than too little. And you have, in extreme cases, that most pitiable ex- hibit on earth—the hen-pecked husband! I really think,” said Virginia, with an amused twinkle in her wide blue eyes, “that I should like to open a home for hen-pecked husbands. I would like to run the home myself with the aid of a dozen pretty girls. And I’d give the poor fellows such a course of flattery and patting on the back as would turn a Mr. Milquetoast into a Mussolini over night! “But I don’t believe that women should spoil men by giving in to them in little personal matters. “For instance, men I have known have objected violently to my using nail-polish and make-up, and some have objected to certain gowns or hats. More than once, I’ve gone about without a trace of make- up, with my nails a ghostly white, in order to please a masculine edict. I shouldn't have done that. If women want to use make-up, have manicures, go window- shopping and do other little ‘silly’ things most women enjoy, they should not spoil men by giving them up for a masculine whim. They certainly do not detract from a man’s self-importance. On the contrary, men feel all the bigger and stronger be- cause they can mock at such goings-on. “Women should spoil men by deferring to them in arguments; by seeming; at any rate, to accept superior male judgment on such matters as politics and finance and things like that. “Tm glad that I spoiled my husband. I'm glad that I waited on him. If Id been older and wiser, I might have spoiled him more subtly and so, more successfully. But I’m glad that I tried, anyway. “And because I am the type, I guess, who just does run upstairs and take the lipstick off when I am told, I'll probably always spoil men.” Just then Spencer Tracy came over to our table in the commissary—for the sole purpose, apparently, of telling Virginia how beautiful she is. Clark Gable shouted something lusty and admiring across the room to her—and Bill Powell sauntered by to make her his suavest bow, saying something about “Beautiful lady ...” And then I departed before it became a case of SURZO And I thought, as I walked across the lot, how seldom it is that such beauty as Virginia’s is warmed by so honest and humble a heart; how very few girls of such exquisite, authentic beauty ever feel or even dream of “running errands” for men, or making sacrifices for them or of pampering them. . . . Do you want the lowdown on a perfect lady? Well, read about Irene Dunne in July Modern Screen — eee eee >

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MODERN SCREEN F you would appreciate having a skin soft and smooth as a rose-petal...immediately...and enjoy a beauty bath sensation...try the Linit Beauty Bath. Frances Farmer and Glenn Erickson became Mr. and Mrs. recently, but plans for a long honeymoon were thwarted when both were given picture assignments. Sylvia Sidney Plays Truth (Continued from page 57) only a clever designer but a grand per- son, makes the most wonderful clothes for me and I wear them as if they were old rags. I’m much more comfortable in things like this. *M sloppy around my house, too. But | i | I think there’s a reason for that. My an | mother is the neatest person alive. When AS A BREEZE | PRIN iM | I was a kid I had to have everything in| ° ° ° | order. When I took off my clothes at night they must be hung over the back of a chair, neatly folded. “T always said to myself, ‘Just wait until I’m on my own. Well, I’m on my Dissolve some Linit in your bath while the tub water is running, bathe as usual, step out and when you dry yourself pat your body ae dek peed co ieee { Bless ney with a towel...do not rub...then feel your skin...soft and satiny Ee eerie Gat ‘I a eee smooth as the rarest velvet. And the most astonishing thing about aoe aS oe aoe the Linit Beauty Bath is that the cost is trifling. Don’t deny as a child 1 aim have’ trends the yourself such gratifying after-bath comfort when the expense is so say. "So ‘owe T shut mel a in my insignificant. Try the Linit Beauty Bath and join the thousands ee Ree Vek ne Oe aeons and thousands of lovely women who daily enjoy its soothing ao Well ee Se ts py ae luxury. Linit is sold by your grocer. face, when you land, I’ll think the world is coming to an end.’ That usually brings a laugh. But when I see the palm trees S O and all the sunshine I begin to crawl be- hind the wall I’ve put up for myself. “Tve lived in the same apartment for three years and I'll bet that not twenty Don’t overlook the directions on the Linit package... eople have been inside it. I h fi aml lftnee Pere acoole I Shee tremondonely recommending Linit for starching. Linit makes even ordi- Wake Fit | people I adore to be with, but I want no nary cotton fabrics look and feel like linen. i casual acquaintances. I’d so much rather

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Three full trial sizes of the famous Rejuvia Lip- stick. .each in a new seductive color.. sent upon receipt of 10¢ in stamps to cover mailing cost. For beauty’s sake, ACT NOW! Fill out coupon ana mail TODAY R Ed UVIA REJUVIA BEAUTY LABS., DEPT B, 395 B'WAY, N.Y.C. Send me 8 trial size lipsticks; enclosed find 10c (Stamps or Coin) for mailing cost. NAME ADDRESS......... 104 SCREEN MODERN mia Bg Ea et te ita nat bey siglh The “13 Hours by Air’ set had a preview as well as a party. Here is Director Mitchell Leisen with three members of the cast, Joan Bennett, Grace Bradley and John Howard. be by myself. I’d so much rather get up early and ride horseback over these brown hills. I’m a nice person then, realty I am. It’s when I come in contact with all the intrigues and smallnesses of civ- ilization that I get hard and cold and un- happy. “Vou see, I refuse to take responsibility. [ had a big house once and I couldn't stand it. When I’d be reading or think- ing over a script, or just being alone with myself, there would be the gardener tell- ing me that a rose tree had died, or the cook would suddenly pop up saying that the roof was leaking and Id better call somebody about it. So I got rid of the house and have a small apartment now and somebody else worries about dying rose trees and leaking roofs!” Sylvia nestled cosily in the corner of the booth. “I know that the first time I ever saw the man who directed “The Trail of the Lonesome Pine,’ he hated me. I couldn’t work up any enthusiasm over the story and I showed it. Once I got into the picture I loved it. I enjoy working. I give a picture everything I have to give. “But here’s a curious thing. There are so many things people can say about me. I have so many real faults. Yet one of the things that has been said most per- sistently isn’t true. I’m not troublesome on the set. Only once have I ever walked out on a picture and that was when I was very ill and needed an operation on my throat so badly that, if I had not had it, I might have died. But I’ve the reputa- tion for walking out in the middle of pictures. On the contrary, I’ve worked when I was just out of bed with pneu- monia and I was almost too weak to hold my head up. Ive worked even when I had a sprained ankle. “Of course, I enjoyed that. It makes a martyr of me and there’s nothing so much fun as being a martyr. It makes your breakfast taste so good! “But, when I’m being terribly martyred, I re-read a letter I got from my father recently. I asked him how the family felt about my divorce. He -wrote back and said that my life was my own to live as I thought best, ‘but,’ he added, ‘what people never can understand is how a girl, who made $110,000 last year, can be unhappy.’ “That should make every Hollywood actress sit up and think. We all com- plain, grouse, mumble and believe our- - selves badly off emotionally and profes- sionally—and yet we make all that money.” HE stopped long enough to smile. Suddenly, she said, “I shouldn’t be married. I’m not willing enough to com- promise. I’ve too many faults. Marriage is always a compromise. Both parties have to concede certain things, don’t they? It seems to me that it’s always difficult when two definite personalities—two people who have lived their own lives, thought their own thoughts and worked out their own problems—get married. “But I think it’s better, when a mistake is made, to try to rectify it immediately and not let it drag on until everyone is made miserable. I’ve often been criticized for doing that but it’s the only way I can do. I believe that, if your emotions get in the way of your intelligence and cause you to do foolish things, the sooner you set those things as right as possible, the sooner you let intelligence guide you once more, the better off you are. But, invari- ably, in Hollywood, you are misunder- stood. “In fact, perhaps I shouldn’t even be in Hollywood—because there’s so much compromising to be done here, too. “The man I admire more than anyone in the world is my Cousin Albert. He lives his life with complete integrity. When he first came over from Russia, my father sponsored him and wanted to give him training to become a dentist. Albert walked out. He disappeared completely for six months. Everyone said he was terribly ungrateful. And then he suddenly reappeared. He had taken a job as a barker at Luna Park to get enough money to study what he wanted to study. He knew he would not stick to dentistry. Now he works in the Rockefeller Found- ation and is completely happy. He is married to a lovely girl. They have very little money but their lives are ideal, for he is doing real work and living simply. “Our lives are too cluttered with non- essentials. In spite of the money, we pic- ture people haven’t a chance for real hap- piness. We are living in too false a world.” And there is Sylvia Sidney—revealed and explained by herself. Do you see now why her marriage was doomed?

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Sylvia gives herself- no quarter. She has complete honesty. It is impossible, as she has told you, for her to lie to other people. It’s just as impossible for her to lie to herself, and that’s the rarest and truest form of integrity. Her intel- ligence is as keen and bright as a Toledo blade. She makes emotional mistakes but that’s because her emotions are al- ways at war with her intelligence. And that’s apparently what happened when she married Bennett Cerf and was separated irom him almost before you could take a deep breath, The emotional pattern of her existence intruded, but she was honest and courageous enough, in a town so eager for gossip as Hollywood, to correct the mistake as soon as possible. She often has stated that she has nothing but the greatest respect and highest regard for Cerf. An equation in her background complicated the problem. Sometimes her emotions are not to be trusted. Her intelligence never fails her. I said some of these things to her that day at luncheon. She laughed. “Listen, you're not supposed to be telling me about myself, I’m supposed to be telling you. But, anyhow, I feel better. This talk is like going to a psychoanalyst! Honest confession is good for the soul.” She gathered up her riding crop and gloves and, with her head held high, she threaded her way between the Vendome tables. She says she can’t turn the charm on and off. As a matter of fact, she can’t turn it off, because the charm of honesty and intelligence is something she has to a degree seldom found in Hol- lywood. For difficult as the feat is, Syl- via Sidney looks herself squarely in the face! And it’s a very swell face. That Beauty Called Smooth (Continued from page 21) for the lip rouge. Smooth on the lipstick, blot with tissue and look at the grand re- sults in the mirror. The lipstick sets per- fectly and lasts much longer. If you want your make-up to stay smooth and remain fresh looking over a long period in hot weather, don’t forget to use either z foundation cream or lotion. And if you like that fresh, outdoorish look that is so charmingly apparent in the picture of Pau- lette Goddard this month, try this trick. Dampen a piece of cotton with skin tonic and pat it lightly over your face after you have applied your make-up. It gives the skin that faintly dewy young look that is fascinating. And before I wander off on other items, I want to suggest a boon to all of you who find that warmer weather increases per- spiration. Liquid powders which have a slightly astringent effect are marvelous for leaving your skin with a smooth, dry and attractive finish. Hair has a lot to do with this business of “smooth” good looks. And a_ skillful permanent is one certain way of insuring a trim, well-waved and curled top piece. But before you sally forth for your per- manent, give your hair a break by toning it up in advance. Map out a regular rou- fine for each day. Like this—use a good hair tonic and brush or massage your hair carefully. Plan to have a few hot oil shampoos or give them to yourself, using either one of the prepared oils on the mar- ket or just a good brand of olive oil. Al- ways heat the oil before using. Any tem- perature that is comfortable for both your MODERN SCREEN DO BRUNETTES LOOK OLDER THAN BLONDES: THE ANSWER IS THAT 7 OUT OF 10 BRUNETTES USE THE WRONG SHADE OF FACE POWDER! 8 Le SU If there’s one thing women fool themselves about, it’s face powder shades. Many women select face powder tints on the wrong basis altogether. They try to get a face powder that simply matches their type instead of one that enhances or flatters it. Any actress will tell you that certain stage lights can make you look older or younger. The same holds true for face powder shades. One shade can make you look ten to twenty years older while another can make you look years younger. It’s a common saying that brunettes look older than blondes. There is no truth in it. The reason for the statement is that many brunettes make a mistake in the shade of the face powder they use. They simply choose a brunette face powder shade or one that merely matches their type instead of one that goes with the tone of their skin. A girl may be a brunette and still have an olive or white skin. One of Five Shades is the Right Shade! Colorists will tell you that the idea of numberless shades of face powder is all wrong. They will tell you that only five shades are neces- sary and that one of these shades will flatter your tone of skin. I have proved this principle. I know that five shades will suffice. Therefore, I make Lady Esther Face Powder in only five shades. One of these five shades, I know, will prove Name just the right shade for you. It will prove your most becoming and flattering. Address. I want you to find out if you are using the City. State. 0 000000000000000000080000000000000000000000 (You can paste this ona penny postcard.) (23) Lady Esther, 2010 Ridge Ave., Evanston, Ill. Please send me by return mail a liberal supply of all five shades of Lady Esther Face Powder; also a 7-days’ supply of your Lady Esther Four-Purpose Face Cream. right shade of face powder for your skin. I want you to find out if the shade you are using is making you look older or younger. One Way to Tell! There is only one way to find out and this is to try all five shades of Lady Esther Face Powder — and that is what I want you to do at my expense. One of these shades, you will find, will instantly prove the right shade for you. One will immedi- ately make you look years younger. You won’t have to be told that. Your mirror will cry it aloud to you. Write today for all the five shades of Lady Esther Face Powder that I offer free of charge and obliga- tion. Make the shade test before your mirror. Notice how instantly the right shade tells itself. Mark, too, how soft and smooth my face powder is; also, how long it clings. Mail Coupon One test will reveal that Lady Esther Face Powder is a unique face powder, unparalleled by anything in face powders you have ever known. Mail the coupon or a letter today for the free sup- ply of all five shades that I offer: I willalso send you a 7-days’ supply of my Four-Purpose Face Cream. (Uf you live in Canada, write Lady Esther, Ltd., Toronto, Ont.) SSOSHSHSHHSHSHHHHGHAHSHOHEHHHHHHHHHHHHTHHHHHHHHOHGHSEAHEAKS 105

