Photoplay 1930-08 Vol. 38, No. 3

Page 1

Page 2

They gavea new Vhrill THAT'S WHY THEY GOT THERE....S0 QUICKLY LLIN OR 2S -Ma ie Lighteen years old . . . and she’s risen higher than any other woman in all world history. “Born with wings,” say hard-boiled pilots. The kid’sa‘natural’ when you put her in a plane.” But there’s another young ace with that same story. OLD GOLD hopped off just three years ago. In less than three months it zoomed into favor. In one short year it had climbed to the ceiling. Today, it holds the coast-to-coast record .. . as America’s fastest growing cigarette. For, OLD GOLD, too, is a natural flyer. Made of better tobaccos. Endowed by nature with a new taste-thrill. Free from irritants. More smoke pleasure. Greater throat-ease. OLD GOLD, too, was “born with wings.” | i OLD GOLD CIGARETTES ‘“A®S on 20 Om GON ON ocToBER 24, 1926, the first carload of OLD GOLDS reached the Pacific coast . endless trainloads have been going “Please, Mister, c’n I fly it?” At the crack of dawn, while her family still slept, this 15-year-old 8 kid took forbidden flying lessons. westward ho ever since . . . with nary a ““The Boys’’ used to call her “the cough in a carload. headless pilot.” She couldn't even see over the edge of the cockpit. BETTER TOBACCOS . 2. **NOT £ open on A GCARLOAD?"

Page 3

PHOTOPLAY MAGAZINE FoR AvucustT, 1930 3 6 ° I wonder how serious e 7 a0 Decisively, ‘‘pink tooth brush” docs not 1t really 1S : oe wae nat ie have pyorrhea. But it cer- tainly does mean that your gums have begun Ns tooth brush" is a disquieting trouble to face. For with it come visions of all manner of dread dental diseases that may follow. to soften; that they have become so tender and weak that they bleed at the touch of the brush; and that they need immediate protection if they are to be rescued from the possible attack of more serious troubles! For this purpose thousands of dentists urge massage and brushing with Ipana Tooth Paste. Millions of people have found that Ipana guards their gums while it keeps their teeth spark- ling white, their mouths clean and refreshed! As any dentist will tell you, soft foods are responsible for what amounts today to a veritable plague of gum disorders. For this soft and creamy diet cheats the gums of exercise. The tissues grow weak and flabby, soft spots appear. The gums bleed, at first, ever so slightly. And thus gingivitis, Vincent's disease and pyorrhea get their start. The remedy, your dentist recommends, is massage faithfully done, and to this recommen- dation thousands of dentists add—‘‘withIpana”™ With Ipana and massage, you rouse the languid circulation. You sweep wastes and poisons from the tiny cells—you quickly re- store to your gums their natural strength and hardness! For Ipana contains ziratol, a stimu- lating hemostatic long used by the dental pro- fession in treating gum disorders. A good dentist and a good tooth paste are not luxuries Let Ipana keep your teeth sound and sparkling —let it stimulate your gums to robust vigor. Its ingredients are the finest and costliest; its formula modern and advanced. It may cost a few cents more but its use is sound economy. Stop at your druggist’s today and get a large tube—don’t wait for the sample. To- night, begin the full month's test. See for yourself how much healthier your gums can be, how much whiter your teeth, with Ipana’s double protection. ¥ CHECK “PINK TOOTH BRUSH”’ WITH ANE rE BRISTOL-MYERS CO., Dept. 1-80 ro O T H PA S 1 73 West Street, New York, N.Y. Kindly send me a trial cube of IPANA TOOTH PASTE Enclosed is a two-cent stamp to cover partly the cosc of packing and mailing. Na me . ecdesseveevaccesssseseues Street 5 neds ubiulew avieg Casaa bee chvccvonn Capa City - Tur Seer cuss an ten es b aeame Sth cvcccvecceess When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Page 4

PHOTOPLAY MAGAZINE FOR Aucust, 1930 GOOD TIMES NEWS FROM PARAMOUNT! “FEET FIRST” (Herold Loyd Prod.) “THE TWO BLACK CnoWws~ MORAN axe MACK “ANYBODY'’S WAR™ NTERTAINMENT news that will thrill millions! The — GREATER New Show World is : here! 70 Paramount Pictures sory oROCCO™ CARY Cooren MARX BROTHERS “ANIMAL CRACKERS “THE SPOILERS” GARY COOPER strong! Attuned to these chang- ing times. In key with this fast moving world. @ Under their spell you’re lost to the world. Livy- “MANSLAUGHTER” Claudette Colbert ing the stories. Laughing at some plots. Thrilled to the bone with others. Charmed with the tunes MAURICE CHEVALIER “THE LITTLE CAFE™ in the musicals. Delighted with everything! q It’s a GREATER New Show World now. AND THESE GREAT And Paramount is lead- PARAMOUNT STARS IN GREATER NEW SHOW WORLD PICTURES e Richard Arlen George Bancroft Clara Bow Clive Brook Nancy Carroll Ruth Chatterton Maurice Chevalier Gary Cooper Jack Oakie William Powell Buddy Rogers ing it. Paramount—with 18 years of supremacy. Paramount — with the “HOSE OF THE NANCHO~ GARY COOPER biggest stars. Paramount —with the keenest show- manship minds. Para- mount—with the great- est resources, organiza- tion, and man power in motion pictures. Q Tell your Theatre Manager now you want to see all these 70 GREATER New Show World Pictures! rank the gage ardmountil PARAMOUNT PUBLIX CORPORATION, ADOLPH ZUKOR, PRES., PARAMOUNT BUILDING, NEW YORK it’s A PARAMOUNT PECTURE &8T°S THE BEST SHOW IN TOWN:: Every advertisement in PHOTOPLAY MAGAZINE is guaranteed,

