Modern Screen 1940-06 Vol. 21, No. 1

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THE LARGEST CIRCULATION OF ANY SCREEN MAGAZINE

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] == | = la ~~ a @& akens | SEEBN/EE : Fragrance ...and He Will Madly Adore You! When apple blossoms spill their fragrance on the soft, warm air of Spring . . . love will not be denied . . . you and he can’t help drifting into paradise! And a man’s helpless with excitement, too, when you're sweet all over with the perfume of Lander’s Spicy Apple Blossom Talc and Cologne. For this thrilling fra- grance awakens a fever of love . . . makes a man feel that you're divinely desirable. His lips may crush yours with a flaming urge — and yet this flower-fresh fragrance guards your refinement . . . enshrines you in his heart as the one woman to protect and adore forever. Get this enchanting talc! STOP WORRYING ABOUT UNDIES ODOR! PLAY SAFE THIS EASY WAY... simply shower your whole body every: morning with one of the exquisite Lander’s Talcs. Lahder’s Talc helps keep your undies ._ dry, fresh and sweet because it reduces the amount you perspire. And what a blessing this is on hot summer days! You'll find that Lander’s Talc cools and comforts your skin. Use it daily at home ... and take it to the beach with you, too. Never be without Lander’s Talc. Large can only 10¢ at your 10¢ store. LANDER’S FAMOUS BLENDED FLOWER TALCS surround you with a fragrance, seductive yet refined, for there’s an utter innocence about the perfume of flowers! Keep yourself’ a sweet, lovely person to be with by showering yourself daily with any one of these glorious talcs — LILACS AND ROSES * * * GARDENIA AND SWEET PEA * * * SPICY APPLE BLOS- SOM * * * CARNATION AND LILY OF THE VALLEY * * * LAVENDER AND PINE * * * ORCHID AND ORANGE BLOSSOM. SOLD ONLY AT ALL 10¢ STORES.

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: one Digrp yee ¢ Mum than any other deodorant. Res ch arm every day ma der ea pours after yout fresh! More yen Us Just a touch wn He e of your charm. F ois Lee Mum still keeps you MUM TAKES THE JUNE, 1940 Wake up, Wallflower! Mum after your bath would have saved your Charm! Bees expectations .. . dreams of a wonderful evening . . . turned to dust! Why should it happen to a pretty girl like Jean? She bathed so carefully, chose her loveliest dress, started out so gaily. But she did forget Mum— she thought her bath would be enough! And now she’s sitting out the dances. She’s missed her chance for popularity— and she doeswt know why. It’s a mistake to believe that the bath which leaves you so fresh and sweet will secure your charm for the evening. Even the most perfect bath removes only per- spiration that is past! Underarm odor can come after a bath, unless you prevent it. Why not make sure yow never risk this danger? Make future odor zmpos- sible—follow your bath with Mum! MUM SAVES TIME! Takes only half a minute! Just a pat under this arm, under that . . . and you're through! MUM SAVES CLOTHES! Mum has the American Institute of Laundering Seal as being harmless to fabrics. And even after underarm shaving Mum actually soothes your skin. MUM SAVES CHARM! Without attempt- ing to stop perspiration, Mum prevents underarm odor. With Mum, after-bath freshness lasts all evening. Women every- where use Mum... yes, and men, too. Get Mum at your druggist’s today. Be always welcome—make a habit of Mum! FOR SANITARY NAPKINS—More women use Mum for sanitary napkins than any other deodorant. Mum is gentle, safe, dependable! ODOR OUT OF PERSPIRATION 3

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PEARL H. FINLEY Editor ZAILA SEGUIN Associate Editor LOIS SVENSRUD Hollywood Editor ABRIL LAMARQUE Art Editor ©cisp 455363 STORIES "DON'T CALL ME A GREAT LOVER!" —James Carson MR. TAYLOR'S "MISS STANWYCK" —Gladys Hall LIVING IN SIN —Katherine Best SUCCESS WITH A WHOOP! —Kirtley Baskette BUTCH, THE BALLROOM BARON —James F. Scheer BRUNETTE—WITH A BLONDE PERSONALITY —Elizabeth Oldfield A STUDY IN GREENE —Irving Wallace HOLLYWOOD SKIN MAGIC —Carol Carter HOW THEY THAWED OUT MADELEINE CARROLL —George Benjamin THEY SELL STARS —James Reid FEATURES INFORMATION DESK Questions Answered OUR PUZZLE PAGE Movie X-Word SANDWICHES— An Open and Shut Proposition MOVIE REVIEWS Our Ratings A DOLLAR FOR YOUR THOUGHTS Prize Letters PORTRAIT GALLERY For Your Album ON THE SET With "All This, And Heaven Too"...... WHY STARS LEAVE HOME Their Favorite Haunts CALLING ALL SECRETARIES! Movieland's “Office-Wives" SOCIALLY YOURS, "The Gambol of the Stars" GOOD NEWS Movie Chatter COMFORTABLE AND GAY New Summer Knits MOVIE SCOREBOARD General Ratings Cover Girl: Vivien Leigh, Natural Color Photograph, by L. Willinger Vol. 21, No. 1, June, 1940. Copyright, 1940, by the Dell Publishing Co., Inc., 149 Madison Ave., New York. Published monthly. Printed in U. S. A. Office of publication at Washington and South Aves., Dunellen, N. J. Single copy price 10cin U. S. and Canada; U. S. subscription price $1.00 a year; Canadian subscription $1.20 a year; foreign sub- scription $2.20 a year. Entered as second-class matter, Sept. 18, 1930, at the Postoffice, Dunellen, N. J. under Act of March 3, 1879. Additional second class entries at Seattle, Wash.; San Francisco, Calif.; Houston, Texas; Savannah, Ga. and New Orleans, La. The publishers accept no responsibility for the return of unsolicited material. Names of characters used in semi-fictional matter are fictitious. If the name of any living person is used it is purely a coincidence. Trademark No. 301773. Women thrilled by this Great New Improvement in Beauty Soaps! Brought to you by Camay to Help you to Loveliness! OMEN everywhere are making new Camay their favorite beauty soap ... seeking new loveliness with the aid of Camay’s gentle beauty cleansing care. And no wonder...for now Camay offers them advantages which most women have never enjoyed before! Yes—we tested new Camay against six of the most popular beauty soaps we could find... proved Camay was milder than any of them... gave more lather in a short time... had a fragrance almost 2 out of 3 women pre- ferred! Get Camay at your dealer’s, now! Amazing gentleness k=, —for acomplex- “2, ton that invites ee > close-ups. Refreshing, creamy lather that comes quicker to g bring out hidden beauty. @ j i Camay—it’s I’m just thrilled by the new see better than ever. Such wonderful mildness and lather! And that lovely per- fume lasts and lasts while theres a bit of soap left. Atlanta, Georgia Fragrance that makes it heaven to hold you in his arms. (Signed) Le VERT DoBES Mrs. William L. Dobes At your dealer’s now —no change in wrapper! Trade-Mark Reg. U.S, Pat. Off. Now-more than ever—-THE SOAP OF BEAUTIFUL WOMEN MODERN SCREEN

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hi 1g and talented beyond description —in a ich might have been created for her alone A girl whose emotions mirrored the chaos of the ‘orld around her... grasping fervently, eagerly at the love that belongs to youth... Robert Taylor ‘attains new dramatic stature as the man who shares VIVIEN LEIGH - ROBERT TAYLOR in Metro-Goldwyn-Mayer’s WATERLOO BRIDGE with LUCILE WATSON + VIRGINIA FIELD MARIA OUSPENSKAYA °C. AUBREY SMITH A Mervyn LeRoy Production Screen play by S. N. Behrman, Hans Rameau, and George Froeschel Based on the play “Waterloo Bridge’ by Robert E. Sherwood Directed by MERVYN LeROY @ Produced by SIDNEY FRANKLIN JUNE, 1940

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may 11. (940 tll WE KNOW ALL THE ANSWERS— YOU POP THE QUESTIONS =D TUT TT WHAT'S THE NAME AGAIN? Remember how you felt the last time someone mispronounced your John Henry? Well, the stars feel that way, too. Let's see how you stand on a few of the trickier ones. When you finish the quiz, turn to page 95 and get your rating. The emphasized syllable is indicated by the accent mark (’). Ruth Cardinal, Brooklyn, N. Y. William Holden, whose sensitive treatment of the complex role of “Golden Boy” has won him wide acclaim, is really just as sur- prised about it all as you are. Just twenty-two, with no more romantic as- pirations than to be a chemist like his dad, Bill, along with thousands of other SUDIUUUTAUULTL UTA IevAhennenaSricntesris aaa (a) Ay’-hern (b) Ay-hern’ boys, was tested for the role and clicked Zs LHI, (WD “sao neokveesooneses (a) Oh’-tree (b) Aw’-tree with Director Mamoulian. A sophomore = SAY resi ews seen. ane ee ae ieee (a) Ires (b) Airs at Pasadena Junior College, virtually in- = 4. Beery, Wallace ............... (a) Bear’-ee (b) Beer’-ee experienced in acting, he had that cer- = 5. Boveri Charles lal) Pavesren? is) Boyfas tain spark that the part called for. = a Y a ieee te ei y y ; Christened William Beedle, this likable = . Bradna, Olympe .............. (a) Oh-limp (b) Oh-lamp youngster is six feet, weighs 165 pounds = 7eGolberts Claudette me ea (a) Coal-bear’ (b) Coal/-bert and has blue eyes and brown hair. He She Davis Bette wane n teint ia (a) Bet’-tee (b) Bet was born in O’Fallon, Ulinois, but is a 9. Dietrich, Marlene ............. (a) Mar-leen’ (b) Mar-leh’-na Californian by adoption, having moved 10. Dietrich, Marlene ............. (a) Dee’-trish (b) Dee’-trick there at the age of four. He is a very Iie Don atte Roberteserer creer (a) Dough’-nat (b) Dough-nat’ normal ag of pod ae ved for epee 125 (nloniey SCuIG] cocotcocos00su000 (a) Hen’-ee (b) High’-nee cars, athletics jo? alt nde aa as | : eas = Write to him at Columbia Pictures, 1438 13. Hudson, Rochelle ............. (a) Roe/-shel (b) Roe-shel = N. Gower Street, Hollywood, Calif., and IG lkeccly VAnchX! cascocnsecscucor (a) An'-dree-a (b) On’-dree-a = keep your eyes peeled for “Arizona,” his lSsikcigh=Vivienieee reer cee ere (a) Lee (b) Lay = next, with Jean Arthur. léseMasseysllonae emer reer cece (a) Lo’-na (b) Il-oh’-na = : = 17. Menjou, Adolphe ............. (a) Mon’-ju (b) Men/-ju = June Rose Koch, Peoria, Ill. The Lone = 18. Olivier, Laurence (a) Oh-live’-ee-er (b) Oh-live’ = Ranger, Robert Uivinesio 0 ae = By RS eneuL amo ; cere Peatnanaiaes = to Dorothy Gee and it is his first mar- = (Gs Retiner; MARS cscodscsocedseoss (a) Ry sner (b) Ray’-ner riage. There are no little cowboys. Bob’s = 7A0)5 UNG (LCI ooo oeédgecaccsanes (a) Lay’-na (b) Lah’-na real name is Randall, and both his par- aTililll NOTE: If you desire a reply by mail, send a stamped, self-addressed envelope to Information Desk, Modern Screen, 149 Madison Avenue, New York, New York. Josephine Brown, Terre Haute, Ind. We have searched high and low and just can’t find a star whose birthday coin- cides with yours. You are sandwiched between some very famous. people though, which means, astrologically speaking, that you were born under their sign. Cecilia Parker and Edgar Ken- nedy were born on April 26, and Lionel Barrymore and Carl Laemmle, Jr., were born on the 28th. Sorry there isn’t a twenty-seventh-er for you. Mary D’Ercola, New York, N. Y. Ronald Reagan, who has recently broken so many hearts by getting himself married to Jane Wyman, is twenty-seven years old and was born in Tampico, Illinois. He’s a college graduate, Eureka being the proud alma mater, and is a member of Tau Kappa Epsilon. He was prom- inent in both dramatics and athletics in school, but upon graduating he re- nounced the former and took up sports reporting, verbal and written. While he was covering the Chicago Cubs’ spring 6 {ULUIULVIVCQUUULUOUILUUVUVUUUVDOSUULTUTUOTYUOUUUVUTUTAEE TT EUTEEEEUUETST training camp, a friend introduced him to Max Arnow, Warner Brothers’ casting director, and a few days later he was signing a contract. He likes Hollywood, but can’t get used to going to football games as a cash customer instead of on passes. The Irishman with the incon- gruous. nickname of “Dutch” likes the color green, of course, and also horses, swimming, hiking, strawberry shortcake and eight hours sleep per night. Norma Rogers, Bronx, N. Y. Phil Regan was born on May 28, 1908, in Brooklyn, N. Y. He started singing “My Wild Irish Rose” at an age when most parents are thrilled to get a “mama” out of their kiddies. Black-haired and grey-eyed, Phil has realized all of his ambitions to date. His first one was to sing in his school glee club; his second was to be a cop; next he longed to sing on the radio, and eventually he dreamed of Hollywood and Broadway. Now, at thirty-one, he is quite satisfied with his lot. He married at seventeen and is the father of four children, none of whom approve of Daddy’s love-making on the screen. Five feet ten in height and weighing 165 pounds, this engaging young “Singing Cop” has been very busy the last year or so making personal appearances. ents are writers. Bob took a stab at the newspaper business and also collaborated on the dialogue for a few movies before deciding that he wanted to act. Anna Cook, Le Roy, N. Y. So many people assume that, because Hedy Lamarr is so unbelievably gorgeous, she must be proportionately dumb. Nobody, they as- sert, could look like that and still have a brain. Alert and energetic, Hedy is that paragon—a combination of intelli- gence and breath-taking beauty. She is well-read, a linguist of no mean attain- ments and a lover of good music. At the risk of making Gene Markey jealous, she confesses that she admires Toscanini more than any other living man. She plays the piano, designs all her own clothes and averages a dozen movies a week in order to improve her English pronunciation, which is now almost per- fect. She likes night-clubbing, mainly because of her love of dancing, but pre- fers swimming, tennis and long drives in her car. Born in Vienna, the daughter of a bank executive and reared in lux- ury; married to a wealthy munitions manufacturer who gratified her every whim; hurtled to stardom practically overnight in Hollywood, Hedwig Kies- ler, now Hedy Lamarr, has kept her head and is refreshingly unspoiled and un- sophisticated. James Blazek, Cicero, Ill. Here’s how to organize a fan club. It’s loads of work, but it?s so much fun. First of all, you must write to (Continued on page 95) MODERN SCREEN

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= BETTE DAVIs/.u CHARLES BOYER, — 2 ™M the matchless Pages ga . You'll say when you see her that n-sent “Henriette” is a role heave just for. Bette Davis! And youll know, too, why Charles Boyer had to return all the way from France to play the Of this brilliant best- seller co ne a New chapter in film achievement! With all the: ae INCOmparable art- IStry at their com- | | c. For s this impassioned Du so many reason . is the drama to be ranked in your =. memory great stars bring A o\ ARE HONO@RED =iO* © ER | ALL THIS Am Pe ONE Ny cnloan HEAVEN TOO cAN ANATOLE LITVAK PRODUCTION FROM THE WORLD-APPLAUDED NOVEL BY Screen Play by Casey Robinson - Music by Max Steiner A Warner Bros.-First National Picture r 1Z yi / oT f Nache eel a Included in the notable supporting cast are JEFFREY LYNN: BARBARA O’NEIL Virginia Weidler - Henry Daniell

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) (), * , mM ..-and here’s why I choose THE KOTEX™ TAMPON U The Ideal Internal Protection. Fibs, the Kotex Tampon, with new exclusive features, is more comfortable, more secure, easier to use. Be- cause of the rounded top wo artificial method of insertion is necessary! A Kotex product, Fibs merit your confidence! *’Quilting’’ keeps Fibs from expand- ing abnormally in use—prevents risk of parti- cles of cotton adhering —increases comfort and lessens possibility of injury to delicate tissues. Special Made of Surgical Cellucotton (not cotton) which absorbs far more quickly than surgical cotton, that’s why hospitals use it. Mail coupon with 10c for trial supply today. only 29° FOR 12 Economy Box 34 for 48c Accepted for Advertising by The Journal of the American Medical Association SAMPLE OFFER *T. M. Reg. U.S. Pat. Off. ee FIBS —Room 1412A, 919 N. Michigan Ave., Chicago. I enclose 10c for trial supply of FIBS, the Kotex Tampon, mailed in plain package. Names 2222529 so eS a Ee eee | 1 12 8. Doctor in “Four Wives’ 40 ACROSS & 7. Star of this puzzle . Femme lead of ‘“Vir- ginia City” p . Ann Sothern’s hubby . Melanie in “‘'G.W.T.W.” . Spot . Require . She’s in “My Little Chickadee” . Claire ---- . Star of “The Spell- binder” . “Each ---- I Die” . Midday . “The Ghost B - - - kers” . Follow . “Ukulele Ike” . Deep chasm: poet. . “Brother ---” . Star of “Secret of Dr. Kildare” . Three: prefix . English dramatic star . Girl in “House of Seven Gables” . With our star in “Ad- venture in Diamonds” . One to whom property is transferred . Gradual disintegration . 1 across was in the Irish -- - ellion . “Str --- ed” . Comic who says “mon- keys is the cwaziest people” . Dynamite . Doctor in “Vigil in the Night”: init. . Singer in “Swanee . The “oomph” girl . Ocean . Producer of “The Westerner” . Suffix denoting a fol- lower ak Twenties” . Star of “Rebecca” . A performer . “---cial Agent” . Sea nymphs ae Bees Ga BEER ce | Ae ee GE ee . James - - - wart . She’s in “Jamaica Inn” . Organ of hearing . Fluttery comedienne in “Remember ?”’ . Where our star was born and educated . l across was with her in “The Painted Veil” . Actress in “The Big Guy”’ . Opposite 27 across . Long ago . Above: poet. . Affected manners . Again . ---- Barrie . Snips . Cubic meters . “The Singing Cop” . Quickly . Male lead of “Daytime Wife” . Lewis ----- . To become gloomy DOWN . Tough guy in “Strange Cargo” OMe PAS Heroine in “‘Geronimo’ . Wind instruments . “The Invisible Man ---urns” . Star of “The Primrose Path” : init. . Volcano Opposite 1 across in “The Rains Came” . Actor of the silent days . For example: abbr. 10. . Tendencies 2.. “Mr. - -- -’s Last Warn- Fresh ing” . Italian article . Free . Precious substance . Assistants . Feminire title of respect . Female sheep . Distress signal . Singer of “It’s a Date” . Not wide . Incite 67 i a AIP BISE| || | Pe | BRERE BORE Bee oe a ie i fe a al ra Fe] 103 Bea | BABES) Puzzle Solution on Page 84. 35. --- Cahoon 101. 102. 103. 105. 107. 109. . Dancer in . Constellation . War --- William . Prejudice . “Seven- --- . Weary . Star of ‘Remember the ” Night” “Broadway Melody of 1940” . Bone . Radical . Joan Bennett’s daugh- ter: - --inda . Small insect . Presented Horns . “Cap” Huff in “North- west Passage” . What Joan Fontaine is to Olivia . Heraldry: grafted . Era . “My ---, My Son” . On the sheltered side . Optical illusion . Number of Lane sisters in films: Rom. num. . Peril . ---- Zorina . That lady . Friend . Period of time . Commands . Any person . Brag . Harmony . More unusual . Actor in “Strange Cargo” . Star of “Swanee River” . Circular . She was “The Old Maid” . Radio star who went Hollywood . Comfort . Knocks . A “sign” of a star’s popularity Damp “The - - - From Dakota” Fish “Gold - - Arrow” He was a “-- Getter” Sun god MODERN SCREEN | | ] |

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as | Find your most Becoming Powder Shade now- and get it in my GRIT-FREE powder! oes IN YOUR FACE POWDER CAN GIVE YOUR SKIN A HARSH, “POWDERY” LOOK! 33 The wrong shade of powder is a tragedy Does a higher price mean a better powder? Don't be deceived! For even expensive powders often contain grit. Impartial laboratory tests showed many powders costing $1.00, $2.00, $3.00, and even more, contained up to 20.44% grit! But there is no grit in Lady Esther Face Powder. Day or evening, when you wear it, no harsh, “powdery” look will spoil your loveliness. For my powder will flatter you through busy hours with never a trace of grit to ruin its smooth- ness... to spoil the perfect blending of your most becoming shade. —but even the most becoming shade can raise the dickens with your appearance—if that powder contains grit! For powders containing grit can make you look older—can give your skin a harsh, “hard” look. The ‘‘Bite Test’? will tell you. You have a laboratory right in your own mouth! Put a bit of your present powder between your teeth! Besure your teeth are even, then grind slowly. Your teeth will tell you if your face powder contains grit. Find Your One Luckiest Shade—Here and Now If you want to look your best at a party, a dinner, or a dance, you must have the right shade of face powder. Why guess, when you can be certain as to which is exactly the right shade for you, the becoming shade, the flattering shade! Find out right now! Write me—and I will send you 10 glorious new shades of my grit-free face powder (including my Champagne Rachel). Try all my shades —you'll be amazed to see that my beiges, dark rachels, light rachels, rose tones JUNE, 1940 and my natural are so much more flat- tering than the equivalent shades of other brands you may have tried. From this complete range you will surely find the one shade that is made to order for yow—the one shade that will make you look younger and lovelier! And because my powder is grit-free, it will never give you an ungroomed, “pow- dery” look! There is no finer, no higher quality powder in the world today—no lovelier shades. So mail the coupon now! & Lady Esther powder passes the bite test with colors flying. It’s GRIT- FREE—so smooth that it clings actually FOUR LONG HOURS. Pat it on after dinner, say at 8, and at midnight it will still be there, flattering you and your skin. (You can paste this on a penny postcard) Lapy ESTHER, (56) 7110 West 65th Street, Chicago, Ill. Please send me FREE AND POSTPAID your 10 new shades of face powder, also a tube of your Four Purpose Face Cream. (Offer lim- ited to one per family.) NAME ADDRESS CITY STATE If youlive in Canada, write Lady Esther, Toronto, Ont. PAI nny

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By Marjorie Deen Wbits— rt WHEN THE Earl of Sandwich—card loving gentleman of another land and century—reluctant to leave the gaming tables, ordered for the first time on record a piece of meat encased between two slices of bread, all unknowingly he invented a novel food idea which was to make him famous! But it is a far cry, indeed, from that simple suggestion of his to the amazing variety of combina- tions which still bear his lordship’s name —however little they may resemble his initial idea! A veritable gold mine of information on this sandwich subject is cute little Rosemary Lane, currently appearing in “An Angel from Texas.” Encouraged in childhood to take an interest in culinary matters by a supremely sensible mother, Rosemary followed up with a post grad- uate course in sandwiches in and around Hollywood. Here sandwiches, like every- thing else, are “glamourized” (sometimes beyond recognition!), and stars are honored by having sandwiches named after them! So it is small wonder that this bright young member of the Lane quintette of girls has several sandwich specialties which deserve your inter- ested attention. And particularly so at this time of year when warmer days bring with them a desire for lighter, simpler meals and a freer outdoor life. 10 rH High time, therefore, for a review of the sandwich situation, especially since Rosemary is willing and ready to act as, our guide and to provide some of her own favorite ideas for us to try. First, however, let me point out that nowadays sandwiches are an open and shut proposition—the name being used to describe practically any type of filling or spread placed on a slice of bread and topped with a second slice of bread, or not. However, when crackers or slices of cake are used in place of bread, then the filling must be “sandwiched in” to belong under this classification. And now for some tips on the tech- nique of sandwich making and on the interesting types you can concoct. IDEAS IN GENERAL Day-old bread is usually recommended for sandwich making because, though still fresh, it cuts well. However, for rolled sandwiches, bread should be as fresh as possible to make it more pliable. For some types of sandwiches unsliced bread must be used; also, when many varieties of sandwiches are to be made, an unsliced loaf is more convenient since then you can cut the fancy ones the long way of the loaf. Of course, you will need a sharp Vary the shape of your sandwiches as well as the bread you use and watch your family stow ‘em away. knife . with a well sharpened tool you can cut even the freshest of bread paper thin, especially if you heat the knife between each slicing by dipping it in boiling water or holding it over a flame. There is also a new bread holder on the market which enables you to cut each piece of already-sliced bread—just as it comes from the store—into two thinner slices for daintier sandwiches. This is real convenience since we gen- erally have, or can always procure, the sliced loaves. Butter or margarine should be well “creamed” before using; that is, it should be worked with a stiff knife until it is soft and fluffy, so that it will spread easily and without danger of tearing the bread. Adding flavoring to the butter —such as anchovy and other fish pastes, onion juice or minced chives, chili sauce, molasses, honey and the like—also sim- plifies preparation and serves as a spread, or as a base for other spreads. Cheese of the type that is spread on the bread should be softened by standing at room temperature or, if necessary, by mashing. Frequently mayonnaise, cream or some relish is added to the cheese to make it spread more easily. For the very thinnest sandwiches, the filling is spread on before cutting the bread from the loaf. This also is done MODERN SCREEN

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a WE a _when the loaf is to be spread lengthwise. i HY A sawing motion is reeommended when cutting the loaf from end to end. Crusts should always be removed, except for the filling type of picnic “and school 1; lunch sandwiches. ith IDEAS IN PARTICULAR | Your Party Sandwich repertory, ac- '\| eording to Rosemary Lane, should in- clude, besides the regulation wafer-thin tea sandwiches, such things as. Cornu- | copias, Window and Ribbon Sandwiches, Pinwheels, Iced Open-Faced Bridge- card-shaped specialties and cream- cheese-frosted Sandwich Loaves. Her ; peeciption ef how to make all of these : | | ollows shortly. 1 I 1 : : il MTA Each Pe Ciost sdndwiches Meddle! Meddle! Meddle! Goodness only knows why, but this busy neighbor | —should be varied. The same spread on | does it plenty! She criticizes you for this. She criticizes you for that. And glory, | if different breads provides a welcome | what a spot you're in—if she looks at your little angel and finds her dressed in || variety in both appearance and flavor. : Using two breads for one sandwich is | dingy, tattle-tale gray! attractive looking. Then there are certain breads which call for certain accompani- |; ments—such as ham on rye, high- | flavored cheese on pumpernickel, cream || cheese on date or raisin bread and on | Boston Brown Bread, as well. Luncheon and supper sandwiches, whether open-faced, single or double- deckers, are generally of the toasted or broiled variety. Sometimes they are deep fat fried, and Rosemary’s idea for this is a honey! The same. general idea, ex- cept that the sandwich is sautéed in butter, becomes a French Toast Sand- wich and a palpable hit! Sweet sancwches ae ee a pleasing | variation of this popular theme. A Des- ’ ean Faas] : i ee race Se aeiase's ay Guean Don’t get mad—just get wise! For no matter how hard you rub and rub, some Pay any one of several treats. Sometimes it | SOaps are so weak-kneed they simply can’t budge all the dirt out of clothes. So ee is_a slice of ice cream between two | hurry to the grocer’s and switch to the soap that doesn’t give dirt a chance! Switch A | ‘pieces of sponge cake, generally with a : sauce over it all. Other times it consists | to Fels-Naptha—golden bar or golden chips! i of chocolate or ginger wafers with a ait marshmallow or cream filling in between, 4 and here several cookies are used to a serving. Frequently a Frozen Fruit | Sandwich makes its welcome appearance. | They’re easy to prepare and will make | the same sort of hit with your family ' as they do with Rosemary’s enthusiastic household. But right now it’s knives and bread board, special cutters and extra-special spreads, loaves—sliced or unsliced—for we're about to make some mighty attrac- tive sandwiches. (Continued on page 62) Then parade the baby in style! And prick up your ears— whenever that meddler | | comes around. For Fels-Naptha’s richer golden soap and gentle, dirt-loosening naptha, iH | working as a well-balanced team, make tattle-tale gray give up in despair. They get clothes honestly clean all the way through. So sunny-white and sweet —it’s a thrill to have even a meddler notice—to hear her sing your praises to the skies! New—Fels-Naptha brings you 2 grand Tal ways to banish“Tattle-Tale Gray”! | “Use the go/den bar for all bat-soap jobs. It’s just the best } You may have thought you knew ever! Use the golden chips wherever you use box-soap. They’ re Me | i all there was to know about sand- HUSKIER flakes—not puffed up with air like flimsy, sneezy Hi | — wich-making, but Rosemary Lane powders. And now they’ve got a new suds-builder that te has a few clever suggestions that makes oodles of rich, busy suds. Simply grand for washing at | are revolutionary—but oh so good! machines.” RATS re ieee ‘I | | _ JUNE, 1940 11

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12 MOVIE REVIEWS *kkxkk* Rebecca KKK V/2 Primrose Path —_—__—_==— Out of Daphne du Maurier’s novel, already a stupendous com- mercial success in book form, the brilliant British director, Alfred Hitchcock, has successfully created a two-hour-long mood com- pounded of highly effective mystery, terror and suspense. Writhing with diffidence, the second Mrs. de Winter (Joan Fontaine) is brought from Monte Carlo, where she was the brow- beaten companion of wealthy Mrs. Van Hopper (Florence Bates), into one of the greatest manor houses in England—one of those houses which apparently one lives for, rather than in. There she finds that the first wife has left her imperious stamp on everything, not merely on linen and silver, but on the servants and daily - routines of the great household, on the very soul of her bitter and introvert husband (Laurence Olivier), who betrays at every turn his secret preoccupation with the dead woman. Relentlessly faithful performances by Joan Fontaine and Lau- rence Olivier, who is the brooding and melancholy Heathcliff of “Wuthering Heights” all over again, make “Rebecca” one of the most powerful fictions in its peculiar cinematic field. Judith Anderson is strikingly effective as the demented housekeeper, Mrs. Danvers, and George Sanders, Reginald Denny and C. Aubrey Smith are also outstanding.—Selznick. From a fair-to-middling Broadway play of last season, Greg- ory LaCava has fashioned the most interesting, the most provoc- ative and the most adult motion picture to come from Hollywood in years. Protectively cloaked in a conventional movie plot, it relates with tenderness, humor and an occasional touch of heart- break, how a little girl from the wrong side of the tracks, with heredity and the social order solidly leagued against her, by dint of awkward charm and determination, finally achieves love and happiness within the safe enclosures of the respectable community. Mr. LaCava’s selection of Ginger Rogers for the role of Ellie May proves to be as brilliantly right as it was daring. Joel Mc- Crea, likewise, has been blest in his election for the role of Kd Wallace, whose “unserious” kiss kindles in Ellie May’s heart the dangerous fires of love. But the entire cast is perfection itself. By conventional standards, it is a region of queer and fantastic human fish into which Mr. LaCava so fastidiously dips his net, but it is the bona-fide folk life of America. There seems to be no good reason why Hollywood should continue to neglect it in favor of a phony world of pre-fabricated characters, imported accents, and a dialogue writer’s idea of polite conversation. It can be first-rate cinema material. Mr. LaCava proved that—RKO. There is something inescapably routine about this business of recording Deanna Durbin’s cinematic successes, which follow one after another in an orderly and an almost indistinguishably ex- cellent procession. By careful watching, however, it is possible to detect differences; for example, a professional reviewer with a mind and memory for such hairline things, can confidently say that “It’s a Date” is superior by several technical degrees to its immediate predecessor, “First Love,” although to Durbin dev- otees, of course, this jaded judgment will mean nothing. The plot, which last time was frankly Cinderella, as usual is | something simple and well-worn; that of the aging actress (Kay Francis), and the ebullient and gifted daughter (Deanna Durbin) who wins the big role and then, too late, tries to keep the humiliat- ing knowledge from Mama. The solution in this case is a pine- apple king who resembles Walter Pidgeon, and who evens matters | in the feminine-vanity sweepstakes by preferring Mama to | daughter. Thus, daughter gets stage role, Mama gets no-longer- young boy, and we get the usual number of Durbin solos. Samuel S. Hinds, Lewis Howard, Cissie Loftus, Eugene Pallette, Fritz Feld and S. Z. Sakall stand out in supporting roles. Directed by William Seiter—Universal. (Continued on page 16) MODERN SCREEN ‘

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T | HN | 'THE FACTS BEHIND THE FICTION ON THE STARS IN REVIEW | : He . if | | _ Joan Fontaine Joan Fontaine insists she doesn’t deserve the widespread acclaim she’s been getting for her subtle portrayal of Mrs. de Winter in “Rebecca.” “You wouldn’t praise Lincoln to the skies if he came back to life and gave a good performance in ‘Abe Lincoln in Illinois,’ would you?” she asks. “Well, Mrs. de Winter is myself in practically every respect, just as I was a few years ago. Why shouldn’t I do the part with feeling?” Asa child, Joan was a semi-invalid who whiled away the bed-ridden hours with fantasies and daydreams. Growing older, she found herself shrinking from everything harsh and ugly, and retreating more and more into herself. Too frail at that time to do anything energetic, she turned to painting. This hobby, together with her acting, has given her the escape her temperament really needs. Perseverance, sensible living and a sense of humor have restored her to buoyant health, and in eight-months of marriage to Brian Aherne, she has found a love and understanding she never dreamed possible. Brian’s pictures and his problems are her chief concern now. And even as the young wife in “Rebecca” bloomed when she began to share her hus- band’s worries, so has Joan, since her whirlwind courtship and marriage. Joel McCrea As early as 1912, when Joel McCrea was an unwilling student at Holly- wood School for Girls (the only private kindergarten in his neighborhood), he decided he’d own a ranch some day, and gallop the length and breadth of it in a big sombrero and fur chaps. Where the ranch would be, he didn’t know or care, but he did know one thing! There’d be no women on it! That hectic year with the co-eds of H. S. F. G. had soured him on everything feminine. He spent the required number of years in high school, and later studied at Pomona College, where he appeared opposite Director Sam Wood’s daughter in a college play. Though Mr. Wood came to Pomona to admire his child, he was so favorably impressed by Joel’s performance, he re- | mained to discuss a contract. i Today, acting is merely a sideline for Joel. He’s managed to get that ranch, (ia a you see—1200 acres of it. There have been some slight amendments to his 1 original plans, however. There is a woman on it; has been for nearly seven | years—Frances Dee, whom Joel met when they played together in “The | Silver Cord” in 1933. But luckily, she shares his love for the range. ma . | Deanna Durbin Whoever the prototype for the temperamental comic strip prima donna may have been; she wasn’t Deanna Durbin; we have that on the irrefutable authority of Henry Koster, who directed five of her previous hits. Contrari- wise, she’s disarmingly modest. “I just happen to have one of those throats,” she'll say and quickly change the subject. Not that the exciting events of the past five years wouldn’t entitle her to a slight case of temperament. First, there was her discovery, then her tremendous success, followed by a new contract at a salary which reads like a social security number, and a romance spectacular enough to be a publicity stunt, but strictly on the level. The first song she ever sang was “Pal O’ My Cradle Days,” and her family used to bribe her with dimes to get her to stop. Sensitive, shy and reserved, seventeen-year-old Deanna doesn’t crave adulation. Yes, she’s thrilled by her 9,000 fan letters a week, by the knowledge that she’s the only honorary “sirl” boy-scout in the world, and by the fact that she’s been dubbed Holly- wood’s Joe di Maggio, having brought in seven screen home runs on seven hits. Yet, if it all went up in smoke tomorrow, she wouldn’t really mind. Singing means everything to her, and success is just an enjoyable by-product. JUNE, 1940