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SAYS SCIENCE: Yow’Li be just 25 per cent more efficient in the afternoons if you eat a light cereal lunch. And, in addition, you'll feel a lot better. And so we suggest for the busi- ness girl, a big bowl of Kellogg’s Corn Flakes in milk or cream. You'll be surprised how appetiz- ing and satisfying these golden flakes taste. Served everywhere. Made by Kellogg in Battle Creek. Nothing takes the place of Kelloggs CORN FLAKES NEW => KEEP WIRES SY OFF FLOOR (LAMPS AND: RADIO) A neat job instantly. No dam- age to woodwork. N needed. Set of eight colored pt bes 5 See clips to match vour cords. 10c. PUSH-CLIPEGESos GUAPANTEEO As Advertised in GOOD HOUSEKEEPING G ae Keep My Windows Spic and Span mith 15° CLOPAY ‘Suaves LEVER ME! I’ve found that 15c CLOPAYS look every bit as rich and lovely as costly shades. And they’re so inexpensive I simply rip them off the rollers when they’re soiled and attach fresh new ones in a jiffy with that patented gummed strip.” Try it your- self! Millions now use 15c CLOPAYS! They wear amazingly—won’t crack, fray or pinhole. Variety of smart patterns and rich, plain colors. Also see the new 15c *CLOPAY LINTONE that “looks like costly linen.’ See them in leading 5 & 10 and neighborhood stores. Write for FREE COLOR SAMPLES to CLOPAY CORP., 1598 York St., Cincinnati, Ohio. 106 MODERN SCREEN fingers and your scalp is right. The warmth of the oil aids its penetrating the scalp. Using a piece of absorbent cotton dipped in the oil, apply it all over the scalp, part- ing the hair about every two inches to make sure it doesn’t miss a spot. FTER the oil has been applied, wrap your head up in a towel which has been wrung out in as hot water as you can bear. Do this five or six times. Then, in the shampoo and the final rinse water, use the strained juice of two lemons. Three or four of these treatments will leave your hair in wonderful condition for the permanent. For the actual wave and curl, there’s a new machine that is the last word in mod- ern design. It has red and green lights like a stop and go traffic system plus a tinkling bell. It’s all done up in a stream- lined cabinet that looks like a radio when closed, and a huge adding machine when open. It works on the same principle as your electric refrigerator and believe it or not, it waves the hair in a minute and a half. - Here’s how this tricky waving affair works. First the operator gives you two test curls. This determines how long the pre-heated clamps should remain on the head for the most satisfactory results. She sets the indicator on the dial to the exact time which the better of the two curls prove your hair should have. The second this time is up, a bell rings and the little clamp which supplied the heat, is lifted from your pate. Each clamp thus perma- nently waves a strand of hair in practically no time and with so little discomfort you'll hardly believe it’s possible. Best of all, you are free to get up and move around as you please during the process. Another nice thing about this method is that every protector and pad used, is made so that it can be used only once. In other words, you get a truly individual permanent wave which, I am told, eliminates all possibilities of burns and it also waves the hair closer to the scalp than has been possible hereto- fore. Before leaving the interesting subject of hair, how about a word or two on new coiffure twists? It certainly doesn’t mat- ter this spring whether your hair is long, short or medium for there is an infinite variety to the way, you can arrange your hair to bring out your best points. Often the mere changing of the part in your hair gives your face a new individuality. There are so many smart variations around the center part theme that if you do look well with your hair cleft down the middle, try it. And the simple dodge of parting your hair on the opposite side from the way you've been wearing it is another sug- gestion. Whatever way you do change your hair comb, be sure to go to an ex- pert when you have your hair thinned— nothing spoils the contour of a head more than a botch job of hair thinning. : If you wear curls, wear them discreetly. And a soft swirl to one side at back is very flattering. You can have a swirl even with long hair; just turn the ends under on the side toward which the swirl goes. The whole effect of your head this spring should be sleek but soft—and your waves should look natural, never rigid and set. And for a final “smooth” dash, try spray- ing perfumed brilliantine lightly over your completed coiffure—it adds such a lovely glossy sheen. A well-known nail polish manufacturer has your new costume colors in mind when suggesting a triumvirate of polishes to complement all your spring togs. They are rust, ruby and rose. The rose is sug- gested as a complement to pastels, the ruby for black or white and the rust for any of the costume colors on the yellow cast such as the new browns, yellow, tangerine etc. Like your hair, your hands will benefit by a hot oil treatment. Smooth the oil in thoroughly and leave it in for fifteen min- utes. And don’t forget to use a manicure cream, every night, if possible. I found one that’s elegant—it keeps the cuticle soft and smooth while it prevents your nails from becoming brittle. The same house which puts out this excellent cream, also has a cream for removing nail polish to- gether with two good liquid polish re- movers. The latter two are made for dif- rent types of nails, one with an oily base for you who have dry, brittle nails and one without oil for normal nails. They may not look very decorative, but a cheap pair of cotton gloves pulled on over your freshly creamed hands at night, will, when pulled off in the morning, re- veal those lily white hands you yearn for. Any good lubricating cream, massaged in- to the hands, will do the trick. There you are, my pets, with enough beauty cues to carry you through the spring and summer. And if you aren’t termed “smooth” after such careful groom- ing and broad hints as to new ways to go about it, it isn’t my fault. Before I leave you, however, I want to ask you if you have been worried over what to give as graduation gifts? Brides and graduates have a way of turning up this time of year and what to give them is a problem. Turn to the cosmetic counter for ideas, there isn’t a girl who doesn’t adore perfume, toilet water, bath salts and bath powder as a gift. And there are those grand kits that are not only the last word in smart design, but the ulti- mate in the all ‘round usefulness of their beauty contents. Then there are lipsticks, combination vanities and eye shadows for the more sophisticated of the sweet girl graduates. And don't forget to turn back to page 20 for the free offer ‘Reminders from My Note- book.” TUNE IN ON SAM TAYLOR Yes, girls, the handsome young man on the left is Modern Screen’s Hollywood reporter. His tri-weekly radio chats on Hollywood players and pic- tures are always bright, amus- ing, and up-to-the-minute. Sam Taylor is heard every Tuesday, Thursday and Saturday at 7:15 p.m., over Station WOR.

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MODERN SCREEN Won by an Accent be an actress. The screeching was Lady Macbeth! Want to hear more of Iheiyfcmece “Hush,” said Mrs. Kies. “No more of that now please. If you’re going to be an actress, I suppose that’s what you’re going to be . . . but please, darling, try to be a little quieter about it!” On that day when Margaret announced that she was learning to be an actress, it was not just an idle dream that had occurred to her. Oh, no, indeed. Mar- garet had made a discovery. Deep inside of her a voice had said, “Margaret, you are going to be an actress’—and Margaret believed it. She didn’t even stop to ask herself when or why or where or how. She just believed it. “And that belief was the most im- portant thing that ever happened to me,” she told me recently. “Without it I’d have been doomed to Dubuque all my life. Without it I’d have bloomed only as a wall flower, and a perennial one at that! Oh, I know so, because except for that one buoyant bit of knowledge, I had very little confidence in myself. I was terribly shy and sensitive. Why, I remember how I used to dread walking past a gang of boys on the corner ... how Id walk blocks to avoid them if I could... just because I was sure they were talk- ing about me. I know now, of course, that they probably never even saw me. But in those days, I only knew that my knees sagged, my face was hot and my feet dragged along the sidewalk! It was horrible. There was only that one (Continued from page 51) soothing salve, that oft-repeated promise that I made to myself; ‘Never mind, Margaret. Wait till you’re a movie star. You'll show them then!’ “After a while, as I grew older, it be- came so fixed in my mind that I forgot about feeling inferior. Not completely, but a little. At a dance, for example, I learned not to worry about whether my partner liked me or not. Instead, I tried to con- centrate on what a thrill this would be Margaret Lindsay in her latest opus, “Law in Her with Glenda Farrell. Warner Hands,” for him someday! Someday he’d see me on the screen and tell his friends, ‘Oh yes, Margaret’s an old friend of mine. Why, I remember one evening when we were dancines ss ne ARGARET threw back her head and laughed at the recollection. “Tsn’t that just about the goofiest thing you've ever heard? A poor, silly, self- conscious seventeen-year-old girl selling herself an idea—to make herself feel im- portant. But wait! You haven’t heard the half of it! The funny thing is that that attitude suddenly began producing unlooked-for results! Believe it or not, it began producing dates! I don’t know why unless that precious knowledge that I would be a movie actress someday made me sort of radiant—I guess—and well, sort of attractive! “Anyway, and seriously, while I’m not advising cockiness as a cure for unpop- ularity, I do say, and believe, that to be popular a girl has to feel that she’s going some place, and that big things are about to happen! You know why I believe that? Because I think that anticipation is the greatest thing in the world! Especially as a beauty aid! We're more beautiful when were young, because we expect NOTE So 5 “But to go back—who got me off on this charm lecture anyway?—my self- consciousness and my feeling of inferior- ity were far from cured by a couple of beaux at seventeen. They were still with me (the inferiority feelings I mean), some In the month of ASSO NE “Gand LOWANEE This Lovely Clinging Face Powder Will Help You Play Your Part SS ee F YOU want your skin to I have the petal-smoothness that will tempt his touch... try the flattering face powder that Woodbury skin scien- tists prepare! See how allur- ing it will make you look! For Woodbury’s has three very special virtues. It clings until you wash it off. Its uniformly fine texture and even tone, due to a new, improved process of blend- ing, make this lovely pow- Name. der invisible against your skin. And Woodbury’s does not clog the pores...because it lies smoothly on the outer surface of the skin. Never sinks down into the pores to stretch or coarsen them. + The six shades harmonize with the true skin tones. One suits your coloring so exactly that it will make you look perfectly natural, yet love- lier than ever before! $1.00, 506725c; 10c: FREE! six SKIN-BLOOM SHADES (Enough for a Week’s Trial) John H. Woodbury, Inc., 9166 Alfred Street, Cincinnati, Ohio. (In Canada) John H. Wood- bury, Ltd., Perth, Ontario. (Paste on penny postcard, or mail in envelope NOW Address eS ae ‘ Facial Powder © 1936, John H. Woodbury, Inc. AVOID IMITATIONS. Look for the head and signature, John H. Woodbury, Inc., on all Woodbury products, 107