Page 5

PHOTOPLAY The World’s Leading Motion Picture Publication JAMES R. QUIRK, Editor and Publisher Leonard Hall, Managing Editor Vol. XXXVIII No. 3 August, 1930 High-Lights of This Issue Close-Ups and Long-Shots Anna Q. Nilsson Gloria, Connie and The Marquis “‘Hol’ wood She Cookoo”’ Jackie’s Coming Back And Now Something New ““Undie’’ Parade Janet Goes to War! Too Many Guests Beauty, Brains or Luck? James R. Quirk Ruth Waterbury Harry Lang Miriam Hughes A Movie Harriet Parsons Dolores Foster Adele Whitely Fletcher Leonard Hall Elaine Ogden How About Mary and Doug? Will Norma Shearer Retire? Let’s Drop in and Gossip With Old Cal York! She Is the Daughter of a Beauty Robert Cranford Why Nils Did Not Want to Go Back Janet French Would You Like a New Nose? Harry Lang 70 Readers Must Win This Gold! What Garbo Thinks of Hollywood Give Me Moore! Flashing in the Pan A Chevalier of France Valentino’s Memory Reeling Around Vote Now Gloria’s New Coiffure Katherine Albert Marquis Busby Katherine Albert Ida Zeitlin Leonard Hall Photoplay’s Famous Reviews Brief Reviews of Current Pictures The Shadow Stage The Best Records from New Pictures Short Subjects of the Month Short Stories Grace Mack Eleanore Griffin The Prince Comes to Cinderella Just a Cute Trick 31 30 36 =) dt 70 The Private Life of Greta Garbo Who is the tall, blond young man who is Greta’s mysterious escort and whom Holly- wood calls “The Swedish Prince”? The real intimate story of Greta’s strange home and social life is told for the first time in this most revealing article, appearing in next month’s—the September issue of PHOTOPLAY Information and Service Brickbats and Bouquets......... 16 Friendly Advice on Girls’ Problems 18 Questions and Answers........ .. 94 Hollywood Menus.............. 99 These New Faces.. ............- 106 Addresses of the Stars...........122 Casts of Current Photoplays...... 140 ° 10) Published monthly by the PHoTOPLAY PuB- LISHING Co., Editorial Offices, 221 W. 57th St., New York City. Publishing Office, 919 N. Michigan Ave., Chicago, Ill. The International News Company, Ltd., Distributing Agents, 5 Bream's Building, London, England. James R. Quirk, President. Rospert M. Eastman, Vice-President. KATHRYN DOUGHERTY, Secre- tary and Treasurer. YEARLY SUBSCRIPTION: $2.50 in the United States, its dependencies, Mexico and Cuba; $3.00 Canada; $3.50 for foreign countries. Remittances should be made by check, or postal or express money order. Caution—Do not subscribe through persons unknown to you. Entered as second-class mat- ter April 24, 1912, at the Postoffice at Chicago, Ill., under the Act of March 3, 1879. Copy- right, 1930, by the PHOTOPLAY PUBLISHING COMPANYs Chicago. nn

Page 6

6 PHOTOPLAY MAGAZINE FOR AucusT, 1930 ‘ ho made SUNNY SIDE uP the most popular las motion picture of the past year? cs .... YOU did —with the tickets you bought at the box offices all over the country.... Who made THE COCKEYED WORLD the run- ner-up 2.... YOU again— with your spontaneous approval, registered by cash paid for tickets at the box office, of the rough and ready wit and humor of McLaglen and Lowe. .... Who were the year’s favorite actor and actress?.... Janet Gaynor and Charles Farrell, overwhelmingly voted the most popular in polls conducted by both the Chicago Tribune and the New York Daily News, the two largest newspapers in their respective cities.... Who won the coveted Photoplay Gold Medal for the past two years 2... FOX—last year with John Ford's FOUR SONS — year before last with Frank Borzage’s 7th HEAVEN. .... Who cast the winning ballots for Gaynor and Farrell?.... Nobody but YOU.... Who has already decided what kind of pictures we will produce and leading houses everywhere will feature during the coming year?....YOU, of course — because you have, in terms that can't be mistaken, placed your ap- proval on what FOX has done in the past and told us what you like... . Will Farrell in OH, FOR A MAN!—another sure-fire hit, produced under the masterly direction of the man who made SUNNY SIDE uP, David Butler.... McLaglen and Lowe chasing WOMEN OF ALL NATIONS —in the further rollicking adventures of Flagg and Quirt—from the story by Laurence Stallings and Maxwell Anderson, authors of WHAT PRICE GLORY. Direction by Raoul Walsh. What a line-up!.... Charlie Farrell in his greatest part of all, as Liliom, wos Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed.

Page 7

PHOTOPLAY MAGAZINE FOR AuGusT, 1930 in DEVIL WITH WOMEN, from Franz Molnar's international stage success....And Charlie will also entertain you in three other great pictures during the year —THE MAN WHO CAME BACK, with Louise Huntington; THE PRINCESS AND THE PLUMBER, with Maureen O'Sullivan, the find of the year; and SHE'S MY GIRL, with Joyce Compton....ln UP THE RIVER, a new kind of prison story, John Ford is striving to surpass his own Photoplay Gold Medal winner, FOUR SONS. In this picture appears Cherie, daughter of Warden Lawes, and a great cast of established oe Z screen favorites.... Frank Borzage, Gold Medal “a)\ pictures —SONG O° MY HEART, introducing to the —— screen the golden voice and vibrant personality of pi the great Irish tenor, John McCormack—two of Charlie Farrell's new pictures, THE MAN WHO CAME BACK and DEVIL WITH WOMEN—and ALONE WITH YOU, in which Janet Gaynor will insinuate herself still more deeply into your affections....The honor most coveted by the motion picture actor is the annual award of the Academy of Motion Pictures. Warner Baxter is the latest recipient of this honor— won by his magnificent characterization of the Cisco Kid in IN OLD ARIZONA. Warner, lovable bandit and idol of the feminine heart, will give you four big pictures ....If you saw Will Rogers in THEY HAD TO SEE PARIS, or SO THIS IS LONDON, you will cheer the announcement of two more pictures by America’s incomparable comic: A CONNECTICUT YANKEE, perhaps Mark Twain's funniest story, and SEE AMERICA FIRST. ... DeSylva, Brown and Henderson—the Gilbert and Sullivan of our day—will follow their smash success, SUNNY SIDE UP with JUST IMAGINE, clever, gay, tuneful and funny. The cast will be headed by Maureen O'Sullivan and El Brendel.... We made the pictures—but YOU asked for them—and you and sixty million others can't be wrong! When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Page 8