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ae IRRESISTIBLE. LIPS | USE IRRESISTIBLE LIPSTICK IT’S Wie TAB ror GREATER SMOOTHNESS For lovable lips with plenty of “Man Appeal” apply the magic of IRRESISTIBLE LIPSTICK, the lipstick that’s WHIP-TEXT for greater smoothness. Whipped again and again by a new secref process, Irresistible Lipstick is softer, smoother, more lasting, non-drying. In vibrant, exciting, clear colors that add witchery fo your make-up: FLASH RED, FIRE PINK, FUCHSIA PLUM, ORCHID and other smart shades, with matching Rouge and Face Powder. AT ALL 5 AND 10 CENT STORES USE IRRESISTIBLE PERFUME / TONIGHT! 4 14 ALS é a AN \ \ NEY, aN Ht is gs Q00 ae ll 0 0G) AIR YOUR VIEWS AND WALK OFF WITH ONE OF THE TEN Leave 'em Alone Every time one picks up a movie fan magazine or a newspaper column dealing with Hollywood screen stars, one finds somebody crabbing because some impor- tant star or other refuses to live his or her life in full view of the ogling public. It makes a person sore. I think a screen personality owes no more and no less to his or her public than to give genuine relaxation and en- joyment while on the screen. What a screen actor does in his spare time is the business of that screen actor only, and not the public at large. Can a talented and finely strung human being, who works hard all day before a battery of cameras and bright lights, dash out with a new escort to some whoopee spot every other night and still give an unselfish performance before the same cameras the next day? Of course not. And neither can a marriage last and be suc- cessful if husband and wife can’t enjoy a little of this country’s famous “personal freedom.” If Greta Garbo wants to be alone, leave her alone, I say. She’s only being sensi- ble. And if Bing Crosby doesn’t answer personally every phone call from some good friend, he’s not being snooty. No- body likes to live in a glass house all the time.—Ray Ellsworth, Rochester, N.Y. To Hedy Lamarr I’ve heard them complain about Hedy So loudly they ruined the show; Some less gifted ladies are ready To tear her to pieces, I know. I don’t blame the unhappy biddies Who take out their hammers and knock. To one with a face that scares kiddies, Perfection must come as a shock. I’m really no judge of an actress. Perhaps she won’t rank with the best. But I know she’s my benefactress Whenever my eyes need a rest. A “close-up” of her in the moonlight, A breeze doing tricks with her hair, And maybe she can’t act the least mite; I don’t know and don’t even care. —L. Paul Roberts, Salt Lake City, Utah. Dissenting Voice I was extremely disappointed to learn that Vivien Leigh, not Bette Davis, was the recipient of this year’s Academy Award. What right had they to give the “Oscar” to a star who has had only one ‘great picture to back her? Hasn’t Miss Leigh been in pictures before this “G.W.T.W.” epic? And hasn’t she just been “among those present” as far as the fans were concerned? Did she ever at- tract any attention before they thought she looked the way Scarlett O’Hara should look? It isn’t fair that Miss Davis be de-throned by a star who was lucky enough to get the most talked about role in all movie history. Furthermore, Bette could have acted that part just as con- vincingly. Physically speaking, Bette isn’t as much Scarlett as is Vivien Leigh, but that doesn’t say she couldn’t have handled the role just as well or better. Look at what she did with “Elizabeth” and “The Old MODERN SCREEN

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PRIZES AWARDED MONTHLY Maid!” She didn’t look like either of them, either, but did we ever give that a thought? I don’t dislike Vivien at all. She was grand in “Gone With the Wind.” We cannot, however, adjudge her worthy of that most coveted award just on the strength of one picture. The other choices were perfectly satisfactory. I did think Clark Gable would get one for his 18 carat “Rhett,” but then Robert Donat was just as good in “Goodbye, Mr. Chips.” All in all, it was a pretty fair outcome, and the “best of everything to the winners.’—Jane Brennan, Beverly, New Jersey. Accuracy or Artistry? When I saw “Swanee River” I thought it the most beautiful picture I had ever seen from the standpoint of Technicolor. The picture, in a biographical respect, disturbed me so that I could hardly wait to get home and straighten myself out on the dates and doings of Stephen Foster. When I discovered I was right and the screen wrong, I was about to sit down and write a letter asking how come the research department hadn’t caught the slips! Before I wrote that letter, how- ever, I got hold of a copy of your mag- azine (April) and read that biographies are sometimes revised, and that such was the case in “Swanee River,” in order to give Don Ameche more opportunity to use his grand singing voice. This was quite satisfying to me, but I wished I had been tipped off before seeing the picture. Biographical pictures could be very educational, and I believe that they (Continued on page 89) JUNE, 1940 PERSO) cre tegsreresasseeteante inc te I. 1 dropped in recently at the atelier of a leading Hollywood dress designer, where Claire was having a new gown fitted. Ma- dame E. was saying, “The perfect care for your skin is a Woodbury Beauty Nightcap.” 3.Next time I saw Claire Trevor was at the Charity Benefit. She looked a dream in her new gown. And she whispered that her Woodbury Beauty Nightcaps seemed to have kindled new loveliness in her skin. CLEANSES safely _ Smooths as if LUBRICATES INVIGORATES INFANT ER VIREW) SW LEE BEANO eC CLAIRE TREVOR discovers the Woodbury Beauty Nightcap ...a night treatment with luscious Woodbury Cold Cream... as told by Louella Parsons Famous Movie Columnist 2. “You know, Woodbury Cold Cream,” Madame E. continued, “‘acts three ways... cleans, softens and peps up your skin. Apply a liberal coating of this germ-free cream. Then leave on a light film all night.” Bestir Your Skin’s Glamour While You Sleep Tonight at bedtime, give your skin the tender care of 3-Way Woodbury Cold Cream. Woodbury’s germ-free purity vouches for immaculate cleansing. Its rich oils cope with dryness... Woodbury smooths skin as it lubricates. A special Vitamin in Woodbury invigorates, too. Try a Woodbury Beauty Nightcap to awaken clear freshness in your skin! Generous jars, $1.00, 50¢, 25¢, 10¢. MAIL NOW FOR GENEROUS TUBE... FREE! (Paste on Penny Postcard) John H. Woodbury, Inc.,6614 Alfred St., Cincinnati, Ohio ) (In Canada) John H. Woodbury, Ltd., Perth, Ontario , ‘i Please send me, free and postpaid, a generous-size WOODBURY COLD CREAM [iesiaiiaaial ana shades of Woodbury Powder. Name THE 3-WAY BEAUTY CREAM . Address 15

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RINSE OFF UNSIGHTLY HAIR THIS EASY WAY Glorify your legs with the NEW Neet! For years the favorite cream hair remover of hundreds of thousands, NEET now is pleas- antly scented! No disagreeable chemical odor. NEET is gentle, painless. Takes little time, no bother to use! Just spread NEET over unwanted hair. Leave on ONLY four to five minutes. Then rinse off with water. Ugly hair disappears from your legs, fore- arms and underarms. Your skin is smooth as satin and petal-soft! Avoid Sharp Razor Stubble There are no sharp-edged hair stubs to snag your stockings, no razor-scraped skin, and'no danger of cuts—when you use NEET! Get NEET at drug, dept. stores. Generous trial size at ten-cent stores. NOW pLeasantiy scenteo cet NEET topay! 16 MOVIE REVIEWS (Continued from page 12) *&*&* Too Many Husbands Like too many screen comedies, “Too Many Husbands” depends on the names and personalities of its stars to enhance the effect of its comical lines and inci- dents. The names and personalities of Jean Arthur, Fred MacMurray and Mel- vyn Douglas have become sufficiently impressive through their work in fairly serious contexts to make their shameless clowning in the present exhibit seem a good deal more laughable than the ex- hibit itself. However, there are moments when even Miss Arthur, Mr. Douglas and Mr. MacMurray seem to find it diffi- cult to keep their faces straight and it would be surprising if the infection of silliness didn’t spread to the audience. The plot, adapted with farcical unre- straint by Writer Claude Binyon and Director Wesley Ruggles from a Somer- set Maugham play of the same title, is a screwball variation on the Enoch Ar- den theme. It appears that globe-trotter MacMurray returns from a _ supposed watery grave to find that his business partner, the double-dealing Douglas, has married his “widow” and moved in on everything which was formerly sacred to himself alone. The obdurate Douglas re- fuses to bow out, as any sportsman would, and the arch Arthur, relishing bigamy, keeps both spouses dangling till she finally extorts a desperate promise from MacMurray to settle down. The only other outstanding persons in the cast are Dorothy Peterson as an improb- ably romantic and garrulous secretary, and Melville Cooper as an improbably frozen-faced butler. Directed by Wesley Ruggles.—Columbia. Kk Virginia City Errol Flynn’s failure to show up for Warner Brothers’ colossal publicity jun- ket out in Virginia City, Nevada, might have had some connection with the way he shows up in the role of a Union intelligence officer in the motion picture of the same name. He and Miriam Hop- kins, as a chorus-girl Daughter of the Confederacy, vie with each other in making the characters they portray seem less believable than the things which happen to them. Fortunately, “Virginia City” is too big, too explosive and too spectacular a picture to be bogged down by anything so minor as the defection of its two principal actors. Like the Soviet army, it suffers great losses and abandons a lot of gear en route, but it keeps rolling irresistibly on. It rolls for two solid hours, a cross- country wagon train heading for the beleaguered Confederate treasury with five million dollars in gold. Humphrey Bogart and his guerrillas are to right and left of it, Errol Flynn and the whole United States Army are behind it, and gaining, a dozen Union garrisons are in front of it, but the wagons keep rolling along, accompanied by Max Steiner music on the sound track. But Mr. Flynn overtakes them, of course, saves the gold and gets the girl, just as peace con- veniently causes old enmities to be for- gotten. Michael Curtiz directed—War- ner Brothers. kx A Bill of Divorcement Since “A Bill of Divoreement” has been screened twice before, the familiarity of the story may dim interest to a large extent. However, the excellence of the present cast makes the picture worth seeing again. Maureen O’Hara and Adolphe Menjou are the daughter and father who are faced with the tragic situation of hereditary insanity. Fay Bainter plays the role of Menjou’s wife, and Herbert Marshall is the man with whom she is trying to rebuild her un- happy life. With three such capable actors, Maureen O’Hara would deserve considerable credit if only she managed to hold her own. But the Irish lass does more than that—she gives a sensitive and beautiful performance which high- lights the entire picture. Adolphe Men- jou is splendid in his role, while Fay Martha Scott and Bill Holden bring the Pulitzer Prize winning |Our Town'' to the screen. This will be Bill's fourth film, but it's Martha's very first. On the strength of her acting in the stage play «of the same name, she's been signed to a five-year contract. MODERN SCREEN

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Bainter and Marshall give satisfactory performances, but are not very convinc- ing in the romantic feelings they sup- posedly entertain for one another. Dame May Whitty as the soured spin- ster aunt is perfect, and Patric Knowles is appealing in the romantic role oppo- site Maureen O’Hara. C. Aubrey Smith is effective as the family physician and adviser, and both Kathryn Collier, the housekeeper, and Lauri Beatty are note- worthy. A sombre note is struck from the moment the picture opens, and the sense of impending sorrow and sacrifice throughout is not conducive to relaxation. However, it is a fascinating picture if you are not bent on pure unadulterated entertainment. Directed by John Farrow. —RKO-Radio. *&*k* Dr. Cyclops _A weird, fantastic tale set in the deep jungle, with a mad doctor as the raging “Dr. Cyclops,” this picture is one of the most unusual ever filmed in Technicolor. And to a group of little-known players falls the burden of enacting the strang- est roles ever to come out of Hollywood. A group of biologists venture into the jungle to help Dr. Thorkel (“Dr. Cy- clops”) in his scientific studies. The terrifying action begins when the de- luded doctor thinks they are all trying to interfere with his work, and he re- duces them to Lilliputian size. The help- less little people are completely in the toils of their mad Gulliver, and the re- sulting situations are guaranteed to keep you in chills and thrills for weeks. Albert Dekker, as the scientist who is slowly going blind, is the most forceful actor in the picture. He makes you feel as though he were about to reach out in the audience and turn you into a minute human being before the next scene is finished. Janice Logan, Thomas Coley, Victor Kilian, Charles Halton and Frank Yaconelli as the Lilliputian people, all fulfill their roles well, though ac- tually they are not called upon to do much more than scurry about like ants. The trick photography and excellent Technicolor help to create the illusion of naturalness between the tiny people and normal individuals. Direction of the film is practically flawless, and, though the technical difficulties must have caused a lot of headaches, those concerned can now fling their aspirin away. Directed _ by Ernest Schoedsack.—Paramount. %%«* Three Cheers for the Irish As full of homespun humor as an old- fashioned taffy pull, “Three Cheers for the Irish” is one of the best down-to-earth comedies Warner Brothers has produced since “Four Daughters.” And, in addition, it has Scotch and Irish accents so thick you could cut them with the proverbial knife. The cast, topped by Thomas Mitchell— Academy Award winner—Priscilla Lane and Dennis Morgan, play their parts to perfection. As the Irish cop who has served the force for twenty-five faithful years and is then retired, Mitchell turns in a performance that is rich in Irish brogue and fine acting. Dennis Morgan, the Scotch rookie policeman assigned to take over Mitchell’s old beat, vies with him for acting honors and should develop into one of the screen’s top lead- ing men. The three daughters of the old cop, played by Priscilla Lane, Virginia Grey and Irene Hervey, are subordinated to the men, but they turn in capable performances. Alan Hale, as the bluster- (Continued on page 64) JUNE, 1940 Se ard, Shiny A pale powder and harsh sunlight mean hard, ugly shadows even for lovely | Miss Nancy Calhoun mca NANCY CALHOUN finds that with Dusk Rose her face is even more bewitching than ever. And on hot summer days when she rushes around having fun from morning to long past midnight, she looks as lovely as asummer rose. That’s because the strong sum- mer sun or the glaring electric lights can’t cast hard shadows on her face. Dusk Rose... and all Pond’s “‘anti- shine” Powders . . . absorb harsh lights and reflect the softer ones “Dusk Rose is o Divine New Shade! So Flattering!” says Goal Sathorn Dede Ms Nrey Dusk Rose keeps Nancy exquisite even under harsh electric lights or brilliant sun Calhiun Toft. Ke omantic DUSK ROSE... exciting new summer shade in Pond’s “‘anti-shine”’ Powders...reflects a softer light from your face. They make powder- ing a far less frequent job! Let Dusk Rose make you as romantic and bewitching as this Southern belle. Pond’s “‘anti-shine’’ Powders come in 7 lovely shades in 10¢, 20¢ and 55¢ sizes. Go out and buy one now! Or write for free samples of the spe- cial summer shades: lovely Rose Dawn, Rose Brunette, Sunlight . . . and the newest, smartest shade of all, Dusk Rose. Pond’s, Dept. 9MS-PF, Clinton, Conn. opyright, 1940, Pond’s Extract Company 17

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atts e Here is your chance to win One Thousand Dollars—or any of 132 other big cash 4 prizes! It’s easy! It’s fun! The glamorous, fas- ’ cinating beauty, whose life and loves soon will be seen in the spectacular 20th Century- Y 1 Lillian Russell was called “The |, __ Most Beautiful Woman in America.” True [] False J ; : 4f 2 "Diamond Jim" Brady was Lillian t Russell’s ardent admirerand show- True] False Fox picture, “Lillian Russell,” inspired this 4 ered her with costly jewels. Contest! All you have to do is check as } True or False the statements in the column W 3 Lillian Russell was given a king- at the right. Then write a letter of not yy more than 50 words on the subject: if “WHY LILLIANRUSSELLIS || FAMOUS AS AMERICA’S , NO. 1 GLAMOR GIRL.” Be sure to send in your True or False t List with your letter to 20th 4 Century-Fox—and youcanbeone /, of the many winners! Read care- if fully the Contest Rules below Y «.. and start immediately! 4 EASY TO WIN! | ] goor. when he heard her sing. 7 Lillian Russell was the daughter of a President of the United States. 8 Celebrated New York men-about- /! town returned to the theatre week /, after week to see and applaud // Lillian Russell. True[] False 1) 9 Alice Faye will portray Lillian y Russell in a motion picture soon to // be released by 20th Century-Fox. /,' True] False (J 10 Lillian Russell wore a wondrous evening gown woven entirely of rare butterfly wings. True[] False] BE UO eae STATES ATTACH THIS TO YOUR LETTER ON “WHY LILLIAN RUSSELL IS FAMOUS AS AMERICA’S NO.1 GLAMOR GIRL.” True [] False (J it } dom by the Maharajah of Rahndi- True] False 1 4 Lillian Russell’s exciting life and loves will be seen in a motion pic- ture made by Darryl F. Zanuck. True [] False 1) 5 Lillian Russell was discovered by the famous showman, Tony Pastor, True (] False 6 The pavement outside Lillian Russell’s home was studded with diamonds and rubies. True [_] False [J (] {337 pRIZE> met $1 002° 2nd PRIZE... $500.00 . $250.00 3rd PRIZE... S PRIZES of $100.00 each 25 PRIZES of $10.00 each 100 PRIZES of $5.00 each EASY RULES! Check the True or False statements in the gpace provided. Print or write plainly your name and address on the coupon and attach it firmly to an original letter of not more than 50 words on the subject: WHY LILLIAN RUSSELL IS FAMOUS AS AMERICA'S No. 1 GLAMOR GIRL. Mail your True or False List and your letter of not more than 50 words to the Lillian Russell Contest Editor, 20th Century-Fox Film Corporation, 444 West 56th St., New York. You can submit as many letters as you want, provided each is accompanied by a separate True or False printed form. Residents of the United States, Hawaii or the Dominion of Canada may compete, except employees of 20th Century-Fox, their adver- tising agency and their families. Contest is subject to Federal, State and local regula- tions. Contest closes June 15, 1940. All en- tries become the property of 20th Century- Fox Film Corporation. Entries will be judged by the highest number of correct answers to the True or False List and, in the event of a tie, by the merit and originality of the letter of not more than 50 words. The decision of the judges will be final. No correspondence will be entered into regarding the Contest. Checks will be mailed to the winners within a month of the close of the Contest. Anyone wishing acomplete list of winners may obtain same by writing 20th Century-Fox and en- closing a stamped, self-addressed envelope. MODERN SCREEN’

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"No couple was ever more in love,” says Larry. They La ie fem plan to wed in N. thirty-threegak@u- fame teem while on tour with rence Olivige ree literalhy — ; Olivier co-stars with Greer Garson in a modern adap- tation of Jane Austen's ‘Pride and Prejudice.” 26 MODERN SCREEN

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Jimmy claims he's frustrated. First he wanted to paint, but it was too un- remunerative. Now he wants to be a matinee idol, and his fans won't have it. Side, a residential district not considered delectable by anyone who has ever seen the squalid fronts of those close-quartered tenements. It was on that date that Mrs. Cagney was presented with a wee, vociferous offspring which she immediately christened James Francis Cagney. According to existing records, it did not occur to her at the time that one day this same James Francis Cagney would walk out on $4,500 a week. In time, the Cagney menage was transferred to the York- ville section of New York City, a famous breeding ground for criminals of precisely the type that James was to imitate at $4,500 a week. By now the family was larger by a son and a daughter; making in all four boys and one girl. The next to youngest son, Jimmy, spent what is not considered a normal boyhood for the Yorkville region. He was interested in street games and fights, all right, but he was also interested in books, painting, dancing and music. There was no trace of the criminal tendencies that were eventually to crop out in his playmates. His father was a bartender, and when that ignominious amendment was passed prohibiting the sale of alcoholic beverages, the Cagney household found itself without a breadwinner. Circumstances fell rapidly from comfortable to dire. The boys must go to work—that was the edict JUNE, 1940 He may want variety in some things but, matrimonially speaking, Jimmy Cagney has a one-track mind. Billie married him on a shoe string twelve years ago and doesn't look a bit abused in spite of Jimmy's screen reputation for treating ‘em rough. By Katherine Best of Mrs. Cagney. James’ first job was custodian in the public library at 67th Street and First Avenue. Being “custodian” consisted of trundling books from one shelf to another. He was, within the next few years, a bundle wrapper at Wanamaker’s Department Store, a waiter in a restaurant, an errand boy in Wall Street, a bellhop in the Friars Club and an office boy on the New York Sun. All this time he wanted to be a painter. All this time, too, he was getting a sound education. He graduated from Stuyvesant High School and took a course in Fine Arts at Columbia University. He was averaging about $23 a week from his various jobs, and when the opportunity arose to get a spot in vaudeville at $25 a week, Jimmy Cagney did what is known as jump. His first appearance before a public that was to grow and grow was as a female impersonator. Records do not show how this public reacted, but it is common knowledge that the situation in the Cagney household the following day did not add to James’ estimation of his theatrical talents. He gave up playing women roles, but there was grease- paint in his nostrils now. The theatre had given him a mighty stimulation, and he was determined to stay in it. Painting was forgotten. His activities for the next few years were as intense as they were rewarding: the chorus of “Pitter Patter” at $35 a week; a specialty act in the vaudeville team of Parker, Rand and Cagney at $75 a week; the lead in “Outside Looking In” (Charles Bickford was also in the cast) at $200 a week; a dancing act in ‘“Broadway,” then in “The Grand Street Follies,” “Maggie, the Magnificent” and “Penny Arcade.” It was during the run of this last show that a Warner scout sat in the audience to size up the picture possibilities of a young player named Joan Blondell.. Blondell made the movie grade all right, but so did another player, a red-headed dancer named James Cagney. Warners signed him for three weeks at $500 a week. Then another week at the same salary. Cagney was on his (Continued on page 96) 31 f f

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AUTHORESS Rachel Field has some high-toned ancestors. From her sturdy family tree dangle the impressive names of Cyrus Field, father of the Atlantic cable, Henry Field, editor, writer and preacher, and several other citizens outstanding in American affairs. Authoress Rachel is very proud of her distinguished kin, but when she decided to write a book about them, she did a sly thing. Blithely glossing over the famous, she built her tale around a comparative unknown— Mlle. Henriette Desportes. Ninety years ago, Mlle. Desportes was the most notorious woman in France. Engulfed by a scandal she never made, her name flared from every headline while her reputation crumbled in the ruthless hands of gossip. Finally, pecked at and hounded beyond endurance, she fled to these United States in the hope that here she could bury, deep and well, the shocking story of her past. And bury it she did. As Henry Field’s wife, Henriette Desportes built a new life in this country. Discussion of her early history be- came taboo and not until 1917, forty-five years after her death, did

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= oo ER Cone rm rCeR Seg em — An electrician is set- ting the lights on the stand-ins for Boyer, Richard, Virginia and Davis. Stand-ins re- ceive $35 a week. Boyer steps into a 1932 Packard which is laced at his disposal y the studio for use round the lot. He has one hour off for lunch. any Field dare to poke into her story. Then, with a book in mind, great-niece Rachel really got going. For two whole decades Rachel gathered the facts of Henriette’s life, scouring old letters, pouring over newspaper reports and court records of the sensational Parisian affair and even turning to the Library of Congress at Washington for additional shreds of information. Her material collected, she spent the next two years spinning it into fiction and in 1939 produced her results, a fascinating yarn entitled “All This, and Heaven Too.” It is a compliment to the Warner Brothers that they recognized the book as a movie “natural” and bought it for $100,000 before it hit the best-seller lists—in fact, while it was still in galley form. Now, with Bette Davis as the ill-starred Henriette, and Charles Boyer as the man in the case, “All This . . .,” somewhat condensed, is being filmed. The book is so authentic a portrait of the period that no research was necessary in the preparation of the screenplay, and Rachel Field, though a resident of California and very handy, was not called upon to act as advisor. Miss-Field, (Continued on page 73) « SD ‘i Bette knits between takes. Her 35 cos- tumes are all very plain. The picture's ee budget lists 35,000 for wardrobe. Jeffrey Lynn who plays Laney. Field, the eee “who finally marries Bette Davis, keeps his figure by daily pedal- ing around the set.

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By Kirtley Baskette " wo a - You think Ann's just threading a needle But this doesn't mean that her sewing but, in truth, she's giving an_ interview, suffers. She does most all of it by hand, whipping up a poem and planning a party. priding herself on her dainty stitches. Hot WHUUP IF ANN RUTHERFORD were only quintuplets, life would All this would be bad enough in the case of the aver- be so much simpler and five times the fun. age young Hollywood starlet who doesn’t have much to As it is, Mary Cecelia Ramona Theresa Rutherford does do except look beautiful emoting during the day and the best she can about it. She has five quite nice names, decorating the cocktail clubs at night. But in the case of as you can see. Another that’s much better known is ambidextrous Annie, that life would be like lying in bed. Polly Benedict, Mickey Rooney’s pulchritudinous puppy- For a girl who designs and makes her own dresses and love passion in the popular Hardy movie family. hats, shampoos and sets her own locks, takes care of her Ann celebrates a couple of birthdays with cake, candles nails and skin, refinishes her own furniture, tracks down and presents—her own and Abraham Lincoln’s. She has her own antiques, knits her own sweaters, plans her own two homelands—Canada and the United States. She’s the houses, cooks the food for her own parties, studies French, official sweetheart of five different national college frater- models in clay, plays the trapdrums—even writes her own nities, which is plenty of sweethearting, if you ask me. poetry and brews up her own entanglements with boy And while she played Careen in Selznick’s “Gone With friends—well—as Ann Rutherford sighed, “I feel like I’m’ | the Wind” last year, Ann managed to knock off five other always running to a fire. But,” she confessed, “if I had j pictures at the same time. to sit still, Pd die!” The point is, Ann Rutherford has recently been discov- Ann Rutherford was sitting comparatively still at that ered in a big way by both Hollywood and the country at particular moment, in her pink and white dressing-room large. And right now the demand for Rutherford in all at M-G-M, where she had come for a quick lunch with directions is so pressing that—well, there just isn’t enough me between scenes in “Pride and Prejudice.” She didn’t , of Ann to go around! Even having a twin would help! look exactly at death’s door. In fact, I can personally 34 MODERN SCREEN

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1 t | -girl. Miss R. is her own designer, too. If she sees a tricky bit of fashion at the stu- dio, she's not averse to a little piracy! These cozy photos notwithstanding, Ann can't be typed as a homebody. Sweetheart of 5 fraternities, she manages to get around! TURNING OUT FIVE HITS AT ONCE IS A CINCH FOR ENTERPRISING ANN RUTHERFORD, WHO BELIEVES IN TAKING THINGS INTO HER OWN HANDS testify that Ann Rutherford, in the flesh, could “divy” up her natural helping of fresh beauty among four or five other spare selves and still have enough left to drive young males to drowning their sweet sorrows in double chocolate malts. She has a round, little Valentine-heart face with a peach bloom complexion, eyes like dark brown agates and a cunning beauty spot mole on her left cheek. The rest of Ann was effectively curtained by her pink, bouffant cos- tume which billowed around her figure in terraces like a wedding cake. But I’ve never heard any complaints—five feet three, and a hundred and nine pounds well distrib- uted are the official figures. Ann fed Mary, Cecelia, Ramona and Theresa with daintiness but determination. She goes in for meat and solids. Having just turned twenty, she’s still a growing While she polished off two double lamb chops, a stack of French fries, peas, salad, and enough white bread to fatten the average star right out of pictures, she dropped her fork now and then to knit furiously, to give a quick JUNE, 1940 gander at the morning mail and doubtless to considei the complications of her social life for the next two weeks All this time she was talking what is known as a blue streak and making it very interesting, indeed. It’s lucky, really, that Ann Rutherford is ambidextrous like this. She got in the habit of doing several things at once fairly early in life. The immediate results were sometimes tragic but, in the long run, they paid off. For instanee, some'seven years ago, when Ann was still Mary Cecelia Ramona, etc., and a thirteen-year-old Los An- geles high school freshman, she was huddled behind a history book one day studying the saga of the ancient Phoenicians. Ann could take the ancient Phoenicians or leave them at that point, so she absorbed a few dull de- tails and then let her spirit soar by scribbling a poem. A firm hand gripped her middy blouse, and the teacher’s voice read her poem to the giggling class. When she had finished reading, the teacher analyzed Ann’s scarlet self in what is perhaps an all time low for hitting the nail on the head. Said she to our Ann: (Continued on page 81) 35

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ESAR ROMERO never calls a spade an implement for dig- ging. It is a plain spade. But when it comes to answering the query, “Who are the best women dancers in Holly- wood?” he and his dark sultry eyes ask, “Who am I to judge them?” All he is—as I hastened to remind him—is the best ballroom dancer in Hollywood, according to no lesser lassies than Joan “Dancing Lady” Crawford, Loretta Young, Ginger Rogers anda dozen other dazzling damsels. A slow smile traveled across his long dusky face. “You asked for it,” he said. “This is where diplomacy ends and the truth begins. Stars, on an average, are no better dancers than their female admirers from West Chicken Coop Corners to New York City. “But some are really dreams danc- ing and, of them, the smoothest I’ve ever met is Joan Crawford. She is my favorite partner for more reasons than I can enumerate. Joan is per- fection. When we dance together, I feel as though we are one unit of action. She has perfect rhythm, bal- ance and posture. She seems to know where we're going before I do. I rarely have to give her the slightest signal pressure on the back or with my leading hand. “There’s something strange about Joan, though.” Cesar straightened up in his chair in a sunlit publicity office at the Twentieth Century-Fox Studios. He flicked a speck of lint from the sleeve of his grey, collarless, especially tailored suit. “Perhaps you won't believe it,” he continued, ‘“‘but underneath her womanly composure, she is as shy and self-conscious as a little girl. I first noticed this about six years ago when I came to Hollywood to play in “The Thin Man.” We were dancing to slow dreamy music. A battery of camera men and bystanders were watching us. Flashlight bulbs began exploding. Joan started trembling. I knew she wanted to dance to the other side of the floor to avoid being photographed. To this day, she comes closer to me when she feels people are pointing her out, watching her or taking pictures of her. “T’ve never bothered to ask her why The smouldering- eyed Latin from Manhattan is build- ing a bungalow big - enough for two, but says he isn't ready to abdicate his bachelorhood. Cesar, who once had to dance that he might eat, would forego an entrée for a Conga with Joan Craw- ford any time. She's his favorite. | she feels this reaction. All I know is/f that she’s such a splendid dancer that she certainly need not be troubled ; about spectators,” Cesar said, his! dark eyes looking thoughtfully ahead.!| He lit a cigarette, and the fat gold’ ring on the little finger of his left}: 1) hand flashed in the sunlight. “Now Loretta Young is the answer! to a dancer’s prayer. Man, she is)})) lithe and willowy! I have yet to hear’ anyone who has been lucky enough|| to dance with her complain about her! style. Pll never forget the first time’}’ we stepped onto a floor together. 17} didn’t know what time it was, where:|~ it was or what the orchestra wasij! playing. All I knew was that we were} floating around. it “Unlike Joan, Loretta does not feel| nervous when being watched—at least 3}! she doesn’t give the slightest sign of)}!' it. She likes to be silent when she! dances; she has an easy pressure on>}} the shoulder. They usually say that{}" Loretta is the independent-type girl, ) but I have always found her friendly '}! and considerate. She is as coopera- || tive a partner as there is. Take my? word for it!” ye Cesar ran a long index finger over 1 MODERN SCREEN | |

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the black-brown, square-cut side- burns that extend below his ears. “But there are other stars who rate | upper-bracketing with Joan and Lo- retta. For one, Ginger Rogers does. She has something that most women dancers don’t have. It’s an odd com- bination of poise and balance with perfect relaxation. In dancing, as in any sport, relaxation is an important factor. Usually a partner has good posture and balance, but she loses freedom of her muscles as a result. But not Ginger. No matter what the situation demands, she can do the step —anything from a waltz to the latest | jitterbug step.” And what does Cesar think of | jitterbugging? He smiled. “I like it—for somebody | else! It is all right for the younger erowds. But as for me, I’ll take some- thing easy like being a stevedore or a stoker in the hellish heat of a boiler room. It’s not that these steps lack dignity. You can waive that objection if you're at an informal place and it isn’t crowded. But it’s bad taste to | go bowling people over in your wild enthusiasm and knifing them in the ribs with (Continued on page 77) | CESAR ROMERO GIVES YOU THE LOWDOWN ON MOVIE- TOWN’S DANCING DAUGHTERS Ann Sheridan's banter is a chaser for the Romero ''moods,. but she does break a few of Butch's commandments for dancers! JUNE, 1940

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Each year thousands of fans who know of no other way ta reach their favorites | address them at the Derby. WHEN A man becomes successful in Hollywood, the first thing he does is provide himself with a good cook, an attractive dining-room and an atten- tive serving maid. That done, he re- serves a table at one of the town’s bet- ter restaurants and eats there five days a week. This peculiar custom is no reflection on the cook, the dining-room or the serving maid. It is merely high and well-deserved praise for the eateries of Hollywood which in recent years have become the most famous dining- out places in the world. Today, almost Sardi's’delectable food, together with its no music policy, makes it a haven for hungry non-jitterbugs. Basil Rathbone and Nigel Bruce admire: the Derby's ice-sculpture. This piece is)| in honor of Fight Night. il as familiar as Garbo and Gable—and | certainly more accessible—are the Brown Derbies, Ciro’s, Victor Hugo Sardi’s and Cafe Lamaze. You can bet) your last cent that an evening’s tour ©: these spots will turn up more mo personalities than a day at Santa Ani Easily the most spot-lighted of are the Brown Derbies, a chain of th restaurants originated ten years ago by Herbert Somborn, one-time husband of} Gloria Swanson. It was Somborn who} gave the Derbies their name, proceed- ing on the theory that a restaurant could make a hit no matter what queel The Chaplins at Sardi's. Charlie talks a blue streak, and it's often an hour before the waiter gets his order, — a a MODERN SCREEN