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== rr The genuine Drip-O-lator makes coffee with the exacting precision that a baker produces fine pastry. That's why every cup is exactly right every time. You will enjoy not only uniformly. good coffee but the smart beauty of the modern new model shown above. Be sure to look for the name. Drip-O-lator stamped in the base. THE ENTERPRISE ALUMINUM CO. MASSILLON OHIO THE GENUINE DRIP-O-LATOR 1S SOLD BY ALL LEADING CHAIN, DEPARTMENT & RETAIL STORES REMOVES HAIR PERFUMED ' fi ; \ / BYE iy 4, | CREAM or POWDER Simply apply — wash off, Giant Size Tube or Powder 50¢: Smatter O¢ never costs more than. . : Tube : ALL DRUG — DEPT. STORES — TEN CENT STORES LEARN T0| ouicis, IRON HOT STARCH beautifully, a speedily, | IN 30 SECONDS | happily! Sey ;| . CH, vA q ta = A % Makes Prk Easy > Don’'tLet Yourlron Get You Down Here’s starch, in powder form, plus gliding in- gredients combined to make hot starching easy. And to make irons fairly glide. A wonderful invention we wish you would try. Write us, The Hubinger Co., number 277, Keokuk, Ia. for our little proof packet—ask for ‘‘ That Wonderful Way To Hot Starch’’. We believe it will reveal for you an easy way to avoid need- less exhaustioa in ironing. Send for it today. 108 MODERN SCREEN time later when I went to New York to live and to go on the stage. The first year I merely studied. Annie Jean Bou- ton, a friend of mine from school, shared an apartment with me, and we went to Sargent together. Sargent’s one of the best dramatic schools in New York—you have to be ‘invited’ to go back the sec- ond year! Well, Annie Jean and I were both invited, but I was restless and didn’t want to go. I felt it was high time I fulfilled my destiny and became an actress. But it seemed I was the only one who thought so! I couldn’t find a single cast- ing director to agree with me! Some of them didn’t even want to talk to me about it! “T was getting pretty discouraged when I ran into a friend-of-the-family’s who owned a _ stock company in England. (Maybe you’ve heard part of this story— but not the details.) He advised me to go to England, pick up an accent, and then return as, ‘that accomplished young Ene- lish actress, Miss Margaret Lindsay—for example. He said I couldn't blame a producer for not wanting plain Margaret Kies of Iowa. But Margaret Lindsay, of London, well, that was different! “T thought it was a swell idea, except for one thing. Could I do it? Could I get away with it? Did I have the nerve? Suppose somebody found me out and laughed at me? That, more than anything, was the thing I was afraid of. I decided to sit down and write my mother all about it. “T’ll never forget that letter. It was fifty pages long. I spent half the night writing it. I explained everything in the minutest detail. But I might just as well have saved myself the trouble. Mother never read it. She got as far as the first line: ‘What do you think, darling, about my going to England?’ And three hours later she was on the train headed for New York. ELL, we conferred for days. And by this time I had made up my mind that I was going. But at first Mother couldn’t see it at all. Oh, she didn’t mind my going on the stage—she’d always expected it, I guess. And she didn’t mind my contemplated impersona- tion either. What she did mind very much was my traveling to England all by my- self! “You see, until then, I’d always led a pretty sheltered life. Id always had a chaperone, someone to protect me from life or whatever it was I was supposed to be protected from. But if I went to Eng- land alone, well, you can see Mother’s point. The problem was in making her see mine! “Mine was simply this. I was going to England to acquire an English accent, and I knew I’d never be able to do it if I had to have somebody with me to listen to and to laugh at me all the time! I'd be too self-conscious, feel too silly. Id either have to go alone, or not go at all. “Well, eventually I went alone—and, thank heavens! Otherwise, I never would have succeeded in turning myself into a Britisher. Even a best friend would have cramped my style. You see, I had to keep constantly on the move, from one town to another, from one group of strangers to another—so people wouldn’t wonder at my ever-broadening ‘a.’ You don’t pick up an accent all at once, you know! You do it by degrees. And each time I ac- quired a new degree I had to find some- body new to try it on—or else be found out, and laughed at! “Tt was complicated in other ways, too. For example, what was I to say when people asked me what town I came from? And had I known so-and-so there? And what street had I lived on? You see, I had to prepare myself for that. As soon as I arrived in England, I settled on Harrigate as my home stamping grounds —chiefly because it was quite a distance from London. I ran up there and stayed several weeks, memorizing it .. . its streets, its shops, the names of its best citizens and the names of all their chil- dren. Then later, I carried all this in- formation in a little notebook for refer- ence. And, as most girls give themselves a last inventory in the mirror before going out, so I used to take a last look at my ‘I am Margaret Lindsay—don'’t for- get it!’ book. ATER—two years later—I wished very much that I could forget it. At that time I found myself in Hollywood, under contract to Universal, as my friend had prophesied, as ‘that accomplished young English actress, Miss Margaret Lindsay’—and JI was hating it. It was perfect torture. Much worse than pass- ing those hometown boys on the cor- ner when I was ten. Now, every time I passed a group of people, I was certain I'd be recognized as plain Peg Kies of Dubuque, Iowa—and then all of Holly- wood would be calling me the faker I was. In fact, it almost happened twice. Once at the polo matches, when Doris War- ner (yes, of the Warner Brothers), whom I’d known well at National Park Seminary, spied me and chased me for three minutes through the crowd, calling ‘Peg! Oh Peg Kies!’—and again, at the Cocoanut Grove. That second incident at the Cocoanut Grove will always stand out in my mind, for, having lived through it, I knew that at last I had my quiver- ing inner self pretty much under control. I had to do the most difficult thing I have ever done. I had to look an old friend right in the eyes, and pretend I didn’t know her! “Tl never forget it. I was with Bill Powell that night. And no sooner had we stepped inside the door than I saw her—another old friend from school. She saw me at the same instant. She smiled and called my name—but I looked right through her and moved on. Then, as soon as we reached our table I took out a long cigarette holder and began smok- ing, and I pulled the little veil on my hat down over my eyes—hoping to throw her off the scent. Peg Kies didn’t smoke— at least not with a holder like that—and Peg Kies wouldn't be seen dead done up in a veil! “But she was still suspicious, because pretty soon she came over and stood right by our table, and stared right at me— silently accusing me and calling me names. What did I do? There was only one thing I could do! TI looked at her. Then I looked behind me—as though to see who in the devil she was looking at! Then I looked back at her. Then I looked at Bill and I shrugged, whisper- ing, loud enough so she could hear me: ‘The girl must be crazy!’ At that she smiled and relaxed her vigil. ‘Tm sorry, she apologized. “You aren’t she, but ” I could have sworn... ” Margaret sighed in relief at the re- membrance. “Tt wasn’t until almost a year later that I was able to relax my vigil,’ she went on. “But finally I was able to break down and confess everything. That was just before I signed my present contract, and just after I finished playing the part of the doomed young wife, in ‘Cavalcade.’ Fortunately—oh so fortunately !—Holly- wood figured it was fun to be fooled and forgave me. My career carried on! “But the most important thing was what that impersonation did for me, per- S signi | reall

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' sonally. : | taught me poise. It was an experience I It was a terrific strain, but it wouldn’t trade for anything!” Of course she wouldn’t, because poise -pays—and how! Today Maggie Lindsay is just about the most popular girl in Hollywood. And the rumor persists that she is secretly married to Pat de Cicco. A rumor Margaret refuses to verify. But, she spoofed Hollywood once before... so? A Lady in Love (Continued from page 42) decree was granted. I was horrified. ‘It should be twenty years, I declared. ‘It’s terrible, remarrying after a thing like that happens to you. I never shall.’ And I really meant it, too.” Of course, that vow was the bitter re- action of a disillusioned girl. But even people who had not taken those words of Helen’s seriously were surprised by her recent marriage. For, if she remarried, ‘they expected Helen to choose a man with money. Fred Perry is certainly not a man of wealth. His only income is what he earns. And his only earnings are gleaned from playing amateur tennis. ER father was a wealthy man. Her first husband was a millionaire. All her life she had moved in elite circles, surrounded by luxury. Her coterie of friends in New York are wealthy social- ites. In Hollywood, naturally, she found ther friends among a similar class. All the time Fred Perry was in Hollywood, he and Helen never met. Their paths never crossed. “Tf we both hadn’t happened to sail on the Berengaria for England, probably we never would have met,’ Helen ad- mits. “Call it chance if you want. I say it was a miracle!” I saw Helen Vinson and Fred Perry the first time their eyes met. Helen had invited all the newspapermen who had interviewed her down to the Berengaria for a little champagne party before the boat sailed. Her stateroom was jammed. Photographers crowded the doorways, and curious on-lookers pushed in from the corridor. Helen had just spent a tedious hour on the windy deck, patiently posing for pictures. Then she had battled through a barrage of autograph hounds and eager spectators to reach her stateroom. Her hat was askew, her hair mussed by the wind. She was tired and a little frantic. A tall young man sauntered down the corridor toward the stateroom. What was all the excitement about? A movie actress. Oh, well, he had seen lots of movie ac- tresses. He glanced into the room. And through the milling mob, his eyes looked into Helen Vinson’s. Forty minutes later the cry, “All ashore who’s goin’ ashore,’ had cleared the ship of the mob; the big boat was moving quietly out into the harbor. And Helen Vinson and Fred Perry were be- ginning to get acquainted. It wasn’t the kind of first-meeting Helen Vinson would have planned with her future husband. I have heard her say, “Ti you want to be attractive to a man, don’t ever see him unless you are looking your best. See him only under circum- stances in which you can be agreeable and pleasant. For every. man loves a smiling woman. A woman with laughter is as welcome as the sunshine and a man will always turn to look at her again.” MODERN SCREEN BECAUSE KOTEX CAN’T CHAFE... CAN'T FAIL... Kotex has a special “Equalizer” center whose channels guide mois- ture evenly the whole length of the pad. Gives “body” but not bulk— prevents twisting and roping. The filler of Kotex is actually 5 TIMES more absorbent than cotton. The rounded ends of Kotex are flattened and tapered to provide absolute invisibility. Even the sheer- est dress, the closest-fitting gown, reveals no telltale lines or wrinkles. THREE TYPES OF KOTEX 1, REGULAR—IN THE BLUE BOX —For the ordinary needs of most women. 2. JUNIOR— IN THE GREEN BOX — Some- what narrower — when less protection is needed. 3. SUPER —IN THE BROWN BOX — Extra layers give extra protection, yet no longer or wider than Regular. CAN’T SHOW The sides of Kotex are cushioned in a special, soft, downy cotton to prevent chafing and irritation. Thus Wondersoft Kotex provides lasting comfort and freedom. But sides only are cushioned — the cen- ter surface is free to absorb. CAN'T SHOW ~ W 0 nN D E R S 0 F T HK 0 T E X mae Ae GUliecton tice ee 109

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Hair stays soft and lustrous. Get a bottle from your druggist on money back guarantee. Or send for Free Test. Test it FREE We’ll send Complete Test Package Free. Snip loc from hair. Try first on this. See for yourself. No risk this way. Mail coupon for Free Test. = -MARY T. GOLDMAN-- fs I 2313 Goldman Bldg., St. Paul, Minn. 4 I I [EOS Eien Serie acm araO cpr OU RSS cate I I I WiStreetizaritiiee assoc cis eas hin ores sere eee I I I : City ee a es eae © Statesstonnnces H V Color of yourhair?........0... e000 see - ee u SS ae lo SSS MODERN SCREEN O, Helen—wise and knowing—would have set a different stage if she had had a chance. A new gown, perhaps, flow- ers, a charming room. I suggested this and she laughed. “Well, I never expected to fall in love amid the chaos of a press party on shipboard,” she admitted, “and I still believe that the girl who wants to attract a man should see him only when she can be gracious and charming and well-groomed. But as I said before— this is a miracle. Rules don’t count. It’s different!” At the end of their five-day voyage, Fred and Helen were secretly engaged. Even when her American friends heard definite rumors that love was in bloom in England, that when asked if he was go- ing to marry Helen, Perry had answered, “T hope so”—even then, those who knew her here wouldn’t believe it. “Helen isn’t the type to do anything that rash and sudden,” they said. “She has never acted on an impulse. She is at an important juncture in her screen career. Hollywood wants her, and she can’t afford to miss the boat. Helen is too wise, too sensible to leap into such a marriage now!” However, less than five months later, at midnight on September 12th, 1935, they were married. I doubt if there has ever been a woman more eager to make a success of her marriage. This whirlwind romance struck deep into the roots of Helen’s heart, and it is very precious to her. She knows that in a marriage such as hers there are many pitfalls. She frankly admits that it has worried her a little because she is two years older than Fred, even though two years is a small difference, and she looks definitely younger than her twenty-six-year-old husband. She realizes that the kind of a man who battles his way to fame on the tennis courts must be determined, stubborn, a fighter-to-the-finish. She knows _ that spending years batting around the world from one tournament to another must make a man irresponsible in a way, rest- less, eager to be on the go. She realizes all these things, and she is willing and anxious to spend time and energy, wisdom and patience, in adjusting the problems which must inevitably arise. She knows, too, that the very nature of their careers means that they must be separated a great deal. Furthermore, they are both constantly in the limelight—he in the world of sports, she in the film firmament. Their names are news. And the bright glare of publicity has withered many a romance. For several years, Perry’s name has been linked with that of one of the most beautiful stars in Hollywood. They are still good friends, and Helen wants that friendship to con- tinue. Yet, it is certain to creep into columns as nasty gossip, slip, as rumors, into the news. Can their romance stand the gaff? Helen is determined that it shall! “One thing to remember,” she says, “is that love is not the most important thing in life. Life is. Love is that part of life which makes you enjoy living more, makes you more honest, and braver, and unsel- fish. I have heard women actually use love as an excuse for pettiness. ‘I can’t help it, they'll say, ‘I love him.’ They'll excuse jealousy, for example, with that phrase. How foolish they are! Jealousy is the most futile emotion in the world. Besides, I’ve seen many a jealous woman put ideas in her husband’s head that never occurred to him. Accuse a husband of be- ing overattentive to the red-head at the next table, and it may sound like a good idea to him. It’s a foolish risk for a woman to take UT,” she added hastily, “I don’t be-— lieve in a woman’s being too noble. — A spark of spunk now and then keeps you human. After all, you salt your food and put a touch of vinegar in the salad dressing, don’t you? But I believe, too, that the smiling graciousness which helps a woman attract a man will help her to hold him.” Plans for the future? They’re vastly different from the plans she had in the spring of 1935, when she was sailing for England to make two pictures for Gau- mont-British. She was temporarily desert- ing Hollywood for English films because Hollywood continued to type her in “other woman” roles. The English studio offered her two sympathetic roles—one in “Transatlantic Tunnel,’ and stardom as the heroine of “King of the Damned.” When these two films were finished, she would return to Hollywood, having proved ~ she could play leads. It was a wise plan, | When those films were finished, Holly- wood begged her to come back. But while — the Hollywood offers dangled, Helen kept her fingers crossed, hoping for another Gaumont-British contract. Fred would be in England... She was offered the lead, opposite Clive Brook, in “His Majesty’s Pajamas.’ She snapped it up. Hollywood is out of luck, unless Fred returns to the coast. Neither do her plans for the future in- clude a mansion-house where wealthy friends may be lavishly entertained. She who has known great wealth and success now asks for the simplest things in life— the man she loves and a quiet place where they may spend some time together. She talks dreamily of a small farm in Con- necticut, a little old house with deep fire- places to hold fat logs, a garden, a bit of woodland. The only luxury she asks for is fine tennis courts on the grounds for Fred. May her dreams come true! In New York for the first time in years, Ann Sothern came to see the shows and the shops before starting her first picture for RKO. She stayed at Manhattan's very smari St. Moritz Hotel.