ACQUITTED—Columbia.—U nderworld drama with areal punch. Sam Hardy is more amusing than ever. (Feb.) ALIAS FRENCH GERTIE—Radio Pictures.— Bebe Daniels and Ben Lyon in crook picture made from Veiller's play, “Chatterbox.” A comeback for Ben, and Bebe at her best. (June) ALL QUIET ON THE WESTERN FRONT —Universal.—Remarque’s. sensational war book, made into one of the outstanding pictures of the year. Powerful drama of waras it really is. (June) > ANNA CHRISTIE—M-G-M.—The Great Garbo talks—and remains great! A faultlessly directed picture with superb characterizations by Garbo, Charles Bickford, Marie Dressler and George Marion. (March) ANYBODY’S WAR —Paramount.—The Two Black Crows join the army, with mildly amusing results. (June) ARIZONA KID, THE—Fox.—Warner Baxter follows ‘‘In Old Arizona”’ with another fine perform- ance and an excellent picture. (July) AVIATOR, THE—Warners.—Edward Everett Horton is afraid of anything that goes up. Patsy Rath Miller is the hero-worshipping girl friend. Need a few laughs? (April) BAD ONE, THE—United Artists.——Dolores Del Rio as a cafe singer and dancer, teamed with Eddie Lowe, who also sings delightfully. Ad- venturous, romantic story that you'll like. (June) BARNUM WAS RIGHT—Universal.—Miss this one unless you're one of those people old P. T. was talking about. (Feb.) BATTLE OF PARIS, THE—Paramount.—Ger- trude Lawrence, stage favorite, doing none too well in a trite musical comedy. Snap into it, Gertie, and show ‘em what you can do when youtry! (March) BEAU BANDIT—Radio Pictures.—Yeh, Rod La Rocque with a Spanish accent again. Doris Kenyon sings beautifully. Old-fashioned Western. (April) BECAUSE I LOVED YOU—Aafa Tobis.—Inter- esting because first made-in-Germany talker shown in America; 65 per cent dialogue, German, of course. Part Talkie. (April) BENSON MURDER CASE, THE—Paramount. —Another elegant Van Dine murder mystery. Suave Bill Powell, as detective Philo Vance, gets his man. See it. (May) BE YOURSELF—United Artists—Fanny Brice falls for a boxer who falls for a gold-digger. Another ““My Man" plot. Only fair. (April) BIG FIGHT, THE—Sono Art—James Cruze.— Amusing enough. Lola Lane and Guinn Williams, but Stepin Fetchit almost shuflles off with the show (July) BIG PARTY, THE—Fox.—A Sue Carol picture, but they handed it to Dixie Lee. Heaps of comedy, some true love and villainy. (April) * BIG POND, THE—Paramount.—Chevalier clicks again! See him as a poor but romantic Frenchman trying to make good in an American chewing gum factory. Claudette Colbert, and some typical Chevalier songs. (July) BISHOP MURDER CASE, THE—M-G-M.— Murder a la Mother Goose, with Basil Rathbone Philo Vancing this time. Plenty of thrills. (Feb.) BLAZE O°’ GLORY—Sono Art—World Wide.— One of those leopard pictures—it’s spotty. Some of the spots are good and some are bad. Eddie Dowling shows a nice personality and a good singing voice. (March) 8 Brief Reviews of Current Pictures Photoplays not otherwise designated are All Talkie % Indicates that photoplay was named as one of the six best upon its month of review BORDER LEGION, THE—Paramount.—Jack Holt, Dick Arlen, Fay Wray and Eugene Pallette ina Zane Grey thriller. (July) BORN RECKLESS—Fox.—Maybe the fear of censorship took the thrill out of this gangster film, made from the exciting best seller, “‘Louis Beretti.” ee Lowe Lee Tracy and Catherine Dale Owen. (July) BROADWAY HOOFER, THE—Columbia.— You'll like Marie Saxon, musical comedy star, in her first talkie. A stimulating back stage comedy. (March) BURNING UP—Paramount.—Your money's worth in entertainment. A neat little comedy with some thrilling racing sequences and that admirably natural actor, Dick Arlen. (March) CAMEO KIRBY—Fox.—The famous old romance of ariver gambler revived gracefully but not excitedly. ape Murray sings well and Stepin Fetchit sings. eb. CAPTAIN OF THE GUARD—Universal.—John Boles and Laura La Plante in a story of the birth of the Marseillaise that just misses being a thrilling picture. John sings superbly. (Junad Do Not Miss These Recent Pictures ‘Anna Christie” “Song o’ My Heart” “‘Journey’s End” “The Divorcee” “Ladies of Leisure” “The Devil’s Holiday” “All Quiet on the Western Front”’ As a service to its readers, PHoTo- PLAY MaGAzInE presents brief critical comments on all photoplays of the preceding six months. By consulting this valuable guide, you can deter- mine at a glance whether or not your promised evening’s entertainment is worth while. PHOTOPLAY’s reviews have always been the most author- itative published. And its tabloid reviews show you accurately and con- cisely how to save your motion picture time and money. The month at the end of each review indicates the issue of PHoTopLay in which the original review appeared. CASE OF SERGEANT GRISCHA, THE— Radio Pictures.—Stark, compelling drama with a war background. An important picture, although too drab to appeal universally. Chester Morris is a magnificent Grischa. (March) CAUGHT SHORT—M-G-M.—Marie Dressler and Polly Moran, rival boarding house keepers who play the stock market. Anita Page and Charles Morton are young lovers. Good, rough fun. (June) CHASING RAINBOWS—M-G-M.—This ninety- ninth carbon copy of “The Broadway Melody” is pleasant enough. Bessie Love, Charles King, and the Moran-Dressler comedy team. (May) CHEER UP AND SMILE—Fox.—Good comedy drama, with Arthur Lake, Dixie Lee and the vampish Baclanova. (July) CHILDREN OF PLEASURE—M-G-M.—All about a song-writer’s sorrows. Noteworthy only for Lawrence Gray's singing of two hit numbers and the rh oe of Wynne Gibson, a new screen face. May CHINA EXPRESS, THE—Sovkino.—Foreign rough stuff, but tremendously exciting. Action occurs on a fast trainin China. Silent. (May) CITY GIRL—Fox.—Originally begun as a silent picture (“‘Our Daily Bread"’) by Director F. W. Mur- nau. Gets off toa powerful start, but turns talkie and collapses. Charlie Farrell and Mary Duncan are fine. Part Talkie. (March) CLANCY IN WALL STREET—Edward Small Prod.—The recent stock market debacle is material for gags. It’sa comedy. (April) COCK O’ THE WALK—Sono Art—World Wide.— Pretty sad affair, in which Joseph Schildkraut does his worst. Myrna Loy attractive. (June) COHENS AND KELLYS IN SCOTLAND— Universal.—When, and if you see this, you'll know bir to send them on their next trip—one way! (May) COURAGE—Warners.—Charming picture about seven interesting youngsters and their extravagant mother, well played by Belle Bennett. Leon Janney fine as Bill, the youngest. (June) COURTIN’ WILDCATS—Universal.—* Hoot” Gibson tames a Wild West shrew, modern version. Mildly entertaining. (March) CRAZY THAT WAY—Fox.—Bubbling comedy about two lads in love with a blonde who loves another. Joan Bennett wears beautiful clothes beautifully. (May) CUCK OOS, THE—Radio Pictures.—Nonsensical musical comedy featuring comedians Bert Wheeler and Robert Woolsey. Check your critical goggles and prepare to laugh uproariously. (June) CZAR OF BROADWAY—Universal.—A not-so- good imitation of that fine picture, “Street of Chance.” Not bad, if you haven't seen the original. (June) DAMES AHOY—Universal.—Glenn Tryon ina smart-cracking sailor réle. But the dialogue writer didn't feel funny that day. (April) DANCE HALL—Radio Pictures.—Arthur Lake is grand as the youngster who haunts the local dance hall where Olive Borden, in a blonde wig, is a hostess. Amusing. (Feb.) DANCING SWEETIES — Warners. — Grant Withers and Sue Carol in a story of that much dis- cussed “‘first year" of marriage. (July) DANGEROUS FEMALES—Paramount-Christie. —A hilariously funny two-reeler. And why not, with both Marie Dressler and Polly Moran cavorting in their best manner? (Feb.) DANGEROUS PARADISE—Paramount.— Taken from Conrad's South Sea yarn “‘Victory."’ Be- gins well but goes astray. Dick Arlen and Nancy Car- roll good, as always. (Feb.) DEVIL MAY CARE—M-G-M.—A_ moving picture that both moves and talks. Swift and colorful romance, with Novarro giving one of the fin- est performances of his career and Dorothy Jordan and Marion Harris scoring heavily. Some swell vocal- izing. (Feb.) DEVIL'S HOLIDAY, THE—Paramount.— Nancy Carroll in emotional drama, giving the best performance of her career! Directed by Edmund Goulding, who made “The Trespasser."” (July) [ PLEASE TURN TO PAGE 13 ]