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CAN 8,379 HARVARD MEN BE WRONG? A MILLION OUTRAGED FANS SAY “YES” By Irving Wallace N A certain afternoon a few months ago, the stu- dents of Harvard University went to their home- made ballot boxes and listed their pet Hollywood peeves. On that historic occasion, they voted young Richard Greene as the film actor “least likely to succeed.” When we passed Harvard’s verdict on to Richard Greene, he clucked his tongue and replied, “I really don’t mind such adverse criticism, as long as I’m sure it’s intelligent and not purely malicious. I prefer a correction to a compliment. After all, adverse criticism can be help- ful; while, on the other hand, you can listen to silly flat- tery all day, gain nothing by it and end up in a Fool’s Paradise.” That was Richard’s reply, very English and very tactful. Though well aware that Harvard’s verdict was not “help- ful criticism,” he was in no position to defend himself. So, in a word, we take up the cudgels. The college poll proved nothing at all—except, perhaps, that Harvard undergraduates possess the combined critical - abilities of a roomful of very backward juveniles. Of course, we freely admit that Greene may not be the greatest actor in Hollywood. His histrionic talents may not have attained the Paul Muni level—at least, not yet. But we absolutely refuse to admit that he is Hollywood’s “least likely to succeed.” That’s utter nonsense—because he already is a huge success! We see our first duty clearly. We must prevent angry mothers from boycotting Harvard, and we must not allow hot-tempered maidens to mail high explosives C. O. D. to Cambridge. It is our patriotic duty to explain exactly why Harvard students resent Richard Greene. The explanation is obvious. All Harvard students are males. And, unfortunately, the average American male, handicapped by a profile that resembles a buzz-saw, re- tarded by a chicken-breasted physique, weighted by a 42 \ a (z F he doesn't approve it, ne. I ae you know. conversational gift limited to second-hand Bob Hope gags, resents anyone as well-built, handsome and articulate as Richard Greene of Hollywood. That, ladies, is the reason why Harvard men voted against him. They saw in Richard those fine things they lacked. And they resented him, just as they resented Rudolph Valentino and Robert Taylor before him. Being disliked for his attractive appearance is not a new problem to Greene. It has kept him awake many nights. “Do I consider being handsome a handicap?” asked Greene, echoing our query. “Well, definitely yes, presum- ing that Iam handsome. It makes me too many enemies. Men, utter strangers or acquaintances, hate me because misled girls think I’m good looking. It’s awfully embar- rassing, really it is. And more than that, its damned annoying—especially when men apply the phrase ‘pretty boy’ to me. Also, being considered handsome is a double handicap, because it immediately types you in Hollywood, confines you to ineffectual youthful roles and prevents you from obtaining meaty character parts.” We sat on a sofa, only two feet distant from Greene when he told us these things. We sat close enough to touch him, so we feel competent to testify that Richard Greene, off-screen and in: the flesh, does not look the pretty boy. We could hardly detect his dimples. He appeared tema and taller than we’d imagined. He seemed cultured, but _ it was a healthy, fresh and strong culture. He seemed a regular fellow, entirely virile, one who might know all the four letter words, consume iron ore for breakfast and indulge in Rabelaisian pleasures after dark. While Harvard students might criticize his acting, they can’t criticize his perseverance. “My prime ambition in life today,” he confessed, “is to become a good actor. A really thorough thespian, equipped for every role. If I’ve had any trouble, it’s been mainly MODERN SCREEN

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It's no secret that Dick has one Field conquered. He and country-woman Ginny are inseparable. that I got to the top too fast. Nine major pictures in two years. I lacked experience and have had to pick up things in a hurry along the way. But Tm still absorbing knowledge like a two-legged sponge. I’m trying!” And while Harvard students might resent Greene’s well- chiseled features, they certainly can’t resent his courage. “T’ve been aching to go back to England to do my share in the war,” he said, “but they won’t let me return. They have too many army men on hand, and they don’t need me. It was fine of David Niven to return on his own, but he’s still trying to see army activity and can’t, because they don’t require his services—yet. The horrible day will eventually come, I suppose, when my country. will need every man, and when it does, take my word, I'll be the first to go back. Meantime, I frankly feel I can do more good staying right here and, with the money I make, helping our. cause financially.” TO KEEP the records straight, Richard Greene’s current activities have been confined, largely, to turning in a performance in his most recent flicker, “I Was An Adven- turess” with Vera Zorina. After office hours, his activities have been devoted to the soil and to Virginia Field. Greene, springing from a family that had the stability of traveling salesmen, loves the soil. As he informed us, “My major desire is today being realized. I have bought a house and some land in the Valley north of Hollywood. I love the earth, and I want to build things of my own on it. I want to cultivate it. I want to construct a beau- tiful English stone wall, dozens of dog kennels and a thousand other things. When that dream is fulfilled, I suppose I’Jl have to find another.” Of course, the purchase of that property and that new house, encourages journalistic speculation and adds up, perhaps, to the mathematics of matrimony. Did the land and the house mean Richard. Marius Joseph Greene, who JUNE, 1940 4 In “Il Was An Adven- turess,' Dick makes an. honest woman of Zorina, a hardened jewel. thief. | would rather read “Flash Gordon” than the current best- seller, was about to settle down? The answer was a shrug of broad shoulders. And then, after the pause that refreshes, an afterthought, “All that talk in the papers about the exact time and date that ’m going to marry is fiction. I have no plans and, if I did, ‘I wouldn’t yet be in a position to announce them.” But when the time comes, will gorgeous, well-bred Vir- ginia Field be the girl to move into that Valley home? Greene, a practiced fencer, verbally parried. “This much I will say: I want no dull little glamour girl for a wife. I want someone I don’t have to go to the Ritz with, some- one I can fry bacon and eggs with, do you understand? I want a wife intelligent, but not intellectual. I want a capable mate, one with money sense. Those creatures whose entire lives center about fur coats and diamonds irk me. I prefer a girl who appreciates the simple and elemental things. Naturally, I want an attractive girl with plenty of feminine charm, but above everything else, I want a good companion!”’ Did Richard Greene think Virginia Field possessed all these qualities? Well, he didn’t wish to talk about Vir- ginia, but dammit all, love is love, and he couldn’t resist. “Tt’?s true that I find Virginia Field more attractive than anyone I’ve ever met. She has it all over the glamour girls. She possesses all the qualities I would desire in a wife. Naturally, I love her very much. Virginia is a pretty girl, amazingly intelligent and fond of the things I like.” What philosophy was to Socrates, women are to Richard Greene—an open book. Of course, he wouldn’t admit that. He is up to his ears in English reticence, but his torrid past speaks for itself. The most torrid part of his past was his first love. At the mature age of six he fell madly in love with an older woman. She was a snappy (Continued on page 68) 43

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Heywood Now is the time to use light, fluffy creams, whether for cleansing, lubrication or make-up foundation. Your skin must be protected against wind and sun, yet at the same time it must be allowed to ‘breathe’ freely. Arms, neck and shoulders that have long been swathed in heavy clothing will soon be exposed for the first time in many months. Smooth and protect them with creams, lotions, powders. And don't forget deodorants. Your make-up should be caretully chosen not only to harmonize with your skin col- oring, but also to create a fresh, cool and, above alll, a healthy, natural appear. ance. Artificiality is especial- ly taboo in warm weather. Hands, to be. glamorous, must be soft, smooth and dainty at all times. After every contact with sun or water, as well as after each manicure, massage your fa- vorite lotion well into the fin- gers, hands and also elbows. Legs and feet will come in for a lot of attention at beaches, pools and tennis courts. You will be wise to keep yours smooth and per- fectly groomed. Depilato- ries and weekly pedicures are considered definite ''musts.”’ h WANT TO WRITE YOURSELF A TICKET TO SUMMER ROMANCE, ADVENTURE AND SUCCESS? THE DAYS when you could swathe a sallow, blemished or untidy skin in furs and silks, wools and satins and still look beautiful are vanishing very fast. Summer will soon be on our doorsteps, and that means low necks, short sleeves, back- less dresses, bare legs and sun drenched days that demand. smooth, clean, flawless skin, not only on our faces but all over. A sedentary winter, robbed of sun and outdoor exercise; heavy foods with too few fresh fruits and vegetables; con- stant sudden readjustments from hot, dry, artificially heated houses to damp, cold, wintry weather; colds, fatigue—all these have taken their heavy toll on that most important single asset to your health and beauty—a fine textured, smooth functioning, radiantly healthy skin. It goes without saying that, in Hollywood, where beauty is the stock in trade of every girl ambitious for any degree of fame or success, skin care and grooming is one of the first concerns of every feminine member of the movie colony. So let's pry into the beauty secrets of some of Hollywood’s brightest stars and learn how they care for the skins for which they are so justly famous. There’s Virginia Bruce, for example, the flawless blonde; and Hedy Lamarr, the enchanting brunette; Ann Sheridan, the gorgeous red-head; and pretty, vivacious Helen Parrish, whose fresh charm is an ornament wherever she goes. What do these representative girls do to keep their skins so glow- ingly, radiantly lovely? The common sense formulas they follow are simple and intelligent, all rumors and build-ups to the contrary notwithstanding. The principles they prac- tice can be adopted successfully by every one of you who really wants to have a beautiful skin. First, you know that skin is not only an important founda- tion for beauty but it also constantly reflects the state of your health. Sallowness, blemishes and poor skin texture of one kind or another are almost always traceable to an un- balanced diet (too many sweets, starches or sometimes meats), insufficient exercise, fresh air, drinking water or sleep; irregular elimination or too infrequent bathing. Physi- cians and beauticians agree that fine skin depends primarily upon good health. Local disorders such as eczema, ringworm, etc., or glandular disturbances (especially thyroid) may pro- duce scaliness. For these conditions you should, of course, see a doctor. But ordinarily, a good healthy skin is some- thing within the control of every average girl without benefit of anything more than energetic common sense. A normal skin is neither too dry nor too oily. By virtue of its minutely horny construction it is able to cast off dirt and dead tissue. By means of its normal oil glands it is able to lubricate itself sufficiently for perfect health and comfort. — However, the stress, strain and artificialities of modern living often exact heavy penalties from your skin and it becomes . over oily, over dry or the pores become clogged, stretched and enlarged. Then coarseness, sallowness, blackheads, white- heads, acne, ete., are the sad results. What to do? Cleanliness, thorough and continuous, is of foremost im- MODERN SCREEN 4 Se ey:

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THEN GIVE A THOUGHT TO YOUR COMPLEXION portance for both beauty and health. Your skin is a very busy organ. Not only does it have to provide a prepossessing exterior for your appearance’s sake; but, even more impor- tant, it has to form an effective protection between you and the outside world of germs, dirt and disease. At the same time it must perform the full time job of a hard working organ of elimination. Sooo—a bath a day is the very least consideration you can show it. Shower or tub—the preference is purely personal. But do use plenty of mild, oily soap and water. Also use a coarse wash cloth, brush or friction mit to stimulate circula- tion and to help in the job of freeing your skin of constantly accumulating wastes and toxins. Fragrant oils, colognes, bubble baths and all those luxurious bath preparations are fine, too, if you enjoy using them. But they aren’t exactly essential to either the health or beauty of your skin, though goodness knows they do provide a de- lightful sense of daintiness and luxury which has its advan- tages in building up a girl’s morale, to say nothing of her glamour. After whichever kind of bath you take, use a big, clean, Turkish towel and massage yourself briskly all over to send the blood coursing through your veins and to wake up that sleeping color which should glow in every healthy skin. An after-bath lotion or a film of dusting powder add delightfully fragrant and luxurious final touches. YOUR FACE, neck, hands and arms usually need cleansing additional to your regular bath. A good cleansing cream should be on every girl’s dressing table. If your skin is oily, you ll want to use a liquefying cream. If it’s dry, an emollient cream will do more for you. Apply either one generously, immediately after washing your face. Massage it in with deep, firm, rotary, upward strokes, being ,careful not to stretch the delicate face skin. Allow cleansing cream to re- main on at least a couple of minutes, then remove with facial tissue or soft linen. An oily skin is simply one whose oil glands are overactive. A good diet, including plenty of fresh fruits and vegetables, lots of drinking water, outdoor exercise and special attention to cleanliness are extremely important in your efforts to overcome it. Scrubbing the face with a soft bristled com- plexion brush and a mild soap, then applying an astringent or skin freshener, is an excellent daily habit. A cream of the vanishing type is best as a powder foundation for oily-skinned lassies. Be sure that you fluff your powder on lightly, never grind or rub it in to further clog the over-large and too- relaxed pores that accompany this condition. Frequent addi- tional cleansing through the day with liquefying cream and astringent or some of those handy little prepared pads which you can carry in your purse or keep on your dressing table, will help relieve the annoyance of an excessively oily skin. Dry skin is common in our larger cities where continuous scrubbing is necessary for cleanliness, and high nervous ten- sion is always more or less present. It is also common among women who diet and deny themselves (Continued on page 74) JUNE, 1940 ob By Carol Carter HELEN PARRISE ) A Universal Player

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SO YOU would like to be a secretary to a movie star? You went to high school for four years. You’re a typist. You’re a stenographer. You think it should be a cinch. But—how would you like to exercise a pair of wild horses in your lunch hour, introduce twenty-five people you don’t know to a member of the United States cabinet, help your boss’ wife be a columnist, buy woolen under- wear for Annabella to ski in or explain to hundreds of adoring fans why they can’t have a lock of your mas- ter’s hair? ; Yep; that’s all part of the day’s work to the widely- envied members of Hollywood’s notebook and pencil brigade. No wonder they love their jobs, hate their jobs, swear to quit and vow to go on forever. But none of those chores could discourage you? You still want to know the ingredients that go into the making of a Movieland secretary. Okay. Let’s track them down. First, take the case of Peggy Gough. Peggy works for Spencer Tracy. Two years ago, when Spence’s former secretary met with an accident, Peggy, who held a clerical position on the Metro lot, walked into her job—and into a combination office-dressing room, next door to the one occupied by Greta Garbo. “As it happens,’ says: Peggy, “I've never seen Miss Garbo. However, when Mr. Tracy is working, I visit the set twice a day and, in the past few months, have ‘taken dictation while either Hedy Lamarr, Claudette Colbert or Clark Gable was sitting just a few feet away from me.” That doesn’t sound too tough, does it? And neither does working from nine to five daily with a half a day on Saturday, or answering requests for Mr. Tracy’s photo- graph and autograph, or seeing to it that his replies to fan letters reach a post-office box, or typing the stencil for the fourteen-page magazine young Johnny Tracy pub- lishes monthly. “Up to there, it’s pie,” agrees Peggy. “But when people begin to ask for such things as a button off the jacket Mr. Tracy wore in the last reel of his first picture, that’s another matter! And don’t think it’s easy to make his admirers understand that my boss would be bald as an 46 lola Clark's office ‘phone connects with private ex- tension. She answers all calls with "Robinson's residence,’ relaying im- portant ones to the house. Peggy's been oftice-wite to Spence for two whole years but he still ad- dresses her as ‘'Miss Gough." She's 27, looks 21, and is unmarried. eagle if he obliged everyone who wants a snip of his hair for a locket charm!” Her typewriter and erasers aren’t the only tools Peggy © must have at her finger-tips. She keeps aspirins and an encyclopedia handy, too, fot those occasions when she receives scrawls like the one sent by the little boy who’d seen “Stanley and Livingstone.” The youngster didn’t want an autograph. He didn’t want a picture. He just wanted a few simple facts. “You’re a great explorer, Mr. Tracy,” he wrote, “so will you please tell me how much it costs to take an expedition to Africa? I want to leave next Saturday.” Miss Gough, fortified by a sheepskin from the University of California, is made of sturdy stuff. -She can take it. She knows that if you want to be a big star’s Girl Friday, you have to keep your sense of humor on its toes twenty- four hours a day. And so, come hell or high water, come checks to be autographed or new scenarios to be judged, Peggy only smiles—and dimples. She'll bear up under any swipe, because she thinks that’s little enough to do for an employer who is never cross, never demanding, never hasty. “There’s one thing, though,” admits Peggy, “Mr. Tracy’s a terrible tease!” But she smiles when she says that, and you know she MODERN SCREEN

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doesn’t really mind this little attention from her boss. A college education isn’t part of the background of 34- year-old Claire André, who is secretary to Joel McCrea, as well as the mother of a 16-year-old miss. Claire, an attractive brunette, didn’t even finish high school, although she has managed, since becoming a working girl, to squeeze in night courses in costume designing, court re- porting and Spanish. Claire’s husband, Carl, has been Joel McCrea’s stand- in for several years. One day, Carl noticed that Joel’s fan mail and business records were getting pretty well jammed ‘up and suggested that he hire a secretary. But Joel is a westerner and doesn’t do things fast. Two months later he shook his head and decided Carl was right. Then he asked for Claire, whom he had met only once. Claire wasn’t keen on the job. She’d worked with movie people before and didn’t like them too well. At her hus- band’s insistence, however, she visited the lot. Bill Gallagher, Ty's secretary, is at the beck and call of his boss 24 hours a day. “Well,” drawled McCrea when he saw her, “T don’t know whether I need a secretary or not.” “Oh yes,” retorted Claire. “Well, I don’t know whether Td like working for you!” They decided to try it for three months, but she’s stayed three years. She labors five and a half days a week in a small office at the Paramount studios. In this two by four, with its walls covered with portraits of Joel, she does her employer’s bookkeeping, reads and answers his fan mail and sees that he doesn’t forget dinner engagements. Half of her time is devoted to handling the affairs of Joel’s 1,000-acre ranch. And at the ranch, she must even exercise _ her boss’ horses when he is busy and order the dehorning of his cattle when the proper season rolls round. The story of Walter Pick is slightly different. Walter, who is Melvyn Douglas’s right hand, studied at the For- eign Service School of George Washington University. He wanted to be a diplomat in a strange land. In New York, a few years after graduation, he ran into Melvyn and Mrs. Douglas, who is his cousin. The pair invited him to a JUNE, 1940 ial come to Hollywood and he accepted. Now his early ambi- tion has been realized—he’s practising diplomacy in a strange land. Blond-haired and twenty-five, Walter Pick loves his job. “It’s an exciting life,” he says, “touching on every phase of modern living.” And he’s not kidding. The variety of his tasks even includes acting as host at Douglas’s swank dinner parties when Douglas himself is too busy to turn up. Recently, when cabinet-member Madame Frances Perkins came to Hollywood, Pick had to introduce her to twenty-five guests he had never seen before! Besides taking Melvyn’s son to baseball games and helping Mrs. Douglas keep up on the migrant problem, with his knowledge of political science, he aids Mr. D. with his numerous causes. Walter lives with the Douglases. He has been on the grind over three years, yet has (Continued on page 79) It's nice work if you can take it—and Walter Pick can. But it's only a means to an end for Walt who hopes, some day, to land a movie role. Claire André, who was raised on a ranch, can discuss ranching prob- lems as intelligently as any man. She calls her boss ''Mr. McCrea''— he calls her ‘'Claire."' 47

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lronic that Madeleine, a rabid paci- fist, is so often in war films and was a British captain's wife. MADELEINE CARROLL used to give one the impression that if you men- tioned sex in her presence, she would blush, freeze or swoon. Now you can walk up to her and say, “Miss Carroll, the suspicion is getting around that you have a large quota of feminine warmth”—and what happens? She smiles mischievously. Those blue eyes dance. And she doesn’t hide the fact that she is finally hearing what she has been anxious to hear all along. What she used to hear were things quite different. She grimaces comical- ly in remembrance. Such things as Director Alfred Hitchcock’s classic crack. Hitchcock was to do a picture based on the SS. Titanic disaster. The producer asked him, “What do you know about icebergs?” Hitch- cock lifted his eyebrows—Madeleine, telling the’ story, illustrates how high he lifted them—and said, “What do I know about icebergs? Man, I’ve directed Madeleine Carroll!” She shakes her head about the rep- utation she seemed to have had for being on the frigid side. “People used to wonder if anything DON’T LET HER COLD, CLASSIC BEAUTY MISLEAD YOU—SHE EVEN HAD 48 Tullio Carminati, Billy Gilbert and Madeleine in one of many tense mo- ments from "Safari." could thaw me out. Nobody,” she says, with a mock sigh, “suspected that I had human warmth and only needed the opportunity to bring it out.” How did she ever acquire that Arc- tic reputation? Looking back, you can detect several possible explanations. First and foremost, she came from England. Justly or not, Americans don’t give Englishwomen credit for being warm-blooded. Particularly if they belong to the social upper crust —as Madeleine did, by marriage. Fur- thermore, she was a college graduate, daughter of a professor. That made people think of her as an intellectual, a woman whose head would dictate to her heart. Then, too, press agents billed her as “one of the ten most beautiful women in the world.” They weren't far wrong. But, by so doing, they placed her on a lofty pedestal, and people considered her aloof. She puts most of the blame directly on the beauty publicity—and, indi- rectly, on herself. “At the time, I thought the beauty build-up was a great idea,’ she admits, frankly. “I was feminine enough to be flattered. Any woman likes to be called beau- Jungle love with Doug Fairbanks is fine, but Madeleine's real heartbeat is a French politician. tiful. But I didn’t foresee the effects of the build-up. It not only made me. unpopular with other women, but it caused producers and directors to catalogue me as The Inspirational Type—a visual excuse for the hero to be pretty noble. “Tt paid well, yes, but it was fright- fully dull going. I wasn’t having fun. And I began to sense that other people weren’t having fun, watching this in- spiring creature. I began to suspect that it would be only a matter of time before they resented seeing her—al- ways with every hair in place, every. expression beatific, every action chaste. She just wasn’t human.” She tried to do something about it. For one thing, she tried to forget the camera and be herself. They wouldn’t let her. When she talks, she has a habit of making faces, to help express what she means. “Madeleine,” they would say, “you mustn’t make those faces. They aren’t becoming. And they aren't in character.” Or, “Madeleine, you didn’t keep your profile before the camera. We'll have to shoot it over.” The climax came during the filming HOLLYWOOD MODERN SCREEN

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Madeleine, one of the world's ten loveliest women, spends less time in the ‘make-up chair'’ than any other star. of “The Prisoner of Zenda.’ Toward the end, there was a parting kiss be- tween the lovers—Ronald Colman and Madeleine. She approached the scene with the thought, “This should be a terrific moment, but it won’t be if we both express our emotions like polite, reticent English people. ’'m going to do my share to make it memorable.” And she did. The director, John Cromwell, liked the result. But that night the pro- ducer, David O. Selznick, saw the rushes. He called Madeleine at 3:00 A.M. “What on earth were you trying to do in that scene? You're so sexy in it.” Madeleine beamed. So she had finally demonstrated that she was no iceberg! “I was only trying to behave like a woman desperately in love.” He protested, “But this woman is a prin- cess. She would be more reserved.” “Princess or not,’ said Madeleine, “she is a woman in love.” They had quite an argument. Madeleine didn’t win it. A few days later, there were retakes. She had to change her per- formance. But Madeleine didn’t change her convictions. (Continued on page 91) FOOLED FOR A LONG TIME JUNE, 1940 By George Benjamin

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EB A ace —— 4 is He'll select your hats, sell your talent, look after your morals and, if you look anything like Margaret Sullavan or Lynn Bari, your agent may even decide to propose to you. F YOU’VE seen “Gone With the Wind,’ you know that Vivien Leigh is a sensation as Scarlett O’Hara. Even if you haven’t seen the picture, you are sold on that idea. You have read the reviews. You know she won the Academy Award. You have read articles explaining her success. : Some of the articles give the credit to Vivien, nerself, to her individuality, her talent, her will-to- succeed; others, to Producer David O. Selznick, who was astute enough to see her possibilities; to Director Victor Fleming, who handled her shrewdly, or to Author Margaret Mitchell, who created the colorful character Vivien portrayed. The only person who doesn’t seem to be getting any credit is the man who sold Selznick the idea that Vivien Leigh, an English girl, would be a remarkable Scarlett. That man is her agent. . His name is Myron Selznick and he is one of Holly- wood’s most successful salesmen of stars. He also hap- pens to be a brother of David O. Selznick. Vivien knew what she was doing when she told him she wouldn’t be averse to working in Hollywood if he could sell her as a dramatic vixen. The more Myron studied her, the more he saw her as one particular charmer. But how to interest David in another unknown—especially an English girl? That called for genius. Myron displayed just that. He didn’t go into a high- pressure rave about the girl. In fact he didn’t even mention her name: He sprang her upon David as a complete surprise. He took her out to the “Gone With the Wind” set the night that David started production by putting the torch to acres of old movie backdrops, for “the burning of Atlanta” scene. Myron waited until the fire had become spectacular. Then he walked up to his brother and said, “David, I want you to meet Searlett O’Hara.” David turned—and saw the vivid face of Vivien Leigh for the first time, lighted by flames ‘ ne pia a Set ling 2S TES ALS es a a aa that Scarlett was supposed to see. Myron didn’t have to suggest a film test. David was startled into suggest- ing it, himself. Vivien Leigh is a star today because she had a smart agent. The same can be said of every star in Hollywood, from Lionel Barrymore to Shirley Temple. You may photograph better than Hedy Lamarr or Robert Taylor, and be able to act circles around Bette Davis or Spencer Tracy, but you still need something else to become a star. Or remain one. You need a good agent. This isn’t a glamorous fact. It is carefully omitted from all of Hollywood’s success stories. But it still remains a fact. Every player in Hollywood is aware of it. Every player earning $150 or more has an agent. And every player earning less would have one, only there aren’t enough to go around. Particularly of the kind willing to gamble on unknowns who want to act, but haven’t yet proved that they can. Stars know what they are talking about when they _ MODERN SCREEN Se a

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ph AT Se Gary Cooper Greta Garbo Ht Ronald Colman Ht Margaret Sullavan BEHIND THE SUCCESS STORIES OF GARBO, LEIGH AND EVERY IMPORTANT STAR IS A SUPER-SALESMAN WHOSE PRAISES ARE SELDOM SUNG By James advise unknowns with movie ambitions: “Don’t come to Hollywood until you have proved your possibilities.” Some day, some star is going to be honest enough to add, “and can afford an agent.” Why is an agent so necessary? Why can’t an actor _ sell himself? The answer is this: Once upon a time, there were no agents. Actors had to sell themselves. Most of them didn’t do very well at it. They were in a class with gypsies. They lived precariously, constantly on the move. Here today, somewhere else tomorrow. They couldn’t own any- thing that wouldn’t fit into a trunk. The only way they could find employment was to be on hand when the work was passed out. When they did work, even stars earned little. Talent was valued low. There was a phrase: “Actors are a worthless lot.” Agents have changed all that. Today, actors are a respected race. If they have any standing in their pro- fession; they also have substantial incomes. They have contracts guaranteeing them those incomes. They settle down in one place, raise families, have gardens, vote and make thousands of dollars a week. Talent is a strange commodity. It can be neither weighed nor measured. But agents have brought some- thing to the selling of talent that is used in the selling of any other commodity—business methods. To give you an idea of the importance of agents in the movie scheme of things, there are approximately 110 agencies in Hollywood today. The William Morris Agency—the oldest, and one of the largest—sells more Reid than a million dollars’ worth of talent a month. Of this, their take is one-tenth, or better than $1,000,000 a year. Myron Selznick is suspected of making as much, if not more. (He is generally credited as the first to educate studios to pay featured players, as well as stars, those colossal salaries.) High in the six-figure-a-year bracket are Berg-Allenberg, Feldman-Blum, M. C. Levee, Sam Jaffe, A. and S. Lyons, Zeppo Marx, Edington and Vin- cent, Nat Goldstone—among others. ‘ An agent is first, last and always a salesman. That is enough to make him useful to anyone with talent to sell. What makes him indispensable is that he is also a number of other things. He is a shrewd judge of ability, and as shrewd a judge of the possibilities of roles. (And he knows, from day to day, every role that is being cast in every studio.) -He is more than a job-finder; he is a career-builder. (It is to his advantage to be this, since he has a ten per cent investment in a player.) He is a personality- developer, a legal adviser, a business manager, a con- fidant of personal as well as professional troubles, a chaperon, an errand boy, a soft spot for a “touch” (loan, to you). To show you how an agent operates, let’s take a hypothetical case of a young player who gets a movie chance—a case that is a composite of hundreds. For the sake of convenience, let’s call that player “you.” A talent scout for Studio A has spotted you in sum- mer stock, a Little Theatre play, or possibly a Broadway show. You have been offered (Continued on page 87) 51

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Joan Blondell takes time out from her acting and household duties to read palms at Ciro’s. “It can't be that bad!" shouts Mischa Auer. William Powell and his twenty-one- year-old wife relax at Cafe Lamaze. They've been stepping out seven nights a week to show each other off. Leave it to a Marx to figure out a new way to light a cigar. Minus his movie mustache, Groucho and his antics are as novel as ever. 54 These new faces belong to Carole Landis and Kenny Morgan. Miss L. already has one movie to her credit and is now at work on her second. Stuart ~ himself, sleep with a not often that Pat’s caught napping. Erwin, who lo puts Pat “funny” oks gTOgGy, O’Brien to story. It's Vic Orsaiti, who usually flits. from beauty to beauty, is on his fourth date with Helen Gilbert—which is practically “going steady” for Vic. Reginald Gardiner and Lucile Fair- banks at Hugo’s. old line, but (Doug's cousin) Lucile “swing it” He's handing her the isn't falling. Don Ameche was off-salary for re- fusing a movie role when this was taken, but still manages that smile. He even has Mrs. A. doing it. Pe George Monigomery, 20th Century- Fox player, substitutes for Brenda Joyce’s best beau, Owen Ward. Her boy friend had to work that night. That look of contentment on the faces of Adolphe Menjou and wife speaks well of Sardi’s. But this was before they'd seen the check. Helen Parrish goes gallivantin’ with Boy friend Forrest Tucker and Homer Sprinkle. Her silver fox coat was a birthday gift from Forrest T. MODERN SCREEN

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Burns & Allen have a home but never seem to stayin it. Dining with them and in high spirits is Lupe Velez, another night club habitué. Arthur Lake drinks a toast to the missus who's sporting a red, white and blue plaid jacket, topped by an off-the-face Flemish bonnet. Rosalind Russell says she'll marry— when the right man comes along. And Mr. Right Man for the evening is John Durant, wealthy Los Angeles socialite. Lana Turner and Husband Artie Shaw ran into Greg Bautzer, Lana’s ‘‘ex,” the night this was snapped, and the three exchanged some icy stares. JUNE, 1940 2 aE ‘ er Linda Darnell is the ever-constant companion of Bob Shaw. It’s a sister- and-brother combination that origin- ated in Texas, where both were born. Director Litvak is the busiest man- about-town. This time, it’s Barbara O'Neil, who emotes for Anatole on the “All This, And Heaven Too” set. Mary Astor and her husband, Manuel del Campo, film editor, leave their new baby long enough to have din- ner at Ciro’s on maid's night off. Joan Bennett celebrates her birthday with Husband Walter Wanger and Producer Selznick, who seem none too happy. It was a thirtieth for Joan. June Lang is being taken around town by James McKinley Bryant, well-known author. June is the former wife and client of actors’ agent, Vic Orsatti. Mighty proud was Ida Lupino of Hus- band Louis Hayward's performance in “My Son, My Son.’ Her mother substituted for the absent spouse. Hedy Lamarr and Arthur Hornblow, Jr., desert their respective mates, Gene Markey and Myrna Loy, to make a tour of Ciro’s sumptuous dance floor. Not only has Andrea Leeds changed her mind about retiring, but Hubby Bob Howard has accepted screen test offers and wants to make a movie. 55

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THE CLICK OF A CAMERA, THE CLACK OF A TYPEWRITER, GOING NATIVE Joan Bennett decided that her invitation to appear on the Bing Crosby air-show really warranted the purchase of a new bonnet. So the star spent a whole day making the rounds of her favorite shops looking for a chapeau worthy of the occasion. In a very exclusive establishment she came upon a becoming turban—the very last word accord- ing to the salesgirl—and, since it was un- usual enough to attract plenty of attention, Joan purchased it right then and there. She arrived at the broadcast feeling as chipper and self-confident as only a@ woman in a- becoming new hat can feel—only to find that someone in a similar headpiece had ar- rived first. It was Sabu, the young Indian movie actor, wearing one of his native tur- bans fashioned~of the same material as Joan's. After the first horrified moment, Joan took it like a trouper. “We'll just have to see that we don't go to the same patties,” she laughed. TAYLOR VS. GABLE We had the opportunity, the other day, to test the comparative popularity of two fa- vorite stars in the Hollywood firmament. Conversation stopped abruptly at the Brown Derby one noon, women nudged their com- panions, buzzed excitedly and ejected de- lighted “Oh’s’’ as Robert Taylor walked in. But Bob was no sooner seated when the door re-opened, and in came Clark Gable. No buzzing accompanied his entrance, just a series of long drawn out ‘Aaaaaahs.” \ es Sao. ROBERT TAYLOR AN ULTIMATUM Jed Prouty is learning you can’t argue with studio executives. Figuring that the Jones Family couldn't get along without him, he refused to make another picture without a substantial salary increase. Imaginé his surprise at discovering that his bosses were willing. to release him! In the next Jones family epic, Mrs. (Spring Byington) Jones can look forward to being a movie widow, unless her screen spouse learns his lesson in time to forestall such a tragedy. THE DeMILLE TOUCH A friend of Cecil B. DeMille’s told him that his closing remark on the Lux Show had been picked up by one of her youngsters. The friend's little girl now kneels beside her bed at night, recites her prayers and ends with “And now, good night to you—from Holly- wood.” A GOOD SCENT Jean Parker's current heart interest, and very serious, too, is Douglas Dawson, the captain of Errol Flynn’s boat. Though no wedding date has been set, Jean and the Captain have started to purchase things for their home. The first item was ‘Golden Boy,” a St. Bernard puppy, the size of a small pony. Until their marriage, they thought a ; i bert wil 4 -- JEAN PARKER it would be only fair to divide the puppy's time between them, each having “Golden Boy” for two weeks at a stretch. But the pooch clearly preferred Jean, and Cap was AND ZIP! A SCOOP IS BORN. somewhat puzzled. A chance meeting with the original owner uncovered the fact that “Golden Boy” loved all ladies who used perfumes. with floral scents. The next eve- ning, Jean was mystified at Goldy’s complete devotion to Doug. What she didn’t know was that he had a cake of violet perfumed soap in various pockets. After the pooch had jumped joyfully into the car when Doug started for home, he finally confessed. DIDJA KNOW That Marlene Dietrich is so grateful for the chance given her at Universal, she’s turned down a $150,000 offer from Metro and will stick with Universal . . . That Ida Lupino is @ composer, and her “Aladdin Suite” has been played by the Los Angeles Philhar- monic Orchestra That Guy Kibbee began his theatrical career as a “prop” man . . . That Rochelle Hudson, who was once a steno, memorizes lines by first copying them in shorthand . . . That Rita Hayworth wears hosiery made from the sheerest steel thread . . . That Willie Best has a trunkful ef horseshoes collected during his career in SESS CLARK GABLE pictures . . . That Anthony Quinn's hobby is book-binding, and he’s won several prizes at county fairs with his exhibits ... That Edna Best's eighteen-year-old twins are working as extras in pictures under the names of John Barry and James Seymour .. . That Mrs. Spencer Tracy’s recent emergency op- eration was just in the nick of time to save her life . . . That John Farrow is leaving Hollywood to serve with the British forces. in France .. . That Maureen O'Sullivan has MODERN SCREEN