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Information Desk (Continued from page 70) ming. He is interested in taxidermy and sketching, besides. Gary is 6 feet 2% inches tall, weighs 175 pounds and has dark brown hair and blue eyes. Mrs. Cooper is the former Veronica Balfe, who appeared in pictures under the name of Sandra Shaw. , His most recent picture is opposite Jean Arthur in “Mr. Deeds Goes to Town.”’ Paramount Studios, 5451 Marathon St., Los Angeles, Cal., is his address. ANNE D. PHILLIPS, Quincy, Mass.—Gordon Jones played the part of Butch in ‘‘Strike Me Pink.’’ His latest picture is ‘‘Devil’s Squadron.” ‘‘Under Two Flags’’ with Ronald Colman, Victor McLaglen and Rosalind Russell will be Claudette Colbert's next picture, : JANET GAYNOR—Formerly Laura Gainer, Janet was born in Philadelphia, Pa., October 6, 1906. Six years later the Gainers moved to Chicago where she at- tended the Graeme Stewart grade school. The next leap was to San Francisco and the Polytechnic High School, after which young Janet worked in a shoe store, then as an usherette in a movie theatre. One of the few film players who have been successful without previous stage training, Janet made her first movie appearance as an extra in 1924. Work being scarce, she took a secretarial course, but the studio lure was too great and she returned to movieland, gradually getting better and better roles. Her first real leading role was in ‘‘The Johnstown Flood,’’ and she helped make movie history with Charles Farrell in “‘Seventh Heaven.” Much to everyone’s distress, she and Charlie did not marry. Instead, he married Virginia Valli and Janet became Mrs. Lydell Peck. They were di- vorced, however, and now there doesn’t seem_ to be any particular “‘Mr. Gaynor’’ in view. Miss Gaynor is 5 feet tall, weighs 100 pounds and has copper brown hair and brown eyes. She plays the piano and her favorite sports are golf and swim- ming. She is very fond of Chinese dishes, and yellow and blue are her favorite colors. ‘‘Small Town Girl’? was her most recent picture, and she is tentatively scheduled to be in ‘Banjo on My Knee,” for 20th Century-Fox Studios, where you may reach her at Box 900, Beverly Hills, Cal. JO ANN KEMP, Baltimore, Md.—The part of Buzz, the gum-chewing radio operator in ‘‘Ceiling Zero,”’ was taken by James Bush—and a nice bit of act- ing he turned in, too. Write him at Warner Brothers Studios, Burbank, Cal. JOHN BOLES—Love is his. middle name, and_no kidding. The rest of it is authentic, too. The son of a banker and cotton broker, John was born in Greenville, Tex., October 27, 1900. Greenville schools and the University of Texas gave him the preparatory courses necessary to entering Johns Hopkins, where he intended to begin the Srcy of medicine. The World War interrupted these plans, however, and Mr. Boles enlisted in the intelligence division of the army, In France he became a great favorite by singing at the A.E.F. entertainments, and on his return home decided to study voice. First, though, it was necessary for him to earn the wherewithal by working in a local bank, then by teaching French in a girls’ academy in New York. Later he returned to France, this time to study, and came back to New York after 2 years deter- mined to get a leading role or nothing. Nothing it was, until “‘Little Jesse James’’ came along. An instant_success in this, John appeared in several other Broadway productions until Gloria Swanson offered him the lead in ‘‘The Loves of Sonya.” After making several other silents, he began to get leads in such pictures as “‘Rio Rita’ and ‘lhe Desert Song’” in which he was very successful. John is 6 feet 1 inch tall, weighs 185 pounds and has brown hair and gray eyes. John likes all outdoor sports, especially hiking and tennis. Mrs. Boles is the former Marcellite Dobbs and they have two daughters, Marcellite and Joanna. 20th Century- Fox Studios, Box 900, Beverly Hills, Cal., is his ad- dress. “‘A Message to Garcia’’ is Mr. Boles’ most recent production. JANE KINGSLEY, New York, N. Y.—yYes, Nino Martini is going to make another picture. It will be the second of the Pickford-Lasky productions and is tentatively titled “The Gay Desperado.’ No supporting cast has been assigned as yet but you may _be assured that he’ll do plenty of singing. ' GINGER ROGERS—TIf it hadn’t been for the Charles- ton, we might never have known there was such a petson as Virginia Katherine McMath, alias Ginger ogers. Born in Independence, Mo., on July 6, 1911, she spent her girlhood in Fort Worth, Tex., where she attended school. There at the age of 15 she won the state Charleston championship, which re- sulted in her being signed to a vaudeville contract. Coming to New York, Ginger joined a stock com- pany and then took part in a musical revue, “Top Speed.’’ Forty-five weeks in the New York company of “Girl Crazy’’ won her a chance in Hollywood. Her first picture, “The Tip Off,”’ followed this in 1931. Ginger is 5 feet 4 inches tall, weighs 110 pounds, has gold-red hair and blue eyes. Her hobby is dancing, she plays a fair game of tennis and is fond of riding, swimming and golf. Edward Jackson Culpepper was her first husband, when she was very young, and she has been happily married to Lew Ayres since November 14, 1934, She and_ Fred Astaire will be teamed again in ‘‘Never Gonna Dance.” Write her at_RKO-Radio Studios, 780 Gower St., Hollywood, Cal. ROMOLA BILLINGS, Passaic, N. T.—No, Leslie Howard’s children have never actually appeared in pictures to date. However, his son, Ronald, will be seen as a page boy in ‘“‘Romeo and Juliet.”’ Mr. Howard’s daughter, Leslie Jr., has appeared over the ether waves with him, and in so doing gave every evidence that she inherits some of her father’s versatile ability. INFORMATION DESK, MODERN SCREEN, 149 Madison Ave., New York, N. Y. Please print a brief life story of in your department. gNamescn. 26s: CGityae aie MODERN SCREEN

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Lt 5 dang e sonnel If you have callouses on the ball of your foot, cramped toes, leg or foot Pains, or swelling on in- step, you probably have metatarsalgia — caused by a weak metatarsal arch. Get immediate re- lief with the CRO-PAX Callous Remover and Metatarsal Support. Thousands use this treat- ment. Relief guaranteed. Only 10c each. THE FOREST CITY RUBBER CO. CRO-PAX DIV.° CLEVELAND,O. Other CRO-PAX Foot Appliances and Remedies similarly low priced. At All 10c Stores ¥ Good Housekeeping Sp, ° Bureau Cc NOUS EAE EAMG O-PAX Joct Aids MODERN SCREEN No Flattery, Please! (Continued from page 50) ERE’S one—remember the old days. This might not be much of a cure if the actor happens to have been born with a silver spoon in his mouth. I wasn’t. And I remember days when [I didn’t have enough to eat. I remember days when I wasn’t sure where I’d sleep at night. Days and nights in Putnam, New Jersey, where, after I was expelled from high school for smashing up some school furniture, I got odd jobs to do, and sang in church on Sundays. Days in Camden, when I worked for the Victor Talking Machine Company as shipping clerk for four years and tried to take singing lessons and spent money I should have used for board and lodging on shows in New York. Days when I purchased a service station in Hadden- field, Pa., and tried to operate it while I took more singing lessons. The venture failed, of course, and I hiked to Philadel- phia and got a job as a newspaper adver- tising salesman. Then I got a break with the La Scala Opera Company, making in- frequent appearances and singing, even more infrequently, over the radio. “No one seemed very much aware that I was alive in those days. I haven't for- gotten that feeling. I haven't forgotten the pangs of hunger or how it feels to be thinly clad and cold. The man I was then I still am. That fellow is forever with me, plucking at my sleeve, laughing in my ear. He’s me, too. You're not in much danger from the enemy when such a starved, unimportant little ‘I’ is with you. “A& normal childhood is a very good antidote for an ‘I’ attack. Mine was per- fectly normal. I was born in Ocean City, N. J. I went to public school. My folks were in very moderate circumstances. I sold newspapers. I ran errands. I wore some hand-me-downs. I played hooky occasionally. I scrubbed the backs of my ears and put on my ‘good suit’ and went to Sunday school. There was absolutely nothing to distinguish me from Tom or Joe or Harry. I was just one of the gang. “A girl I used to know back in those days said to me recently, ‘I nearly died when I read about your being an actor. You were a nice looking, decent enough kid, Pres, always very polite when you had to be and always with a broad grin all Over your face. You sure were one of the very last boys in town I ever thought would go into the movies.’ “Ocean City is, of course, on the ocean. And the ocean is the greatest antidote I know against the personal puny conceit of man. The sea plays no favorites. Presi- dent and ploughboy are one and the same to the sea. It wipes out prince or pauper with magnificent impartiality. And I’ve always spent a lot of time on the water. Now, between pictures, or late Saturday afternoons, any time I can get away, I run down to Balboa where I keep my boat. There are no actors down there on the water front, just a crowd of business men and fellows who like boats. We never talk about pictures or Hollywood. Some of them don’t even know that I’m in pic- tures, so far as I know. If they do, they don’t figure it’s important enough to talk about. And they certainly don’t get it from me. We talk boats and weather and fishing and tides and tackle. We talk poli- tics and swap stories and I forget that my name has ever appeared in electrics. I’m back in Ocean City, N. J., again—one of the gang. “A happy marriage,” said Preston, his very dark blue eyes amused, “is another — and a most effective prescription for cur- ing any signs of head-swelling. : “I have,” grinned Preston, “a very usual marriage—the boy-marries-girlhood-sweet- heart brand. I popped the question a short — time after I’d begun singing with the La Scala Opera Company in Philadelphia. I began in the chorus. Then I was given some leading parts, singing with some of the stars whose vocal records I’d packed while I was a shipping clerk with the — talking machine company. I began to think I'd better do things about improving — my voice, considering that the Metropoli- tan Opera. Company was my modest goal. So I entrained for New York for further vocal instruction. ON the way I thought it was high time to bring a climax to a childhood ro- mance. She was Gertrude Warren, who — lived in Woodbury, N. J. We’d gone to- gether since our high school days, to movies, picnics and on long walks in the woods. She was, always has been, and still is the only girl for me. We were married at The Little Church Around the Corner in New York. We set up house- keeping—very light housekeeping for a time. Singing engagements didn’t drop in my lap. I finally got a part in a play, ‘The Silent House,’ and played a deaf and dumb man whose entire role was in pan- tomime! That sort of deflated whatever little sprouts my ego might have put out, too. Me, candidate for the Met, deaf and dumb! “Then luck, the main ingredient in any actor’s success, began to leaven the lean loaf. I had a part in ‘Two Seconds’ in New York. Mervyn LeRoy saw the play. He must have liked me because he recom- mended me for a picture contract at War- ner Brothers and I was on my way to Hollywood. “T played the lead in the screen version of ‘Two Seconds’ and for the fourteen months I was on that lot appeared in ‘Dr. X,’ ‘Tm a Fugitive From a Chain Gang,’ ‘Alibi Ike, and ‘You Said a Mouthful’ I was loaned to Tiffany and made ‘The Last Mile’ which I hoped would bring me stardom. It didn’t. But I did get some recognition from Fox Films and got a break there. Spencer Tracy was to make ‘The Man Who Dared.’ But he couldn’t do it and I got the part. It was the sort of thing I’d been praying for. The pic- ture was swell and it got good reviews but I was still more than the last mile away from stardom. I was turned over to Paramount. I went back to Warners. And then I was shunted into some ‘quickies.’ I cooled my heels and felt down at the mouth. I arranged for a cancellation of my Warner Brothers contract. M-G-M offered me a contract. I accepted. Cooled © my heels some more. I made one picture in five months. I’d about decided to chuck — it all and go back to New York and the © stage when RKO decided that they wanted me. I told them I wanted work and that unless I could be kept busy I’d go right on with my packing. If I’d known how busy they’d keep me, I might not have been such a fiend for punishment! I signed my contract January, 1935, and since then I’ve appeared in six major films, with scarcely time off between films to lift an- chor on my power cruiser—‘Strangers All,’ with May Robson, ‘The Last Days of Pompeii,’ ‘The Informer,’ ‘The Arizonian,’ ‘Annie Oakley,’ ‘Muss ’Em Up.’ I’ve hit