Page 9

PHOTOPLAY MacGazINE For Aucust, 1930 9 A Hundred Million Eager Hearts Await Their Coming To The Screen! 99 T 7 ip 7 oR : I IO wt "PICTURES When you write to advertisers please mention PHOTOPLAY MAGAZINE,

Page 10

No More Custard Pies HERE ’S alittle kid out in Holly- wood who’s just having the time of his life again. He’s got grey hair, and the—well, ah—avoirdupois that comes with age, and he goes by the name of Mack Sennett. But he’s just a kid and don’t let him fool you. Aw, well, he doesn’t want to fool you. “Kid?” he echoes. ‘Sure. Sure I am. J am. And I never want to grow up!” He’s got a new toy, has Mack Sennett. He hates to go to sleep nights, because then he can’t play with these new talkies that have suddenly made life interesting for him again. And there has come to pass one of the most remarkable metamorphoses that this mad business of movie- making has ever seen!—the rebirth of the unspeakably crude, custard- pie and slapstick Sennett comedies of the bygone years, into the deliciously sophisticated, delicately chucklesome Sennett comedies of 1930. In no other facet of the movies has there been reflected such a change as the Sennett comedies show. Feature pictures have changed, of course, but not nearly so’ much. HY, look at the difference! Take an old Sennett comedy, in the days when Swanson was just a bathing beauty and didn’t dream of being a Marquise some day; when Chaplin was just a ‘funny feller” without even being known by name; when Chester Conklin, Ford Sterling, Louise Fazenda were people who put on funny make-ups and went through the motions of the slapstick era. In those days, the brain was the least important part of an actor’s anatomy. The big idea was to be hit with a slapstick or a No. 12 shoe with a foot in it as often as possible. The face was used for two purposes—to hang funny moustaches on, and to be smeared with custard pie, plaster, flour, mud, eggs or anything else that the director could think of to have thrown. Scripts were just something that had never been thought of; all they did was get the company to- gether, throw things, have a chase and cut it into one reel. UT now!—twenty years later— there isn’t a custard pie on the Sennett lot, except when one of the electricians brings a slab for lunch. There’s a scenario department where a staff of writers works as long and conscientiously over a plot as they do for features in the other studios. Before shooting is begun, every line, every gag, is down on paper. There’s no more Sennett stock -ompany—although the old fox does keep one or two players under con- 10 The Talkie Is His New Toy! Last Minute News “Man Trouble’—Fox—Milton Sills, as the popular notion of a fearless gangster, is sensational in this melo- drama of love, newspaper business and the underworld. Dorothy Mackaill takes second honors. Born—to Mr. and Mrs. King Vidor (Eleanor Boardman) a daughter, the second girl in the family. Mr. and Mrs. Vidor had hoped for a boy and are un- prepared with a name for the little stranger as this is written. Claire Windsor and nine others were rescued when a power yacht rammed and sank the “Lolita,” cruiser owned and sailed by Philip Plant, Claire’s lat- est beau, in Long Island Sound. A sailor was reported missing. Plant is the divorced husband of Constance Bennett. Miss Windsor was a guest on his boat for a week-end cruise. Mme. Emestine Schumann-Heink, at sixty-nine, sang at thirty perform- ances at the Roxy Theater, New York, in one week, receiving $6,000 for the engagement. Hollywood was surprised to learn that Helene Lubitsch is suing Ernst Lubitsch, noted director, for divorce, charging that he nagged her and in- sulted her guests. “Ginger” Rogers, ingenue, in in “Young Man of Manhattan,’’ was seen much in the company of Jack Oakie around New York early in the summer. “Gin- ger’s” new picture is “Queen High.” She is reported divorcing Jack Pepper, master of ceremonies. tract— Marjorie Beebe, a true modern comedienne, and Andy Clyde, a master of characterization who dons grotesque make-ups rarely, and then only to accentuate character, and not just to look funny. As for the rest of the cast—Sennett chooses his players from the Hollywood freelances as carefully as a producer casting a great feature epic. Nick Stuart, Ann Christie, Franklin Pangborn, Ben Bard, John Darrow—these are just a few of the recognized dramatic players who have played in modern Sennett comedies. And the plots! A fig for custard pies! The humor now is mental, psychological—not physical. HEY’VE got to act with this,” says Sennett, tapping his fore- head, “instead of with this,”’ slapping his hip pocket.. The old boy, eyes sparkling, tells about his new game: “Talkies have brought sophistica- tion to the two-reel comedy. Sophis- tication to the comedy because the audiences have become more sophis- ticated — talkies, the radio, mag- azines. And with sophistication comes subtlety of comedy, instead of a kick in the pants. “Slapstick, custard pies, bathing girls—with talkies, they’re out. When people talk, they become real, and you don’t expect ’em to jump up and grab seltzer bottles and start squirt- ing at each other. Bathing girls are out—well, because there simply isn’t a’ place for them in my modern comedies. When there is—occasion- ally—naturally I use them. But not merely for artificial sex appeal; rather because they have a part in the story. ONESTLY, though — those ustard pies and bathing girls were more of a gag than fact. I never used them so very, very much. It was just good trade-mark pub- licity, and we used it for that, but we used ’em mighty little in pictures, as a matter of fact. “My ambition now is to make two- reel comedies as good as six-reel features. A1 casts, Al sets—as ex- pensive as the best feature sets. First-class stories. I want to tell a story as well in two reels as anybody can in five. Twenty minutes is enough to tell anything; why, you can tell the history of the world in twenty minutes. Why bore ’em with more? Real casts, real stories, real production give me a chance to use what I never could in the old days— heart interest and romance. “T’m happy again. A few years ago—just before the talkies came in —I didn’t spend two days a week at the studio. I was sick and tired of making comedies, and I let the boys make ’em. But now I spend eighteen hours a day at the lot, and I love it.” i : . ‘