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WE BRING ’EM TO YOU FRESH AS A MICKEY ROONEY WISECRACK—RIGHT FROM THE COAST taken a small house in Beverly Hills, and the Farrow Bel-Air home is up for sale .. . That Fritz Mandl, millionaire and former husband of Hedy Lamarr Markey, is going to be a Hollywood picture producer . . . That you couldn't squeeze into the Cocoanut Grove when Benny Goodman opened there . That Marjorie Rambeau lost 42 pounds and is still “slimming?” ... That Wally Beery asked her to put on 15 pounds for “20 Mule Team” and almost lost his leading lady as a result . That Ann Sothern’s back on the Warner lot for the first time in eleven years ... That Deanna Durbin had 28 changes in her last picture but doesn’t give a hoot about clothes, personally? JEAN ARTHUR KNOWS BEST Rumor has it that Jean Arthur wasn’t too pleased with the selection of William Holden to play opposite her in “Arizona.” Jean com- plained that he might pass as her sweet- heart in the first half of the picture, but if she ran true to form (she’s usually a ner- vously-exhausted woman after the first few weeks of shooting and looks ten years older than she really is)*he would look like her son in the last half. The director pooh- poohed her ideas but these in the know contend that William has a tough assign- ment ahead of.him. TIGHT SPOT is The ‘Holden boys are accustomed to prob- BY LOIS SVENSRUD ERROL FLYNN about Brother Bob and now we've met Dick, from South Pasadena Junior High. Dick's theatrical experience had been a one-day _ visit to Brother Bill’s set while he was mak- ing. ‘Golden Boy.’ But that didn’t stop him from bragging about his knowledge of stage _ productions when the subject of the school's yearly play came up. The result was that Dick found himself stage manager and has been spending all of his spare time at the studio trying to pick up enough information to carry through his bluff. ALONG SUNSET STRIP Clark Gable stopping at Schwab's for a cup of coffee and a powdered-sugar dough- nut en route to the studio for the day’s work . Nancy Carroll standing on the corner of Sunset and Laurel Canyon waving at a taxicab and getting the horn from several passing cars .. . Joel McCrea and Frances Dee rolling down the avenue in a brand new black sedan, with four children in the back seat (only two of them McCreas, how- ever) . . . Jeanette MacDonald paying off a corner florist, while her chauffeur loads pink and yellow gladioli into the station- wagon at the curb... Linda Hayes care- fully parking a spanking new green roadster in front of the Glenn O. Raike Voice Studio and anxiously looking back before entering the studio . . . Edward G. Robinson asking JEAN ARTHUR for “all the children's magazines” at a corner drug-store for his son, Manny .. . Lili Damita and Errol Flynn munching on French- fries at a drive-in stand and appearing com- pletely at peace with the world Geel each other. A FRIEND IN NEED For years Errol Flynn has seen to it that his pal and side-kick, Johnny Meyers, was given a role in all of his pictures. Johnny’s no great shakes as an actor, but as an extra he gets by. However, when Errol tried to get him a part in “The Sea Hawk,” it looked as if Johnny wouldn't even qualify as an extra, since one requirement for the job was a beard. And try as he would, Johnny could not raise more than a stubble. But Errol came through again. He bribed a make-up man into designing a chin-piece for Johnny that not only had the director fooled, but made him the envy of every extra for the duration of the picture. IN HIDING, STILL A list of the people who watch the Jack Benny show from the secluded sponsor's booth overlooking the NBC stage would read like a copy of Hollywood's Who's Who; nearly every star of screen and radio has dropped in at one time or another. The other Sunday an NBC official escorted a lady to her seat just as the show went on the air. A droopy straw hat covered her eyes, a chenille-dotted veil flowed over her face, and her navy-blue suit was anything but striking. In short, the lady was no “looker,” 57

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and no one paid her much attention. This probably suited the visitor to a T, for after escorting her out during the last five min- utes of the show, the official returned and told the flabbergasted. group that Jack Benny's mysterious fan was Greta Garbo. AN EXPENSIVE HOBBY Roger Pryor has a yen for all soris of gadgets, and Ann Sothern is in despair of ever bal- ancing the family budget because of her husband’s expenditures. Last week, though, Ann felt more optimistic. Roger’s latest buy had been an “electric eye’ for his garage, but something happened to the mechanism, and he spent an entire afternoon locked in the garage before the servants heard his cries for help. However, when Ann came home from the studio the next day, she dis- covered her husband was back in the gar- age with two gadget salesmen, who were installing a loud-speaker system to connect with the house. PERSONAL APPEARANCE Baby Sandy is one movie star who won't have to worry if she’s “through” in pictures. Ait the age of two and a half she already has a nice new profession to take over—that of hostess at the Van de Camp drive-in. Sandy has proved time after time that the mere addition of her presence can boom business one hundred per cent. Gilbert Hemming, the cafe manager, used to be a college pal of Sandy’s dad, so the family often drops in for a meal with him. Accord- ing to Hemming, the customers are always asking when Sandy is due for another visit and, if he knows in advance, they invari- ably show up with several friends. ROONEY ON GLAMOUR “This is the life,” said Mickey Rooney when we met him on the ‘Andy Hardy Meets a Debutante” set the other day. Like a sultan surveying his harem, he looked over the crowd of thirty pretty co-eds lined up for that day's scene and gave a deep sigh of satis- faction. The “debutante” in the case, you know, is Diana Lewis and, according to Mickey, it's a far greater thrill to work with Mrs. William Powell than with Brenda Frazier, herself. ‘Mrs. Powell's got glam- our,’ he said. That statement must be true, backed up as it is by two such recognized authorities as the Messrs. Powell and Rooney. 58 SHE’S A NATURAL If there was ever any doubt about Norma Shearer and George Raft meaning business, - it’s now been banished once and for all. For Norma appeared at a party the other evening looking very girlish and admitted to the other feminine guests’ that her pale rose lip-stick was not a new fad, but just a gesture to please Mr. R_ who likes “‘that nat- ural look.” And the final proof of Shearer’s complete devotion was her finger-tips—also pale rose! PAGING FRANK BUCK The two Janes—Withers and Darwell—have more livestock between them than anyone in Hollywood. practically as famous as the Bronx Zoo, but Jane Darwell's is just now coming to light. Ever since Miss Darwell came to Hollywood, her backyard has been a refuge for every stray cat and dog that happened by, to say nothing of a few raccoons, rabbits, geese, turtles, turkeys and one beautifully man- nered skunk. Miss Darwell’s first thought on learning of her great success as “Ma Joad’’ was that she could now afford a ranch in the San Fernando Valley where she could begin building a stable around her newest backyard ° addition—a pedigreed Guernsey heifer. This was a surprise gift —and a welcome one, from Mrs. George’ DeVries, a Darwell fan in Sacramento. FLEDGELINGS Getting lost in their super-elegant station wagon is beginning to pall on the Clark Gables, and their latest diversion is learning to fly. As soon as they pile up sufficient flying hours, they plan to get their licenses, buy a plane and depart for parts unknown every week-end. Less hardy studios might blanch at the thought of their favorite chil- dren playing Lindbergh whenever the spirit moved them, but RKO and M-G-M are be- coming calloused to the antics of these two renegades. Still, as one wistful Metro official put it, it was a little more comforting to think of them disappearing into Mexico than just disappearing into the blue. REST CURE FOR TRACY During the making of “Edison, The Man,” Spencer Tracy threw himself so completely Jane Withers’ menagerie is © into the part that, not only did he begin to look like Edison, but he even acquired one of his habits—notably and unfortunately, the one of sleeping only a couple of hours a night. The last day of shooting found poor Spence practically a sleep-walker. A vaca- tion was in order, and no doubt about it! Without even stopping to comb his hair back to its usual left part (a right hand, part was the extent of Tracy’s “make-up” for the pic- ture), he whipped off the set and onto a boat bound for a month’s cruise in Mexican waters. Retakes have been postponed until after his return. HOW TO WIN FRIENDS ~ Madeleine Carroll and Paulette Goddard have become very fast friends. They met on the set of “North West Mounted Police” and struck up the friendship over luncheon the first day. Both girls are on the same diet —that of fruit, vegetables and tea. Made- — leine’s purpose is reducing and Paulette’s” keeping up the old vim, vigor and vitality. Two women on the same diet, whether movie stars or neighbors, are bound to have much in common. ~ TWO LOVES HAS NANCY Another local romance on the sizzling side is that of Nancy Kelly and Irving Cummings, Jr. Since Edmond O’Brien took off for New York, Nancy’s been dating the director’s son every night of the week and admits that he has the inside track on her affections. Irv- ing, now under contract to 20th Century-Fox as a writer, is a smart lad as well as a tall and handsome one. HARD TO GET >» Jackie Cooper’s heart does nip-ups at the mere mention of Leila Emst’s name these days. The two met on the set of the new Henry Aldrich picture, in which beauteous, blonde Leila was making her screen debut. However, far from being humbly grateful for any scraps of attention Old-Timer Cooper flung in her direction, she showed no interest whatever in Jackie’s plans for her “after hours’ entertainment, though his invitations became successively more elaborate and tempting. She gave him huge doses of what is known as “the “ice.” Jackie was getting no place fast trying to impress the blasé Leila as a young-man-about-town, and (Continued on page 6&0) MODERN SCREEN

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Whitney Bourne’s luxurious New York apartment is the meeting place of society and the arts. She spends a great deal of time in Holly wood where’she follows a career in the movies. QUESTION TO MISS BOURNE: With a busy social life and a de- manding career like yours, Miss Bourne, how do you keep your complexion so vibrant and fresh looking? ANSWER: ‘‘It’s a matter of regular skin care with Pond’s 2 grand Creams. To keep my skin clear and glowing, I cleanse it thoroughly with Pond’s Cold Cream night and morning. And, of course, before fresh make-up.” QUESTION: Aren’t the sudden changes from. California: sun to New York weather hard on your skin? ANSWER: ‘‘No, because my pow- der base—Pond’s Vanishing Cream —also serves as a marvelous pro- tection against sun and wind and weather. I always use it before make-up!”’ Arriving for premiere at Carthay Circle Theatre SAME THOROUGH )— aus CARE 7.) Miss June Rothe, TWA air hostess, has learned to serve a 7-course meal—alone—to Leis, | 21 people traveling at 200 | miles per hour! Charm, limited weight, nurse’s train- ing are other job requirements. QUESTION TO Does your appearance count very heavily when you apply for a job as air hostess, Miss Rothe? ANSWER: “ Yes—we needn't be actually beautiful, but we must look attractive. I give my com- plexion the best care I know—with Pond’s 2 Creams. I use Pond’s Cold Cream to cleanse my skin, help keep it soft and supple—and Pond’s Vanishing Cream to smooth it for powder.” QUESTION: Does using two Creams i seem to affect ‘the way your hake make-up goes on? ANSWER: “ Definitely!’ Cleansing with Pond’s Cold Cream freshens my skin. Then a light, satiny film E of Pond’s Vanishing Cream smooths little roughnesses and makes a perfect powder base. No wonder make-up looks better!”’ D FOR POND?’S, Dept. 9MS-CVE, Clinton, Conn. j SEN AL Rush special tube of Pond’s Cold Cream, TRI enough for 9 treatments, with generous | BEAUTY KIT samples of Pond’s Vanishing Cream, Pond’s : Liquefying Cream (quicker-melting cleansing q cream), and 5 different shades of Pond’s Face Powder. I enclose 10¢ to cover postage and packing. Higmos sadOW Name Street eS CO; a a Sa 4 Copyright, 1940, Pond’s Extract Company Ht ty : | at | | t } A | AL Ri \ HM | an } NE Hi al 4 | if | |

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(Continued from page 58) was about to give up in despair, when she greeted him, one morning, with great ex- citement. ‘Gee, Jackie,’’ she cried, ‘why didn’t you tell me about how clever you are?” Jackie could only manage a ‘'Wh-what?” It developed that Leila had just learned about those eight ribbons Jackie had won for calf- roping and riding at Palm Springs. ‘And here I thought you were just a movie actor,” said the fifteen-year-old, “not a regular guy!” ROMANCE DEPT. Bette Davis is going places with Tom Lewis, tadio advertising executive who was re- cently rumored interested in Loretta Young . .. Tim Durant, the busiest young man in town, escorts by turns Olivia de Havilland, Rosalind Russell and Marlene Dietrich, but refuses -to divulge his favorite . . . Eleanor Powell and Merrill Pye of M-G-M are mighty fond of each other . . . Jackie Coogan and Sugar Geise think the sun rises and sets just for them ... Arleen Whelan is getting a big rush from Ken Murray while Alex D’Arcy mopes around town all alone . . . Richard Greene hovered around the hospital day and night when Virginia Field was there for a sinus operation. If it isn’t love, a lot of time’s a-wastin’ . . . Reginald Gardiner set an all time high by appearing at Ciro’s with five beauties from Earl Carroll’s show . Judy Garland thinks Bob Stack is a swell guy, and he thinks Judy’s a swell gal—as who doesn’t . . . Lew Ayres would like to date Olivia de Havilland oftener, but she prefers to give most of her leisure time to Jimmy Stewart . . . Anita Louise, scotching all those rumors that started when she left on a personal appearance tour, came right back to where she left off with Buddy Adler, and it’s wedding bells very soon .. . Phyllis Brooks visits the night spots regularly with Pat Di Cicco, but takes time out for tea with Cary Grant occasionally .. . Mar- jorie Weaver and Walter Brooks are soooo interested in each other ... The Artie Shaws spurn the night clubs. Marry in haste and Ttepent at leisure is the silliest maxim ever thought up, contend the Shaws .. . Orson Welles and his ex-wife are ready to forgive ‘and forget. SHORT SHOTS Stuart Erwin is busy authoring a child's book, called ‘The Cat With the Hobnail Boots” . . . Since Rochester came into his own, there’s been a premium on colored comedians in Hollywood, and any negro who can read a comedy line is working overtime. . . . Jane Darwell’s niece, Daphne Darwell, is crashing the’ movies the hard way. Following her aunt’s suggestions, she won't even be screen-tested until she’s had a year of schooling on the Fox lot. Gracie Allen says she hopes all the babies she has to kiss during her presidential campaign will look like Tyrone Power. ... Myrna Loy is going to keep up the old family ranch. near Helena, Montana, and use it for a hide-out. . Hedy Lamarr’s short tresses are the topic of the town. If you want to get on the glamour band- wagon before the others in town, girls, crop the curls before “Boom Town,’’ Hedy’s lat- est, is released. . . . Gary Cooper’s booked passage on a freighter for parts unknown and will be gone several weeks ... 60 AND STILL THEY COME You may be seeing another Lane sister in the movies. The latest one to join the go- west movement is Leota, who made her grand opera debut last year in New York. Warner Brothers screen-tested her some time ago, but have evinced little interest. The lovely Leota is unruffled by this and more determined than ever to crash the pearly gates of a studio—if not Warner's, then another. And Rosemary, Lola and Priscilla are just as determined that she'll make the grade. Our money's on Leota. With a trio of press agents like that, the gal can’t: miss. CARY GRANT BITTERSWEET Linda Darnell’s trip to New York was the most exciting thing that ever happened to her, and not just because it was her first visit to the Big City, either. The principal excitement was the wardrobe with which the studio presented her. Linda’s had pretty clothes, and lots of them, for pictures. But this was the first time she’s ever had dresses and hats and shoes that were the last word —and that belonged just to her. There was so much hustle and bustle over fittings, train schedules and last-minute studio work, that it wasn't until the train was pulling out of the Los Angeles station, and Linda had blown a last kiss to Robert Shaw on the platform, that she looked suddenly crest- fallen. ‘'Gee,'’ she said, “I just happened to think. The clothes won't be so much fun after all. Because Bob won't be able to see how pretty I look in them!” STUDIO ORDERS Cesar Romero is having troubles, too. He hasn't been able to get a haircut since he became ‘the "Cisco Kid.” “Every time I finish one of the pictures,’ Cesar complained, "T start for the barber. But just as I get settled into the chair I get a note—Don't cut. We're going to make another one.’ ” BEAUTIFUL—AND WISE Carole Lombard turned her dressing-room into a business office during the four days in which she was rehearsing at the Lux Theatre for a recent broadcast. She had the furniture removed and a desk instatled, complete with typewriter and secretary. If rehearsals were scheduled for 4:00 P.M. she arrived on the dot of 2:00, dictated let- ters and kept business appointments until - time for rehearsal. Carole cleared the mys- tery by explaining that she had determined to take care of all business matiers before going home. Clark's career, it seems, is going to be the only one discussed in the Gable home. VERSATILE ATHLETE Sonja Henie and Dan Topping are a bona fide item. Since returning from their Ha- waiian vacation the two have been prac- tically inseparable. What’s more, Dan's even taken up skating. When you think of it, Sonja’s record in athletic prowess is enough to discourage any man but an Olympic champ. She’s won championships in swimming, tennis, skiing and, of all things, auto-racing. PLEASANTLY SURPRISED On the set of ‘Waterloo Bridge’ everyone waited for Vivien Leigh to show signs of a “Scarlett” temperament. But they waited in vain—for never has an actress shown more willingness to cooperate with cast and crew. She asked for just one special favor during the filming of the picture, and that was to get off the set ten minutes early one noon. She had a date, Vivien explained to the director, and didn’t want to be seen in the black cotton stockings which she was wear- ing for the day’s scene. At twelve sharp Laurence Olivier arrived on the set, picked up the chiffon-stockinged star at her dressing- room door, and off they went for lunch. NOT A HAYWARD FAN If there’s one guy Louis Hayward can't stand to see on the screen, it’s Louis Hayward. At the gala premiere of “My Son, My Son,” Ida Lupino stepped out of their limousine with her mother. “Louis was all dressed and ready to come along,’ she explained to curious friends, “but he got the jitters just as we were ready to leave the house. Said he just couldn't go through with it.’ When “My Son, My Son” was put on the air- waves a week later, Producer DeMille re- corded the dress rehearsal and played back the record to the cast. To the entire cast, that is, with one exception—the Hayward boy. “If you'll excuse me,” he said to De- Mille, "I'll step outside and smoke a ciga- rette. I guess I’m not a very good audience for myself.” (Continued on page 65) MODERN SCREEN

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Those upsetting ‘scenes —those long-drawn-out conflicts about eating— do not have to happen. Countless mothers have proved with Clapp’s Strained and Chopped Foods that such troubles can be avoided. They’ve shown how impor- tant it is to offer foods whose flavors and textures please the baby and suit his stage of development. Babies like the flavors of Clapp’s i foods—special vegetables bred, grown, cooked, and lightly seasoned to please the taste of babies. (And they test high in vitamins and minerals, too.) Babies like the textwres—not too coarse for easy handling, nor too fine for exercise. Babies like the variety—more kinds than any other brand offers. Babies like the pleasant placid transition from Strained Foods to Chopped Foods —the same good garden-fresh flavors they've always known. e Any wonder Clapp’s know what babies like? Doctors and mothers have been giv- ing them tips about it for almost 20 years! Clapp’s is the oldest baby foods house, and the only one of any impor- tance that makes nothing else. id { if | a fy fh e e 17 Strained Foods for Babies Clapp: 12 Chopped Foods for Toddlers Soups—Vegetable Soup » Beef Broth « Liver Soup « Un- ——_ ior Di Vevetabl lo | strained Baby Soup « Vegetables with Beef » Vegetables Soup—Vegetable Soup * Junior Dinners — Vegetables / —Asparagus « Spinach « Peas « Beets « Carrots « Green - with Beef * Vegetables with Lamb ¢ Vegetables with Beans « Mixed Greens « Fruits—Apricots * Prunes « Apple- | STRAINED Liver « Vegetables—Carrots « Spinach « Beets » Green d Beans « Mixed Greens « Fruits Applesauce e Prunes ‘sauce e Pears-and-Peaches ¢ Cereal—Baby Cereal. Dessert—Pineapple Rice with Raisins. | Clapp’s Baby Foods | OKAYED BY DOCTORS AND BABIES JUNE, 1940 61

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MAKE Mother happy with clear, gleaming Pyrex ware! 9-piece Ovenware set above includes six custard cups, wire cooking rack, 91%4” pie plate, and new 8-oz. level-full red-marked measuring cup. Set #179 packaged, ready-to-give, only 79c. Corning Glass Works, Corning, New York. { ALL PYREX OVENWARE REDUCED } 30%: TO 50% IN PAST 2 YEARS ! NEW THIS YEAR! 8-0z level-full measuring cup with easy-to-read red markings. Heat, cold, and acid re- sistant. Easily 15¢ cleaned. Only.. ROUND CAKE DISH with asy-to-grasp han- ' dles. See cake bottoms turn a rich gold- en brown! 85%” 35¢ wide, 2” deep.. OBLONG UTILITY DISH = for baked chops, cakes, rolls—any kind of bak- ing or serving. 12%" size 65c. ay hg 1044” size only / OVAL KNOB CASSEROLE Pyrex glasscover keeps | foods hot. Perfect for all _ baked dishes. 3 , sizes to 75c. lat. HOt | size, now only A PRODUCT OF CORNING RESEARCH IN GLASS PYREX OVENWARE -FLAMEWARE 62 SANDWICHES—AN OPEN AND SHUT PROPOSITION (Continued from page 11) Cornucopias: Already-sliced bread may be used, or thinner slices cut from an unsliced loaf. Remove crusts, spread each slice on one side only with softened butter. Roll in cornucopia shape, butter side in. Seal where one side overlaps the other with butter. Chill in refrigerator in covered bowl until butter hardens. Fill with any desired filling and chill again, if desired. Garnish the filling with a sprig of mint, parsley or watercress. Frostep SanpwicH Loar: Remove crusts from an unsliced loaf, which should then be cut into four or five slices, lengthwise. Put slices back together in loaf shape, having softened butter and a different filling between each slice. Press firmly together, wrap in waxed paper, chill under a weight. Spread loaf with cream cheese which has been seasoned, then softened with cream or mayonnaise. Garnish attractively. Slice and serve. RIBBON SANDWICHES: Proceed as for the sandwich loaf except that, after chilling, the layers (unfrosted) are cut in inch- wide slices and placed on the sandwich tray. In either type, Loaf or Ribbon, an especially attractive effect is achieved by alternating white and whole wheat bread. Ribbon Sandwiches, unlike the Loaf, may also be made with four or five slices of already-cut bread. Winpow SanpwicHes: Cut slices of bread into circles with a cookie cutter. Make a “window” in half of these circles by cutting out the centers with smaller cutters—either round ones, star-shaped or other fancy ones. Spread the uncut circles with colorful filling, top with the fancy-cut circles. Icep BripceE SANDWICHES: Cut slices of bread with bridge card cutters or use other fancy shapes. Spread with any desired filling and “ice” with softened cream cheese. A sweet bread such as orange bread, gingerbread, etc., may even be iced with a regulation Cream Cheese Frosting. PINWHEELS: Remove crusts from a loaf of unsliced bread. Cut loaf into length- wise slices, the thinner the better. Spread slices with different soft fillings. Roll each slice separately and firmly, the nar- row way of the loaf. Seal the edges with butter. Wrap in waxed paper and chill in refrigerator. Slice down through each roll as when cutting jelly roll, to make individual pinwheels. ROSEMARY'S IOWA SPECIAL To % cup chopped cooked chicken, which has been seasoned with salt, pep- per and onion juice, add 1 slightly beaten egg. Spread this mixture between slices of bread with crusts removed (2 slices per person). Cut each sandwich in half and dip in mixture of 1 egg beaten with 1 cup milk. Fry in deep fat to a light brown. Drain on white paper toweling. VarRIaTION: Omit egg from chicken mixture. Spread, cut and dip as described above but, instead of deep-fat-frying, sauté sandwiches in hot fat on both sides until golden brown. Other fillings may be used. FROZEN FRUIT SANDWICH 34 cup cream 2 tablespoons powdered sugar Y% teaspoon vanilla ; a pinch of salt ° teaspoon lemon juice cup mashed banana egg white, beaten : sponge cake or plain loaf cake Hee Whip cream until it will just hold a peak. Add sugar, vanilla and salt. Com- bine lemon juice and mashed banana, fold gently into whipped cream. Care- fully fold in egg white, beaten until stiff but not dry. Line a refrigerator tray with waxed paper. Cover the bottom with thin slices of cake, fitted close together. Add banana mixture. Top with more cake, cover with waxed paper and press down lightly. Freeze quickly until firm. To serve, cut into inch-thick slices and top with additional whipped cream, gar- nished with sliced bananas, if desired. Don't believe it} when they tell you © that all comedians are Gloomy Gus- | ses off-screen. | Here's evidence to the contrary. Charlie Ruggles, Martha Raye, Alan Mowbray, Joan Davis, Benny Rubin and Joe E. Brown panic them- | selves at Dave | Rose's home-com- ing party for Wite Martha. She's been personal-ap- pearancing, you now. MODERN SCREEN

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| NEVER NEGLECT MY DAILY ACTIVE-LATHER FACIAL WITH LUX SOAP WALTER WANGER STAR Lux SOAP HELPS EO SKIN STAY SMOOTH, ATTRACTIVE. FIRST PAT ITS ACTIVE LATHER INTO YOUR SKIN < RINSE WITH WARM WATER . THEN YOU FINISH WITH A DASH OF COOL Try this | ab Ze =“ F gentle Lux Toilet Soap aah pre rue race LIGHTLY TO DRY. NOW IT FEELS beauty care for 30 days! =f 7 4X "smooren SOFTER. A LUX | ee _ . SOAP FACIAL IS OLLYWOOD’S lovely screen _ g - . A WONDERFUL stars tell you Lux Toilet / s _. |] HELP IN KEEPING Soap’s ACTIVE lather does the . : SKIN LOVELY ! trick—gives gentle, thorough — care. Try ACTIVE-LATHER FACIALS regularly for 30 days. See if Hollywood’s fragrant, white beauty soap doesn’t work for you—help you keep skin smooth and soft — attractive. 9 out of 10 Screen Stars use Lux Toilet Soap | JUNE, 1940 es: Klpete te

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Large econ- omy package (4 months’ supply) will save you up to 25% in money. Accepted for advertising by the Journal of the American Medical Association. ene ies 4 COS OCCOOOTESOOOEOESETOSOOOOOOOODOODOODOOROOOO00R000008 TAMPAX INCORPORATED New Brunswick, N. J. | E Please send me in plain wrapper the new trial package of Tampax. I enclose 10¢ (stamps or silver) to cover cost of mailing. Size is checked below: MM-60-C (.) REGULAR (_) SUPER ( ) JUNIOR Name Address City State 64 MOVIE REVIEWS (Continued from page 17) ing practical joker who plays politics, and Henry Armetta, the Italian fruit peddler, contribute their share of laughs every time they make an appearance. ° A few slapstick scenes in the picture are as old as the Scotch jokes of thrifti- ness, but for the most part, the screen play, written by Richard Macaulay and Jerry Wald, is as fast-moving as Mit- chell’s Irish temper. Directed by Lloyd Bacon.—Warner Brothers. *1/,* Buck Benny Rides Again “There’s one of your kind in front of every drug store,” Ellen Drew exclaims to the handsome hero early in this gal- loping opus and, while to many this will sound like an excellent critical judgment of Jack Benny’s comedy, there is no denying that “Buck Benny Rides Again” is fair-to-middling Benny. And since, as Benny goes so go the nation’s radio editors, perhaps it should be recom- mended without more ado, particularly as “Rochester” (Eddie Anderson) again “steals” a goodly portion of the footage, apparently -with Mr. Benny’s grateful consent and cooperation. _ As usual in a Benny plot, it is some- times a little difficult to make out who is fact and who is fiction, if that matters, so we have prepared a little guide to the cast of characters: Jack Benny, for in- stance, plays Jack Benny; Phil Harris plays Phil Harris, (getting his teeth rather conspicuously into the part;) Andy Devine plays a ranch owner named Andy Devine; but Ellen Drew plays an imaginary member of a close-harmony trio called Joan Cameron, of which the other two members are called Peggy and Brenda Tracy, for some reason. We hope this proves helpful. The whole thing is heckled by an off-screen radio voice, easily identifiable as that of Fred Allen. And well it might be, too=Mark Sand- rich, producer-director.—Paramount. *!/,* The Road to Singapore “The Road to Singapere” is one of those recurrent tropical disturbances with Dorothy Lamour back in a sarong and with Bing Crosby and Bob Hope kidding everything and everybody in sight, including the Paramount camera- man. Bing as the irresponsible son of a San Francisco shipping tycoon, with a penchant for hitching trans-Pacific cruises on the paternal fleet, and Bob as his impecunious companion, too lazy to comb a beach, are probably the only two people in the world who could ren- der such aimless fooling bearable. Even so, you will have to see it to believe how aimless it is. Bing, a fugitive from mat- rimony, in the very pretty shape of Judith Barrett, runs off to a tropical island with Bob Hope. Both the boys rescue Dorothy Lamour from Anthony Quinn and discover that even women on tropic isles, alas! are cursed with domestic instincts. Since tropical pictures with tropical- weight plots are to Paramount what prison pictures are to Warner Brothers, the screen public by this time should be able to take or leave such periodical seizures as “The Road to Singapore.” This one’s most nonsensical sequence de- pends for its comic effect on Bob Hope’s reaction to a primitive Paramount mar- riage dance in which, as a climax, the male pursues his coyly fleeing partner into the jungle. Needless to add, it is not likely that any record of such a dance will be found in leading works on anthropology. Directed by Victor Schert- zinger.—Paramount. *!/,* Shooting High Riding and singing his way through his latest picture, “Shooting High,’ Gene Autry has a new companion in the per- son of Jane Withers, who plays a shout- ing Cupid with a forceful bow and arrow. A family feud, a Hollywood picture company on location and a trio of big city gangsters provide the smiling, affa- ble Gene with a plot that almost takes the picture out of the usual cowboy and robbers fare. But the film winds up in true thriller style, with the hero cap- turing, single-handed, the gangsters who have escaped with the money from the home-town bank. It provides Gene with ample opportunity to show off his horse and lasso tricks, and will give the Satur- day afternoon audience of kids some- thing to shout about. Jane Withers could have helped matters by making fewer faces and keeping her voice down to a quiet yell, As Gabby, the Hollywood hand-shaking press agent, Jack Carson gets a whoop of admiration every time he appears. Marjorie Weaver, playing the part of Gene’s sweetheart, looks pretty throughout the picture, but her acting ends at that point. Hobart Cava- naugh and Katharine Aldridge turn in good work with Cavanaugh, as the town constable, responsible for many of the laughs in the film. Children will put their stamp of ap- proval on the new Autry adventure, and if you’re a fan of Jane Withers or Gene Autry, you'll be entertained, too. Di- rected by Alfred E. Green.—Twentieth Century-Fox. %* The House Across the Bay With George Raft in the cast you know that “The House Across the Bay” must be Alcatraz and that Mr. Raft is a gang- ster who visits there at the government’s invitation. With Joan Bennett in the line-up, you further surmise that there are going to be some heart-rending farewell scenes, lots of good-looking clothes and a couple of would-be suitors in the offing. In this case, the latter are Walter Pidgeon and Lloyd Nolan, who manage to complicate things enough to insure plenty of activity, even after Raft is relegated to “The Rock.” In more detail, Raft and Miss Bennett are married. She’s afraid that rival gangsters will bump him off, so decides that a year in the safe-keeping of the govern- ment will be her husband’s best means of protection. Joanie reckons, however, without Lloyd Nolan, who double-crosses the pair by trumping up a charge against the hero that will keep him in the hoose- gow for ten years. In the meantime, of course, he figures he'll be able to win the leading lady for his very own. This is Walter Pidgeon’s cue to step into the picture, and by the time it’s all over he’s become the object of Miss Bennett’s affections, with Mr. Raft killing off Mr. Nolan and then getting himself out of the way by an attempted prison-break. Directed by Archie Mayo.—United Art- ists. MODERN SCREEN

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GOOD NEWS (Continued from page 60) WRONG GUESS The other day Jimmy Cagney noticed that Humphrey Bogart appeared upset. ‘What's the trouble?’ asked Jimmy. ‘You look like the woes of the world are on your shoulders.” Humphrey nodded, “I don't feel so good—it’s this cold weather.” Cagney was concerned and asked if it was rheumatism. “No,” said Bad-man Bogart, ‘it’s my petunias.”’ Warner’s screen thug, believe it or not, is Holly- wood’s most ardent gardener. FRIENDLY MEETING All those stories of feuds between Mrs. Gene Markey and Mrs. Walter Wanger can be discounted. The other day Hedy Lamarr Markey and Joan Bennett Wanger found themselves staring at each other across the tables at Saks’ tea-room. Joan attempted a smile, and Hedy returned a wide, friendly grin and patted the empty chair beside her. In no time at all, they had joined forces and were obviously having a fine time getting acquainted. A SIMPLE REQUEST Shirley Temple came home from school ‘the other day bursting with a story about one of her lucky schoolmates. The girl, Shirley told her mother, knew a boy who took her tiding every afternoon in his out-dated Ford. “Td like a beau with a jalopy,” said Shirley wistfully. “Or anyhow, a jalopy.” BONITA LOOKS AT MARRIAGE This business of being an old lady in “Those Were the Days” has aged Bonita Granville considerably. She’s acquired definite ideas on life and love, particularly on the latter. “Of course, I plan to marry,” she said the other day, ‘and when I’m twenty years old. But,” she added firmly, “I don’t intend to make the mistake that most movie women make when they get married—none of this good sport, smile-if-it-kills-you stuff for me. I'm going to get up on a pedestal and stay there, come hell or high water.” So would-be suitors of Bonita would do well to shine up their armor. MERMAID On the "Pride and Prejudice” set, Edna May Oliver was showing fellow actors the plans for her new Brentwood home. Since Brent- wood happens to be one of the swankier tesidential neighborhoods around Hollywood, there was considerable amazement when the plans showed only a modest Cape Cod cot- tage of four rooms. ‘That's all I need,” said Miss Oliver. ‘But the building restrictions of the neighborhood make it necessary for me to have an estate. So I’m adding a swimming pool.” The last thing in this world that Miss Oliver needs is a pool, for every morning, rain or shine, she hitches a trailer to her car and drives to the ocean for a swim. She even has a clause in her contract saying that she doesn’t have to appear any _ JUNE, 1940 ° MAA <i Cathe says **~Do you know that a GLAMOROUS NEW SKIN is ‘ABOUT to be BORN’ to you?” VW Se ° Why let your new skin look dull and drab? It can bring you new beauty if you help remove those tiny, menacing flakes of older skin! IGHT NOW your old skin is departing in R almost invisible, worn-out flakes. Why let these tiny flakes menace your loveliness? Why not help your new skin bring new youth- fulness to you? You can, says Lady Esther, if only you will let my 4-Purpose Cream help you to remove those tiny flakes of worn-out skin beclouding the glory of your new skin! Run your fingertips over your face now. Do you feel little rough spots left by your old, dry skin? They’re the thieves that steal your loveliness—make you look older! My 4-Pur- pose Cream loosens each tiny flake—and the other impurities. It helps Nature refine your pores—and reveal the fresh youthfulness of your “new-born skin’! Ask Your Doctor About Your Face Cream Ask him about so-called skin foods—about hormones and vitamins. [ll be amazed if your doctor tells you that vitamin deficien- cies should be remedied by your face cream. But ask him if every word Lady Esther says isn’t absolutely true—that her cream re- moves the dirt, impurities and worn-out flakes of older skin...that it helps Nature refine your pores... and thus brings beauty to your new-born skin! 3 SATIN CLAN LIMA AURA AKA (You can paste this on a penny postcard) (56) Lapy EsTHER, 7110 West 65th St., Chicago, II. Please send me your generous FRE supply of Lady Esther Face Cream; also ten shades of Face. Powder, post- paid. (Offer limited to one per family.) Name. ® Address. City. State (If you live in Canada, write Lady Esther, Toronto, Ont.)