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top billing and I’m on my way... “But to get back to my marriage: Ger- trude takes my job as any wife takes any man’s job. She never gets excited about it. She isn’t especially curious about it. She never comes to the studio. And she’s paid me two compliments on my work since we've been in Hollywood. Once after the preview of ‘The Last Mile’ she said, ‘I really forgot it was you I was watching, Pres, the performance carried me away,’ and the other time after seeing ‘The Last Days of Pompeii,’ she ex- claimed, with a catch in her voice, ‘You were grand...’ Otherwise she makes no comment other than to remark that I was good enough in this or that picture to have rated a better part. That’s all. “Tm pretty darned sure,” said this big, genial man slowly, “that Hollywood’s Pub- lic Enemy won’t find a chink in my de- fenses. .. .” Reviews (Continued from page 13) He has a mania for fishing all the year ‘round. Studios have learned that if they “want him in a picture they'd better notity him at least a week ahead of time. It’s easier than to track him down at the streams in the wilds. **x Sutter’s Gold (Universal) Californians will love this pictorial his- tory of its most colorful character, John Sutter, and natives of other states will find the tale engrossing, too. It deals, of course, with the Swiss, Johan Souter, who was forced to flee his country and who came to California with dreams for the future. Forcefully depicted are the strug- gles which he goes through to attain his ever-increasing ambitions, and his final ironic downfall with the discovery of gold on his land. Edward Arnold gives a masterly characterization of John Sutter, a man with a peculiar make-up of ruth- lessness, kind-heartedness, generosity and greed. Lee Tracy, as Pete Perkins who stuck to Sutter through good and bad, is not so happily cast. No amount of snowy whiskers can disguise this wise-cracking youth, while Arnold seems to grow _natu- rally grayer with every reel. Binnie Barnes is seductively lovely as the Rus- sian countess who falls for Sutter, but with method in her madness. The cast as a whole is well selected and adequate in performance. The picture is interesting from an historical standpoint, which has been carefully worked out in every de- tail, with excellent photography. Preview Postscript Several acres in the San Fernando Valley were used for the principle set of this pic- ture—the famed Sutter's fort of 1845 and 1849. An exact replica was made of Sutter's Mill, perhaps the most famous structure in the history of the West. A heavy wall of adobe surrounded the four-acre compound, and the parapet supported several cannons, gathered from museums, which had seen actual service at the fort. Inside the en- closure were stables, blacksmith shops, wells, barbecue pits, etc. Prop men were kept busy building and collecting the rudely fashioned carts, enormous wine casks, huge hand-looms on which the Indians wove rugs, antique furniture and military trappings. The cos- tume department had some research of its own, too, what with garbing the most varied cast ever collected for one picture, includ- ing South Sea Islanders, Hawaiians, Maoris, Samoans, Tahitians, Russians, Italians, Span- MODERN SCREEN NO perfume thrill youve ever had will equal your first acquaintance with FAOEN’s new Gardenia. Here’s a new perfume of rare emotional appeal ... created to key the senses to the true joy of living —and loving. To trans- form occasions into events and to transform you in the imagination of others as that enviable being —the unfor- gettable woman! Try this unforgettable fragrance today. A lush, heady Gardenia blend for the woman who loves the touch of velvet, the whiteness of snow, the glamour of spring and the aura of luxury. A per- fume ever reminiscent of Spring... « and eternal romance. The new vanity size on sale at all 5 and te) 10 cent stores. [Trial size (S FAOEN 113

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Finds Way To Have Young Looking Skin at 35! MART, modern wo- men no longer submit to the tragedy of “old skin’”’ just because they are 30, 35, 40! A won- derful new creme, ap- plied at night like cold cream, acts a scientific way to free the skin of that veil of semi-visible darkening particles which ordinary creams can- not remove after a certain age. So gentle and quick—often only 5 days is time enough to bring out a glorious rose petal softness and fineness and white, clear look of youth. And, the way it eliminates common surface blem- ishes—ugly pimples, blackheads, freckles—is a revelation! Ask for this creme—Golden Peacock Bleach Creme at all drug and department stores. 114 MODERN SCREEN ra Jon Kiepura and Gladys Swarth- out in “Give Us This Night.” iards and Mexicans, to mention a few. "'Ex- tras’ in the animal line ran to even larger numbers—hundreds of sheep, goats, pigs, besides over a thousand horses and cattle, 76 complete sets were used for this film. * Things to Come (London Films) You're in for a pretty grim time if you go to see this English opus. It’s an adap- tation of H. G. Well’s prophetic book on what we can expect to have happen to the world beginning (and so son!) in 1940! Little boys, scientifically minded, will get a huge kick out of the truly amazing inventions—and so will you, if you aren’t too depressed. The story con- cerns Raymond Massey, a young aviation engineer in 1940. He manages to survive the wars that last from 1940 until 1966, and, when civilization has been practically wiped out, he, with a band of surviving scientists, start to rebuild the world. What goes on until 2036, when you see Mr. M. again as his great grandson—and still carrying the scientific torch—is most amazing. The cast, all English, does the best it can. You feel Mr. Wells should try to be a little less imaginative. *%*%* Robin Hood of El Dorado (M-G-M) If you like action in your movies, here is a rousing, old-fashioned western in costume, full of all the shooting and the shouting that go to make up exciting screenfare. Its star is Warner Baxter, in a sombrero and his “Cisco Kid’’ accent. Background is California in the gold rush days, when Mexican settlers were being pushed off their own property by Ameri- cans with a lust for gold. Baxter, as Joaquin Murietta, is a peaceful peasant until his home is ravaged by raiding ’49ers. Seeking vengeance, he becomes an outlaw and declares a personal war on all “grin- goes.” Teaming up with a killer named Three-Fingered Jack (J. Carroll Naish) he terrorizes the countryside until a thrill- ing gun battle puts an end to it all. The picture is full of scenic beauty and is charged with excitement and fast gun play. Next to Baxter for acting honors is J. Carroll Naish with his excellent por- trayal of a murderous renegade. Others in the cast are Bruce Cabot, Margo, Eric Linden and Ann Loring. Preview Postscript "A good time was had by all on this picture. Most of it was taken on location around Lake Tahoe and in the San Fernando valley. Wherever there's gun-play in a film you can be sure the cast had an even better time off-screen than on. Principals, extras, cameramen and prop boys enlisted in the target tournament which sprung up the first day on location. Bruce Cabot was the win- ner and among the ladies—for of course they had to get in on it—the best shot was Margo ... Ann Loring came to the screen via M-G-M's "travelling studio." A co-ed from Brooklyn College, New York, she was studying to be a journalist when the travel- ling studio came to town. Ann took the test purely for the fun of it, hoping that there would be a story in it for the school paper. She won first place over 25,000 applicants, and a try-out contract at the studio. She celebrated this, her first role, by marrying Louis Schor, an attorney. In her spare time, Ann studies theology and numerology . ** Snowed Under (Warners) The problems of a playwright are con- templated here with considerable mirth, due to the presence in the cast of such ex- perienced handlers of comedy as Glenda Farrell, Genevieve Tobin and Frank Mc- Hugh. The whole situation revolves about George Brent, who sits in a Connecticut hideout trying to finish a play which a Broadway producer already has in re- hearsal. His first wife, Miss Tobin, ar- rives to lend a helping hand, and things run smoothly until the appearance of Patricia Ellis, a gal from a nearby college who feels that she’s in love with George. More additions to the household arrive when a deputy sheriff (Frank McHugh) and a lawyer for Glenda Farrell, Mr. Brent’s second wife, drop in to slap Mr. B. in jail for failure to keep neck and neck with his alimony payments. Then, just to make things merrier, Miss Farrell arrives in person. Add to this a gallon of Mr. McHugh’s finest applejack, and you have a real situation. In the middle of all the bickering Brent quietly slips out, spends the night with his housekeeper and her husband and finishes his play. The play brings cash, George reweds Genevieve, Glenda collects her alimony and Pat Ellis falls in love with the young attorney. Preview Postscript George Brent established a precedent with this film—claims he'll never work again with- out three leading ladies. He was kept pretty busy what with Glenda Farrell, Pat Ellis, Genevieve Tobin and the problem of moy- ing trom his Toluca Lake home to a new one in the Hollywood hills. Mr. Brent is its sole decorator and is carrying out the color scheme principally in a lapis blue—said by those in the know to be Garbo's pet color. It seems also that Mr. Brent is the only one to have received letters from la Swede on her recent visit to the fatherland . . . Gene- vieve Tobin became so interested in camera work while on this picture that it was prac- tically impossible to get her off the set. . . . The four stars in this picture have all had the same stand-ins for over five years. Carter Gibson is George Brent's secretary, besides doubling for him on the screen. Ann Sparling is la Tobin's stand-in, and off-screen is an amateur artist. Frances Waverley is not only Glenda Farrell's stand-in but her closest friend, while Dale Jensen and Pat Ellis are practically inseparable at the studio or away from it. According to the scenery, overcoats, earmuffs and galoshes were the correct costume, but actually the tempera- ture for that corn-flake snowfall was around 80 degrees. Arthur Todd, cameraman par excellence, undertook to instruct Miss T. in the mysteries of the camera, so she can add photography to her line of accomplish- ments. 3 sire bal cectibdl

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* Give Us This Night (Paramount) Good music is all very well in its place, but in a poorly presented moving picture it is apt to sound canned and _ insincere. Which is the fate of the excellent singing of Gladys Swarthout and Jan Kiepura in “Give Us This Night.” The story is weak enough at best, having to do with an Italian fisherman (Jan Kiepura) who is “discovered” by the star of an opera com- pany (Gladys Swarthout). That _Miss Swarthout could make him a singer is be- lievable enough, but that she should fall in love with Jan brands the whole thing as just another movie. Mr. Kiepura’s voice is splendid, but he seems to be under a constant strain when in front of the camera, while Miss Swarthout not only suffers from self-consciousness but also from the director’s decision to play up the male lead at her expense. Alan Mowbray does the only really competent acting in the picture, as the would-be opera singer. Philip Merivale makes his camera debut in too small a role for accurate judgment, but what he did do was unconvincing. Gladys Swarthout is as pleasing to look at as to hear, but given another picture ‘of this calibre and movie audiences won't care about her at all. The photography is good and the music grand, so you may get your money’s worth. Preview Postscript "Set builders’ paradise’' was how they re- ferred to this picture. Seldom has a mo- tion-picture taken up as much space for sets or required as much work as this one. A crew of two hundred carpenters and artisans worked 24 hours a day to keep ahead of Director Alexander Hall's shooting schedule, and the studios of two separate movie com- panies as well as an outdoor location were used. Eight different sound stages were used at Paramount, while the permanent opera house set at Columbia studios was borrowed for the occasion, too. Approximately 60 sets were used in all. The Italian fishing vil- lage church was built under the supervision of Catholic priests and is accurate in every detail . . . Jan Kiepura would be happy in Hollywood it he could get some barszcz, or zrazy z kasza. The former is beet soup in Polish and the latter mystery turns out to be goulash. Ogorki kwaszone is Jan's favorite dish—just pickled cucumbers to you. Kie- pura was born in Poland, and graduated as a lawyer from Warsaw University, working his way through school by singing in movie the- atres. Instead of hanging out a shingle, he accepted a minor role with the Warsaw Opera Company and at 22 found himself a Me eae ee, Fred Stone and Jean Parker in “The Farmer in the Dell.’ MODERN SCREEN Me has what it takes She’s pretty .... She’s lively .... She’s a snappy dresser .... She has plenty of what it takes ... And yet the men “side-step” her. The other girls ignore her. For the best reason in the world! A girl can have everything else it takes to be a favorite, but if perspira- tion odor makes her unpleasant to be with, she cannot hope for popularity. It’s unpardonable, these days, for any girl to carry the ugly odor of un- derarm perspiration on her person and her clothing. For it’s so easy to prevent! It takes just half a minute to make our underarms fresh, free from odor all day long. With Mum. That’s the nice thing about Mum. It’s so quick and easy to use, and you can use it any time—before dressing or afterwards. For it’s harmless to clothing. And it’s soothing to the skin. You can shave your underarms and use Mum at once. Another thing about Mum — it doesn’t prevent natural perspiration. It prevents only the disagreeable part of perspiration —the odor. Dean risk letting this fault shut you out of popularity. Get the daily Mum habit, then you'll always be safe! Bristol- Myers, Inc., 630 Fifth Ave., New York. ON SANITARY NAPKINS. This is another way Mum can keep you from offend- ing. Rely on its help for this and you'll never need to worry. takes the odor out of perspiration 115