Page 11

Siesta Sometimes in the whirl of exis- tence one likes a moment apart... a moment of reflection and tran- quillity. . . siesta. Camels fit this mood of introspection. They are so fragrant and delightful; so unobtrusive and so satisfying. No other cigarette, at any price. gives quite so much of pleasure. ...-And no other has beer so generously accepted by smokers the whole world over. @ 1930, R. J. Reynolds Tobacco Co., Winston-Salem, N.C.

Page 12

© the secret that is no secret Lois had not been born beautiful. For years she had despaired of her sallow skin, with its visibly enlarged pores. Then she discovered that a film of Pom- peian Beauty Powder in a luscious Natu- relle shade...a touch of Pompeian Bloom in a provocative Orange tint, would veil her skin in golden, satin radiance. @ it isn’t hard to understand It is only natural that millions of women should prefer Pompeian Beauty Powder. It isas fine a powder as money can buy. It delicately perfumes...it spreads evenly ...it clings for hours but never cakes.The colors are the result of years of experi- menting with the blending of powders on living models. Just as Nature com- bines many shades to produce each com- plexion, so does Pompeian call upon a palette of colors to achieve five perfect blends—one of which is a flawless match for your skin. @ as for rouge colors Nor is Pompeian Bloom a solid color! POMP Fach color is an infinite number of living shades as softly, subtly blended as the tints of a magnolia petal. This rouge comes off easily on the puff and flows gently into the shading of the skin; it clings with velvet tenacity —and the cake never crumbles, @and this little matter of expense Have you puckered your brow over the growing costliness of cosmetics? Sacri- ficed a frock, perhaps, because of your toiletry outlay? Then you'll appreciate what the wisest shoppers have learned: That, because of the vast popularity of Pompeian Beauty Powder, it is possible to produce the purest, finest quality for the amazingly small sum of 60c. Pompeian Bloom is also 60c, in dainty metal case with mirror and long-life puff. @ do you know yourself? Your most potent charms? Howto enhance them? Mme. Jeanette de Cordet—skilled specialist in feminine beauty—describes and prescribes for 24 types in her elaborate booklet on making the most of your looks. The coupon opposite tells how to secure it. The Pompeian Company, Incorporated, NewYork, N.Y., Elmira, N.Y, and Toronto, Can...(Sales Officest Harold F. Ritchie & Co.,Inc., Madison Ave. at 34th St., New Yorkand 10 McCaul St.,Toronto,Can,) Keep the moonlight with you alwaus Peter had spent a restless night. He knew it couldn’t be true! No one could be so lovely as Lois had seemed in the moonlight. He dreaded meeting her at the house-party breakfast. He knew he had been rather ardent —but her cool beauty, her fragrance as he held her close in the dance, had swept him off his feet. And then she appeared. The morning sun bathed her face relentlessly—but it only en- hanced the rose-tinted amber of her skin, She faced the glare—fearless of its revela- tions. Peter knew then, it would ALWAYS be moonlight with Lois. @ send for new art panel If you are one of the enthusiastic collectors, you'll rejoice over the 1930 Pompeian Art Panel. Gorge- ously painted by Clement Donshea. Enclose 10c. You'll receive the Art Panel—Mme. de Cordet’s book- let—and samples of two other toilet necessities —Pompeian Day Cream and Night Cream, Mme. Jeanette de Cordet, Dept. 16-8, Pompeian Laboratories, Elmira, N.Y. I enclose 10c (coin) for the Art Panel; the booklet “Your Type of Beauty;'’ and samples of Pompeian Day Cream and Night Cream. i a Street Address City. = State 3 Un Canada, address 10 McCaut St. ,Toronto)