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“THERES NO CATCH TO THIS’ caro rue FISHERMAN © “What, no whales?” said Jerry, laughing at my empty creel.“ Well, just quit jiggling your rod for a minute and sweeten your temper with a taste of Beeman’s. That’s real flavor, my lady. Refreshing enough tochangeany fisherman’sluck!”’ ““Beeman’s!”’ I cried. “Jerry, you angel —you know I can’t resist it. Beeman’s flavor is so luscious! So smooth and tangy. Refreshing as a breeze at sun- down. And look—!” But Jerry was already reeling in my line —with a whale of a catch! I’ll say Beeman’s brings me luck! 66 morning for work until eleven o'clock, after her dip in the briny deep. CELEBRITY In the Broadway Department Store the other day, Jane Withers got into the elevator with her mother. A woman in the back of the crowded lift whispered, ‘That's Jane Withers.” The whispering campaign was on, and Jane tried to look very unconcerned. But when a saucer-eyed little girl breathed an awed “I wonder what she’s doing here,” Jane turned and smiled at her. ‘I’m shop- ping,’ she laughed, “for a new bonnet. Want to come along?” Needless to say, a delighted little girl stepped out of the elevator with Jane at the millinery department. ONE GOOD TURN— Clark Gable hasn't enough to do—with his twenty-five costume changes in ‘Boom Town” —but has even gone in for technical ad- vising, as well! Gable was an oilfield worker himself, way back when, so one day on the set he offered a few tips to the di- rector and was promptly encouraged to give out with more. ‘‘Not for nothing,’ said Gable. “Okay, I'll buy your lunch,” offered the di- rector. "Lunch and a bottle of beer,” said Gable, always the business man. SIT-DOWN STRIKE When Ann Sothern came to Warners for the picture, ‘Brother Orchid,’ her first re- quest was for a rocking-chair. Ann can't relax between scenes unless she can chew gum and rock in perfect rhythm. The prop men made a frantic search of the studio, but had to report that there was no such thing to be found. They would, however, send a truck to Metro to pick up the rocking-chair which Ann had used there. And that ac- counts for the strange scene witnessed by many people in Hollywood, as a truck went through the town bearing an old rocking- chair with “Ann Sothern” printed in large letters on the head rest. Incidentally, that makes two chair addicts on the ‘Brother Orchid” set, for Edward G: Robinson has a huge red leather lounge chair which is in- dispensable to his relaxation when making a picture. It's simply lettered “Private.” JOHNSON AND JOHNSON Laraine Day is probably the most talked about actress in Hollywood today, after her big success in “My Son, My Son.” Her name is really Laraine Johnson, and she acquired her first dramatic training with the “Johnson Players’'"—a troupe composed of Laraine, her twin brother, Lamar, two older brothers and a sister. Their theatre was the Johnson backyard in Roosevelt, Utah. La- raine claims that the real star of the com- pany was her twin, and now she’s going to try to inveigle him into a screen test. HONEST INJUNS The Marx Bros. are hard at work on another picture, to be titled "Go West.” But they're running into snags, for the script calls for Indians and the boys are determined to have honest-to-goodness wild Injuns or none. A call to” Central Casting would bring out hundreds of domesticated Hollywood Indians, but the studio is sending scouts to Nebraska and South Dakota reservations to round up the kind that will suit their stars. The one qualification—and this is the item that has the scouts gnashing their teeth—is that they have to be wilder than the Marx brothers! HOUSE FOR SALE Alice Faye has come to the conclusion that she was never meant to have a home. The beautiful place which she and Tony Martin had built in the San Fernando Valley burned to the ground before they had a chance to move in. Undaunted, they arranged for an even lovelier place to be built on the same spot. And now, with the house halffinished, it’s up for sale. Alice says that the sudden divorce decision reached by her and Tony has destroyed all the interest she ever had in it. But she thinks that if they had ever had the chance to get settled in their home, she and Tony would have made a go of it. SPONGERS Frances Langford and Jon Hall are putting the $3000 insurance, collected on their play- house which burned down, in a good old savings account. At first, the Halls thought they would build a swimming pool with the Barbara Read has a clever new way of perking up a severe- ly tailored suit — flowers planted in the pocket! The young star of ‘'Cur- tain Call," whose stormy marriage to William Paul ended after a few weeks, was re-married in February to Don Briggs. MODERN SCREEN

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| of baal oat Se oa “money. But then they learned that Ken - Murray was having one built so, as Frances said, “Why should we waste our money on a@ pool—when Ken has one right around the corner?” PARTY BOY Manny Robinson, Edward G.’s small son, is the outstanding host of the season since the great success of his recent birthday party. Mrs. Robinson was responsible for most of the gayety, it’s true, but it was Manny's own idea to collect his guests in a black Maria. The police-wagon had a heavy day of it for, besides Manny’s own particular pals, the guests included fifty youngsters from a San Fernando Valley orphanage. BRENDA’'S BEAU Brenda Joyce, in spite of fame and fortune, is remaining true to her college sweetheart, Owen Ward. The studio is so concerned over the unglamorous aspects of this, that they are trying to get Owen to be a movie star, too. So far, they haven't been able to talk him into a screen test. One movie actor in the family’s enough, according to Owen, and he'll just stick to public accounting. CAN YOU TIE IT? On the set the other day, Ray Milland was given a package from a fan in England. On opening it, he found it contained a gift— an orange and red plaid tie. “It’s evident,” said Ray, blinking at the colors, ‘that the censors are either laying down on the job or else they’re color-blind.” TABLE TALK Bette Davis’ dressing-table on the set is an old battered one which she’s had for years. It's specially designed and very convenient because it is set on wheels and can be -pushed around at will. When Charles Boyer saw the many handy features of the table, he ordered one just like it from the studio carpenter shop. In true studio style, how- ever, the new table was built along much fancier lines—a streamlined and gleaming affair of chromium, that looked like a Busby Berkeley prop. Boyer was horrified when he saw it, and his fellow-actors didn't make him feel any beiter. They had ganged up on him, at Bette’s instigation, and spent the morming giving him disapproving glances and making remarks about “the vulgar taste of some of these actors’ whenever they came within earshot. Finally, Bette couldn't stand Boyer’s completely crushed look an- other minute and confessed that they all knew it was a mistake and, what's more, offered to swap dressing-tables on the spot. NO CINCH FOR DEANNA If you ever sigh for the luck of these movie youngsters who don’t have to grind away at books and exams, just consider Deanna Durbin’s case. She works eight hours a day at the studio, but before coming to work she has to have her regular school lessons— and study periods, too! Deanna’s devoting all her leisure this summer to “cramming” on college entrance requirements. When we ‘say “all her leisure’ we mean, of course, with the exception of those Saturday night dates with Vaughn. JUNE, 1940 “Why not dress him like a girl and be done with it!” ]. FATHER-IN-LAW: Now look, I know you wanted a girl. But you got a boy! Come to your senses and treat him like one! MARY: Who says I’m treating him like anything else? 3. FATHER-IN-LAW: TI still call it nonsense. MARY: Look ...my doctor says a baby’s system is the most delicate thing on earth. Everything a baby gets should be made especially for him...even a special laxative! 5. FATHER-IN-LAW: Um...sounds reasonable. MARY: Certainly! That’s why I use FLETCH- ER’S CASTORIA. It’s made ONLY for chil- dren... hasn’t a single “adult” drug. So it’s mild enough for the tiniest system. You couldn’t ask for a safer laxative. 2. FATHER-IN-LAW: Don’t make me laugh! You've got enough SPECIAL gadgets, for that child, to open a drug store. MARY: Why, of course I use special things! Name me a mother who doesn’t! 4. FATHER-IN-LAW: A special laxative, too? MARY: It’s logical, isn’t it? You wouldn't dream of giving an infant the same foods you eat. Then why give him a grown-up’s laxative? AN ANY AY AY — 6. FATHER-IN-LAW: Sounds good so far... but will he take it? MARY: Just watch! It'll warm your heart to see him go for the wonderful taste of Fletcher’s Castoria...I wouldn’t know what to do without a bottle of it in the house! Catt’ litter CASTORIA The modern —SAFE—laxative made especially for children 67

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Only with my 12 “Magic Fingertips” can you choose at home your most flattering shade. Each is shaped like your own nail, and each wears a different, new Lady Esther shade, exactly as it will look on your hands. Send today. Find your luckiest shade free/ (56) NAME ADDRESS CS a ns SY TE If youlive in Canada, write Lady Esther, Toronto, Ont. 68 A STUDY IN GREENE (Continued from page 43) brunette named Betty, all of eight years old, and she lived downstairs. She made her mark on Master Greene’s heart. Our hero was shy with women until he went on the stage. Actresses, aggres- sive and sophisticated, cured him of that. But he has always been very proper about girls. When he first came to Holly- wood and learned by the papers that he was engaged to Arleen Whelan, he al- most dislocated a knee cap racing to the publicity office, shouting, “Oh, I say, it’s positively indecent! I don’t even know her! It’s not fair to Miss Whelan!” Today, slowly becoming Americanized, Richard Greene will speak candidly about his affairs of the heart but, we repeat, within proper limits. p[aHoucE he enjoys dancing, he doesn’t like night clubs. He told us he went to Ciro’s last week and that it was his first night club in nine months. “Vir- ginia and I prefer to hang around with the gang,” he said. “Like most couples, we're fortunate in having excellent in- timate friends and a grand secondary group of acquaintances. We have our happiest times attending little parties with the gang. You know, simple parties in someone’s home, where we dance, sing, joke and devour cold beef for dinner.” Sometimes Greene escorts Miss Field, to whom he is rumored engaged, to small eateries like A Bit O’ Hungary and The Beachcombers. Concerning females in general, Greene didn’t mind putting his foot into it. “Sure, like any other fellow my age, I have definite ideas. Since I’ve been over here, I’ve learned to like American girls perhaps more than the girls I knew in England. Maybe it’s because American girls are easier to meet and get along with. But, and I hope no young ladies take offense, they have one habit I can’t stand: Too many of them make them- selves unattractive by chewing gum.” Chewing gum has made America the land of wide open faces and, though Greene objects to the practice in the opposite sex, he himself always has a wad in his mouth. He doesn’t care to play cards with women. He thinks it’s as safe as tangling with a truck. He doesn’t mind women smoking, if they know how to smoke properly—and he thinks none of them do. He wishes, sadly, that Hollywood lassies wouldn’t dye their hair. Addicted to sending his loved one roses and gardenias, he likes Virginia to wear a flower when they go out, and he is delightfully moon-eyed when she sports a delicate perfume. There is only one more romantic note to make: When he first arrived at Zanuck’s thespian temple on Pico Boule- vard, he announced decisively that he would not marry for five years. And now, after two summers in Hollywood, he may any day go the way of all flesh and prove that two can live as cheaply as one. In brief, feminine readers are advised to withhold mash notes. Richard Greene, at this writing, is hanging out the matri- monial S.R.O. sign. But speaking of mash notes, we have always been curious about stars and their fan mail, and so we asked Greene if he actually ever saw a fan letter. “Of course I read my fan mail. It’s obvious I don’t have time to do so daily, but once a month the studio sends over a bundle of the most interesting and sincere fan letters, and I spend an after- noon reading them and personally an- swering the best. I have a little black book in my desk. In it are listed the names and addresses of my favorite ad- mirers, whose letters interested me, and with whom I’ve been corresponding since I came out here.” For the benefit of those who came in late, Greene was born of actor parents, in Devonshire, was groomed to be a painter or a writer, and wound up play- ing a walk-on at the traditional Old Vic Theatre in London, where Laughton and Donat gained their fame. That walk-on was in “Julius Caesar.” Though he was supposed to do nothing but carry a spear, Greene, being what his name implied, tried to steal the show. Instead of stand- ing at rigid attention, he leaned against a prop column, spat lustily a few times and engaged another spear carrier in animated and ribald conversation. It was all for realism, but it stole fire from the star of the show and the next day Greene was looking for employment. He obtained a job in the Gracie Fields’ picture, “Sing As You Go.” That was in 1934. He was given one line, “Not yet.” He rehearsed that line, those two words, for thirty-six hours. He spoke them. And then, when he went to see himself and hear his two words, he learned he had been entirely cut out. Success came on the stage, at last, in that three act cream puff labeled, “French Without Tears.” Talent scouts saw him. In one week he was transferred from London’s fog to Hollywood’s heat, and he was kissing a strange woman named Loretta Young in his first picture, “Four Men and a Prayer.” That’s how it happened to young Rich- ard Greene. And if the reader still doesn’t believe that Hans Christian An- dersen was writing fact and not fiction, well, it’s not our fault. INiy longer a Hollywood freshman, Greene has now acquired a per- spective on the daffy village and its odd inhabitants. We’ wondered what he thought of his co-workers, and he stated, “Hollywood isn’t a zoo, as we in Eng- land are led to believe. The bulk of the movie folks are very sane. Naturally, in a place where so much money is made, there are apt to be shallow-minded squanderers. But by and large, most movie workers attained their positions and high incomes through hard work and miserable years of struggle. If they desire a mansion and a swimming pool— fine!—I think they jolly well deserve them!” Contrary to the general impression, Richard Greene is no fashion plate. In: his early days, the only time he wore decent clothes was when he posed, self- consciously, for English collar and hat ads at five dollars a sitting. We asked him about his clothes, not because we are of a snoopy nature, but because we always wondered just what a movie star hung in his closets. “I possess about fifteen sack suits,” admitted Greene, “along with two tux- edos and one full-dress suit. Sport outfits, however, are my forte; I have almost two dozen. Usually I pay about $80 to $120 for a suit, and I feel it’s a good investment, because looking decent in public is a movie actor’s business. MODERN SCREEN

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wes “Actually though, since I’ve been out here, I just don’t dress up any more, and I seldom shave. In fact, the only _time I try to appear halfway presentable during the day is when I come to the studio. “Ahead of everything, I prefer blue jeans. You can wear them all the time and for years without their going out of fashion.” Greene’s pride and prejudices, in re- gard to attire run to liking tan shoes, pullover sweaters, sloppy old felt hats, grey-colored suits and cheap canes. He doesn’t care much for the popular Holly- wood rubber-soled bootery. He abhors silk shirts and wears garters only with dinner clothes. His last extravagance was a pair of thirty -five-dollar custom-made riding boots. Compared with Menjou’s. or Astaire’s, his wardrobe is shamefully modest. . During the course of conversation, when we dared inquire about his most embarrassing experience, Greene went red. He wouldn’t talk. “There have been some very embarrassing things,” he blushed. “One just can’t talk about them.” He confided a yen for writing. “I’m still a tyro,” he said. “Not a word published.” He considered Daphne du Maurier, who gave birth to “Rebecca,” his favorite writer. He thought he would like, one day, to write a three act his- torical play about Bonnie Prince Charley, and then, a la Noel Coward, perform in it. ND if ever he wrote his memoirs, he would tell his most thrilling experi- ence in America. “It was a silly thing. It was the time, a year ago at Palm Springs in the desert, when I rode a bucking bronco for a full minute. It was something I had always wanted to do, and which I would never do again. Why, listen, it took me the entire after- noon to swallow my heart. But what a thrill!” In his memoirs, he would also recall his most terrible experience. “Terrible is right! It was in England, some good years ago, when I was chased dizzy by a wild bull. I hid in a shed, quaking, for two dreary hours—and had to break a date it had taken me months to make!” Besides enjoying hamburgers, cowboy ballads, Ray Noble, amateur photography, hunting trips, chess, “The Volga Boat- man” and his pet cat named Jacqueline, Greene continues to enjoy picture- making. Hard working, energetic, constantly absorbing tricks and technique, Richard Greene is one of Hollywood’s seven most popular males. There is as much possibility of Rich- ard Greene being Filmdom’s “least likely to succeed” as there is of his sending his children, if and when, to a place called Harvard. And, ladies, if your brother or hus- band or that fresh fellow next door in- sists on calling Greene a pretty boy, just tell him to paste this in his hat: That any man who can frankly tell women what’s wrong with their hair, bridge, smoking and manners, any man _who can stay on a leaping bronco fifty- two seconds longer than the average cow-puncher—well—he’s got to be more than a mere pretty boy. He’s got to have “moxie.” And if your mother hasn’t yet told you, we’re telling you that “moxie” is a synonym for the stuff they string inside tennis rackets. That’s what Richard Greene has—and believe us, if he had nothing else, that attribute alone would be enough. JUNE, 1940 THE EYES OF FASHION Costumes of yellow, chartreuse, rust, brown, green, or any of the deep “Woodland’’ colors call for Maybelline black or brown shades of Mascara with matching eyebrow pencil. The harmonizing shades of Maybelline Eye Shadow are Brown and Green. With blue, wine, black, fuchsia, all the purplish col- ors, wear Maybelline black or blue shade of Mascara and black eyebrow pencil, lightly applied. And to har- monize, Maybelline Eye Shadow in shades of Blue, Gray, Blue-Gray or Violet. FASHION DICTATES NEW FOR YOUR EYES It’s a “must” in the Fashion outlook—and it’s here to stay. Glamour that gives your eyes new importance with every costume you wear. All it takes is smart harmony in eye make-up. And that’s easy with Maybelline Eye Beauty Aids. Simply choose your Mascara, Eyebrow Pencil and Eye Shadow in harmonizing shades . . . and notice the thrilling difference. It’s fascinating to step up your beauty and style so naturally with Maybelline—the eye make-up that’s smart because it’s always in good taste. Maybelline Cream-form Mascara (applied without water) in zipper case, 75c. Maybelline Solid- form Mascara in stun- ning gold-colored vanity,75c. Maybelline smooth-marking Eyebrow Pencil with point protector. Maybelline creamy Eye Shadow indainty pastel box. May ; EYE BEAUTY AIDS 69

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Second, it lubricates the affected parts. This tends to keep the parts from drying and cracking and also makes passage easier. Third, it tends to shrink or veduce the swelling which occurs in the case of simple Piles. Yes, you get grateful effects in the use of Pazo! Pazo comes in collapsible tubes, with a small per- forated Pile Pipe attached. This tiny Pile Pipe, easily inserted in the rectum, makes application neat, easy and thorough. (Pazo also comes in suppository form for those who prefer suppositories.) TRY IT FREE! Give Pazo a trial and see the relief it affords in many cases of simple Piles. Get Pazo at any drug store or write for a free trial tube. A liberal trial tube will be sent you postpaid and free upon request. Just mail the coupon or postcard today. GROVE LABORATORIES, INC. Dept. 120-MO, St. Louis, Mo. Gentlemen: Please send me free PAZO. Name. Address Cy ee Siate This offer is good only in U.S. WHY STARS LEAVE HOME (Continued from page 39) pug-ugly Maxie Rosenbloom tripping in for his 5 o’clock tea and crumpets! Second to the Derbies, but first in the night club field since the Trocadero hung out its “For Rent” shingle, is Ciro’s, a super-swank eating, drinking and danc- ing spot which pulls its trade from the Social Register as well as from the front ranks of Filmland. Here, cigarette girls tout their wares for twenty-five cents a pack, and the man who tips them less than a quarter is a cheap-skate. Here, Mischa Auer bows to the waiters. And here, a party of six movie people, in one evening, ran up a check for $365! But at a cost of $150,000, Ciro’s is housed in a modern-style building painted the color of coffee when you’ve put too much cream in it. Its interior, as described by one leading man who ought to know, bears a startling re- semblance to a lady’s boudoir. It has a pale green background and ceiling, and maroon-colored padding running scallop- shaped up a third of the wall and clear around the room. And, off the record, our leading man appears quite as much at home in such feminine surroundings as do the numerous women he brings there. Music for Ciro’s is provided by Emil, Coleman, a man blessed with an amazing memory that enables him to recall at a flash the favorite tunes of all steady customers. These he orders struck up the moment a familiar face looms on the threshold. Needless to say, it’s mildly confusing to his musicians, who are usually unprepared for a sudden switch from “Oh, Johnny” to “They’ll Be Com- ing Round the Mountain.” Liquor at Ciro’s is provided by any waiter who’s asked for it. Right here we'd like to drop a tip to potential Ciro drinkers. When ordering champagne— unless you are the happy possessor of an unlimited purse—always specify ex- actly how much you'd like. If you don’t, your waiter will assume you want an unlimited flow and just keep filling ’em up until someone remembers to stop him. Since the stuff averages $10 per bottle, it’s generally advisable to keep an eye on the proceedings. Food at Ciro’s is perfection itself. Every ingredient in every dish is abso- lute tops and the finished products are so alluring, they have made many a famous femme forget the clause in her contract that would hold her poundage at 103! Victor Hugo’s, which seats 600 people (about twice as many as Ciro’s), is another paradise for lovers of fine vic- tuals. But if the great Frenchman whom it honors ever saw it, he’d probably howl in his beard at the sight of his name blinking in neon lights with “Benny Goodman” or “Rudy Vallee” in huge let- ters beside it. It’s certain, though, he’d cool off once he passed through the arched doorway into the beautiful Gar- den Room, where a softly-lighted bar, circular dance floor and trickling foun- tain offer relaxation to some of the highest-priced nerves in Hollywood. He’d also be comforted by the knowledge that the restaurant leaves semi-nude chorus girls and the stale jokes of m-cees to less distinctive dining places and uses only good food and “name” bands as customer bait. Both of these are “can’t miss” attractions for the younger set, and regular Hugoites include Judy Garland, Ann Rutherford, Deanna Dur- bin and Vaughn Paul. Overseeing the entire works is Henry DeSoto, a restaurateur of twenty-five years standing. Besides being a capable manager, Henry is one of the best sources of scoops on Hollywood romances, be- cause he keeps a practised eye on cooing twosemes and can always tell by what is ordered and what is eaten just how an affair is progressing. His process of deduction is simple—and generally in- volves steak. Steak is the easiest dish to order, and when a couple calls for it he knows they’re “on fire” and are taking the first thing that comes to their minds. Then, when they hardly nibble, Henry’s positive the “I do’s” are not far in the offing! To date, with the aid of his unique method, Henry has foretold the mar- riages of Hedy Lamarr and Gene Markey, William Powell and Diana Lewis, and Betty Grable and Jackie Coogan. He is sorrowful, however, because he has not yet perfected a pat formula for the pre- diction of bust-ups. Far from the shouts of “Cut” and “Let them roll”—in atmosphere at least—is the star-studded, no-music eatery known as Sardi’s. Here go the créme de la créme of Moviedom when they want. peace as well as nourishment, for within Sardi’s caricature-bedecked walls is a quiet that few can find at home. Sardi’s attracts tourists, too, and it has been noticed that many an out-of-town visitor who can take or leave his movie stars, is enraptured by the portable, plug-in telephones that can be set up at any table. In fact, a number of them ask to have an instrument placed between their silverware and bread basket, and ' then don’t even lift the receiver! In their class is Hugh Herbert who calls for a phone as soon as he walks in, but just sits and stares at it throughout his entire meal. Jackie Coogan, on the other hand, once made thirty-six calls in two hours in an attempt to get a last-minute date. P.S. He stayed at home with a good book. (Pee chummiest spot in town is Cafe Lamaze which, like the average drug store luncheonette, can’t seat more than seventy-five persons at any one time. Of course, the similarity ends where it be- gins, for while $3 will feed a family of six at a luncheonette, it’s only the be- ginning for a single spread at Lamaze’s. But then, how many luncheonettes are equipped with a small orchestra or feed their guests chickens that but a few hours earlier were squawking in Andy Devine’s back yard? None, according to the last Gallup check-up. Principal novelty at Lamaze’s is the method of serving relishes and fruit desserts. No one remembers who thought it up, but now foot-high, cone-shaped ice mounds, encasing glowing electric light bulbs, are studded with radishes, grapes, olives, etc., and placed in the center of every table. Quite a brain- storm, wasn’t it? But it takes 2,000 pounds of ice a day to keep it going! And there you have them—seven good reasons why almost every Hollywood dinner hour finds the cook and the serv- ing maid sitting in the kitchen playing parchesi. But don’t go envying their soft jobs. They still have to snap to at- tention when their master rolls in at four and yells for a steaming pot of tea! MODERN SCREEN

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a ete Bi i “DON'T CALL ME | 7 a A GREAT LOVER!” (Continued from page 27) of August, when their long-awaited di- | vorces become final. Of all this star-bright femininity, did he have any personal preferences? “I played opposite Gertie Lawrence nine years ago, and she was as easy and pleasant as Greer Garson is in this pic- ture. Really, I’ve been fortunate; they’ve all been fine and brilliant actresses. But, as you may be aware, I would rather play an act opposite Miss Leigh than all the others combined: “Another thing, I don’t find much dif- ference between the American women I have met and those I have known that were French, Irish, Russian, English or any other nationality. The American woman is made up of all the others—and as an individual, she combines the best qualities of other races and nations. I find her very kind. She is usually warm and wonderfully helpful. I don’t under- stand why it is, but American young ladies have a curious trick or ability of making you think you know them better than you really do.” T this point Olivier was summoned to play a touching scene with Miss Garson. It was a big “Pride and Preju- dice’ moment, and I sat watching the classic come to life. Contrary to com- mon opinion, “Pride and Prejudice” is anything but a stuffy costume piece. It is a bright comedy, set in a small English village of the 1820’s. It is the tabloid saga of a zany mother who is trying to land rich husbands for her five daughters. Miss Garson is one of these daughters, and Mr. Olivier is the catch of the sea- |- son. The conflict arises when Greer Gar- ; . son tries to crush Laurence Olivier’s great pride, and he tries to shatter her over- whelming prejudice. After Robert Z. Leonard had taken the same three-line scene over and over, seven times in all, the company moved to another set. Greer Garson rested stand- ing up, leaning against a perpendicular canoe-shaped brace to keep her hoop- skirt from being mangled, and Olivier trotted back to the interview inquisition. Strands of his dark-brown hair hung limply on his forehead, and he appeared very handsome and tired. He sat down slowly, carefully. One false move and those breeches would expose him to the wrath of the Will Hays decency board. He began to talk about his immediate future. His speech took on an irresist- ible earnestness. He was speaking of the project closest his heart, the version of Shakespeare’s “Romeo and Juliet” he had personally cut and adapted for the American stage. He and Miss Leigh—he always refers to her as “Miss Leigh’—were declining numerous picture offers to return to the stage in a play dear to them both. They were going back to the stage now, in- stead of in three or four years, because they didn’t want to be known as “movie stars taking a fling at the legitimate stage.” “Romeo and Juliet,” scheduled to open in San Francisco early in April, and play Chicago and New York until early THET CRASH” IT WERE THET CITY GAL WHICH TRIED T’ VAMPIRE ME LAST NIGHT, BLIT AH RUN 4 AWAY ?-HAIN'T A GAL LIVIN’ AH CAIN’T RESISK/ Zz Nyy NN -—THASS WHY-— -GLLPS jH GOTTA WORK FASTIY — Nee 3 ae 3 HYAR’S YO BRECK-FUSS, LI'L ABNER/7-NEW 5- MINUTE CREAM OF WHEAT! THIS NEW 5-MINUTE CREAM OF WHEAT _I5 SHO’ HIS: ARMS "AH REPEATS 7 THAR HAIN‘T. NO GAL AH CAIN’T RESISK/7 iS Gre 1940, U. F. syn. we THAT'S CAUSE IT'S GOT A DELICIOUS WHEATIER FLAVOR, LI'L ABNER! \\ COOKS TO FULL DIGESTIBILITY.... YAS’MY-AH SHO’GOT LOVE _ | FO’ TH’ FLAVOR O' THIS NEW ‘pe 5-MINUTE CREAM OF WHEAT” EVEN FOR BABIES...IN ONLY 5 MINUTES. GIVES YOU EXTRA PHOSPHORUS, CALCIUM, IRON, AND VITAMIN B61... BUT DOESN'T COST A BIT MORE! 2 3S =a qaKe YOUR CHOICE ee Fg es Gein LILAB NER ° a: cae | i PUgUSE | would not be a mercenary 3 S, y- . oe i project for Olivier. It would be some- Wo . if || thing every human dreams of—some- now! KINDS || thing participated in for pure enjoyment. OF NEW 5-MINUTE I Besides acting in the drama, Olivier AND REGULAR ai has produced it, directed it, written “Cream of Wheat” Reg. U. S. Pat. Off. a ; | ! |! gone, 1940 71 | N |

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ir i PREFER BOB PINS Vacation Vanity begins with this Longer - torso Frock Accented by Sand- wich Pockets . . . and rolled-under Coiffure Fastened with... High Honors for this Youthful Dress with Rows of Stitching, for Decoration, Triangular Pockets as Hipline Em- phasis . . . and for the Smart Off-the-Ears Hair- style Held Neatly with... Keep cool in this Molded Frock with Square Yoke ... and Shorter Hair. Use DeLong Bob Pins to Set the Rolls and Keep Them Neat. some of the music and laid out the ten sets. Even Orson Welles couldn’t im- prove on that. Never, perhaps, in all the modern his- tory of the dramatic stage has there been a happier and more colorful combination of principals and production. Two in- ternationally famed lovers of fact, Olivier and Leigh, projecting themselves into the two most famed lovers of fiction, Romeo and Juliet. But, man and sir, to hear Olivier speak of Shakespeare, to detect the quickening of his speech, the lift of his voice! To watch his face, animated, his eyes ‘bright, his boyish excitement! Why, it’s an event remarkable. Olivier’s voice brings you back to the old Mermaid Tavern, to the coffee house and the tankards of ale. I asked Olivier why he was so certain Miss Leigh would make a_ stunning Juliet. I asked him to be frank. He was. (Smilingly, he murmured, “ “Age cannot wither nor custom stale her infinite va- riety. Miss Leigh has youth with strength. Beauty with character. Pathos with comedy. And exceptional fire. The thing most persons don’t know about her, and I do, is that she is an extraordinarily good comedienne. She’s going to sur- prise everyone. Scarlett is over and done with. As Juliet she will be sweet, clever, young and very tragic and will invest the character with a subtle comedy, hitherto, I believe, unsuspected in the role.’ ATURALLY, “Romeo and Juliet” is synonymous with talk about romance. A legend, I repeat, has already been woven about Olivier—that as a ro- mantic type he is sometimes pensive, sometimes smoldering. Intimates have labeled him an enigma, aloof and distant, and I have heard women, upon viewing him on the screen, sigh and call him a “Great Lover.” All of which, naturally, is most embar- rassing to Laurence Olivier. He thinks of himself as a human being, an actor, a student of music, a thousand things, but not as a romantic legend. And _ that, after all, is easy enough to understand. Just call your husband, or brother, or father a “Great Lover”’—watch him either blush or bristle. “Of course I don’t wish to be called a Great Lover,” Olivier insisted. “The ap- pellation is so absurd. I don’t feel like one, so I don’t think I am one. “I suppose the publicity I’ve had, the roles I’ve played and my attachment for Miss Leigh have all aided in the Great Lover myth. But believe me, I would rather be known as a second-rate char- acter actor than an _ over-publicized glamour boy. “My parts as Heathcliff in ‘Wuthering Heights’ and Max de Winter in ‘Rebecca’ may have created the wrong idea and made me out a moody Don Juan. But, of course, those fans who take pleasure in the illusion of my so-called glamour are welcome to it!” 5 Laurence Olivier, fortunately, has a sense of humor. Sudden and intense hero worship, which made Valentino vain and turned other matinee idols to flight and temporary insanity, leave Oli- vier a trifle amused. He is too honest with himself to think of himself as an exciting figure, as anything more than a hard-working actor. And purely as a hard-working actor, looking toward his more distant future, Olivier, in his deliberate manner of speech, explained that he would divide his time between stage and screen. But honestly, he prefers the stage. He thought participating in both was fine, saying, “Each theatre contributes essen- tially to the other. Both are important.” He had too much on his mind to worry about what far-off tomorrows held in store for him. He was too immersed in the many projects at hand. But— “I do firmly believe circumstances con- tinually change one’s life and career course. Up to now, I’ve been awfully lucky. I just pray it continues!” However, past performances show that what Olivier modestly considers “luck” has actually been a steely perseverance and drive toward the top. Now, at the age of 33, Olivier can look back on a life penned in greasepaint. His family tree dripped with French Huguenots. Today, the Huguenots’ only claim to immortality, besides bringing the bedbug to the New World, the fact that Olivier comes from their kind. His father was a clergyman—the High Episcopal Church in England. Oli- vier began emoting at nine, and at four- teen, in celebration of Shakespeare’s birthday, he clapped a wig on his head, wore petticoats and played the wench Katherine in “The Taming of the Shrew” at Stratford-on-Avon. At school he did Puck in “Midsummer Night’s Dream” and sang lustily in the choir. Of course, acting and singing were considered sissy stuff by the older lads at school, and they termented young Olivier. This drove him within himself, and as the late mental medicos, Freud and Adler, would assure us, furnished him with the introspection and the push to later succeed against all odds. After an eventful stage career and one unsuccessful try at Hollywood, M-G-M brought him back in 1933 to work oppo- site Greta Garbo in “Queen Christina.” He was beginning to mistrust Hollywood and so came over with only one bag of clothes, This precaution was justified. According to the most accurate story, Greta Garbo wanted John Gilbert for her leading man. She didn’t want a com- paratively unknown English youth. In the clinches, she refused to give out. Recalling the incident, Olivier smiled broadly, and confessed, “I have never - | been bitter toward Miss Garbo. Ac- tually, so much has happened since then Ive forgotten the entire thing. It hap- pens every day. I have a colossal admi- ration for Miss Garbo, but I do feel her leading men are apt to be obscured. It is a great credit to Robert Taylor that he came off so brilliantly with Miss Garbo in ‘Camille.’ “In reality, being dropped from the Garbo picture was a big break for me.’ It gave me a magnificent opportunity in ‘The Green Bay Tree’ on Broadway.” HECKING back, Olivier likes to re- member his fine friends, Ralph Rich- ardson, the grand English actor, An- thony Bushnell and many others. He likes to remember his most thrilling ex- perience, playing the uncut version of Hamlet in 1937, in Denmark, at an out- door festival. “I played before nearly 4,000 people at a time, and the show ran four hours. Sometimes we gave two per- formances in a single day, and that meant eight to nine hours of continuous acting. It left me limp, but Miss Leigh, who played Ophelia, thrived on it. And very beautiful she was in the part!” Laurence Olivier, reminiscing, was re- minded of a story. It seemed he was in a road show, and one day the company reached his home town of Latchworth. It was a stirring moment. None of his family had seen him perform, so Lau- rence bought dozens of tickets for the relatives, the neighbors and even the cook. They all crowded in to watch their local boy make good. The show played two hours. After it was done, the cook MODERN SCREEN