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BROWNATONE is only 50c—at all drug and toilet counters—always on a money-back guarantee. we GET OUT ROOT AND ALL-THIS SAFE WAY HAT aching, burning, blistering corn...it’s like a tack in your toe! Don’t just trim the head off. Get it all out! Get rid of it for good! How? With Blue-Jay—the scientific corn plaster that draws out voot and ail. No danger of infection, as there is when youcutor pare a corn. No growing back of the same corn over and over again. When you Blue-Jay a corn you draw it out completely— end it forever! Blue-Jay has a remarkable double-action. It stops pain instantly, the moment it’s applied. Then quickly the corn dries, loosens, lifts out —zs gone! Package of 6 for 25¢ at all drug stores. TRIAL OFFER: We will be glad to send one Blue-Jay to any- one who has a corn, to prove that it ends pain instantly, removes the corn completely. Just send your name and address with 5c to cover the cost of packing and mailing. Act quickly before this trial offer expires. Address Bauer & Black, Dept. B-7, 2500 South Dearborn St., Chicago, Il. Eo 116 MODERN SCREEN Spirited ping pong out of doors at Dolores Del Rio’s. Here Anita Louise is ready to return a fast one while Dolores cheers. success. Followed two years singing with the Milan Opera Company and intensive study on the side. This is his first American pic- ture, but there have been a half dozen Eu- ropean ones. ** The Farmer in the Dell (RKO-Radio) The farmer you see in the title is Fred Stone, and the dell is really no dell at all —it’s Hollywood. For this is a story of an Iowa farm family which auctions off its cattle and its chattel and moves to the cinema city. Settling in Hollywood isn’t Fred’s idea, for he had planned on Long Beach, where all good Iowans go. But mama (Esther Dale) wants to get daugh- ter (Jean Parker) into the movies, so Hollywood becomes their new home. However, when Fred takes daughter Jean to a studio, the movie people pass her up and hire him, much to everyone’s surprise. Mama immediately goes Hollywood in fine style, with a swimming pool and a crowd of free-liquor guzzlers and all the trim- mings. Everything ends well, though, with mama deciding the simple life is best, and daughter marrying Frank Albertson, an honest young citizen of Des Moines. The picture has its dull spots, but most audiences will like Fred Stone’s homely touches, which are sometimes reminiscent of Will Rogers. Preview Postscript You'll see the only trained canary on the screen in this picture. $150 a week is the salary ‘pulled down by "Dicky," owned and operated by Curley Twiford. He started training the bird before it had feathers, and it will now take a bath, come when called, go back to its cage and shut the door, and sing on command. The last talent was the hardest one to teach his protegé, so Curley affirms . . . “Fearless Freddy Stone’ comes from Kansas. The name comes from his famous acrobatic act, copied from a travel- ling tightrope walker who visited his home town, Wellington. The Stone boy was so impressed by the daring feats that he prac- ticed every day for a year on a wire strung across the barn, then borrowed a pair of his mother's silk stockings and applied for a job with a neighboring circus. The act was so successful that he earned six dollars a week for the next year. Then with his brother, Ed, Fred started out to see the U.S. A. This act continued until Ed injured his leg, then followed the days of the famous Dave Montgomery-Fred Stone team, which played command performances before kings, queens and such. After that airplane crack- up a few years ago it looked like Fred was through to everyone but Fred. And now he's starting a brand new career in celluloid .. . Moroni Olsen is six feet three, Norwegian descent. Born in Ogden, Utah and it was naturally supposed that he would be either a prize-fighter or dance-bouncer. But Moroni took to teaching elocution at seventeen, then travelled with Chautauquas, and _ finally landed on Broadway with the Theatre Guild. x Petticoat Fever (M-G-M) You'd hardly expect to find Robert Montgomery keeping a lonely vigil in a cabin up in the frigid wastes of Labrador, but there he is. He, it seems, is a radio operator—that’s his station and he’s stuck with it. Trust a Montgomery not to be lonely for long, though, for out of the sky comes Myrna Loy, her plane forced down, fortunately, in the immediate vicinity of his cabin. There is a slight complication in that she is accompanied by Reginald Owen, who happens to be her fiancé. What follows is typical Montgomery drawing- room comedy. The rustic setting is novel, and some of the situations are amusing, but one knows from the beginning that poor Reginald hasn’t a chance against the nonchalance and charm of the dashing ra- dio man. Reginald thinks Bob is merely suffering from “petticoat fever’? due to his long hermitage, but Bob and Myrna and you and I all know that it’s love. All in all, it’s a pleasant little comedy competent- ly played by the three principals and by an Eskimo gentleman named Otto Yamaoka. Preview Postscript Two extra firemen were on duty on the set every minute this picture was being filmed. They were there to see that the snow didn't catch fire. Hollywood snow is made of un- cooked cornflakes and ground goose-feathers —a very combustible combination. Mike O'Hara is the man whose vocation is put- ting foot-prints in snow. This is done by means of a plaster cast of a foot, which is ground down into the corn-flakes and goose- feathers making a perfectly good foot-print in the snow. Though there were no fires on Seea ie ee

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the set, there were plenty of colds. Dust from the "snow" is hard on the nose and throat. . . Visitors to the set annoyed the stars by spending most of their time lost in admiration for an'extra. Pete is the name, and Pete is the polar bear who hails from the California Zoological Gardens. He's a contract player, being signed on the dotted line to the studio at twenty-five dollars a week, work or play. If other studios want him in a picture, they must pay Metro a good fat sum for the privilege . . . Otto Yamaoka is an old-timer in the fillums, having been one of the principal players in ''Eskimo.' But his sister Iris made her camera debut in this one. They're both from coldest Alaska and in no hurry to get back . . . Robert Mont- gomery, Jr., celebrated his first month's birthday by having his first picture taken —and a moving one at that. Papa won't let the studio get a look at it. Says one Montgomery in the movies is bad enough. The Montgomery menage now consists of Elizabeth, aged four, a half-dozen scottie terriers, seven cats—all black—and Mr. and Mrs. M., besides Jr. * Silly Billies (RKO-Radio) The less said about this latest Wheeler- Woolsey epic the better. But one thing that should be said is that it is far, far worse than any of the preceding ones. This time we have the Messrs. W. and W. out in the wild and wooly West, in the era when the Indians and buffaloes ran wild. Our two heroes set out for the West, too. They are painless dentists and convinced that even though the settlers may not have long to live, they should die with their teeth filled. En route they meet Miss Dorothy Lee, of course, who is a school- marm going West to teach the natives a thing or two. Unreeled from then on is a series of harrowing events—Indian raids, tooth-pullings, death-defying escapades, etc. Mr. Woolsey takes his cigar out of his mouth long enough to make some per- fectly turrible wisecracks, while Mr. Wheeler hasn’t much to say, either. You will like Bert’s exposition of horseman-~ ship, though, when he flees across the plains in pursuit of aid for the pioneers. But even if you’re a Wheeler-Woolsey ad- dict this will be hard to take in any man’s town. i Preview Postscript According to box-offices, than which there's nothing more infallible, the Wheeler-Wool- sey combine is tops in movie comic teams. The Marx Bros. have threatened plenty, but to date haven't outdone them... It takes five to six hundred cigars to get Woolsey through a picture. He estimates that's about 75 pounds of tobacco per pic. Off-screen, Bob wouldn't touch one of them... Born in Ohio of poor parents, Bob drifted down into Kentucky looking for a job. Landed one finally as a jockey and was going good when a broken leg stopped any ambitions in that direction. Drifted into cheap vaudeville and played every tank town in the States before he finally landed a job on Broadway. ''Rio Rita” and the first teaming with Bert Wheeler brought him to sudden fame and Hollywood . . . Wheeler also started earning his living at a tender age. Newsboy, boot- black, street singer and fruit-swiper were among his earlier leanings. Now he's Hol- lywood's amateur golf champ and has every mantel in his hillside home laden with trophies Dorothy Lee, 23-year-old na- tive Californian and daughter of a Los An- geles attorney, has just married for the fourth time. It's a verra wealthy Chicago broker this time. She's been in all but one of the Wheeler - Woolsey fillums — making eighteen in all. MODERN SCREEN HOW SKINNY. ALICE CHANGED HER LUCK | KNOW_BUT | CANT COMPETE WITH HER FIGURE WHY ALICE! 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Not only are thousands quickly gaining nor- mal good-looking pounds, but also naturally clear skin, freedom from indigestion and con- stipation, new health and glorious new pep. 7 times more powerful This amazing new product, Ironized Yeast, is made from special cultured-ale yeast imported from Europe, the richest known source of Vita- min B. By a new process the yeast is concen- trated 7 times — made 7 times more powerful. Then it is ironized with 3 kinds of energizing iron which strengthen the blood. If you, too, are one of the many who simply need Vitamin B and iron to build them up, get 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. Skin clears to natural beauty, digestive troubles from the same source vanish — you’re a new person. Money-back guarantee (No matter how skinny and rundown you may be from lack of enough Vitamin B and iron, these marvelous new Ironized Yeast tablets should build you up in a few short weeks as they have thousands. If not delighted with the results of the very first package, your money instantly refunded. 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.’’? Remember, results with the very first package—or money refunded. At all druggists. Ironized Yeast Co., Inc., Dept. 36, Atlanta, Ga, JACK, I'M SO SKINNY ILL TELL YOU HOW | GAINED 10 LBS. IN 3 WEEKS LOOK AT ME, HAVENT GOT A CHANCE WITH Posed by professional models 117

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A RR ke Ne A NR OO 6, To be always well groomed, with youthful, lustrous hair, use Nestle Colorinse. This harmless vegetable coloring com- pound magically rinses youth into your hair... a gleaming, glinting, gla- mour that gives to any hair the perfect high- lights of its own natural color. Colorinse is easily removed — a shampoo washes it away. Other Nestle Hair Aids Henna Shampoo e Golden Shampoo e Superset Way- ing Lotion, Regular and Formula No. 2 (Faster Drying) e Liquid Sham- poo e Oil Treatment and Shampoo. for a package containing 2 rinses at all 5 and 10 cent stores. To select your par- ticular color, use the Nestle Shade Selector ! The NESTLE-LeMUR COMPANY. SS tilbrrans freckle Cheam You can banish those ugly, embar- rassing freckles quickly and surely in theprivacyofyourroom. Your friends will wonder how you did it. Stillman’s Freckle Cream removes them while ou slee eaves the skin sete srcneethe the com- 50° plexion fresh andclear. . AJAR Pimples F imp Cctone No one likes pimples. You can get rid of yours—have a clear skin again with Stillman’s Actone. It’s guaranteed to giv e you satisfaction. Takes only a few seconds to apply — then immediately becomes invisible. Write today for $ ] folder ‘Pimples removed” =) Stillman’'s °*AT ALL DRUG STORES ° FREE BOOKLETS ON REQUEST THE STILLMAN CoO., Dept. 10, Aurora, Ill. 1i8 MODERN SCREEN “Charlie Chan at the Circus,” with Warner Oland and Olive and George Brasno. *** Little Miss Nobody (20th Century-Fox) Little Miss Withers can chalk up an- other score for her portrayal of Miss No- body, orphan of the storms. The oppor- tunity to display all her histrionic gifts is provided Jane in this story, which has an orphanage locale. She starts right out by battling the marketman in the first reel. He’s really an awful meanie but that doesn’t keep our heroine out of children’s court. Then through another good inten- tion gone wrong Jane finds herself en route to the reform school. She runs away from it all and finds refuge with an ex-convict, but Jane can’t stay clear of the law. She doesn’t waste much time before getting mixed up in a crime that’s a hum- dinger. There never was a child who could get into so many difficulties with such amazing dexterity. But the irre- sistibility and warm-heartedness of a Jane Withers can be convincing enough to over- shadow the weak spots of any story. All the children in the picture give good per- formances, particularly Betty Jane Hainey and Jackie Morrow. The adults take a back seat, but Jane Darwell and Sara Haden, as the orphanage matrons and Ralph Morgan, who plays the role of Jane’s long-lost father, give competent performances. It’s a Jane Withers pic- ture from first laugh to last. Preview Postscript Directing one child is a task which most directors alibi themselves out of, but Director John Blystone took on 25 of them. Not without a qualm, however. He laid his plans carefully, first becoming ‘Uncle Jack" to all the youngsters and letting them know that they could play and enjoy themselves every minute that the camera wasn't in action. Then he arranged a shooting schedule which would permit filming of scenes in sequence, with which he credits the authentic perform- ance of the children. For technical reasons, most pictures are begun with the finishing scene and on the last day of shooting the introductory scenes are completed. His only error was in moving up the turkey dinner scene to one morning. He figured the chil- dren had just finished breakfast and wouldn't consume the turkey in the first ‘'take’’ of the scene. He underestimated their talents. The dinner disappeared in a flash. For the next "take" the astute Mr. Blystone stationed a studio doctor in a prominent position on the set with a large bottle plainly labelled ‘Castor Oil.’ Donald Haines, |5-year- old film bad boy, is a vet of over a hundred and fifty pictures. He made his debut at the receiving end of a series of mud pies, in a silent picture starring Jack Dempsey. Since then he's become known as ''Holly- wood's Human Target’ and for the next few years appeared in ‘Our Gang" comedies liberally messed up with everything from pies to pork chops. Donald really enjoyed havy- ing Jane Withers empty that bucket of water on him, since he generally has to do that for himself at the end of every scene in order to remove the last vestiges of ice- cream cones, etc., which have been splat- tered over him. %** Everybody's Old Man (20th Century-Fox) Writer Cobb’s histrionic career should be a cinch after this picture. Actor Cobb may never startle his audience, but he’s sure to satisfy. He has all those solid, genial qualities that we like to think typical of “Everybody’s Old Man.” In this tale, Mr. C. portrays a retired meat packer. He has nothing against the world except that it harbors a rival packing plant. Then he meets the inheritors of the rival busi- ness, Rochelle Hudson and Johnny Downs, and learns that the present operator of the concern is taking them for a short and snappy ride to the poorhouse. Alan Dine- hart is the gent and you know what a meanie he can be. The astute Cobb comes to the rescue and incidentally shows his nephew, Norman Foster, a thing or two about the business, Norman has an eye for business—and Rochelle Hudson— from that time on. Preview Postscript Irvin S. Cobb was bitten by the cinema bug a few years ago when he consented, against his better judgment, to appear in a series of shorts. He made more money from stories extolling his experiences in gay Hollywood than he made from the studios, however. Then his pal, Will Rogers, con- vinced Cokb that he should hang around the "Steamboat Round the Bend” set and help pass the time by swapping yarns. Be- fore he knew it, Cobb was playing the rival steamboat captain in the picture as well. Always an ardent movie fan, he's developed now into Hollywood's most ardent movie actor. Though he claims he's no hot shot at emoting, Mr. C. doesn't miss a chance to improve his technique by looking in on as many sets as can possibly be squeezed into a day. A native of Kentucky, Cobb went into newspaper work at an early age. He covered the World War for New York papers and the Saturday Evening Post .. . Johnny Downs has just returned to a screen career atter appearing on Broadway and various tanktowns throughout these United States. But that doesn't make him so old, except in experience, for Johnny was the first hero of “Our Gang" comedies back in the 1920's. He hankers now to do deep, dark and dramatic roles. * Moonlight Murder (-G-) One thing *this murder mystery can never be accused of is simplicity. There’s not a clue in a carload. No matter what your sleuthings, you're guaranteed to be wrong. For the killing is a brand new type of thing—a mercy slaying. What might be unsatisfactory as a trick story, is made believable by an excellent cast. Chester Morris and Madge Evans supply the love interest, with Chester handing in a good performance as an astute detective besides. Leo Carrillo is the singer struck mysteriously dead in front of the mike while warbling to thousands in Hollywood Bowl. The plot thickens with a bang right there for never was there an opera | an