Page 13

DIVORCEE, THE—M-G-M.—Don't miss this. Norma Shearer great. Chester Morris gives = Fine direction, gorgeous clothes. DOUBLE CROSS ROADS—Fox.—A gang of eves and a mess of machine guns. mes as the boy and Lila Lee as the girl decide to go ght. Entertaining, at that. (May) DE WRANGLER, THE—Mrs. Wallace Reid —A bang-up Western comedy done magno cum Children can safely take their parents. (Feb.) FALL GUY, THE—Radio Pictures.—Jack Mul- and Mae Clarke ina simple little story about an t-of-work husband. (July) GHTING LEGION, THE—Universal.—Ken laynard scores as an outlaw who follows his better ulses. Dorothy Dwan provides the romance. > fightin’ and comedy. Worth your money. FLORODORA GIRL, THE — M-G-M. — Marion Davies as one of the original Florodora ris. Gags, costumes and atmosphere of the Gay is make this a riot of fun. (July) FORWARD PASS, THE—First National.—A right, entertaining film, well acted by Loretta Young, irbanks the Younger, Guinn Williams and Pea- uts Byron. Doug is one movie football hero who sn't bring on blind staggers. (/eb.) _ FOX MOVIETONE FOLLIES OF 1930—Fox.— ly now the singie-talkie revues have lost their novelty. ap fair songs, and a bit of a love to ly FRAMED—Radio Pictures.—Evelyn Brent in an derworld story that gets across. Good trick climax. See it. (April) “iY FREE AND EASY — M-G-M. — Buster Keaton’'s first big talkie. A whizzing comedy tt takes you to a big sound studio. With Anita and Robert Montgomery to serve the romance, could you go wrong on this one? (May) FURIES, THE—First National.—Murder in the smart set. Weighty and wordy, yet fairly interesting. Gul) Warner, Lois Wilson and Natalie Moorehead. u) _ GAY MADRID—M-G-M.—College whoopee in Spain, played with duels and guitars. How that mon Novarro swashbuckles and sings! Again he serenades Dorothy Jordan. (May) GIRL FROM WOOLWORTHS, THE—First National. —That White girl comes through with a snappy number every time and this is one of the Buappiest. Watch Rita Flynn,anewcomer. (March) GIRL IN THE SHOW, THE—M-G-M.—A charming little backstage story, which, for a wonder, ak elie by theme songs and huge stage shots. eb. GIRL OF THE PORT, THE—Radio Pictures.— Nevertheless you'll enjoy Sally O'Neil's slick per- formance. (March) [ CONTINUED FROM PAGE 8 ] GIRL SAID NO, THE—M-G-M.—Whizzes along at breakneck speed. Wild Willie Haines kidnaps the girl he loves, and Marie Dressler becomes amiably spifflicated, as usual. (April) GOLDEN CALF, THE—Fox.—Mediocre. Sue Carol, as an efficient but unattractive secretary who makes herself over into a belle, redeems it a little. So does El Brendel’s comedy. (May) GRAND PARADE, THE—Pathe.—A sad little yarn about a boarding house slavey who loves a min- strel man who loves a burlesque queen. Helen Twelve- trees out-Gishes Lillian as the heroine. (Feb.) GREAT DIVIDE, THE—First National.—Made from the grand old play. Dorothy Mackaill overacts as a flip society lass, and Ian Keith is hammy as her reformer. (May) GREEN GODDESS, THE—Warners.—George Arliss is great as the sleek Rajah. The producers didn't make the most of this. (May) GUILTY—Columbia.—Mediocre melodrama of circumstantial evidence. But Virginia Valli, John Sainpolis, and John Holland are good. (June) HAPPY DAYS—Fox.—A corking review, starring the pick of the Fox lot. A bunch of entertainers help an old showman save his troupe. That's the story, told with singing, dancing, comedy andromance. (May) HARMONY AT HOME—Fox.—Want a good, hearty laugh? See this comedy of family life. Wm. Collier, Sr., long-time stage favorite, makes an elegant screen début. The girls will go for Rex Bell in a big way. (March) HEARTS IN EXILE—Warners.—Gradually it sneaks up on us—Dolores Costello, lovely though she is,isnotanactress. A poorpicture. (Feb.) HE KNEW WOMEN—Radio Pictures.—Lowell Sherman and Alice Joyce in a photographed play, “The Second Man."’ Good for some sophisticated chuckles. (July) HELL HARBOR —United Artists.—Lupe Velez in a r6éle that fits like a Sennett bathing suit. Grand melodrama peopled with descendants of Spanish pirates and an American sailor to rescue the girl. (April) HELLO, SISTER—James Cruze Prod.—Senti- mental, but sprinkled with humor. Olive Borden is the flapper who reforms for a million dollars. Lloyd Hughes is the nice boy who loves her. (May) HELL’S HEROES—Universal.—Peter B. Kyne fathered this gritty tale of the desert and Charles Bickford does more than right by the leading réle. Very real. (March) HER UNBORN CHILD—Windsor Picture Plays, Inc.—Grimmer side of sex. Sad faces, sad scenes. Excuse us for yawning. (April) HE TRUMPED HER ACE—Sennett-Educational. —Howling short comedy about bridge-maniacs. (May) HIDEOUT—Universal.—James Murray glowers. Kathryn Crawford sings nicely. It’s kinder not to go on. (May) HIGH SOCIETY BLUES—Fox.—A_ musical romance, carried to fair success by the popular Gaynor-Farrell team, (July) HIGH TREASON—Tiffany-Gaumont.—British- made film about a hypothetical next World War. World politics and inventions of year 1940 are in- geniously envisioned. Interesting. (June) HOLD EVERYTHING — Warners. — Joe E. Brown is great. Georges Carpentier looks good in the boxing ring. Winnie Lightner has some snappy songs. But it could have been better. (June) HONEY—Paramount.—" Come Out of the Kitch- en,"' stage play and silent movie, made into a talkie. Light comedy, pleasing songs. Nancy Carroll and amazing little Mitzi Green. (April) HOT DOGS—M-G-M.—A distinct novelty, this short subject, with an all dog cast, which makes it the first all-barkie. (March) HOT FOR PARIS—Fox.—Good, rough fun, con- cocted by Raoul Walsh in his best Cock Eyed World manner. Vic McLaglen, El Brendel and Fifi Dorsay— all elegant. (/eb.) IN THE NEXT ROOM—First National.—A murder mystery that thrills. Jack Mulhall, Alice Day and Robert O'Connor play the leads. (June) ISLE OF ESCAPE—Warners.—Monte_ Blue, Betty Compson and Noah Beery do their best to breathe life into a melodramatic hodge-podge, with negligible results. (June) JOURNEY’S END—Tiffany Productions.— Unforgetable war story, from play of same name. Grim happenings in a front line dugout under bombardment, relieved by carefully planned humor. Excellent cast. (June) KING OF JAZZ—Universal.—Pretentious, all-Technicolor, Paul Whiteman revue. Un- usual color and lighting effects, splendid choruses. pe apie Jeanette Loff, and the Whiteman Band. (June LADIES LOVE BRUTES—Paramount.—Good entertainment. George Bancroft is a crude but wealthy builder who goes in for culture, under Mary Astor's inspiration. There's a thrilling fight. (June) * LADIES OF LEISURE—Columbia.— Bar- bara Stanwyck grand as a little party girl who falls for a serious young artist. Fine supporting cast. You mustn't miss it. (July) * from the Lonsdale play, LADY OF SCANDAL, THE—M-G-M.— Ruth Chatterton in delicious light comedy, “The High Road.” (July) LADY TO LOVE, A—M-G-M.—The stage play, “They Knew What They Wanted,"’ made censor- proof. Vilma Banky, Edward G. Robinson, and Robert Ames form the triangle. Some splendid act- ing. (April) LAST DANCE, THE—Audible Pictures.—Cin- derella in modern dress. Quickie (not very goodie) about a taxi-dancer's rise to fortune. Distinguished by Vera Reynold’s grand voice and acting. (March) [ PLEASE TURN TO PAGE 143 } Photoplays Reviewed in the Shadow Stage This Issue Save this magazine—refer to the criticisms before you pick out your evening's entertainment. Make this your reference list. Back Pay—First National Bad Man, The—First National Big House, The—M-G-M Border Romance—Tiffany Productions. Bride of the Regiment—First National. Bright Lights—First National Dixiana—Radio Pictures Girl of the Golden West—First National 57 57 Grumpy—Paramount 55 Hell’s Angels—Caddo Productions. ... 56 Holiday—Pathe Hot Curves—Tifiany Productions Ladies in Love—Hollywood Pictures, Let Us Be Gay—M-G-M.... Man From Wyoming, The—Paramount Midnight Mystery—Radio Pictures. . . Night Work—Pathe. . 3 Numbered Men—First National... Other Tomorrow, The—First National. Queen High—Paramount Recaptured Love—Warners. Right of Way, The—First National. . Romance—M-G-M.. Sea Bat, The—M-G-M..... She’s My Weakness—Radio Pictures. . Soldiers and Women—Columbia So This Is London—Fox...... 56 Three Faces East—Warmers. ... . oy OU Toast of the Legion, The—First Na- tional. . 56 Top Speed—First ‘National 80 Trigger Tricks—Universal 80 Unholy Three, The—M-G-M 55 Way Out West—M-G-M Wild Company—Fox nf With Byrd at the South Pole—Para- 80 { Short Subjects of the Mavtises ease, 10