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Ren 1940 came waddling backstage to get straight- ened out on a little matter. “What did you think of me, cook?” in- quired Olivier. She seemed bewildered. “Well, I don’t know, Master Laurence. I kept looking for you and looking for you, but I didn’t see you.” “What?” bellowed Olivier. “What’s wrong, woman? You heard the bell after the tea interval, didn’t you? Well, I rang it!” Laurence Olivier laughed heartily after telling the story. It’s one of his favorites. It’s one he likes to tell to those who re- gard him as a smoldering romantic. ON THE SET (Continued from page 33) by the way, looked in on the operations and is reported to have given her un- qualified okay to the Hollywoodization of her relative. The script of “All This, . . .” which was two months in the writing, calls for 68 sets, none of which is very troublesome. The cast is a comparatively intimate affair, consisting of 50 members who have speaking parts and 200 extras who walk or run through the various scenes with- out uttering a sound. Ordinarily, such a set-up would make for painless produc- tion, but as luck and history would have it, four young children are necessary to the plot. HILDREN, the saying goes, are nat- ural-born actors—but you couldn’t prove it by Director Anatole Litvak. Poor Mr. Litvak is having himself one bad time trying to make Boyers and Davises out of the youngsters assigned to him for, with the exception of thir- teen-year-old Virginia Weidler, they are not screen veterans. Most inexperienced is four-year-old Richard Nichols, chosen from over five hundred little boys for an extremely ex- acting role. Richard, incidentally, was not awarded his part the moment he shuffled into the casting director’s pres- ence. Actually, of the five hundred kids who turned out, twenty-two were screen-tested before the selection was narrowed down to him and a certain Jean DeRiver. When, after heavy consid- eration, the job was awarded to Richard, the mother of Jean did not faint dead away. But the casting director nearly did, for, since it no longer mattered, Mrs. DeRiver revealed that her son was really a female named June! Most amusing sidelight on the incident is the fact that, although the child had been costumed by the wardrobe department several times, no one had ever seemed to question her masculinity! Remembrance of such duplicity isn’t sweetening Mr. Litvak on the youngest generation. Neither are his present trials. The last time we saw him, his face was livid, and his breath was coming hard. No, Mr. Litvak was not going mad. He was merely trying to show Richard how to do a scene in which the boy, des- perately ill with pneumonia, struggles for a bit of relief. Richard, we are sorry to say, did not find the emoting con- tagious. Instead, being highly entertained by such antics, he giggled into his hands while the rest of the cast, feeling their nerves going raw, waited for the proper mood to hit him. Notwithstanding, Mr. Litvak professes a tremendous love for little shavers. Notably, he has no children of his own. a { Ww the new Jantzens- { for sun and sea. fectly gorgeous. and shim- tured sun- 3 @ They re waiting for you a : Loveliest swim suits ever ™ ae You’ve never seen fabrics : oe There’s Water Velva, with all t ne TiC a f velvet, gleaming like captu a e the most amazing swim 1 t mering beau e, quit oe, oe ae es Here at last 1s the dream dation garment control { suit fabric ever develor ! " e , nitters, rea ou Pee 2 aoe EA Then Velva-Lure, soft, rich, ae ue ; te 1 *yarn ha i: Sais lovely water ee ee oe ee ‘ 1 i ct gir Wks i d in for perte ‘ - seniously knitte a SO ae salle Portland, Oregons Vanco p 3 non n* Maryland”, weat ing oth Century-Fox Player t ae fa ae H izing, suit 0 ea Sey i are neckline. 1 ne ttractive square! rae 5.95 in U. » } { bees. Mais istesgafecis t KAY GRIFFITH, - the “Mademoise plenge - 7 note in the shirring 0” pee Velva-Lure, soft, rich, velvety Other Jantzen styles $4.95 to $10.99. SWIM sUITS THES aia ee *Reg.U.S. Pat. Of JANTZEN KNITTINC MILLS, Dept. 341, Portland, Oregon Send me style folder in color featuring new 1940 models Women’s (] Men’s (] NAME STREET CITY 73

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CHECK UGLY PERSPIRATION Dew is the dainty deodorant that checks perspiration too. Safe, sure, Dew will not irritate the skin even after shaving. KILL ITS ODOR If you like cream, ask for Dri-Dew, daintily- scented, harmless to fabrics. If liquid is preferred, Instant Dew dries in seconds. Use Dew today and be safe. At drug, department / and 10-cent. stores. THE DOUBLE - PURPOSE pdeoporants Clear, Soothe TIRED’ EYES IN SECONDS! Only Two DROPS of this eye specialist's formula are needed to SOOTHE and REFRESH dull, tired eyes... Its special EXCLUSIVE ingredient quickly CLEARS eyes red and inflamed *(from late hours, fatigue, driving, overindulgence, etc.). — Thousands prefer stainless, sanitary, safe EYE-GENE, because it is quickly EFFECTIVE in making EVES FEEL GOOD. WASH your eyes with EYE-GENE today.Onsaleat drug,depart- ment and ten-cent stores. To Good Housckceping Ke C5 BUCA SS mouscntanine WS EYE-GENE 74 ‘possess it. HOLLYWOOD SKIN MAGIC (Continued from page 45) foods rich in the fats their systems need. Poor health, fatigue, dry climate and hard water also contribute to this con- dition. If your skin is very dry, cleanse it thoroughly with cold cream or one of the emollient, oily cleansing creams. Pro- tect it with rich lotions and lubricating creams night and morning and use one of the heavier, richer foundations under your make-up. Dry skin wrinkles and shows age much earlier than oily skin so, if this is one of your pet problems, by all means pamper yourself with extra massage deep and firm and rotary in direction, never superficial or with a downward motion [of course, always using a rich lubricating cream.] Oily skin is much more susceptible to blackheads, whiteheads, acne and other blemishes than is the dryer type, so extra thorough cleanliness with soap and water, creams and astringents should be the constant watchword. of all you who Enlarged pores are really dilated oil glands which have come to appear like large pits around the nose and nearby cheek areas. Besides per- sistent cleanliness, stimulation with cold applications of ice or ice water is often helpful. Drink plenty of water and fruit juices and cut down on rich, highly sea- soned foods. Crisp green salads and all kinds of fresh fruits and vegetables should be your special forte. HE causes of acne are often ob- scure, though disturbances of the oil glands are involved somewhere along the line. The treatment here again is meticulous daily cleansing with a com- plexion brush, soap and warm water. Steaming the face over a basin or with hot towels followed by application. of cold water and an astringent often helps. Go easy on the make-up while your skin is in such a condition. Get lots of sun- shine and fresh air. Keep yourself to a diet free from starches and sweets, and you should get satisfactory results. If you don’t, see a doctor. Never take chances with chronic skin blemishes. Try to break yourself of the bad habit of touching soiled hands to your face. Infections which cause many kinds of blemishes often originate in such thoughtless mannerisms. All cosmetic care of the skin is based on the three important principles of cleansing, stimulation and_ softening. We’ve gone pretty thoroughly into the. business of cleansing. One more point we might add before we go on to stimu- lation. And that is, never apply new make-up over old—or over a soiled skin, either. Cleanse away every trace of both and start fresh. If you aren’t at home where you can use soap and water, you can always carry a small tube of cleans- ing cream or a flat, purse-sized box of those ready-to-use cleansing pads we mentioned before. If you don’t want pores that are clogged and distended and a complexion that looks more like paste than the clear, fine-grained thing of beauty that it should be, do heed this little warning. And never use a powder puff that isn’t perfectly clean. A fresh puff every day is not only a mark of feminine daintiness but also an im- portant protector of complexion loveli- ness. Under the heading of skin stimulation you want to put down not only local ‘massage but also sunshine, outdoor ex- ercise and, to a lesser but still important degree, indoor gymnastics. Brisk after- bath rub-downs with cologne, lotion or just a clean, heavy towel—all are ex- cellent skin stimulants. Face patting and massage exercises are good when correctly done. Gently slapping the cheeks with your open palms covered with cream, muscle oil or lotion creates a gentle suction which stimulates and refreshes. . Patting the forehead upward from the eyebrows with a firm, rhythmic movement of hands covered with a lubricant, relaxes and helps to modify those horizontal lines which make us look so much older- The massage motion along your jaw line should be a fairly smart slapping upward, from chin along the jaw bone, with hands again well lubricated. 4 yore 4 ! &£ 1 a E 1 j : SF Be Miss Howard placidly takes a letter from her beauteous boss, Joan Crawford, amid the clatter and confusion on the ''Susan and God" set. MODERN SCREEV ~~

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\ BUTCH, THE BALLROOM BARON (Continued from page 37) flying elbows. I’m no grandpappy but, frankly, I can’t take an evening of jit- terbugging. It’s a little too much on the physical culture side.” Cesar Julio Romero II—the Cisco Kid to you—went Terpsichorean at the age of five and, as he says, “to the tinny music of an old graphophone, whirled around the kitchen with Victoria, our negress cook, who was built along Aunt Jemima lines.” Years later, while a popular profes- sional dancer on the Great White Way and in the swankiest night spots in many big cities, he danced with the A to Z in variety of partners—some of America’s best. That is why Hollywood will not protest in the least when Cesar says that Mrs. Lewis Milestone, wife of the producer, Sally Blane and Binnie Barnes are among the Grade A partners in cine- matic circles. “They are so good that you just feel it. You can’t analyze it and say they are tops because they do this or that well,” he explained. “They are the best just because they are. See what I mean?” I did more or less. Yet I wanted to know more about how Movieland’s stars and glamourettes act within the arms of the romantic Romero, whom Joan Craw- ford calls “Butch, the Ballroom Baron.” Rumor has it that Cesar has danced with every eligible female in Hollywood. When asked about this, he laughed the kind of laugh that comes from mellow good humor. “Preposterous,” he said. “I have danced with so few of the girls in this town.” Well, if “so few” amount to packages of pulchritude like Marlene Dietrich, Ann Sheridan and... “I mean,” Cesar quickened the pace of his words, “all this business about my dancing with everyone who sets foot in the wilds of a Hollywood night club is myth. And, in this case, a myth is as good as a mile. “As for dancing with Marlene Dietrich, actually the first time I really had the opportunity was last night at a party given by the Jack Warners.” He leaned forward, speaking earnestly. “She is a woman who has everything— culture, poise, allure. And her dancing has everything she possesses. I cannot understand where some people get the notion that she is cold and distant. She isn’t. There is not the least bit of aloof- ness about her. She never closes her eyes when she dances; I remember that clearly. She follows every step with- out the slightest hesitation, indecision or error.” OR a moment Cesar was silent. He squashed his cigarette in the gargoyle- shaped ash tray and began thinking aloud, gradually putting oomphasis on Ann Sheridan. “Take Ann Sheridan!” (Which would be no hardship.) “She’s a girl few people know well. She’s constantly bantering. Her humor is natural, and you love it. I do, especially, because ’m moody quite often. She talks more than any other star while she dances. Then again, some- times she closes her eyes entirely and is very quiet. “I don’t know why for certain, but Ann often kids about her dancing. She says she’s going to notch a leather belt at home for every time she autographs the shine on my shoes with the soles of hers. Actually she’s a lot better than good on the ballroom floor. “I think she has an inferiority com- plex to a certain extent. She’s a trifle camera-shy on the floor; she’s a little like Joan Crawford in that respect. Ann radiates warmth and friendliness. Occa- sionally she hums a tune softly while we dance. It’s pleasant. Often she’s told me how this ‘oomph girl’ business has affected her. She’s still worried about too big a build-up and a possible let- down.” Cesar, who has never danced with tears in his eyes, doesn’t mind a girl’s humming or singing while dancing. A cheerful little earful is all right, if the singer doesn’t try to entertain the entire room and if her voice isn’t scratchy. In fact, Cesar catches himself vocalizing at times. “Sonja Henie is a hummer when she dances,” he confided. “Slow music us- ually makes her sing softly. She’s a girl who is a spontaneous, tireless dancer. When my legs are wobbly, she still has energy to burn. On a date with either Sonja or Loretta Young you can be sure you won’t sit out a number the whole evening. They dance a full program. YVONNE FOX, SYRACUSE UNIVERSITY JUNIOR, SAYS: t 1940 AND IT’S YOURS WITH THIS FACE POWDER YOU CHOOSE BY THE COLOR OF YOUR EYES! Follow the modern trend in makeup! Achieve the engaging natural look of gay, young “‘collegiennes.” It’s easy with Richard Hudnut Marvelous Face Powder . . . the wonderful new powder you choose by the color of your eyes! Eye color, you see, is definitely re- lated to the color of your skin and the color of your hair. It is the simplest guide to cosmetic shades that match and glorify the beauty of your own coloring . .. give you that modern natural look that men prefer! Generous junior sizes of Hudnut Marvelous Face Powder and harmonizing Rouge and Lipstick .. . packaged together in an attractive kit, perfect for “™ home or office. So, whether your eyes are blue, brown, gray or hazel, you'll find the shade that is exactly right for you in Hudnut Marvelous Face Powder . . . the pure, fine-textured powder that you choose by the color of your eyes! See how smoothly Marvelous Face Powder goes on. . . how it agrees with even the most sensitive skin! And how it lasts—ends powder-puff dabbing for hours and hours! For complete color har- mony, use matching Marvelous Rouge and Lipstick, too. Hudnut Marvelous Face Powder and harmonizing Rouge and Lipstick at drug and department stores—only 55¢ each. 65¢ in Canada. HUDAUT | ee ee AND MATCHED MAKEU PERSONAL TRY-OUT KIT! Specially priced for a limited fime only 55¢ At drug and depart- ment stores In Canada, 65¢ 77

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Bicycling! Tennis! Golf! All sports are extra fun when you refresh with Beech -Nut Gum. Your choice of Peppermint, Spearmint, Oral- gum and three flavors of candy- coated BEECHIES, Peppermint, Spearmint and Pepsin. Beech-Nut Gum-is made in Flavor-Town (Canajoharie, N. Y.)... famous for Beech-Nut flavor and quality. Beech-Nut Gum 78 “One odd thing about Sonja. She dances beautifully. Then, occasionally, you find her trying to lead you. Gently you exert pressure on her back. Then she realizes what she has been doing, smiles, relaxes and goes on smoothly. She’s easily as graceful on the waxed floor as she is on ice,” he said. Columnists would have us _ believe Cesar Romero confines himself to two activities: nightclubbing with filmdom’s fairest and emoting in pictures. Truth is, bright lights have lost their magnetic attraction for Cesar. He spends most of his nights in his Brentwood apartment, relaxing from a day’s work by reading anything and everything from Steinbeck to “Ferdinand the Bull.” His favorite topic is the nine-room, Mexican ranch house he’s having con- structed on a 100 by 300 foot hillside lot in Brentwood. “It won’t be long now,” he said, “and Joe, my colored houseboy, and I will be moving in—to peace and quiet. But don’t get me wrong. This building project doesn’t mean that I’ll turn Kermit the Hermit. Ill still go out dancing and to parties occasionally. Nor does it mean that I’m choosing a co-ruler for the House of Romero. There’s no immediate danger of my getting married.” LL of which implies that Cesar hasn’t asked Joan Crawford, Ann Sheri- dan, Loretta Young, Sonja Henie, nor any unknown quantity in Movieland to take fittings for a ring. However, he says that the girl to whom he puts the important question will not have to be a Crawford on the dance floor. “So long as she is fairly lissome, light on her feet and has rhythm—that’s enough. If she has the beauty of blonde Virginia Bruce, brunette Dolores Del Rio or copper- haired Marlene Dietrich, I shall be more than satisfied. Life isn’t just a song- and a dance; I know that. Beauty isn’t enough, either. I want someone with a good sense of humor to cheer me up when I’m moody; I want a person with intelligence and kindness, and one who, more or less, likes what I do.” Well, there’s the formula, girls. Legend has it that Cesar Romero has never been seen to make a misstep on a ballroom floor. “Don’t believe a word of that,’ Cesar says and insists that if Hollywoodians actually do think highly of his dancing it is because they have never seen him do a nosedive. Some years ago in Jersey City, New Jersey, before he was his suave, tux- edoed, 1940 self, he danced with “a sweet girl named Lillian Mundt.” They whirled wildly with the music and seemed to have been made for each other until they ran into the foot of a nearby dancer. Whack! Cesar’s leg struck the other person’s. “Up we went and over.” He laughed loudly. “I plopped on my back, and she landed on top of me. It was on the edge of the crowd, right near the stag line. One of my friends in the line turned Brutus and commented in a foghorn voice, “How the mighty Cesar hath fallen.” Despite the fact that the Ballroom Baron’s list of the five best male dancers in Hollywood does not include himself, Cesar is Number One Male Dancer. And girls hereabouts would trip the light fan- tastic in stocking feet on carpet tacks to get him as a partner. Incidentally, George Murphy, George Raft, Fred Astaire, Lee Bowman and Paul Draper are the Romero choices. “There aren’t many excellent dancers among the actors,” he said. “You would be surprised how many prominent males take dancing instructions. Now it may sound peculiar that I think Fred Astaire is excellent on the ballroom floor, for ~ when he’s out in public, he just dances. Once he said to me, I don’t dance for show purposes when I’m at a night club. I forget about cameras, sound and tap- ping and just get lost in the shuffle” ” The Commandments For Women Danc- ers which Cesar framed while lazing in the soft chair of the sunlit publicity office, are worth noting: 1. Thou shalt not chin thyself on thy partners shoulder, nor hook your arm around his neck and anchor him down. 2. Thou shalt not dance on thy part- ner’s feet. (Stand on your own two.) 3. Thou shalt not kill romance by over-cuddling, sticking to your partner like fly paper. 4. Thou shalt not covet thy neighbor’s partner. (At least not openly in winks, come-on looks, or smiles over your partner’s shoulder.) 5. Thou shalt not lead thy partner. (Born leaders are all right in biogra- phies and in business, but on the dance floor they are as popular as the boors who windmill around knocking into everyone around them.) 6. Thou shalt not deliver a monologue of chatter during the dance. 7. Thou shalt not display affection. (There’s a time and place for everything. It may be “Stardust” or muted trumpets or a couple of whiskey sours that put your inhibitions in their place. But re- serve the lipstick smooches on his cheek till A.D.—after dance.) 8. Thou shalt not wear a hat that will keep him at a distance. 9. Thou shalt not forget that personal cleanliness is next to godliness. (And carelessness is next to impossible for the girl who wants to be popular. Dancing means exercise, and exercise means, well, it means that perhaps one happy couple may become two sorry people.) 10. Thou shalt not stand straight as a poker nor bent as a bow. (Position may not be everything in life, but in dancing it is important. An in-between posture that is relaxed is best. And the tall girl with a shorter partner should not try to cut inches from her height by bending in the middle. Because height becomes width, and width increases Southern Ex- posure. It is well to be tall gracefully, and beware of being caught short.) UTCH, the Ballroom Baron hasn’t danced his way to screen renown. He’s specialized in being any of 57 varie- ties. of cad. When casting directors think of a movie triangle, they imme- diately visualize Cesar Romero as the third angle. Cad has been the word for Cesar until recently, when he took over the heroic Cisco Kid roles where Warner Baxter left off. It was for “The Cisco Kid and the Lady” that he polished up his rhumba. He actually danced before the camera. To dance or not to dance may be the question, but not for Romero. It is im- -material to him if his dancing is re- corded on celluloid. He likes the novelty of Cisco Kid assignments, and doesn’t mind being triangular. “I don’t like to receive hisses, nasty fan letters or time bombs,” he said. “But so long as being a cad keeps me in the movies and in the money and gives me a chance to dance with Joan, Loretta, Sonja, Ann and the others, I don’t mind. Not bad compensation, is it?” Not bad at all. And, conditions being the same, who wouldn’t cultivate side- burns, acquire an accent, study the rhumba, and become an All-American Cad to be in Cesar Romero’s oxfords? MODERN SCREEN Se = Fi

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eg CALLING ALL SECRETARIES! (Continued from page 47) never had a vacation—has never wanted one. He’s six feet tall and looks like your favorite collar ad. Once he won a scholarship to the New York School of the Theatre and studied there for two years. He also directed a summer theatre group for three seasons. He’d still like to be an actor but doesn’t intend to ride in on the boss’ pull. He has a comfort- able berth at present, and he’s willing to let the other matter take its course. Though they seldom pat him on the back, Walter knows that Melvyn and Helen Douglas are genuinely interested in him. They. proved it once, very beau- tifully. It seems that Walter was in love and suddenly, one afternoon, his girl announced her engagement to someone else. When the Douglases heard the news, they wired from Tucson, the im- mortal words: “Dear Walter, don’t be too unhappy about Patty. We will raise your salary so you, too, can buy a ring. We love you.” Things like that keep a man satisfied with his job. Bill Gallagher’s story is a variation of a familiar theme. Five years ago Tyrone Power was in New York working with Katharine Cornell. His guardian, who is Bill’s uncle, came east and introduced the boys. Later, when Ty was settled in Hollywood, he remembered Bill, sent for him and they’ve been inseparable ever since. Gallagher, a 31-year-old fugitive from Fordham University, considers keeping Ty level-headed his main duty. After a preview, when the leeches and yes-men gather around and buzz nauseating flat- tery into the young actor’s ear, Bill takes him aside. If Bill thinks the others aren’t honest, he says, “Boss, the picture was. a stinker! If you listen to those blood- suckers, Ill bawl hell out of you!” Bill further endears himself to his employer by showing him all bad press notices and repeating all adverse comments he hears about him. Working at home, or in a studio dress- ing-reom or on an airplane en route to South America, Bill takes dictation in longhand so that Ty can read it back himself. He also purchases Ty’s shoes and shirts and frequently shops for Annabella. jal great fun, though, is fussing with Ty’s electric trains. Mr. P. was al- ways interested in trains but never had the patience to build them. Bill was always interested in trains but never had the money to build them. Now Bill does the detail work, and Ty is happy to come around and play. “It’s a swell job!” exclaims Bill, “es- pecially since Ty’s married. I once had to go everywhere with him—to the dentist, to the doctor, to the bank. But Anna- bella’s taken over half my duties so I have more time to myself.” Iola Clark is a twenty-four-year-old eyeful who’s fairly new at her job. Trained in high school and business col- lege, and having pushed a pencil for an insurance company and an aluminum company, Miss Clark is now in the em- ploy of Edward G. Robinson. > Three months ago, a friend of the Robinsons, hearing they needed a secre~ tary, drove Iola to their ranch and intro- duced her. After spending three sleep- less nights anticipating the interview, she landed the job right off. Today, Iola is fast becoming a veteran. She works in a cottage in the shadows of the ornate Robinson abode. Since the Warner Brothers studio takes care of Robinson’s fan letters, she handles only radio and personal mail. She’s at her desk from nine in the morning until five in the afternoon. Sometimes, she is not only a secretary, but a nurse, editorial assistant and guide. She takes young Manny Robinson to his father’s broadcasts, helps Mrs. R. in the preparation of her weekly magazine column and escorts Robinson’s visitors, art critics and collectors through the house, pointing out the Van Goghs and Picassos. Despite the infinite and upsetting va- riety, or maybe because of it, Iola loves her work. She loves the things that go with it—the association with a fine man, the people she meets- and the carefully prepared lunches served to her by the family butler. And now, having met five typical Hollywood aides and opened the door on their business lives, do you still want to be a secretary to a star? You prob- ably do. Sure, maybe sometimes it is three kinds of hell. Maybe it’s not confined to anything as sweet and simple as shorthand. But it is a good living on a merry-go-round of thrill and gossip. BUT HERES WHAT HAPPENED... | HEAR TOM \ AND CLAIRE'S ENGAGEMENT 1S OM THE DEFINITELY! BUT YOU CAN'T BLAME TOM. | TOO BAD NOBODY _ | EVER TOLD CLAIRE TO AIRE SEES HER DENTIST... TESTS SHOW THAT MUCH BAD BREATH COMES FROM DECAYING FOOD PARTICLES AND STAGNANT SALIVA AROUND TEETH THAT AREN'T SEE HER DENTIST / CLEANED PROPERLY. | RECOMMEND } it ABOUT HER BREATH COLGATE DENTAL CREAM. ITS SPECIAL | | | vn) oF PENETRATING FOAM REMOVES : Hi | a THESE ODOR-BREEDING DEPOSITS. y i aS AND THAT'S WHY... jigs } I | Ie- a he 1 {I iat ti al ng | ler i ih nd i it is | | if " COLGATE'S COMBATS BAD BREATH ) | Pasiiatiiedcdesesadatenaiadalaaiasiaa RONTIRISOEEENDING! a i «eo MAKES TEETH SPARKLE! | ||/ Say! DON‘TYOU KNow 1 MADE CLAIRE 2 ' 1) i eee as | 11'S LEAP YEAR, TOM?| > SAY VES--AND KEEP BAD BREATH AWAY! | } YOUSHOULD HAVE {| { THAT'S ALL THAT Hi |) : “Colgate’s special pen- ||/ MADE CLAIRE PROPOSE |x: USE COLGATE DENTAL CREAM, | etratingfoam getsinto }||\ To you! TWICE EVERY DAy! y Hl hidden crevices be- || i" i tween your teeth... i ae il helps your toothbrush i , : clean out decaying | || »@..-. foodparticlesand stop H i h the stagnant saliva odors that cause } | much bad breath. And Colgate’s | ‘ I safe polishing agent makes teeth ai size iI, a naturally bright and sparkling! AlI- GIANT &} ah a | d ways use Colgate Dental Cream— ate y it Hy ale regularly and frequently. No other ee ICE Bo MUCH 5 Da | ) ‘ dentifrice is exactly like it.” ss | Fi ) JUNE, 1940 | 79 yi

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New under-arm Cream Deodorant safely Stops Perspiration Does not harm dresses—does not irritate skin. No waiting to dry. Can be used right after shaving. Instantly checks perspiration for 1 to 3 days. Removes odor from perspiration. A pure, white, greaseless, stainless vanishing cream. Arrid has been awarded the Approval Seal of the American Institute of Laundering for being harmless to fabric. CES More than 25 MILLION jars of Arrid have been sold...Try a jar today. ARRID 39¢ a jar AT ALL STORES WHICH SELL TOILET GOODS (Also in 10 cent and 59 cent jars) WAKE UP YOUR LIVER BILE — Without Calomel—And You’ll Jump Out of Bed in the Morning Rarin’ to Go The liver should pour out two pints of liquid bile into your bowels daily. If this bile is not flow- ing freely, your food may not digest. It may just decay in the bowels, Gas bloats up your stomach, You get constipated. You feel sour, sunk and the world looks punk. It takes those good, old Carter’s Little Liver Pills to get these two pints of bile flowing freely to make you feel “up and up.” Amazing in making bile flow freely, Ask for Carter’s Little Liver Pills by name. 10¢ and 25¢ at all drug stores. Stubbornly refuse anything else. NEW ODORLESS* CREAM safely REMOVES HAIR Nair is painless ... not irritating to normal healthy skin...*no sulphide depilatory odor... economical...39¢ a tube at stores or NA from Carter Products, New York. IR 80 I F you've finally tucked away your woolly Brookses and are already pining for their com- fortable casualness, take heart, for here are two brand new summer loves. Both are of pebble-twist cotton and are zephyr-light in spite of their sturdiness. Every smart girl knows that summer is really the season where- in a young man’s fancy turns to thoughts of love, and it would take a mighty stalwart chap to resist you, jaunty and gay in the little striped number above, or allur- ingly feminine in the cardigan, right. Wear the pullover for your gamin moments. He'll think you’re the world’s best sport when the sailboat tips over, and you come up drenched but smiling, knowing your sweater’s color-fast. The figure-hugging cardigan is a co- quette at heart. It’s at home on the beach and even at the country club dance, atop a bright cotton skirt. It tubs beautifully, too, and is a real pick-me-up for any of your dresses when worn jacket-fashion. Instructions for making either or both of these adorable sweaters are yours just for the asking. Fill in the coupon, and we'll send you full details, absolutely free. HBLE THESE COTTONS ARE FUN TO MAKE AND FUN TO WEAR No. 616—You'll go places all summer long in this soft- textured cotton, left. Nautical as a hornpipe, even con- firmed landlubbers are crazy about it. _ Ne. 614 You'll a ribbed cardigan, below, in mouth- watering pastels” and, of course, in dead white as a foil for that tan of yours. ANN WILLS, Modern Screen 149 Madison Avenue, New York, N. Y. Kindly send, at no cost to me: Knitting directions for No. 616 Knitting directions for No. 614 1 enclose a stamped, self-addressed (large) envelope. Check one or both designs and please print name and address plainly. MODERN SCREEN

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SUCCESS WITH A WHOOP! (Continued from page 35) “You are just a butterfly floating on the crest of a wave of idleness! You think you can skim along without doing any work. You'll never, never get any- where!” Burned to a fine cinder, Ann swished right out of class and didn’t go back that afternoon, or any other. Instead she took a walk and the more she walked the madder she got. When she was hitting somewhere around the boiling point, she passed a Los Angeles radio station, KFAC, and the white fire of indignation flared up with an idea. She popped right in and said, “I’m having difficulties. Pve got to have a job.” And the funny thing is—that’s what she got! Not very many thirteen-year-old girls, of course, would stand a chance of walk- ing in, unknown, unhonored and unsung and landing a job in a radio station. But Ann at thirteen was really a veteran actress. “In fact,” chattered Annie be- tween chops, “I was a has-been. I was all washed up at nine. What I’m doing now is really my comeback!” Her father, John Rutherford, alias John Guilberti, was a famous tenor with the Metropolitan Opera Company in New York, before he reformed and became a San Francisco broker. Her mother was a Mansfield, and the pride of her Ken- tucky tribe was a cousin named Richard Mansfield, a pretty fair Shakespearean star, as everybody knows. You see, it was in the blood. Ann herself had toddled away from her toys to play in “Mrs. Wiggs of the Cabbage Patch” with a San Francisco GOOD NEWS FOR HOSTESSES It’s easy and economical to entertain when you have Pepsi-Cola in the house. The handy home carton holds 6 big bottles— and each bottle holds 12 full ounces. _ JUNE, 1940 “PEPSI. PETE? .- WHOLESOME S GRAND TAS T i400 stock company when she was still in kindergarten. She kept up kiddie acting until her front teeth developed yawning gaps. Then she resigned herself to school —until the ancient Phoenicians forced her into poesy, and poesy forced her into public disgrace. Anyway, KFAC put her in a radio thriller called “Nancy and Dick and the Spirit of 76.” With the money she drew, Ann could afford a tutor who wouldn’t fuss about reading her poetry. She was very happy in her radio work, too, be- cause, as I said, Ann would rather talk than—well, maybe not eat, but she does like to talk. (A aah weeks ago, for instance, when her studio sent Ann east on a per- sonal appearance tour, a studio writer said he’d write her something to say on the stage. “Oh, no!” said Ann, “I'll just talk.” “But what about?” inquired the writer. “Oh, lots of things,” said Ann. “That’s easy.” She rattled on through twenty- one states, chattering from theatre stages for twenty minutes at a time and never missing a lick. She never had a script. ,In Washington, where some Southern senators entertained her at lunch in the Capitol, Senator Radcliffe made the mis- take of saying, “And now we'll hear from Miss Rutherford.” It was very edifying, they say, to see Solons “Cotton Hd” Smith, Radcliffe, Byrnes, Speaker Bank- head and all, sitting around just listen- ing for a change—and to a twenty-year- old Hollywood girl at that. But there isn’t much even a senator can do when Ann gets going. Of course, talking is the main idea in front of a microphone. So Ann was a natural at KFAC. The Spirit of "76 was absorbing but not enough to keep Ann out of multiple mischief. Around the broadcasting studio she was soon running in and out of every program in the place, being a baby’s gurgle one minute and an eerie scream the next. One day an agent, John Lancaster, who is Ann’s manager today, dropped by and heard a particularly blood-curdling yelp, saw the fair face that uttered it and was im- pressed. He dashed in to the manager. “I want to meet the girl who does all the screaming around here,” he de- manded. That was Annie. Well—before she knew it Ann was making a screen test at the old Fox studios, in a cast-off dress of Janet Gay- nor’s. All of which shows you can some- times crack Hollywood by yelling loudly enough. Not that the Fox test did it for Ann, for it really happened later at Republic. Ann did a little discreet fib- bing about her age. You can work only six hours a day by California law when you're sixteen, and Ann wanted to work. She said she was eighteen, changed her name from Mary to Ann and became the horse-opera queen of San Fernando Val- ley, with Gene Autry and John Wayne and Republic’s crop of cinema cowpokes. What Annie did at Republic was typ- ically Rutherford. She arose at the crack of dawn and worked far into the night. She made thirteen pictures in nine cB) Wy nee \2 F yor THE PEPSI-COLA COPS Re GACH BOTTLE yurtt OUNCES!" . eae