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singer whom so many would like to see done wrong. Among the suspects are J. Carroll Naish, a composer whom Carrillo has snubbed, Katherine Alexander and Benita Hume, warblers who have it in for Carrillo, Duncan Renaldo and Leonard Ceeley, rival tenors, and several others in- cluding an evil-eyed Hindu swami_ who has predicted Mr. Carrillo’s demise. Frank McHugh and Grant Mitchell come in for their share of suspicion. Preview Postscript A close friend of Leo Carrillo was Will Rogers. He lives on a ranch adjoining the Rogers’ estate in Santa Monica, and the pair often met for a morning ride together. For Carrillo's convenience, Will always kept a key to the gate of his ranch on a certain fence post. The other day, Leo decided to take a ride through the trail which they used to enjoy so much. Letting himself through the gate, he rode a short distance before hearing the thud of horse's hoofs behind him. It was Will's horse, ‘Soap Suds'' come to welcome them as he always did and escort them up the trail . . . One of the loveliest sets ever built on a studio lot, for scenic beauty, was the one of the Hollywood Bowl. The huge amphitheatre was faithfully reproduced on the largest ~ outdoor set which the studio could provide. Trees, plants, flowers and grass were trans- planted, and the orchestra played from behind a screen of trees just as they do in the famous Bowl. H. B. Warner spent many a harrowing hour learning to conduct an orchestra for the occasion. He hates figures but said he'd rather study public account- ing than music any day ... This is Duncan Renaldo's first appearance on the screen in years. In the meantime he's been busy ap- pearing in the press and the Federal Prison. Duncan was sent to the latter spot by U. S. sleuths who claimed he was in this country illegally and was really a Roumanian citizen. The Roumanian government said Renaldo was no such thing. While Renaldo claimed that his father, who should know, had told him he was born on good old U. S. terra firma. A presidential pardon was finally obtained, and Roumanian or American, Metro has a good actor back in the fold. * Times Square Playboy ~ (Warners) Based on the George M. Cohan play “Home Towners,” this was originally titled “The Gentleman From Big Bend” for the films. Certainly either title would have been more accurate than the present one, for the real hero is the small-towner, Gene Lockhart, and not the Broadway Jane Withers and Betty Jean Hainey in “Little Miss Nobody.” MODERN SCREEN Why does a girl in love blossom glor- iously? Because she has the thrilling | assurance that to one person in the world she is wonderful . . . beloved. Why do Blue Waltz cosmetics help the “lonely” girl to blossom into the 7 “only” girl? Because they give her con- fidence; they make her feel desirable. — She discovers her own loveliness through the romantic fragrance of | Blue Waltz Perfume; the satiny tex- ture of Blue Waltz Face Powder; the tempting colors of Blue Waltz Lipstick. Say “Blue Waltz” when you buy cos. metics. Certified pure, laboratory test- ed. 10¢ each at 5 and 10¢ stores. FIFTH AVENUE ¢ NEW YORK BLUE WALTZ PERFUME - FACE POWDER - LIPSTICK - BRILLIANTINE 0 GRIFFI 119 ee

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T’S no secret out in Hollywocd that more than one famous star has lost her job because of constipation. Movie directors simply can’t stand for lack of pep, dull eyes, pimples, sick head- aches caused by constipation. That’s why you should follow Holly- wood’s example and not let a second day pass without coming to nature’s aid with a beauty laxative. Olive Tablets are popular in Los Angeles, and everywhere else, because they are de- pendable, mild and non-habit-forming. And because they gently help Nature restore nor- mal action in the intestines. Keep a box handy on the bathroom shelf. Three SESS 30¢, 60¢. At all druggists. ‘OR. EDWARDS Ou TABLETS THE/ Desa merece DO YOU HAVE ‘'REFRESHMENT PROBLEMS''? THE MODERN HOSTESS HAS SOME GRAND SUGGESTIONS. SEE PAGE 16 OE THIS ISSUE. GIVE BROWNISH BLONDE HAIR golden, radiant beamlike: BEAUTY! Shampoo-rinse Washes Hair 2 to 4 Shades Lighter LONDES, bring back to faded, brownish hair the radiant, golden beauty to which you have every right. Use Blondex. This unique combination shampoo and rinse all in one, washes the dullest, drab- best hair 2 to 4 shades lighter i just one shampoo! And safely, too, for Blondex is an abso- lutely harmless rinse—not a harsh chemical or dye. Don’t wait to bring back soft, silky, golden allure to your hair. Shampoo-rinse your hair today with Blon- dex. You’ll be amazed at the change. Get it at any good drug or department store. B / : THE BLONDE HAIR SHAMPOO-RINSE 120 MODERN SCREEN playboy, Warren William. Mr. William doesn’t have a chance to do much besides run around in shorts waving a cane. Gene Lockhart again proves himself a capable comedian, with Mrs. Lockhart a perfect team-mate. Their marital battlings ring with a sincerity that is almost uncom- fortable at times. June Travis is engag- ing as the night-club singer over whom the controversy rages, since Mr. Lockhart refuses to be best man at her wedding to Warren William, having decided that she is nothing but a gold-digger. Further- more, he is convinced that June’s mama, papa and brother are nothing but four- flushers. The fact that they all have hearts of gold, really, weakens the story considerably. And the long-drawn-out discussions before action finally takes place is wearying in spots. However, there are plenty of ood laughs, and if you hayen’t met the Lockharts you'll welcome this op- portunity. Preview Postscript Barton MacLane has a Suppressed Desire. It's to get the chance just once to speak the King's English on the screen. Tired of being a grammar butcher, Barton would like nothing better than to wrap every dese and dose in mothballs for the next fifty winters. A graduate of Wesleyan Univer- sity, Barton majored in speech, of all things. But one consoling thought is that he doesn't intend to stay in the flickers all his life any- how. He's just bought a 750-acre ranch neor Mauna Loa in the Hawaiian islands and will eventually hibernate to those coral shores, raise pineapples, strum a uke and sing nothing but the King's English .. . Gene and Kathleen Lockhart have just celebrated their eleventh wedding anniversary. They have two prides and joys—their combined professional success and their ten-year-old daughter, Jane. Gene was born in London, Ontario, Canada, and Kathleen Arthur Lock- hart first saw the light of day in Portsmouth, England. Famous for their stage and radio impersonations, "The Lockharts at Home and Abroad,'' which Mr. L. writes himself, they are now starting a new road to flicker fame. *&** The Unguarded Hour (M-G-M) Everyone has an hour, sometime in his life, when it would be impossible to ac- count for every move made should he be placed under suspicion. If you don’t be- lieve this, just see what happens to Fran- chot Tone in this exciting story and you'll be convinced! 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volved in a mysterious scandal which threatens to ruin him. Loretta Young is his loyal wife and Roland Young is his closest friend. It’s an absorbing picture, well acted, even to the smaller roles con- tributed by Lewis Stone, Aileen Pringle, Dudley Digges and E. E. Clive. ** O'Malley of the Mounted (20th Century-Fox) As O’Malley of the Mounted, George O’Brien has his best role. to date. The William S. Hart westerner gives Mr. O’B. plenty of opportunity to display both brain and brawn to good advantage. This time George doesn’t confine himself to wrestling with one or two toughies, but takes on a whole band of desperadoes. Needless to say he licks them within an inch of their worthless lives, thereby winning the un- dying devotion of Irene Ware, whose brother is mixed up with their dirty do- ings. Irene Ware adds considerably to the scenery of the wide open cinema spaces, while James Bush is convincing as the young brother for whose safety she risks her life. You'll get some genuine guffaws from Victor Potel’s characterization of the camp cook and a few honest-to-good- ness chills when Stanley Fields goes into his sneers and leers. * Murder by an Aristocrat (Warners) The only mystery about this would-be chiller is why it was released. Even the competent cast doesn’t prove alibi enough. Their gallant screaming and sleuthing are to no avail with such a feeble tale on which to work. The most blood-curdling aspects of three murders only brought gales of giggles from the audience. A weird storm, with all the lightning and thunder props at Warner’s studio going full blast added another note of hilarity. Marguerite Churchill, as a female Holmes, makes the most of a bad assignment. She is the nurse employed in the family of the aris- tocratic Thatchers, a happy family group of hypochondriacs and dope addicts. Claire Dodd is the wife of one of the Thatcher boys, Gordon Elliot, who prowls around loaded with ammunition and morphine, finally taking an overdose of both. William Davidson and Joseph Crehan enact the supposedly subtle crooks and Lyle Talbot is the medico who’s kept busy inspecting the corpses. * Charlie Chan at the Circus (20th Century-Fox) Mr. Oland generally gets around a bit with jumps to Paris, Shanghai and points every which way. But he’s staying at home with the family this time. And you won't want to miss the family—they all have the Chan charm. We counted eleven of them before giving up, from the eldest son, Keye Luke, to the youngest Tai Wo Kung. Charlie takes them all for a pleasant evening under the Big Top, but unpleasant events soon begin popping up as they always do around Mr. Chan. This time it’s the gruesome murder of the circus manager. There are plenty of sus- pects this time, too, for it develops that said unfortunate was cordially loathed by almost everyone in the circus, including the hairy apes and elephants. It’s all so baffling that you'll suspect everyone in the crowd, including Tai Wo Kung. Warner Oland, as always, gives a flawless per- formance, and is ably supported by Keye Luke and the circus folks, notably George and Olive Brasno, the midgets. MODERN SCREEN Legion . love... .? in the June issue. novel, complete in this issue . Seven gererous prizes for your letters. See page 38 Free For Asthma and Hay Fever If you suffer with attacks of Asthma so ter- rible you choke and gasp for breath, if Hay Fever keeps you sneezing and snuffiing while your eyes water and nose discharges con- tinuously, don’t fail to send at once to the Frontier Asthma Co. for a free trial of a re- markable method. No matter where you live or whether you have any faith in any remedy under the Sun, send for this free trial. If you have suffered for a life-time and tried everything you could learn of without relief; even if you are utterly discouraged, do not abandon hope but send today for this free trial. It will cost you nothing. Address Frontier Asthma Co., 266-A Frontier Bldg., 462 Niagara St., Buffalo, N. Y. What was the secret that drove Victor, an English gentleman, to join the Foreign . . to risk his life so recklessly . . . to give up the only girl he would ever Read the complete story of the new Twentieth Century-Fox hit, "Under Two Flags,” Also fifteen other stories and features, including a $2.00 book-length .. And full details of the Grace Moore Contest, offering as prizes the actual jewelry worn by Miss Moore in her new picture, “The King Steps Out”... June Now on Sale CREEN ROMANCES The Love Story Magazine of the Screen DAYS LOOK BRIGHTER WHEN YOU CHEW BEEMAN'S...ITS A TASTY TREAT... AND IT AIDS DIGESTION ROMANCE AND ADVENTURE UNDER TWO FLAGS yA |e ODORLESS DEPILATORY The new ZiP Facial Hair Remover contains no sulphides, no offensive odors. Instant- ly eliminates every trace of hair. Face, arms and legs. Ask your dealer or write Madame Berthé, 562 Fifth Ave., NewYork ECZEMA Poslam uickly pacified by %& G. 2 efficent help ae NEW YORK OSLA A CONCENT ED OINTMENT IT’S DELICIOUS 121