Page 14

14 PHOTOPLAY MAGAZINE FOR AucuSsT, 1930 LION, ANNOUNCES THE GREATEST) Gilbert FS Buster Keaton Metro-Goldwyn-Mayer will again demonstrate that it is the greatest r producing organization in the industry. The company that has “more aN stars than there are in heaven”’—the greatest directors — the most pea I famous composers—the most marvelous creative and technical resources /\ —pledges itself to continue producing pictures as wonderful as THE [= > | BIG PARADE, BEN HUR, THE BROADWAY MELODY, MADAME X, HOLLYWOOD REVUE, OUR DANCING DAUGHTERS, THE ROGUE SONG, ANNA CHRISTIE, THE DIVORCEE—to mention only a few of the great M-G-M pictures that have taken their place in Filmdom's Hall of Fame. No wonder Leo roars his approval as he looks forward to the greatest year Metro-Goldwyn-Mayer has ever had! METRO-GOLD| More Stars Than Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed.

Page 15

ee METRO-GOLDWYN-MAYER PRODUCTION SCHEDULE IN ITS HISTORY 7 PHOTOPLAY MaGaAzINE For Avucust, 1930 1930 > 4 15 1931 FEATURED Al Boasberg PLAYERS A few of the big pictures to come A. Paul Mairker Branden Wallace Beery Neil Brandt Charles Bickford Edwina Booth John Mack Brown Lenore Bushman Harry Carey RamonNOVARRO “The Singer of Seville” Greta GARBO “Red Dust” “Madame Satan” (Directed by Cecil B. DeMille) “Billy the Kid” Frank Butler John Colton Mitzie Cummings Ruth Cummings Karl Dane ’ : Edith Ellis Mary Doran (Directed by King Vidor) Joseph Farnham Marion Cliff Edwards Marion DAVIES 7 Edith Fitzgerald Davies Julia Faye “Rosalie” The March of Martin Flavin awrence Tibbett Gavin Gordon Lawrence Gray Raymond Hackett Hedda Hopper Lottice Howell Leila Hyams Kay Johnson Dorothy Jordan Charles King Arnold Korff Harriett Lake Mary Lawlor Gwen Lee Barbara Leonard Andre Luguet George F. Marion Dorothy McNulty John Miljan Robert Montgomery Catherine Moylan Conrad Nagel Edward Nugent Elliott Nugent J. C. Nugent Catherine Dale Owen Anita Page Lucille Powers Basil Rathbone Duncan Renaldo Gilbert Roland Joan CRAWFORD “Great Day” Lon CHANEY “The Bugle Sounds” John GILBERT “Way for a Sailor” Lawrence TIBBETT “The New Moon” William HAINES “Remote Control” “Good News” “Trader Horn” and many, many more outstanding productions. William DeMille Jacques Feyder Time” (With ‘more stars than there are in “Jenny Lind” with Grace Moore “The World's litusion” “The Great Meadow” “Naughty Marietta”’ “Dance, Fool, Dance” “War Nurse” “The Merry Widow” What Music! SONG WRITERS Martin Broones Becky Gardiner Willis Goldbeck Robert Hopkins Cyril Hume Williom Hurlburt John B. Hymer Marion Jackson Laurence E. Jackson Earle C. Kenton Hans Kraly John Lawson Philip J. Leddy Charles MacArthur Williard Mack Frances Marion Gene Markey Soroh Y. Mason Edwin J. Mayer John Meehan Bess Meredyth James Montgomery Jack Neville Lucille Newmork Fred Niblo, Jr. J. C Nugent George O'Hara Samuel Ornitz heaven‘) Benny Rubin Sidney Franklin Dorothy Field Arthur Richman Dorothy Sebastian Nick Grinde aoe . = - W. L. River Gus Shy George Hill ues x5 Madeleine Ruthven Lewis Stone Sammy Lee er rsy Don Ryan Raquel Torres Ernest Torrence Roland Young Lionel DIRECTORS Barrymore Robert Z. Leonard Edgor J. McGregor Fred Niblo Horry Pollard Chorles Riesner Arthur Robinson Wesley Ruggles Mal St. Clair Victor Seastrom Howard Johnson Jimmy McHugh Joseph Meyers Reggie Montgomery Herbert Stothort Oscar Straus George Ward Horry Woods Horry Sauber Richard E. Schayer Zelda Sears Samuel Shipman Lawrence Stallings Sylvia Thalberg Wanda Tuchock Jim Tully Dale Van Every Harry Beaumont Charles Brabin Clarence Brown Jack Conway Cecil B. DeMille WRITERS Stuart Anthony Beatrice Banyard Alfred Block Claudine West Crane Wilbur P. G. Wodehouse Miguel de Zarraba Edward Sedgwick W 5S. VanDyke King Vidor Duncan Sam Wood Sisters in Heaven” There are When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Page 16