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She’s a young lady in a rush—to get something done. “On the set,” Ann confessed; “they’re calling me ‘the little eavesdropper.’ That’s because I’m always snooping around lis- tening to Greer Garson and Laurence Olivier’s conversation. I know it isn’t nice, but I’ve simply got to develop an English accent!” GEE keeps a hunk of plastolene for modeling in her otherwise dainty studio dressing-room, “just to keep busy” in the rare minutes she has away from the set. She hauls her knitting bag all over the lot. Wherever she goes, needles are clicking like a turnstile. She’s always whipping up a poem, dipping into a book or doing something between takes. At home, in the duplex flat where Ann lives with her mother, grandmother and older sister, Judith, restless Annie keeps buzzing busily around like a jitterbug bee. She practices on her baby grand piano, or gives French a whirl with her lingaphone records. She furiously clat- ters out long letters to her friends on the typewriter. She polishes up her col- lection of toby-jugs, punches away at a needlework chair cover, starts changing the furniture around or fusses around her cages of canaries and parakeets. If she can’t think of anything better to do, Ann drags a big bass drum and set of traps out of the corner. The drum has a lovely yellow moon painted on the head, and when Ann turns a switch the moon lights up. Then she beats out time to radio dance bands, which is pretty tough on the family and the neighbors. Usually, however, Ann has far more to do than rattle out riffs. She makes practically all her own clothes, except shoes (which are her pet extravagance) and the crazy lapel jewelry (which is her weakness). She sketches her own designs, snips a pattern and sews it into a quick Rutherford creation. If she sees a particularly tricky fashion at the studio, Ann’s not averse to a little piracy. She can copy like a cat and hum a dress out of her sewing machine or a hat off her frames between dinner and bedtime. When the studio packed her away on personal appearances, Ann had just two hours to get ready. There was hardly time to pack, let alone shop. Ann didn’t have a thing to wear in the cocktail hat department. So she tossed her needles, thread, scissors and hat frames into her traveling bag. Before she’d crossed the desert, two bonnets, a blue with a bustle and a red velvet with a fox head, hung on her clothes hooks. “I wore them all the time, too,” asserted Annie. “I’ve got pictures to prove it. What’s more, they looked darn cute! Everybody said so!” That’s another nice thing about Ann. If she thinks she’s good, she doesn’t keep it a secret. For instance, Ann admits she makes just about the best potato pan- cakes and sausage in town when she entertains her friends at Sunday morning breakfast. She states flatly that she doesn’t go to beauty parlors because they’re uncomfortable, and she can shampoo rings around the best of ’em, anyway. She'll tell you about the needle- point footstool she has just refinished and admit it’s a masterpiece. And Ann’s very frank about why she makes her own clothes. “I know what I want,” ex- plained Annie, “but I can shop all day and never find it. So I make it myself!” A young lady with a mind of her own will get along almost anywhere and is bound to win friends and influence peo- ple. Nobody at her studio, where she’s a spoiled pet, wants Annie to change. But they do admit that, when they got her, they had no idea what they were getting. M-G-M first pulled Annie to Culver City for a rather sentimental, sticky short subject, “Annie Laurie.” Ann, they thought, was exactly the sweet, wistful type to picturize the old Scotch ballad. They have reaped some headaches in- stead of haunting heart throbs via Annie incarnate, but things have always turned out for the best, so everybody’s satisfied. For instance, maybe you didn’t know - that Mickey Rooney wasn’t the original choice for Andy Hardy. The Hardys started out as a little picture called “A Family Affair,’ and Ann Rutherford drew the part of Polly. Frankie Thomas, not Mickey Rooney, was then tagged for the boy role, but Frankie turned out to be too tall for Ann, and Ann was already signed up. There was quite a production impasse then and, of course, Ann was the joker. Mickey was dragged in to match up and—well—you know what happened. To say it was a happy head- ache is an understatement. Just a few weeks ago when “Pride and Prejudice” was being cast, Ann was | picked to play Jane. She didn’t know about it, of course, being en route home from the East on a train. All her Holly- wood wire had said was “Hurry back. Part in ‘Pride and Prejudice’” But Annie bought the Jane Austen classic - | and buried herself in it from one dining- car gong to another—in spite of the diverting birthday cake Mickey Rooney had sent her which tinkled “Happy Birthday to You” every time the train jolted. What happened was that Ann fell madly in love with the part of Lydia, who was as different from Jane as day and night. Jane was sweet and goody- goody; Lydia was something of an eighteenth century terror. Ann didn’t want to be goody-goody. Terror stuff was what she craved for a change. fe was a little disconcerting to the big shots to face an angry Rutherford, who rushed off the train to the front office, stamped her French heels and argued, “If Mickey Rooney can drink and smoke and swear like a trooper in ‘Boys’ Town’ and do all those shocking things—why can’t I be a little shocking for a change?” They didn’t have an answer to that, so Ann is playing the shocking Lydia. Her studio bosses are not exactly shocked, but they are surprised. It looks like a perfect job of casting—so again everybody’s happy. From all of this, Ann Rutherford hase collected a cheery little creed about her- UP-TO-DATE ADDRESS LIST! Send today for the newly revised list of Hollywood stars with their correct studio addresses. It is a convenient size to handle or keep in a scrap-book. To re- ceive a list, all you have to do is write to us and ask for it, enclosing a large, self-addressed and stamped envelope. Don't forget that last item, as no request can be complied with otherwise. Please send requests to Information Desk, Mod- ern Screen, 149 Madison Ave., New York, N. Y. MODERN SCREEN |

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i self and fortunes—that everything hap- pens for the best. “There’s a law of com- pensation in Hollywood and everywhere else,” declared Ann, shaking her fork for emphasis. “You can’t kid me. I know there is.” Well, I’d never try to kid Annie, let alone contradict her. It would be much too long and harrowing a process, I’m sure, and such a strain on the eardrums! I just nodded, and Ann explained. She was called up, for instance, to do a punkish part in “The Bride Wore Red” with Joan Crawford, some time ago. Ann didn’t like it, so she kicked like a mule. But she gave in finally when Producer Joe Mankiewicz appealed to her better nature. Result—when Joe later made “A Christmas Carol” he spotted Annie in a grand part. She was all set last year to do “Winter Carnival” on a loan-out to Walter Wan- ger, when a Hardy Family picture came up. M-G-M yanked her right back home, and Ann was just crushed. But “Winter Carnival” turned out to be a pretty dis- mal turkey at the box-office, and the Hardy picture was a wow. Last September, when the entire Hardy Family was set to sail for England on ‘a two months’ vacation tour, war sud- denly smashed the trip into a thousand pieces. Ann could have died with dis- appointment. But a week later she found herself on the train hurrying East to be queen of South Carolina’s Cotton Car- nival. She had more fun than she could ever have had abroad, and found a $1,000 bonus waiting for her when she got back to Hollywood! Annie swears she fully intended to plunk her thousand into a government bond, as she does all the other grands she accumulates with her salary checks. But, with the draft neatly folded in her purse, she happened to walk by a fur store window. “And there,” explained Annie, “was the most darling mink coat!” Three guesses where the thousand went, as a down payment! However, Ann Rutherford considers the mink coat a solid investment. After all, ambition is okay and idle hands are the devil’s playthings and all that, but there’s no doubt about it—in the hectic life she leads, her social career is suffer- ing. Maybe, thinks Ann, the mink will help to get her back into the good graces of her boy friends. OR instance, the other night one of her swains planned a dinner party in Ann’s honor and had the soup, entrée and favors all set. Then a couple of hours before the event, Ann found she had to work at the studio. “You'll just have to give me another dinner party,” said Ann over the phone to her dismayed host, “I have to work tonight.” That sort of thing, says Ann, doesn’t pile up votes in a popularity contest. She herself whipped up a gala birthday event at the Cocoanut Grove for sixteen couples, then she got so excited about going on her trip she forgot to call it off. When she tried to wire the sad news from the East, she didn’t have enough addresses. Half the party showed up—and there wasn’t any Ann or any party! That sort of thing doesn’t help, either, says Ann. As a matter of fact, Ann Rutherford claims a special talent for getting into jams with the boy friends. In Wash- ington, D. C., the Sigma Nus made her their official sweetheart. Then in Cin- cinnati the Sigma Alpha Epsilons laid their hearts officially at her feet—and how could she refuse? In a couple of other cities the Sigma Chis, the Alpha Tau Omegas and assorted Greek brother- pine : PLE "100K AT A DIME f” Nill LEI EL TL TRDEEE IR % ‘& ra) S S = Y THIS VALUE FOR “WINES A MONEY-SAVING SMILE” OU can pay more for dentifrices but you simply can’t beat the harmless, re- freshing way Pebeco Tooth Powder cleans your teeth. It leaves them gleaming, spar- kling bright. And those big over-size tins Save you money. They’re the kind of tooth CcomP powder bargains you want today. MOST FOR YOUR MONEY of all well-known brands hoods presented her with jeweled badges and official oaths of undying love. At this point Ann began to get pangs of conscience. She knew her heart wasn’t big enough for everybody. “I thought at first I'd better tell them I was already taken,” sighed Ann, “but the pins were all so pretty! So I decided I’d just as well get a mess of them and be an All- American girl!” But she does hope all the scattered brothers don’t get together and compare notes. Ann still remembers too well a fine fix she got caught in just the other night in Hollywood. Somebody sent her sister, Judy, a corsage of tiger orchids. Judy had had a spat with a certain suitor, so she supposed he did it. But the boy in question showed up later, toting gar- denias. Ann was going out, so she thought she’d just wear the tiger orchids. That was swell—except where she went she ran into the boy who had sent them to sister Judy! Things like that, Ann says, are why she hasn’t a steady beau, although Rand Brooks, Edward Arnold, Jr., Donald Kahn and a good half dozen other local Lotharios are doing their best about remedying that situation. But nobody has a chance, Ann states firmly, until three or four years anyway. “Tm not even shopping now,” smiled Annie. “I’m just not in the marriage market.” But she’s planning to build a house (yep, drawing the plans herself.) When she does that she’s going to paint a blue gate and hang it out in front, like the Pennsylvania Mennonites ‘do when they have a marriageable daughter. “Then,” grinned Ann Rutherford, “when the right man comes along, I’m going to settle down and have five children!” And from the way she does everything else, I wouldn’t be surprised. ACTUAL SiZES 83 |

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Then, “You won’t do!” he barked. “You’re not the type!” Too taken aback to protest, too crushed to ask what type she was supposed to be, the young actress just sat there and looked at him with eyes that would have melted a monster. And when the studio officials insisted she be used, type or no type, the director walked out! Miss Morison returned to her hotel and !:ad a good cry. Someta director was called in. He, too, looked her over as if she were a specimen from the zoo. “You're not the type!” he bawled. “Too ladylike! This girl you’re to portray,’ he added with brutal frankness, “is a...” (The rest is deleted—if we didn’t the editor would.) “A—a—what?” gasped Miss Morison. “A hellion! A tramp! A hussy!” the di- rector explained. “She’s Kitty Kelly, wife of Machine Gun Kelly, and she’s a _toughie! You,” he added condescend- ingly, “couldn’t possibly play a charac- ter like that. You’re too much of a lady!” ; “Oh, yes, I can!” retorted Patricia, gathering courage, for she hadn’t come 3,000 miles to be told she couldn’t act! “IT can play anybody!” “H’m!” For the first time the director looked interested. Her spunk seemed to please him. “Well, T’ll take a chance, but you'll have to bleach your hair and pad. This girl is bigger than you!” It was then that the slim, blue-eyed girl who had longed to play “Victoria Regina” just once, gained the reputation of getting what she wanted without screaming, kicking or clawing. “Tl be glad to pad,” she told him quietly, “but I couldn’t bleach my hair. Til wear a wig!” “The tests,” says Miss Morison in tell- ing the story, “were terrible! I knew they would be. So I suggested they let me try without the wig and the padding. 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SF ayo ez Miss Morison shrugged her pretty shoulders. “What’s the use of fighting? - It doesn’t get you anywhere!” She dim- pled. “I let them do it their way, and if it doesn’t turn out right, I suggest my way. Only”—and she looked as demure as a kitten with cream on its whiskers, “I always let the director think he sug- gested it!” The net result was that, when Para- mount officials saw the first rushes of Kitty Kelly in J. Edgar Hoover’s “Per- sons in Hiding,” they sat up and rubbed their eyes. The Kitty Kelly they saw was beautiful. Poverty-stricken, she was young and wanted, so passionately, to have the things that every young girl longs for—clothes, furs, jewels and a car. She wanted to go places and see things. Because she had never had a chance and knew no better, she set out to get them in her own way. Not slangy, not gum-chewing, yet not quite the lady, she made Machine Gun Kelly, who loved her desperately, the tool of her desires. And she got what she wanted—until the G-Men caught up with her! That was the Kitty Kelly Patricia Morison portrayed. And when the pro- ducers had recovered from their surprise they ordered her groomed for stardom. But it wasn’t until she had made two more pictures, “I’m From Missouri” with Bob Burns and “The Magnificent Fraud” that they put a star in her hair. And today Patricia Morison, who dislikes be- ing called a “glamour girl,” has both her dainty feet firmly planted on the ladder of success. But what of the girl—the real Patricia Morison? What is she like? Is she as exotic, alluring and beautiful as her pictures? The answer is yes! She is really more beautiful than her pictures. She is sweet without being sugary; modest, yet quietly sure of herself; friendly and, once you get past that bar- rier which experience with the public has naturally ‘built up, impulsive and affectionate. Her graciousness is genuine, for it comes from the heart. Perhaps it is because she has never known what it is to live in a hall bedroom, cook on a one-plate gas burner and dodge the landlady. But it is genuine, nevertheless. Like all great or potentially great ac- tresses, she has the knack of expressing herself with slight gestures of the body. Her hands and wrists ‘are exquisitely graceful, and she uses them constantly in describing things or people that espe- cially interest her. She is inherently the actress. By that I mean that when she tells you what somebody else has said, she will draw down the corners of her mouth, lift an eyebrow or change the tone of her voice until you just see the person about whom she is speaking. So poised that she gives the impres- sion of Juno-like calm with the statu- esque beauty of that goddess, it is sur- prising to find, when she stands, that she is not tall at all. HERE is no doubt that her work is her absorbing passion and, when she speaks of it, you can see in the earnest blue eyes, the sensitive mouth, the Pa- tricia Morison of tomorrow—the actress who-is-to-be. Were we a prophet, we would say that within two years Miss Morison will give every great actress on the screen a run for her money. , Born in New York City two months before a crack-pot patriot started the World War by shooting the Archduke Ferdinand, Patricia has the distinction of being the youngest person who sailed for England on the ill-fated Arabic. Her parents, Mr. and Mrs. William Rainey ou your Bray They may tell Yor vt eyou know toot Aa Meet the challen oe ‘As thousands of smart ° with {necto-with- Lust 1 te i e complete, Here 1S th plete, oloring and conditioning € jon famous trium, : now Lus 4 dueang hight for, the YoY 1 youth-like mei gadiant CO of beautifu \ clothe youtse d youth i eek Age! Call yo about yout {nect IS GRAY HAIR “DIGNIFIED” OR DOES IT MEAN Aadbeckrhoe 7 our lost youth d that is Fleart ge oof Heartbreak treatment: y 8 o- with - Lustriu Morison, had come to America in 1905. But when war was declared, they re- turned to their native England to offer their services—Mr. Morison, in the Brit- ish Army; Mrs. Morison, in the British Intelligence Service. Brother Alex, who is about two years younger than Patricia, was born during a Zeppelin raid in war- torn London. Pat, as her family calls her, was four when the Morisons again saw the Statue of Liberty in New York harbor. From that day on, until she came to Hollywood eighteen months ago, she lived in New York—first, as a school girl, then as an art student, a successful dress designer and, finally, as a musical comedy star. She and her brother, who are great pals, recently returned from a three weeks sojourn in Mexico City where Alex was starred as a singer at “El Patio,” the capital’s swankiest night club. Alex is as dark as his sister is fair for although she is, strictly speaking, a brunette, Miss Morison has the delicate white skin and blue eyes of a blonde. Probably her Irish and Scotch ancestry accounts for the combination. Like all beautiful and successful girls, Pat has her share of beaux. She loves parties. She loves to dine and dance. When she is working on a picture, she never goes out socially. She has to get up at 5:30 in order to be at the studio at 7:30 and, by the time the day is over, she is too exhausted to do anything but go to bed. She even has dinner in bed. Then she studies her lines for the next day and, by ten o’clock, lights are out. During rests between pictures, Miss Morison may be seen dancing the rhumba at a little Spanish restaurant (she calls it a “joint”) in old Los Angeles. She adores things Spanish and Mexican, in- cluding bull fights, which she found, to Age, cleverly! do! 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She was wearing one of the brace- lets, a brilliant trinket of beaten silver and semi-precious stones. She adores clothes, especially evening clothes and hostess gowns. Except for one or two dance frocks designed for | doing the rhumba, she goes in for trains on her formal gowns. She also has an ermine wrap which she wears to Ciro’s or to premieres, because she feels that the public expects its stars to live up to their reputations for glamour. But it is in her own home that she really goes in for the outlandish and exotic. “I think,’ she says, “that’s one time you can go completely wild.” ER costume for the interview was not wild but very smart and sophis- ticated. It consisted of an embroidered linen, Gibson girl blouse with long sleeves gathered at the wrists; black and white checked taffeta hostess pajamas very wide at the hems; tiny red slippers and a red sash at her waist. A red turban just barely revealed her dark hair, parted in the middle and drawn severely down on either side to a bun at her neck. Her only make-up was a slight shading of the eyelids and a little lip rouge the color of the sash and turban. Now that she is acquainted, she has not found Hollywood cold. She says that the more established stars have been very sweet and helpful. She frankly ad- mits that she would like to meet Garbo, whom she adores. Her ambition is to reach the dramatic heights of the Swed- ish star. She says, “Think of anyone’s taking a worn-out part like Camille and breathing life into it as she did! That’s acting!” Another of her idols is Irene Dunne. Asked if she had any thoughts of mar- riage, Miss Morison shook her dark head. “I couldn’t combine the two,” she says simply. “Some people can, but I know I could not! Acting takes too much out of me!” Her stand on this point, we happen to know, has caused many a male to despair. Of the four roles she has played, Miss Morison liked the part of Claire in “The Magnificent Fraud” the best. “My lashes,” she says, “were that long, and I had the most gorgeous clothes! I really didn’t know myself when the make-up experts got through with me!” She never makes up herself, Miss Morison said, except for her mouth, which she paints on with a brush, and which she makes fuller and more lus- cious than her natural one. Picture make-up, she explains, is so entirely different from that of the stage. The grease paint must be smoothed in, “not just slapped on as we do on the stage.” The powder must be pounded in almost like a massage, and false eyelashes added to give that dewy look to the eyes. The process takes a full hour and cannot be hurried. Tests, Miss Morison says, are more exhausting than actual work on a pic- ture. She never goes to see her rushes, it makes her too nervous. “When I first came to Hollywood,” she said, “everyone told me, “You must see your rushes so you can see your mistakes and learn what not to do, But after watching the first day’s rushes I gave up!” Asked how she came to select the stage for a career, Miss Morison said that she had been in an agent’s office to pick up her father’s play, “Court Martial,” which the producers felt was too war-like for a peaceful era. “The agent kept staring at me so, that I finally snapped out, ‘Why do you stare at me! I’m not an actress!’” “No?” he retorted coolly. “Then you should be!” Two weeks later the 16-year-old art student had resigned from her classes and entered a dramatic school. And that, my friends, is how Patricia Morison came to be an actress! Boy finally meets girl in Mickey Rooney's latest, “Andy Hardy Meets A Debu- tante.'' But it's definitely not a love at first sight affair. Bill Powell's cute frau, Diana Lewis, is the hard- to-get lassie, and the laughs come as fast and fu- riously as do Andy's rebuffs. MODERN SCREEN

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\ THEY SELL STARS (Continued from page 51) EE a film test if you will go to Hollywood to make it. (All expenses paid.) You arrive, not knowing a soul. But five minutes after the bellhop sets down your bag in the hotel room, the phone starts ringing. Agents are calling, asking to represent you. (They have ways of find- ing out about new arrivals.) If you are smart, you will sign with one—ajfter learning from the Screen Actors Guild which agents are in good standing. If none call, you will be smart to look up one. If you have Broadway experience, you stand a chance of getting one. You take your film test. Studio A doesn’t think much of your screen pos- sibilities. To your dismay, your agent doesn’t put up any argument. He lets them drop your option—thud! But five minutes after that bad news, he lets you in on a secret: Studio A already has more young players than it can use. If they had signed you, you would have been lost in the crowd. But Studio B ‘could use someone like you. So he takes your test over to Studio B. Know- ing what they need, he knows exactly what to say about you to interest them. Studio B, as a result, offers you a con- tract starting at, say, $150 a week. Your temptation is to sign it before they can change their minds. Your agent makes you wait while he reads it with a legal eye—to be sure that you will get as much out of the deal as the studio will. He will want to ask for a clause (which he may not be able to get), allowing you to do radio work on the side. He will think of other clauses that wouldn’t have entered your mind. Only when he’s sure that the contract can’t be improved upon will he let you sign. S° you report to Studio B. It is im- portant you make an impression on everyone you meet. You don’t know Hollywood as an agent does. He gives you tips on how to make a favorable impression. He tells you where to live, what kind of car to drive, what kind of clothes to wear. : John Garfield’s agent threw fits every - time he saw the ancient wreck that John first drove. “I’m trying to sell you as a Broadway success,” he would wail. “What are you trying to do—ruin us both?” Champion Athlete Herman Brix de- cided to have a try at the movies. By himself, he managed to get thirty-four bit parts. But they weren’t leading any- where, so he looked up an agent— Mitchell Gertz. Astute Mr. Gertz changed “Herman Brix” to “Bruce Ben- nett,” lightened the Brix hair, sent him to a voice coach to lower his voice, then took him around to studios. He made an impression he had never made before. M-G-M and Columbia fought over him. Columbia won—and has starring plans for him. If you can’t afford a new car, new clothes or a new voice, your agent will loan you the money. That makes you obligated to do things for him. But it also makes him obligated’ to do things for you—if only to get his money back, out of your future earnings. Agents aren’t gamblers. They are busi- hess men. When they put time and money into a project, they do everything possible to protect their investment. They coach you on your publicity. They ar- range with other agents to have you meet the right people. They watch your morals, your bills and your tendency to t JUNE, 1940 X POROUS AUTOMATIC COMPACT, PATENTED © Holds 10 DAY SUPPLY of Your Favorite Powder CHARLES E. ZIMMERMAN Beauty Expert, Inventor and manufacturer off JUVA TEX POROUS} 4 AUTOMATIC COM- PACT PATENTED JUVA-TE POROUS AUTOMATIC COMPACTS, Patented j; Utility Porous e Automatic ‘Compact,Pat 10c Seal Porous Automatic i *Compact,Pat 25c } ~ Velour Porous G Batomaticr ompact,Pat 25c EX Seal Bath Porous j KS {| Automatic BUBBLE FOAM POR- OUS POWDER PUFFS Patented Twin Porous ‘ Powder Pufs Pat 2 for Sc Big Sister Porous Powder A Puff. 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For the first @ No Muss on Your Dress or in your Purse @ Guaranteed Safe for the most delicate skin by Lloyds of London Poliey No 9088 @® FILL—TAP—APPLY EASY TO WASH—YOU'LL USE IT FOR MANY MONTHS JUVA-TEX is absolutely san- itary Washable Good As New A simple quick rinsing makes your JUVA-TEX just likenew! POWDER FILTERS THROUGH MILLIONS OF TINY AIR CELLS If you are unable to buy Juva-Tex at your Drug, Department or Variety Store—Mail this coupon with your order, for Free Gift Copyright 1940,Chas.E. Zimmerman,Chicago Trade Mark Reg. Fully protected under WV Patent Nos. RE. 21,399-1,597,602 1,823,797 Cy eee ee te yy | a CHAS. E. ZIMMERMAN 225 N WABASH AVE., DEPT.MS540,CHICAGO, ILLINOIS I enclose [_]10c for one JUVA-TEX Utility Porous Automatic Compact, Patented Tenclose[_]25c for one JUVA TEX Seal Porous Automatic Compact, Patented Name. Address. Included Free With Every JUVA-TEX in a variety of colors to match your 5 Dealers Name. accessories eye) Here is name of dealer unable to supply JUVA TEX. Please send two FREE JUVA.TEX Twin Porous Powder Puffs.Pat. (Free offer with order only.) a o (] ] ] O a City eee State. ] I (] (] i] This Offer Good in U-s.A; Only. ee ee ee go conceited, as much as they watch your roles, They can’t pick your roles for you when you are a small-salaried beginner. You are at the mercy of casting direc- tors. But if a reasonable period of time elapses, and you are still playing parts that are all alike, your agent can do something about it—under cover. He looks over scripts at other studios until he finds a part that would give you a chance, then drops a hint that you can be borrowed dirt-cheap from Studio B, which doesn’t appreciate your possibili- ties. So Studio C borrows you. You at- tract more attention in the role than ever before. That opens Studio B’s eyes. You start getting better breaks. (As Bette Davis did at Warners, after she be- came a sensation in “Of Human Bond- age,” on loan-out to RKO.) Suppose you click in a big way—start drawing people to theatres by the mil- lions. Your contract states that, at this particular date, your salary is to be $350 a week (Robert Taylor’s approximate salary when the tidal wave of popu- larity struck.) Obviously, you deserve more; and the studio wants to keep you happy. But before the studio rewrites your contract, it wants to be sure your popularity is going to last. So your agent sells this idea: After every picture, you will receive a large bonus—to be de- posited in some bank in your name, with the studio holding the bank book. If you are a good boy or a good girl, the studio promises to turn over the bank book to you after two years, or three. If you get mixed up in a scandal, or do anything else to jeopardize your value to the studio, you will never see the money. That’s fair to you, and it’s fair to the studio. If your popularity holds, you will get a new contract. Your agent will see to that—at the right psychological moment. Which he is better equipped to recognize than an actor deafened by press agents shouting his name. Suppose you have objections to a certain role. (You aren’t entitled to ob- jections, by the way, until you have a reputation.) You don’t want to do it. Immediately, the studio charges you with being unreasonable. Like a defendant 87

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Let your husband run his thumb on this Geneva Forge knife /} then tell him it only cost {() (e Here’s amazing news about kitchen knives. Geneva Forge now makes extra-hard Stainless Steel Knives, with imported Cocobolo handles, on - staining — at dime store prices! Friend husband will think you’re the world’s best shopper. Just look for the Geneva Forge emblem with stars on the blade. At dime and hardware stores. Geneva stainless steel blades are furnace-hardened and drawn-tem- pered. Geneva Cocobolo handles are specially processed to prevent “staining”. Paring knives are 10cto 25c. Butchersand slicers 25cto 50c. GENEVA FORGE, INC. Sales Offices: 1949 N. Cicero Ave., Chicago | j AT ALL 10c AND HARDWARE STORES And let MINER'S LIQUID ~ MAKE-UP give your bare legs the same velvety attract- | iveness it does to face, neck and arms Try the new or any of the 4 other shades o MINERS aqguid MAKE-UP 25¢ & S0¢ at cosmetic counters; trial size at 10¢ stores FREE Generous Sample Send coupon and 3¢ stamp = MINER'S 12 E 12th St.Dept.M-60,New York,NY 5 I enclose 3¢ stamp to cover mailing cost Send me = = 2OIGLO0 generous sample of Miner's Liquid Make-up FREE! NAY Ce eed cS EEE: Address in court, you can’t argue your case half as well as someone else, trained in argu- ment. In this case, an agent. Once you become a star, it pays to in- sist on a high standard of roles—or to have someone who can insist for you. The long careers of Ronald Colman, Gary Cooper, Greta Garbo—to mention only a few—prove that. Greta, in particular, owes a large part of her success to her agent. It was allegedly Harry Edington who made her a woman of mystery. If, suddenly, you find yourself without any picture work ahead, an agent can do something about that, too. A player has to be in front of the public to com- mand attention; “out of sight, out of mind” is no truer anywhere than in show business. If you are a movie “name,” your agent can find you radio work, provided your contract permits it. (Claire Trevor’s screen stock soared again, after a suc- cessful spell on the radio.) Or he can arrange a personal appearance tour, which is grueling work, but it will re- mind Hollywood that crowds will still pay to see you. (Witness Mae West’s record- breaking personal appearance tour, after she was called “box-office poison.”) Or he can market your services in a play. (Lon Chaney, Jr., was stony broke and hadn’t eaten for two days when his agent turned up with a chance for him to try out for a role in the play, “Of Mice and Men.” His hit in the play led to his playing the same role in the picture, and now he is on his way upward.) [EF its the servants’ day off, and you need a suit that’s at the tailor’s, and all three cars are out, you can always eall your agent; he’ll see that your suit is delivered, if he has to deliver it him- self. If you want to buy some property, but are afraid of paying twice its value because you are a movie star, your agent ean tell you what it’s worth—and ar- range for a proxy buyer. If you are The Shopgirl’s Delight and your wife is going to have a baby, your agent may be upset but he’ll know of a good obstetrician. If there’s anyone you want to meet, your agent can arrange it, if anyone can. There is no limit to the things that an agent can—and frequently will—do for a client. Your agent may even want to marry Vivid, hand-appli- qued flowers set off the whiteness of Nan Grey's so- prano crepe dress. Nan, who's fea- tured in "Sandy Is A Lady,’ wears white accessories —the gloves and pumps of suede, and the novel tur- ban of angora felt trimmed with soft angora yarn. you. Leland Hayward married Margaret Sullavan. Walter Kane married Lynn Bari. Phil Berg married Leila Hyams. Victor Orsatti married June Lang. Nat Wolfe is about to marry Edna Best. All of this in addition to selling your talent. And all for a tenth of what he helps you earn. However, an agent with a number of high-priced clients can make more money than any star. (As a gag, Carole Lombard once “framed” Myron Selznick, so that he signed a contract giv- ing her ten per cent of all his earnings, and great was the Selznick confusion.) That little matter of ten per cent was once a matter of general practice, rather than law. Now the Screen Actors Guild, which licenses all actors’ agents (under a franchise from the California State Labor Commission), has made it impossible for any agent to get more than ten per cent. In the old days, there were occasional agents who would bleed hapless clients for a twenty or thirty per cent fee. But the racketeers are rapidly being forced out of business. No agent, for example, can fail to lift a finger for a client and still collect a commission. Every contract now provides that if an agent doesn’t ob- tain eighteen days’ work for a client over any four-month period, the contract is automatically cancelled. There is also a monthly listing of agents in good stand- ing with the Screen Actors Guild, and any agent who wants to stay in business is going to make a point of remaining on that list. Actors like to say: “You can divorce your wife, but you can never get rid of your agent.” This isn’t strictly true. If you feel that another agent could do more for you than the one you have, all you have to do to get rid of your present agent is to pay him a year’s commission in advance. Actors, particularly the high-salaried ones, have a tendency to complain about the ten per cent they must pay their agents. But the fact still remains that they wouldn’t be getting those high salaries if they didn’t have agents. As one of the boys says: “The stories behind the success stories of Hollywood are usually untold, because agents don’t care who gets the credit for a player’s success, so long as they get the cash represented by a hard-earned ten per cent.” That’s all the glory they want. MODERN SCREEN

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A DOLLAR FOR YOUR THOUGHTS (Continued from page 15) should stick to facts for that reason. However, when a studio sees fit to revise a biography, some announcement should be made to that effect. Anyway, the picture is worth seeing more than once, and the revision makes a better story than would the authentic version and leaves memories of Don Ameche’s fine performance. However, one regrets that Mr. Foster’s true and stormy life could not have been changed and made more peaceful and happy with the same ease with which his biography was smoothed out.—Mrs. J. D. Campbell, Henryville, Tenn. A Plea for Individuality Hollywood is supposed to be a land of beauty and charm, where the make-up experts wave magic wands and change ugly ducklings into swans. What these experts don’t seem to grasp is that per- sonality, not make-up, is the real basis - of beauty. They apparently have but one pattern and want to mold all of the stars to fit it. For example: When Ann Sher- idan was working in “B” pictures, she was a lovely charming girl; the experts suddenly decided she had “oomph” and unsuccessfully tried to change her into a second Jean Harlow. Simone Simon was pleasantly plump and sweet-faced in “Girls’ Dormitory” and “Seventh Heav- en;” by the time she progressed to “Love and Hisses,”’ she was thin and angular, a replica of dozens of other Hollywood beauties. Dorothy Lamour in a sarong was lovely and had a personality all her own; a few pictures later, elaborately costumed and coiffured, she was just an- other “glamour girl.” I earnestly hope that Deanna Durbin, Sonja Henie, Linda Darnell and others like them, can man- age to evade the so-called experts and retain that which raises them above the ranks—their individuality—Mrs. Rodney Surgi, Vicksburg, Miss. Sugar-coated Education Thanks to you, Mr. Movie Producer, for giving the movie-going public such inspirational pictures as “Abe Lincoln in Illinois.” You have taken these historical characters down from their dusty shelves in the libraries and breathed life into them. You have not only afforded us pleasure by giving us these entertaining pictures, but you are furnishing us in- Spiration by giving us glimpses into the lives of these famous characters that we would otherwise never have. As mothers and teachers of our chil- dren, we appreciate your helping our children to learn these facts about his- torical figures accurately and entertain- ingly—Mrs. G. P. Fleming, Dallas, Tex. Male Bette Davis After witnessing John Garfield’s fine performance in “Castle on the Hudson,” I made up my mind to write this letter. None of his pictures of late have given him much of a chance to play a big role, such as the type Spencer Tracy plays. Outside of his part in “Four Daughters,” John hasn’t had an opportunity to prove his great acting ability. But, “Castle on the Hudson” gives him another chance to make one stand up and cheer for, as the . BEN 1940 - rough skin...soothes irritated skin... helps pro- DONT COVER UPA POOR COMPLEXION LET THE FAMOUS MEDICATED CREAM THAT’S AIDED THOUSANDS HELP CLEAR UP YOUR COMPLEXION ®@ Don’t let a Poor Complexion cheat you of a lot of life’s fun!...Don’t cover up a skin that’s rough- looking or marred by externally caused blem- ishes! You may be making thosevery flaws worse! Let Medicated Noxzema SkinCream help restore your normal skin beauty. It’s the cream so many nurses rely on for natural complexion loveliness. How it Works... Noxzema helps reduce enlarged pores with its mildly astringent action...softens mote quicker healing of externally caused blem- ishes. Apply Noxzema as a Neght Ey Cream— it’s greaseless! Use it as a protective Powder Base. See if Noxzema can’t help you asit has so many thousands. Get & | : a Jar todayat any drug or depart- | Noxzeme ment store. Trial size, 35¢, 50¢. cers I shall begin by entering my beauty salon. There, trained eyes will in- spect my dull brown hair, note every streak of gray. Soon, a shower of foam will bubble around my head, and I shall shut my eyes, relax every tired nerve in my body. When I open my eyes again, it will be to see what appears to be a new face in the mirror—my face, framed by sparkling, lustrous hair that has the soft appearance of youth. I will straighten my body. My eyes will come alive. I shall walk out, feeling 15 years younger. I shall have had an Eternol Treatment. “YOUR BEAUTY OPERATOR KNOWS BEST” TINT OIL SHAMPOO RECONDITIONS, TINTS, CLEANSES IN ONE SINGLE SIMPLE OPERATION PARAGON DIST. CORP., 8 WEST 32nd STREET, NEW YORK.N. Y. ——- -—- +