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DEW SOMETHING ABOUT IT @ The impression you give others concerns you! That's why Dew concerns you too,.. You can’t possibly be your most attractive self unless you keep your underarms dry and dainty—absolutely odorless. Dew is sure protection. Dew's action is gentle, instant and lasting. When you use Dew, you know your underarms are sweet and dainty, your dresses and coat-linings are free from stains, odors * and wrinkles. Using Dew is really economical —one. small bottle lasts for months... At any department, drug ‘or chain store. New De Luxe Dr. Scholl’s Zino-pads instantly relieve pain of corns, callouses and bunions; put you at ease in new or tight shoes; stop their nagging pressing or rubbing on your feet and toes and prevent tender spots and blisters. Separate Medicated Disks are included for safely removing corns or callouses. Accept no substitutes. Sold everywhere. D Scholls Zinopads WAKE UP YOUR LIVER BILE- WITHOUT CALOMEL And You'll Jump out of Bed in the Morning Rarin’ to Go HE liver should pour out two pounds of liquid bile onto the food you swallow every day. If this bile is not flowing freely, your food doesn’t digest. It just decays. Gas bloats up your stomach. You get constipated. Your whole system is poisoned and you feel sour, sunk and the world looks punk. A mere movement doesn’t get at the cause. It takes those good old Carter’s Little Liver Pills to get these two pounds of bile flow- ing freely and make you feel ‘up and up”. Harmless, gentle, yet amazing in making bile flow freely. Ask for Carter’s Little Liver Pills by name. Stubbornly refuse anything else. 25c at all drug stores. © 1935 c. M. co, ET AT 122 MODERN SCREEN They Love to Save (Continued from page 15) mind, so that she might know the where- abouts of her dearest treasure. Finally, at two o’clock in the morning, Voight, hearing of the search for him, ‘phoned Miss Shearer at her hotel. He had carried her precious keepsake, $10,000 worth of diamonds and platinum, all eve- ning in his side pocket, without being conscious of it. The actress was so re- lieved to recover her prize that she placed it in her safety deposit box immediately she returned to California, and there it has remained. Binnie Barnes, too, cherishes most highly a set of amethysts her husband gave her and which, because of the senti- mental value attached to them, she keeps in her vault. When Binnie first came to America some years ago, she developed so acute a case of homesickness for her husband that she turned right around in New York and sailed on the next boat for England. Her mate, hearing of this, scoured London several days for an appropriate gift with which to greet her—and found the ame- thysts in a little shop. Do you blame Binnie for being so proud of them? Walter Connolly regards the original manuscript of the first three-act play ever presented in America as his lucky talis- man. Whenever he starts a picture or opens in a play, he withdraws the script from his vault, invariably returning it the following day so there will be no danger of its being lost. OR old times sake, W. C. Fields has the tramp juggler outfit he wore in his vaudeville days . . . baggy pants, ragged coat and vest, battered top hat and broken- down shoes. Keeping it amounts almost to a fetish with him. Fire nearly destroyed the “ensemble” several years ago, so now he keeps it in the safest place he knows . . his safety deposit box. As a memento and a warning, Charles Butterworth retains the deed to a lot in a certain Illinois town. The lot is under ten feet of water—and always has been! “My father gave it to me,” declares the comedian, “and said, ‘Charlie, keep this and pass it on to your children. Let it be a reminder never to buy real estate that you don’t see with your own eyes.’” The ‘call sheet” for the first day of “Riders of the Purple Sage” is cherished by George O’Brien. A call sheet, in case you are unfamiliar with the term, is a sheet of paper tacked up in the studio on which appear the names of those players called tor the following day’s scenes. This particular sheet bears the name of pretty Marguerite Churchill, who played O’Brien’s leading lady in the picture. George had never met the young actress, although he had glimpsed her from a dis- tance on the lot, but as he read her name on the eve of the film’s starting date a sudden thrill suffused him. “T had a certain premonition that I would marry her, the moment I saw her name,” the athletic star explains. “Just for luck I took the call sheet—and a few months later Marguerite changed her last name to O’Brien.” The other O’Brien of the movies, Pat, has had his baby’s first shoes bronzed —now a popular custom—and they rest in solitary glory in a separate vault, especially preserved for little Mavourneen’s keepsakes. Both Helen Hayes and Virginia Bruce treasure highly concrete memories of their children. Her daughter’s first tooth will always remain dear to Miss Hayes, while Miss Bruce keeps all baby Susan Ann’s pictures. A number of celebrities cherish above all else chattels of their childhood. Grace Moore looks upon her red baby shoes as a good luck omen, and will never go through an opening night of the opera seasoli without these at hand. When she goes to California for a picture, she trans- fers them from a New York to a Holly- wood safety deposit box, taking the tiny slippers with her on the first day’s shoot- ing. Jean Harlow has kept her baby ring, together with that of her mother; and one of Ginger Rogers’ most prized pos- sessions is a rag doll she called “Tut- tles” as a little girl; and two broken dolls she loved in her childhood, lie in Sylvia Sidney’s safety vault. Cesar Romero treasures a picture with a bullet hole through the middle of it, showing his mother holding him on his baptismal day. Cesar’s godfather, Jose Marti, was killed during a Cuban revolu- tion and after his death a wallet found in his breast pocket was sent to Mrs. Romero. The bullet that had pierced his heart went straight through the wallet . and in it was the picture! | USS JONES and his wife were mar- ried in a circus ring. Just before the ceremony, Mrs. Jones-to-be picked up a horse-shoe and jokingly asked Buck always to keep it. To this very day, he has the rusty shoe in his bank box. A lace fan originally carried at a fa- mous Colonial ball and of tremendous monetary value was given to Irene Dunne by Laura Hope Crews. It was in Miss Crews’ family for more than 150 years, but her friendship for Irene led her to make the- presentation. Harold Lloyd still retains the horn- rimmed spectacles he wore sixteen years ago and keeps them in a special humidor to prevent the shell from drying out. Mae West cares for a picture of her mother, when the latter was a strikinely- handsome young woman, with an affection approximating a phobia. And Josephine Hutchinson owns and cherishes a locket once worn by the immortal Duse. An article that he seldom removes but treasures as he does his life is the pass- port John Boles used in France during the World War. Although only an identifica- tion card, it entitled him to go everywhere in France and Belgium without question. Carefully wrapped and deposited in William Gargan’s vault is the christening robe he wore as a baby, a long handmade dress, trimmed with rare old lace. Both his own two children were christened in it, as well. The friendship involved in the offering of a jade heart by a Chinese actor a num- ber of years ago makes this trinket one of Warren William’s most highly valued keepsakes. Actors may be persons apart from the mob, they may be elevated to the highest pedestal in popular opinion, but when it comes to saving—well, they’re just like other folks. They love it!

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MODERN SCREEN The publishers of MODERN SCREEN guarantee that you will be satisfied with your purchase of every packaged product advertised in this magazine. If for any reason you are dissatisfied, MODERN SCREEN will replace the product or, if you prefer, refund your purchase price. In either case all you have to do is to send us the unused portion, accompanied by a letter outlining your complaint. This guarantee also applies if the product, in your opinion does not justify the claims made in its advertising in MODERN SCREEN 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. Alka Seltzer American Chicle Co. Blondex Bluejay Corn Remedy Blue Waltz Cosmetic Brookline Chemical .. Brownatone Camay Soap Camel Cigarettes : Carters Little Liver Pills See School of Nursin Chic Nailpolish Clopay Shades Colgate Toothpaste Cropax Footaids Cutex Nailpolish Cutex Lipstick D.D.D. Dearborn Supply Dew Deodorant. Doans Kidney P Dr. Edwards Olive Tablets Dr. Scholl’s Footaids Eastman Kodak Enterprise Dripolators Faoen Perfume Feenamint Fels Naptha Soap.... Fleischmann’s Yeast . Forhans Toothpaste . Fox Film Franklin Gaumont-British Pictures. . Glazo Nailpolish ...... Golden Peacock Cosme Goldman, Mary Greyhound Lines ........ Griffin Shoepolish Hubinger Starch Hudnut_ Marvelous Cosmetics Hush Companye erties Hydrosol Ipana Toothpaste Ironized Yeast Irresistible Cosmetics . Ivory Soap Flakes Johnson Justrite Kellogg Kellogg Cor Kleinert Shields Kotex Lady Esther Cosmetics Lander Talcum Powder 1936 La Salle Extension University Lewis Medicine Company, A. H. Natures Remedy ‘Tums Lincoln Snokist Shoe Polish Linit Nestle’s Superset INOnSDilsrs ake NuSkin Labs. . Odorono Resinol Rit Dyes RKO Pictures . Sani-Flush School of Applied Art Slendrets SSS Co. Stillman Tattoo Mascara Tattoo Lipstick Tempt Lipstick Tintex Walligniynscb ireeaminr mereiey retin tae entaenets 102 Warner Brothers Pictures Whisdems ManitcitenrAlds are. or mem pre eneaS Winx Woodbury College Wrigley Gum ZBT Baby Powder Zonitors Although we make every effort to insure the accuracy of this index, we take no responsibility for an occasional omission or inadvertent error How | ENDED CONSTIPATION”’ This advertisement is based on an actual expe- rience reported in an un- solicitedletter. Subscribed and sworn to before me. y Vp EC lo NOTARY P IC scovered Tablets; <1 |iked them, 29 BLS awe certainly d me." helpe ETS V Viv LET constipation keep you run-down, listless, nervous and tired when permanent relief may be yours so easily? Take comfort from the above true story of another sufferer. For this is not just adver- tising promises, but the actual experience of one of the thousands who write to tell how Yeast Foam Tablets have ended their suf- fering and restored them to vigorous health. There’s no more need to make yourself the victim of habit-forming cathartics. Yeast Foam Tablets help restore natural digestive and eliminative functions without irritation. Rich in needed tonic elements, this pleasant, pasteurized yeast has banished constipation, headaches and other symptoms for thousands —bringing back the normal healthy glow of the skin—the natural pep—and the surging <<< energy of buoyant health! Ask your druggist for Yeast Foam Tablets today. Do not accept a substitute. Send for Free Sample. NORTHWESTERN YEAST CO., H 1750 N. Ashland Ave., Chicago, Ill. : . y Please send free introductory pack- | j 786 of Yeast Foam Tablets. MM-6-36 H Te Name eee eects a eee era eens : : (Nddress see ae eee ener I WS Cig y et te i a Nak Rare Statesssaeow sss : 123

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(Top) Al Jolson, Jr., one-year-old adopted son of Ruby Keeler and Al Jolson, faces the camera for the first time. (Above) Henry Fonda and Mar- garet Sullavan amuse themselves on the ‘Moon's Our Home” set. Ru- mor has it that they may remarry. director and producer of La Goddard’s celluloid flyer. Or is it La Chaplin’s? Interesting Facts About Interesting Folks: Donald Duck is on the sick list—laryngitis. Larry Benton, who fakes Donald’s dulcet tones, is suffering from the affliction, too . .. Anita Louise drinks a pint of steak juice before going to bed every night... Lupe Velez never pays more than $12 for an evening dress, and never appears in less than $30,000 worth of jewels . . Shirley Temple’s on the Democratic ticket from now on, having just received an autographed Picture from President Roosevelt, appointing her “Envoy Extraordinary and Messenger Plenipotentiary” ... Erroll Flynn, of “Cap- tain Blood” fame, has bought a 28-acre estate at Lake Sherwood and is raising pigs . . . Robert Montgomery is raising a mous- tache for his next picture. EZ GB Luise Rainer’s dog, Johnnie, has fol- 124 (Continued from page 77) lowed his mistress all over Europe and all over ilollywood. Thinking Johnnie ought to have a companion Luise added a cocker spaniel to her household. Johnnie looked at the newcomer darkly, refused to speak to him and proceeded to go on a hunger strike. Luise finally had to sell the spaniel, and Johnnie is contented and eat- ing again, without a rival in sight. Director William Keighley, at Warner Brothers, was giving last-minute instructions to his cast before calling for the cameras. He shot a final order at Glenda Farrell, then asked, “Now, is that clear in your mind?” “Oh, yes.” answered Glenda duti- fully, “everything is clear except my mind.” (Top) Mr. and Mrs. Jack Odakie (she was Venita Varden) right after the ceremony at Yuma, Arizona. (Above) And here are twomorenewly- weds, in this month of wedding bells —Onslow Stevens and Anne Bu- chanan, who eloped to Las Vegas. Questions Without Answers: Who is the young leading man who has taken to the demon rum on account of a very blonde and very beautiful young star? Seems the young lady’s mother doesn’t approve of the young man, for various reasons, so he’s drowning his sorrows, or at least sub- merging them for awhile. Watched Kay Francis do a scene for “RAngel of Mercy” on one of the dirtiest sets we've ever seen. Straw mattresses were strewn around the floor, and dust and filth was everywhere. It was supposed to be like that, for signs around the stage said, “Do not clean this set.” Director William Dieterle always wears white gloves. When angered he throws them on the floor and stamps on them. When he doesn’t like the way an actress has done a scene he ap- proaches her and with a low bow says, “Darling, that was lousy.” Printed in the U. S. A. by Art Color Printing Company, Dunellen N. J,

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