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Infor- mation on REE Wrist Watch offer in- cluded with your beau- tiful, brilliant, Zirconring. Send ring size today as this get ac- quainted offer is limited. EMPIRE DIAMOND Co. Dept. 101, Jefferson, lowa RELIEF Dr. Scholl’s KUROTEX, the new velvety-soft, soothing, cushioning foot plaster, quickly relieves pain, stops shoe pressure on Corns, Cal- louses, Bunions and Tender Spots on feet and toes. Prevents blisters from new ortightshoes. Economical! Drug, Shoe, Dept. and 10¢ Stores. DE Scholls (4 kn KUROTEX Go 90 -young gangster who sacrifices himself that his girl may get a new. and better chance at life, he is more compelling than ever before. The scene in this film that impressed me most was the one in which he gazed through the cell bars, watching the guards drag his friend away to his death. That look on his face, so frightened and grave, made me see right into his hbe- wildered young soul. The expressiveness of that boy’s eyes—the meaning he gives every one of his lines! John is the male Bette Davis of Filmdom, the type that puts his whole heart into his per- formances. Wishing him the best of luck, and may an Academy Award fall his way in the iutdre rs Predate Raybould, Royal Oak, ich. Degrading Boyer? Do Americans prefer a great actor or a great lover? In “Mayerling” and “Conquest,” Charles Boyer was a great actor, por- traying characters that mattered with finesse and subtlety. His Napoleon was the dominating, selfish, petty figure de- picted by historians rather than script writers. As Rudolph, his genius illu- minated the dark, secret tragedy of “Mayerling.” But America seems to prefer the Michel of “Love Affair”’—a fascinating gentleman, the epitome of subtle sex- appeal and sophisticated charm, whose mere glance makes women swoon; who flicks away his cigarette ash with incom- parable poise. Apparently, American fans have a perpetual need for some suave Continental to teach them adult methods of love-making. But why must a really great actor be degraded to that role? —Margaret Laurence, Melbourne, Aus- tralia. A Rave for Ingrid Three cheers for my new Swedish fa- vorite! No, I don’t mean Garbo. I mean that grand new personality (plus!) In- grid Bergman. I recently saw her in the swell picture “Intermezzo, a Love Story.” In my opin- ion it is one of the top pictures of the year. But think what it would have been without Ingrid Bergman! It would have been good, yes, but Miss Bergman’s su- perb personality and sheer acting ability are what made it truly outstanding. That look, that voice, that accent, that certain something! Please, Hollywood, leave her as she is. Don’t try to glamorize her. Rouges, paints and dyes can never improve her. She’s too charming as her own natural self. She has what it takes!—Clyde Ruf- fin, Pittsburg, Tex. No Imitations, Please! With no intention of being presumptu- ous, we suggest that in this one instance Hollywood producers restrain their nat- ural impulse to follow up the phe- nomenal success of “Gone With the Wind” with a long series of similar films. At best they could only be shoddy imi- tations of the original and terribly anti- climactic. No doubt, with the musical clink of millions of shekels jingling pleasantly upon the ear, the temptation to cash in on what producers are already terming a “G.W.T.W. cycle” is almost too great to be resisted, but it might be wise not to press their luck too far. Over-doses of the traditional scented South might bring surprising reactions. Hollywood has come remarkably close to producing the perfect picture. Why not let it remain the criterion which the motion picture industry may aspire —not to imitate, but to equal—wWillie Mae Jackson, Columbia, Tenn. WRITE A LETTER— WIN A PRIZE You're in love again—this time with that brand new leading man you saw last night—and you can't find a soul who'll bear with you while you rave. Or maybe you're feeling smug and self- satisfied “cause some nonentity you admired months ago is coming to the top. Perhaps youre harboring a secret grudge against “America’s Sweetheart,” but have kept it dark, feeling yourself a minority of one. Are you a conscientious objector to war pictures, but in your element whoop- ing at a Western? Whatever your views are, were interested in them, so drop us a line, and who knows— you may win a prize! Just one thing —please don’t copy or adapt letters already published. That’s plagiarism and will be prosecuted as such. Send your letter to: A Dollar For Your Thoughts, Modern Screen, 149 Madi- son Ave., New York, N. Y. o Gloria Toei nelenes with her stand-in, 10-year-old sister Lois. The starlet's sweet Seca voice will next be heard in "If | Had My Way." MODERN SCREEN Dette

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VALUE ; nh NOW YOU CAN MAKE YOUR OWN You'll be delighted with this new booklet—it tells how to make inexpensive cold creams, tissue and van- e ishing creams, skin lotion, pore lotion, wave lotion, shampoos, powder, etc.,in your own kitchen with materials purchased at any drug store. Clip this od now, send with only 10¢ and stamped self-addressed envelope for your copy. COSMETIC FORMULAS GLENDALE CALIF TO LIGHTEN YOUR SKIN over 30 MILLION JARS SOLD __ JUNE, 1940 HOW THEY THAWED OUT MADELEINE CARROLL (Continued from page 49) Next she did “Blockade,” the Spanish War story. She didn’t have much.chance to be a warm human being in that, either —going through the picture as a nervous spy. EThen she signed with Paramount. And the miracle happened. She phrases it this way: “I finally en- countered someone willing to let me be more human and natural on the screen— Director E. H. Griffith. “It sounds simple, putting it like that but, actually, it wasn’t. The studio gave me the script of ‘Cafe Society’ to read. I didn’t like the version I saw, and said so to my agent, Bert Allenberg. ‘It won’t be the same script after Ned Griffith gets through with it,’ insisted Bert. “He’s go- ing to direct, and you know his flair for sophisticated comedy.’ So I agreed to do it, on the assurance that Griffith was going to direct. I had liked his ‘Cafe Metropole,’ and felt that the women in it had given the best performances of their careers. “Bert was Griffith’s agent, also. After selling Griffith to me, which wasn’t too difficult, he tackled the really hard job— selling me to Griffith. Players ere usually sold on the basis of past performances. But this case called for another approach. He said to Ned, ‘On the surface, it looks like miscasting, even to think of Made- leine as the girl. She’s European, and accustomed to serious roles. This girl is a New Yorker, and a wisecracker. But I think Madeleine could be a surprise in the role’ I DON’T know if any other argument would have worked. But the fact that I might have surprising possibilities inter- ested Griffith. He enjoys taking players typed in one sort of thing and doing the unexpected with them. “He asked just one question about me: Was I healthy? He doesn’t like people who are forever ailing. Luckily’—she looked around for a piece of wood to knock on—‘T never ail.” Madeleine is reluctant to tell how her screen transformation was performed. She says, “I never did like people who talked about their operations.” But the story should be told. It isn’t every actress who becomes A New Woman mid-way through her career. First of all, weeks before the picture started, Griffith began taking her out to lunch and dinner. He didn’t want to talk about the picture. He wanted Made- leine to talk about herself. He wanted to find out everything he could about her. He wanted to study her, find out what she was like as her natural self— what little idiosyncrasies she had. So that he could have them written into the picture, make them part of the per- sonality of the girl in the story, make the girl natural and real. No other director ever went to that trouble with Madeleine. Every other di- rector had regarded her as a reserved Englishwoman. Griffith thought of her simply as a woman. And, as a result, he learned things about her that no other director probably ever suspected. He discovered, for example, that al- though she was born and brought up in England, her mother was French and her father Irish. “With a combination like that,’ he reasoned, “it’s a cinch you aren’t cold-blooded. There’s no telling -ailiful NAILS AT A MOMENTS NOTICE LONG,TAPERING —Lovely Dont ENVY long, taper- ing, smart nails — have them] Simply covershort, broken, brittle nails with NU-NAILS. NU-NAILS can be worn any length and polished with any desired enamel. 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WH Higky e ° TRADE MARK REG. U.S.7 PAT.Z OFF. Buy a large fube at Be 1D: lOc stores .OLD LEG TROUBLE Easy to use Viscose Method heals many old leg sores caused by leg congestion,varicose veins, swollen legs and injuries or no cost for TRIAL. Describe your trouble and get FREE BOOK. M.D. VISCOSE METHOD COMPANY 140 N. Dearborn Street, Chicago, Illinois KEEP CUTICLE SMOOTH WELL-MANICURED CUTICLE Wrap cotton around the end of an orangewood stick. Saturate with Trimal and apply it to cuti- cle. Watch dead cuticle soften. Wipe it away with a towel. The results will amaze you. On sale a trcerwiee T 4 | M A L 92 what you can’t do.” And he had Scen- arist Virginia Van Upp write some fiery temperament into the script. Griffith is a demon student of femi- nine psychology. He has an eye for little feminine tricks—tricks bordering on the feline. Madeleine knows. She found some of hers in the final script. Up to then, she had been doing things on the screen that were terribly heroic. He set out to make her do, instead, things that were typically feminine. Things other women could imagine themselves doing. Like attracting masculine atten- tion with a little excess stocking ex- posure. He noticed that Madeleine has a hard time subduing her eyes. They will flirt, even during a harmless conversation. He made the girl in the script have the same kind of eyes. — made her resemble Madeleine in many little ways. She could give the impression of having lived. Yet, when she actually met the facts of life, she was invariably startled. Intellectually, she knew a lot about love. But when a man said to her, “What you want is to kiss me,” she didn’t know exactly how to meet such a blunt situation. “You are like that,” Amateur Psycho-Analyst Griffith said to Madeleine. And she had to admit, “You’re right.” He made it cléar that the girl in the script was a thoroughly nice girl, with morals intact; but with some disarm- ingly risque dialogue, he also made it clear that even a nice girl could be a little naughty. Something that had never been suggested by any other character Madeleine had played. Griffith had one more problem: “What can we do to get you out of this habit of being passive in front of the camera?” He tried two remedies—both of which worked. One was to speed up her talk- ing. The other was to insist that she forget the camera. “I don’t want poses,” he told her. “I want personality.” His object was to humanize the girl in the script. But to do that, he also had to make Madeleine look human—for the first time on any screen. “So people had the idea that I was aloof?” comments Madeleine, with a smile. “He took a very fundamental way of breaking down the impression. He deglamorized me. He knocked me right off my publicity-made pedestal. And I loved it.” - Do you remember the scene in which Shirley Ross, her rival in the picture, flung a glassful of wine in the beautiful Carroll face? Madeleine didn’t look pretty when that happened. And she didn’t take it with beautiful poise. She obeyed that human impulse. She seized a seltzer bottle and showered Shirley with it. . And do you remember the scene in which Madeleine had to ride a surf- board behind a speeding launch, hanging onto the ropes for dear life? She didn’t look glamorous doing that, either. Espe- cially when she fell off and was dragged out of the water. She looked just like any woman would look, who had taken a sudden ducking. “The first scene I did for the picture was a love scene,’ Madeleine reveals, amusedly. “Fred MacMurray and I were parked in a roadster at the end of a country lane. He asked, ‘Smoke?’ I said, ‘Yes. He asked, ‘Drink?’ I said, ‘No.’ He asked, ‘Cold?’ I said, “Don’t you men ever think up a new approach?’ The scene built up to Fred’s forcibly kissing me. But the kick of the scene was not that the determined boy finally suc- ceeded in kissing the standoffish girl— but that the girl responded with such ardor that the boy had to come up for air. Audiences weren’t expecting that reaction from her. Though, you must admit, it was a perfectly human reaction. “At the time, Ned Griffith told me he was filming that scene first because Fred dreaded love scenes and liked to get them over with early. He has since ad- mitted he filmed that scene first for my sake, also—to make me prove to myself right at the start that I could show sur- prising warmth.” (Griffith didn’t know about that “The Prisoner of Zenda” kiss that landed on the cutting-room floor.) “Cafe Society” was no epic, but Made- leine had fun making it, and audiences had fun watching it. It did more for her than any so-called epic she had ever made. It set people to wondering if she didn’t have more zing than they sus- pected. “Honeymoon in Bali” carried the gees In a typical cigarette-in-the-side-of-the-mouth pose, Humphrey Bogart discusses the next scene with Ann Sheridan on the “It All Came True” set. MODERN SCREEN aus

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Then Madeleine did “My Son, My Son” —which was a return to heavier roles. Critics reverted to their old habit of looking at her as a feminine decoration. They didn’t look for inner changes,. only outer ones. “Some of them stated”— Madeleine raises her eyebrows eloquent- ly—‘‘that I could stand a mite of dieting. A fine lot of encouragement!” “Safari,” which she did next, found her back with Griffith—but in a different | sort of story. It was more concerned with adventure than with feminine revelations. “Looking back,” Madeleine says now, “T find it difficult to tell how I felt, mak- ing those two pictures. Before starting the first one, I had gone to Europe on vacation. I was on the Atlantic, on the way back, when war was declared. I arrived in Hollywood with the distraught feeling that my world was falling apart and that everything I had cherished was in danger of destruction.” [t was bad enough that her marriage had gone on the rocks. Now the havoc of war threatened everything and every- body she had known in Europe. “I live alone. And, being alone those four months after the war began, I couldn’t keep my mind off what was happening in Europe. And the more I thought, the more afraid I became for the people there whom I loved. As soon as ‘Safari’ was finished I rushed over. I found them just as they had always been. Their meals were a bit shorter, and they had blackouts at night, but their chins were up, and their courage and their ideals were intact. I came back tremen- dously buoyed up by their spirit.” Now she can think about work again. She likes her role of April in ‘North West Mounted Police”’—a role, by the way, that Cecil B. DeMille might not have given her if E. H. Griffith hadn’t proved that she could play warm-hearted women. Her next picture will be “Virginia,” again with her Svengali, Griffith. “When I returned from Europe this time,” Madeleine says, “he and Virginia Van Upp were working on the script. He took me out to lunch and dinner several times, wanted me to tell him everything I had done, and he meant everything. Really, I’m beginning to think of him as a father-confessor. So I talked by the hour, and every so often he would jot down a note. Heaven only knows what Ill find of myself in the script when shooting starts.” Those -blue eyes dance again. “I don’t want my friends abroad to think that I’m the kind of girl who ‘kisses and tells.’ ” Perhaps it is on those grounds that she refuses to divulge the name of the admirer who gave her a lion cub as a pet, to bring back to America. But who- ever he is, he can’t think of her as an iceberg. Icebergs and lion cubs don’t go together. INFORMATION DESK MODERN SCREEN 149 Madison Ave., New York, N. Y. Please send me your newly revised chart listing the heights, ages, birthdays and marriages, ete., of all the important stars. I enclose 5c (stamps or coin) to cover cost of mailing. 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WHY GAMBLE 7 QUEST (the Kotex deodor- ant powder) positively elimi- nates all body and sanitary napkin odors. 94 MOVIE SCOREBOARD (200 pictures rated this month) Turn to our valuable Scoreboard when you're in doubt about what movie to see. The “general rating” is the average rating of our critic and the authoritative newspaper critics all over the country. 4y% means very good; 34k, good; 25, fair: 14%, poor. C denotes that the picture is recommended for children as well as adults. Asterisk shows that only Modern Screen rating is given on film not yet reviewed ee news- papers as we go to press. General Picture Ronicg Abe Lincoln in Illinois(RKO)..........00+ eietstere Ae Adventure in Diamonds (Paramount)...........- Allegheny Uprising (RKO 2 Amazing Mr. Williams, The (Columbia) Rats 500, 8 Another Thin Man (M-G-M Y HoDObAsoObOGOOC oo) /&) Babes in Arms (M-G-M)....-+eceeceeecees ods 8 Balalaika (M-G-M)......-ccceseccreccsecere 6 8 Barricade (20th Century-Fox)......++---seeeeee 0 8 yy 3 2 3 rx) Da Beachcomber, The (Mayflower).....-+.+-+-++- bo8! Beau Geste (Paramount) .........-seseeseeee Cc Beware Spooks (Columbia)..........-2++.+++++ Big Guy, The (Universal).......-2++++eeeeeeeee Ql, Black Friday (Universal).......-.sseeeeceeees 2, *Bill of Divorcement, A (RKO).......--+2e-0- 3 Blondie Brings Up Baby (Columbia)............ 2 Blue Bird, The (20th Century-Fox).........-... Cc 3 Broadway Melody of 1940 (M-G-M).....-.--> 3 Brother Rat and a Baby (Warners).........----- 2 *Buck Benny Rides Again (Paramount).........- Dh k Call a Messenger (Universal)......-+eese+e+ees Qh Calling Philo Vance (Warners).....- Gd000000000 Wa Castle on the Hudson (Warners)........----+00e Wok Cat and the Canary, The (Paramount)...........- Blak Charlie Chan in Panama (20th Century-Fox)...... 2 Charlie McCarthy, Detective (Universal)......... 3 Chasing Trouble (Monogram)......--+++++> ead Child Is Born, A (Warners).....--+eeeececeeeee 3 Chump at Oxford, A (United Artists)........... 21, Cisco Kid and the Lady, The (20th Century-Fox) 2 Congo Maisie (M-G-M)....-----2eesecreeeeee 3 Cowboy From Texas (Republic)..............--. 2 Dancing Co-ed (M-G-M)..2.-ceeeececeseeeees 2, Daytime Wife (20th Century-Fox)............+. 3 Destry Rides Again (Universal)..............+- 3 Disputed Passage (Paramount)............-+-+- 3 Double Alibi (Universal)............--++---06 2, *Dr. Cyclops (Paramount)........---+-+se+sse0e 3 Dr. Ehrlich’s Magic Bullet (Warners)..........-- 314 Drums Along the Mohawk (20th Century-Fox)... 3 Dust Be My Destiny (Warners)......-.-+++ereeee 2, Earl of Chicago, The (M-G-M).. A Elizabeth and Essex (Warners). . Escape, The (20th Century-Fox). Eternally Yours (United Artists). Everything Happens at Night (20th Century- Foes 3 Farmer's Daughter, The (Paramount) - Wor Fast and Furious (M-G-M). .. : Fifth Avenue Girl (RKO). . Fighting 69th, The (Warners) First Love (Universal)... Flying Deuces (RKO). Four Wives (Warners). *Free, Blonde and 21 (20th Century-Fox) Geronimo (Paramount).......... Pete at ienechieeeeetees Golden Boy (Columbia)..............--+2-0e- Gone With the Wind (M-G-M)..............-. Grapes of Wrath, The (20th Century-Fox)........ Great Victor Herbert, The (Paramount). é Green Hell (Universal)..............- Gulliver's Travels (Paramount)........-. ae He Married His Wife (20th Century-Fox)........ High School (20th Century-Fox)........--+++- Cc His Girl Friday (Columbia)..............++-.-- Hollywood Cavalcade (20th Century-Fox)...... Cc Honeymoon Deferred (Universal).............. Q1 House Across the Bay, The (United Artists)...... Housekeeper’s Daughter, The orited Artists). . Hunchback of Notre Dame, The (RKO) Intermezzo, A Love Story (United Artists)....... Invisible Man Returns, The (Universal).......... Invisible Stripes (Warners)......... ee te aeeiecye | Take This Woman (M-G-M)..........++22-02> It's a Date (Universal)............0.eeeeeeeeee 3 Jamaica Inn (Paramount) ...........ese-eeeee Joe and Ethel! Turp Call on the President (M- G-M) Judge Hardy and Son(M-G-M) Kid Nightingale (Warners).......+seeseeeevees Light That Failed, The (Paramount)....... 4 Little Accident (Universal)........... Little Old New York (20th Century-Fox) Lone Wolf Strikes, The (Columbia)..... Llano Kid, The (Paramount)........... Man From Dakota, The (M-G-M)....... akciere Man From Montreal (Universal).....+.+eeeeeee Man Who Wouldn't eee he eth Century Font Marines Fly High, The (RKO). . Marshal of Mesa ‘City (RKO)..... Marx Bros. at the Circus (M- S a) Meet Dr. Christian (RKO). . Mexican Spitfire (RKO). . WWWNH WNWE BWW DWN wWWW)PD i 2 = hO SRO ROR Ww bo WOW DS tate te fete Sw ross SOI bt ott ttt >t 2b bbb bbb tot tototot toot bbb ttt at Picture General Rating Midnight (Paramount). . SOb0a000 eee ave eerste 3x Mikado, The (Universal). . Penornosodooscadac C 3x Millionaire Playboy (RKO)..............--++. lk Miracles For Sale (M-G-M)........++2--ee0: -2* Missing Evidence (Universal).........-+.+++eee 3 Mr. Smith Goes to Washington (Columbia)..... mel. 4K Music in My Heart (Columbia)............---- 2* Mutiny on the Blackhawk (Universal)....--+eee-. 2% My Little Chickadee (Universal)......... weer DAK Nick Carter, Master Detective (M-G-M)........ 3% Night of Nights, The (Paramount).............- Da Ninotchka (M-G-M) 32.2 ooo c ec cc seen cnn bonne 4* No Place To Go (Warners).........--cceeceeee lk Northwest Passage (M-G-M)..........-++++e0e 4 Nurse Edith Cavell (RKO)............... See 4* Of Mice and Men (United Artists).............. 45% Oklahoma Frontier (Universal)..........-...+-. Qe Oklahoma Kid, The (Warners)...........----0- 3% Old Maid, The (Warners).......--2seeeeeee wow Aye On Dress Parade (Warners)........-.--+++ee> C lk One Hour to Live (Universal)............ eee lk $1,000 a Touchdown (Paramount)............-- l* On Your Toes (Warners).....----+-+eecer cease Wak Our Leading Citizen (Paramount).............. Do*& Our Neighbors—The Carters (Paramount)........ Wk Pack Up Your Troubles (20th Century-Fox)...... Dok Pinocchiol (RKO) Mien eters ee -C 4 Pioneers of the Frontier (Columbia). ee Pride of the Blue Grass (Warners). . -2a* Primrose Path, The (RKO)........ lor Quick Millions (20th Century-Fox)............ C lk Raffles (United Artists)............. OerooacncoNen ty What a Life! (Paramount)......... RieteaNercter C 3% When Tomorrow Comes (Universal). . soboneooaauds hk Wizard of Oz, The (M-G-M)........--.--++e C 4* Wolf of New York (Republic).........2eeeeeeee lk Women, The (M-G-M)........----- esare, Sad starete GRE Das Young As You Feel eae Contury Fee) oes oS ~ Young Tom Edison (M-G-M).....+++++e+++--C 49% MODERN SCREEN

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Soothes irritation and quickly stops intense itching. 35c trial bottle proves it, or money back. Ask your druggist today for D. D. D. PRESCRIPTION. | Te MADISON A few steps from the world-famous Boardwalk. Surf- bathing direct from hotels. JEFFERSON Sundecks overlook- ing the cool Atlan- aes All sports. Rates to meet your particular require- ments. INFORMATION DESK (Continued from page 6) the player and get permission. If he grants it, he often sends pictures of him- self as well as a mailing list of his most devoted fans. From this list you form the nucleus of your club. If you have a few enthusiasts in your town, you should nominate a vice-president (you’d, of course, be president), a secretary and a treasurer to take care of the dues, which amount to fifty or seventy-five cents a year. If possible, you should have a newspaper in which to print news of your meetings, any forthcoming contests which you-may think up and news of the star which he will send you from time to time. If you would like to see an example of a fan newspaper, you can obtain a copy of “The Trouper,” a publication dedicated to Ralph Bellamy, by sending ten cents to Jeannette Men- dro, 3134 Elston Avenue, Chicago, Illi- nois. -We wish you all kinds of luck with your undertaking and are sure that it will prove a very rewarding venture. P.S. The dues collected should offset the cost of paper, stencils (for the news- paper), postage, envelopes, occasional telegrams to the star in whose honor the club is formed, etc. Marie Marinelli, Milwaukee, Wis. We are just as interested as you are in clearing Billy Halop’s name. He was probably ill at the time of that personal appear- ance and not in jail, as the malicious gossips would have it. As far as we know, a ticket for speeding is as close to law-breaking as Billy has ever come. He is sensible and well-behaved off- screen, and it is too bad that people con- fuse the real Billy with the obstreper- ous rascal he portrays so well in the movies. Maxine MacKenzie, Alberta, Canada. David Niven is still waiting to see action in the war. He is safe and sound, and we join you in hoping that he will soon be back again. His pictures include: “Without Regret,” 1935; “Rose Marie,’ “Palm Springs,’ “Thank You, Jeeves,” “Dods- worth,” “Beloved Enemy,” “Charge of the Light Brigade,’ 1936; “We Have Our Moments,’ “The Prisoner of Zenda,” “Dinner at the Ritz,” 1937; “Four Men and a Prayer,’ “Three Blind Mice,” “Dawn Patrol,” “Bluebeard’s Eighth Wife,” 1938; “Wuthering Heights,” “Bach- ANSWERS TO QUIZ ON PAGE 6 (a) 11. (b) (b) 112 (@)) (b) 13. (b) (b) 14. (a) (a) 15. (a) (b) 16. (b) (b) 17. (b) (a) 18. (b) (b) 19. (a) (b) 20. (b) Scoring: Multiply the number of correct answers by 5. If your score is 90-100, you can consider yourself a first-class fan; if 80-90, you need some brushing up; if 70-80, watch it, for you're slipping; if below 70, you must forfeit your title of “fan.” But not for long! 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IRUTH ABOUT CORNS What Causes Them— How fo Get Rid of Them Acorn is a mass of dead cells packed into a hard plug (A), by pressure and friction. Its base presses on sensitive nerves (B) causing pain. For quick relief put a Blue-Jay Corn Plaster over the corn. Felt pad (C) relieves pain by removing pressure. Special medication (D) loosens corn so it can be lifted out. You have wonderful re- lief! Then, by avoiding pressure and friction which caused your corns, you can prevent their return. Get Blue-Jay—25c for 6. Same price in Canada. sae BT EJ AV Ace EXPECTING A BABY? Ask your doctor about breast feeding, especially during early weeks ofinfancy. Take his advice onsupplemen- tary feeding, particularly about cleanliness. Regular medical care and advice on nutrition can speed ‘ development and baby’s health. ‘7 wis 2ot TLE G ope : : yet ypP pe SEE YOUR Sx (a : > SAFER because oe easier to clean razor, liquid 25 paste or powder c Baby Touch Hair Remover is the modern way to remove hair from the arms, legs and face. No chem- icals—no odor. Use like a powder puff. Women prefer it because it is so convenient to use, and costs so little. Try it—If you don’t like it better than any other method just return it to us. Your money will be promptly refunded. At drug and department stores or send 25c for one or $1.00 for five of the Baby Touch Pads. Baby Touch Mittens (Two sides) 35c each, 3 for $1.00. BABY TOUCH HAIR REMOVER CO. 4839 Fyler Ave. St. Louis, Mo. @ AN WIN. CONTEST CA i THOUSANDS of DOLLARS OFFERED FREE IN BIG PROCTER & GAMBLE, LIBERTY, MOVIE, MAGAZINE, NEWSPAPER CONTESTS & MANY OTHERS. YOU CAN WIN! — — BUT YOU MUST BE GOOD! WE CAN HELP YOU READ HOW WE'VE HELPED OTHERS: JOIN CONTEST CLUB Learn about contest world, What to enter, Improve chances to win. Get fresh ideas. Valuable contest IDEA GUIDE and LESSONS In From Penna: “t want to thank you for my FIRST CHECK in contests.” Minn: “I won in the IVORY SOAP contest you entered me into.” ($) CONTEST TECHNIQUE included. J Jowo: “| won with your entry in the CRISCO contest.” elor Mother,” “The Real Glory,’ “Eter- nally Yours” and “Raffles,” 1939. Albert Cahill, Bellevue, Ky. Jean Ar- thur’s real name is Gladys Greene, and she was born in New York City on October 17, 1908. Her first ambition was to be a language teacher, but she had a friend who was a model, and the glamour of that profession always rather appealed to her. One day she accompanied the friend to her studio and was stunned to hear the photographer asking her, “Have you ever thought of modeling?” That was the beginning. She modeled for Howard Christy, among others, and was discovered by a movie scout who was seeking new talent in the files of one of the big modeling agencies. Her wistful Nordic beauty was just what the movies needed, he decided, and he whipped her out to the Coast. However, the climb to her present niche in the Hollywood scheme of things was long and arduous, involving years of riding in Westerns and of being the target for bakeries full of custard pies. Incred- ibly shy and unassuming, Jean lives quietly with her husband, Frank Ross, abhorring noise and glitter, and revelling in good books, music and long walks. Mary Pappalardo, Lawrence, Mass. James Corner, who appeared in “Winter Car- nival” and “What a Life,’ may be reached at 252 Overland Road, Green- wich, Conn. Since he is free-lancing, it is safer to address his mail to his home and have it forwarded to him. Joseph Rossotto, Jersey City, N. J. Yes, before his marriage to Ginger Rogers, Lew Ayres was Lola Lane’s husband. Josephine Celebriski, Balston, N.Y. Write to Metro-Goldwyn-Mayer, Culver City, California, for those stills from “Gone With the Wind.” Specify in writing that you prefer pictures of Rhett, and don’t forget to enclose ten cents per still. Frances Hutchins, Baltimore, Md. That picture with Dick Powell was “Shipmates Forever,” produced in 1935. The youth- ful-looking Mr. Powell is going on thirty-six and is the papa of one little © girl, Ellen, who will be two in June. LIVING IN SIN (Continued from page 31) way to becoming Public Favorite Enemy Number One. Those who saw, in 1930, a picture called “The Millionaire,’ with George Arliss, will remember one scene in which a young, excitable salesman confronts the austere Englishman. Against the precise and deliberate pronouncements of Arliss, Cagney’s racy, clipped sportese was uproariously effective. The studio blared its approval. So did all America. The young Mr. Cagney was whisked from bit parts and given roles of length and importance. In 1930 he made three pic- tures; in 1931-32, five; in 1933, five; in 1934, four; in 1935, five; and since then, nine more. It is a terrific schedule for a leading man. Three times in ten years he has found it too terrific. Three times in ten years he has rebelled. SCREEN heroes ten years ago were gentle fellows. Their love-making on the screen was in the best traditions of chivalry and gentility. When, in a pic- ture called “The Public Enemy,” a young player named James Cagney squashed a grapefruit into the face of his sweetheart, a young girl named Mae Clarke, movie history was made. Evidently the wishful thinking of 80,000,000 courteous Amer- icans was gratified by the act, for over- night Cagney’s name became a house- hold word, and his popularity as a star zoomed to the heavens. In “Blonde Crazy,” he kicked Joan Blondell around. END TODAY! Rush nome and address NOW! Receive your copy of “CONTEST TIPS’7 4 9 “CONTEST OF THE MONTH CLUB DETAILS” Ali sent FREE! Enclose 10 cents for Handling and Mailing. In “Taxi,” Loretta Young was the butt of his virile buffeting. In “The Crowd Roars,” Blondell was -again his victim. In “Winner Take All,” Virginia Bruce got her beautiful face slapped. And in “Picture Snatcher,” Alice White took the consequences. It was all very tiresome to Cagney. He was not averse to making a name for himself; nor did he feel that an actor should hide his talents under a hay- maker. But he did believe that six identical acts was overdoing it a bit. He was not slap-happy. This was in 1932, and he was under contract to Warners at $1,400 a week. He threatened to break his contract. He threatened to enter the production end of the business. He threatened to become a physician, like his two older brothers. The contract expired on September 15, 1932. Cagney refused to re-sign under existing circumstances. He was offered contracts by other Hollywood studios, but none of these was sufficiently prom- ising to take him away from the studio that had discovered him. Finally, after two months of bickering and compromise, James Cagney returned to Warners at $1,750 a week for forty weeks a year, plus a bonus of $500 a picture and a percentage cut in profits on each picture. It was, financially, a successful strike. Artistically, a lot remained to be seen. His first picture under his new con- tract was “Hard to Handle,” in which he played a belligerent, temperamental pub- licity promoter. His next fourteen pic- tures were rowdy, blustering shows with Cagney being tough, Cagney being vengeful, Cagney being the same old Cagney. That is, his next fourteen pic- tures, with the exception of “A Midsum- mer Night’s Dream,” were “killer” ones. “A Midsummer Night’s Dream” was Warner’s most colossal failure. Cagney’s next picture was “Frisco Kid.” On the fourth anniversary of his first studio strike—in 1936—he again became satiated with swaggering roles of a pure- ly fictional nature. In thirteen films he had played exactly the same kind of fellow, and he was thoroughly sick of it this time. When Pat O’Brien was billed above him at a theatre showing “Ceiling MODERN SCREEN _

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AN Mii dirce kc TRANSPARENT * ROOFLESS %e PARTIAL We make FALSE TEETH for you BY MAIL to from your mouth-impression! Money -Back $35 | GUARANTEE of Satisfaction. F R E E 1 DAYS’ FREE impression material, direc- . 6 0 TRIAL tions, catalog and information. Write today to U.S.DENTALCO., Dept, 6-104,Chicago, Ill. ————————— “T have tried other remedies but always go back to SALICON as it agrees with me the best. I can’t get along without it.”’ Mrs. L. S., Dorchester, Mass. HEADACHES Relieve Pain with FAST ACTING Salicon Tablets 25c NO ACETANILID NO ACETPHENETIDIN NO OTHER HARSH DRUGS JUNE, 1940 Zero,’ he saw his chance to sue the studio and break a contract he no longer considered just. He walked out on a salary which by now read $4,500 a week. He was not offered a job by other studios now. He was blacklisted. Hollywood did not dare encourage such willfulness in its players. He spent almost a year in retirement, lost approximately $300,000 by not working and was finally starred in a picture called “Great Guy” by a new company, Grand National, at $150,000. “Great Guy” presented James Cagney —to a public that had waited a year to see him—as a hard-hitttng, hot-tem- pered city commissioner. Evidently it was impossible for him to appear on the screen as anything but the original cut-up. After some months he returned to Warners, with still another salary increase and the promise of one of the leading roles in a successful Broadway comedy, “Boy Meets Girl.” Mr. Cagney’s income for the year 1938 was $234,000. “Boy Meets Girl” is not listed anywhere as a box office hit. HUS to “Angels with Dirty Faces” and the roles with which he seems to be saddled for life. At this moment, four years from his second strike, he is cast in a comedy titled “Torrid Zone.” He did not go so far this time as to strike, but he complained about “hysterical” roles until the studio thought it wise to schedule something besides melodrama. Cagney’s belligerency is confined to his screen and studio life, for his routine after working hours is as conventional and unflurried as that of a _ grocer’s clerk. He owns two homes, one in Bev- erly Hills and another, a 250-year-old farmhouse in Martha’s Vineyard, Massa- chusetts. He has been married for twelve years to the girl he met in the chorus of “Pitter Patter.” He owns goats, a dog he bought at the pound and one thoroughbred stallion. He has a boat, but doesn’t indulge in any but the most sedate sailing. Mal de mer and a slight neuritis in his left arm are his only ailments. He displays an amazing modesty when asked about his stage and screen career. How did he happen to get the lead in “Outside Looking In?” “I had the red hair necessary for the part,” he will say. How did he happen to be cast in “The Public Enemy?” “I was the image of Terry Druggan, the beer baron of Chi- cago,” he explains. He still paints, with what accredited critics call “verve.” His disposition for musical entertainment divides itself between Debussy on the serious side and Rodgers and Hart on the light and frivolous. There are no particular aversions in his life unless they are morning calls, silly questions and aggressive dumbbells. And his fond- ness for cookies is as incredible as it is renowned. He hopes some day to retire to the backwoods permanently, but in the meantime there are things to attend to in Hollywood. One of them is this comedy, “Torrid Zone,” which will immediately take him away from “hysterical” roles or put him right back in them. It is possible that Cagney underestimates the entertainment value of his “hysteria.” He is, by far, the public choice in such matters. The nearest thing to a competitor he has ever had is Lee Tracy. However, he seems slightly resigned to his fate at this point, which does not necessarily mean that the Cagney spirit is weak. It just means that he has become accustomed to these anniversaries and besides, who knows what will happen next? You can’t anticipate the behavior of a Cagney. Hollywood Knows How to Wake Up Sleeping Beauty! LINDA DARNELL currently featured in the 20th Century-Fox picture, “STAR DUST” —with make-up by Bud Westmore. Use WESTMORE FOUNDATION CREAM... a film of beauty to smooth over early morning or mid- night pallor! For make-up that gives you the look of wide-awake, alluring vitality! Created by Hol- lywood’s famous make-up men, the Westmotes, you'll find it now in drug and department stores. In 4 glowing skin tones, with powder to blend... large sizes, each, 50¢. 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