Sey > Sk YS * => Ei taet Hy <~— if ¥ iW, The $25 Letter Omaha, Neb. Por the week previous to my seeing the Dressler-Moran team in “Caught Short” I had had a series of disheartening experi- ences, and I was utterly miserable. The comedy was uproariously funny, and it hap- pened to be in line with my own woes. Seen at such an angle, I got an entirely dif- ferent viewpoint on my troubles. I went home in better spirits, and a day or so later my luck changed. I firmly believe that my different mental attitude helped me to attain my goal. MARGARET MANGOLD. The $10 Letter Laconia, N. H. AM reminded of the fashionable period some years ago when large hats were in vogue and audiences were obliged to forego the pleasure of seeing the stage on account of the obstructions before them. At last some brainy person suggested flashing on the screen, preceding the show—"Ladies, kindly remove your hats.” Isn't it time to get out that warning slide again, with large hats back in style? Mrs. CHARLOTTE H. TWOMBLy. The $5 Letter Louisville, Ky. IVE us more mushy pictures, with plenty of lovemaking in them—young men who promise in the moonlight to adore the girl forever. We who have been married know that it is not true, but we like to be fooled just the same. Mrs. LAuRA L. Harris. 16 Brickbats & Bouquets e You Fans Are the Real Critics PHOTOPLAY Gives Twenty-Five, Ten and Five Dollar Prizes for the Best Letters Just plain spiteful letters won’t be printed, for we want to be helpful when we can. Don’t write more than 200 words, and if you are not willing to have your name and city of residence attached, please don’t write. Address Brickbats & Bouquets, PHOTOPLAY, 221 West 57th Street, New York City. We reserve the right to cut letters to suit our space limitations. Come on in and speak your mind! How About a Democracy? San Francisco, Calif. OW can one compare Chevalier and Tibbett? Their points of charm are so entirely different. Chevalier, with his mar- velous personality, his humor, yet no voice to speak of. Tibbett, with his glorious voice and his splendid dramatic ability. If there must be a throne, make it big enough for two! ROSEMARY CHESTER. Elsie Settles It Atlanta, Ga. HEVALIER is delightful, but Tibbett is dynamic in personality. In the galaxy of the world’s most beautiful voices, Tibbett is King. I have only heard two in my time that could compare with him—Caruso and relative acting merits of Maurice Chevalier and Lawrence Tibbett, under the title of “Two Kings — One Throne,” was a regular boomerang. Whew! Imagine trying to settle such a hot dispute in a midsummer issue! And the joke of it is, we can’t settle it, after all. The odds are even, tor both. So we’re just printing a few ot the letters, to prove that each has his loyal subjects. And the carpenters, or maybe it’s the goldsmiths, are now at work on the throne, making it wide enough for two. No other male actor comes within a couple of florist shops of getting the bouquets this month that these two have had. But Norma Shearer, for the girls, gets all the orchids. How they rave about her in “The Divorcee.” Incidentally, that picture and “The Big Pond” drew the highest praise in this month’s mail. But there is great in- terest in the splendid war pictures, notably “Journey’s End” and “All Quiet on the Western Front,” in spite of their grim realism. jee article in June, discussing the that magnificent Chaliapin. —one King—Tibbett! So one throne Este E. Kersey. How Pictures Do Educate! Hollywood, Calif. SAW “The Love Parade” in almost every theater in Los Angeles and vicinity. I learned more about the transportation system in Hollywood and Los Angeles, following Maurice Chevalier’s picture around, than I learned in all the ten years I have lived here. ROSALIE VICTOR. Well, Bill’s a Nice Boy, Too Brandon, Man., Can. HEN it comes to a choice between Chevalier and Tibbett, I choose Wil- liam Haines for my favorite. To the discard with the others, as far as I am concerned. They can’t hold a candle to Bill Haines. M. E. JoLtow. Norma Steals the Show Chicago, Ill. ERE’S a bouquet for Norma Shearer for her amazing performance in “The Di- vorcee.” Amazing, because in the face of the stiffest opposition—what a grand sup- porting cast she had!—she yet managed to run away with all the acting honors without being guilty of overacting. ELLA KING. Oh, These Fickle Fans! Oblong, Ill. N2 one could possibly have been more of a Garbo fan than I was—until I saw Norma Shearer in “The Divorcee.” Since then I've been busy hunting for pictures of Norma to replace those I had framed of Greta. MAGDELENE EINERT. [ PLEASE TURN TO PAGE 1261

Page 17

PHOTOPLAY MAGAZINE Buy a bathing suit with what you save FoR AucustT, 1930 17 So many things you can buy with that $3 you save by using Listerine Tooth Paste instead of 50 cent dentifrices. Cold Cream, for example. Talcum. Handke re hie fs. Hose. \ =< “We all agreed that our teeth had improved — and found Ze all used the same tooth paste” So writes a St. Louis woman devoted to Listerine Tooth Paste because of its very definite—and apparent—results, and its wel- come economy. It is really amazing how wonderfully well Listerine Tooth Paste cleans teeth. If your teeth are closely set, off color, have blemishes, and are particularly hard to whiten, try a tube of this quality dentifrice for a week or more. You will be delighted to find how swiftly but how gently it erases discoloration and tartar, leaving the teeth snowy white and lustrous. You will like the refreshing feeling it imparts to the mouth and gums. And you will welcome that saving of $3 it accomplishes. In every way, you will find it the equal of dentifrices costing twice as much or more. Lambert Pharmacal Company, St. Louis, Mo., U. S. A. LISTERINE TOOTH PASTE When you write to advertiser mention PHOTOPLAY MAGAZINE.

Page 18

Make-up must be perfect to face the camera. Max Factor adds a touch to bring out Loretta Young’s beauty F you have ever gone to a portrait painting class, or seena painter at work, you know how fascinating it is to “watch the likeness come.” It’s a matter of following bone con- struction, getting the right proportions, the exact curve of the eye-sockets, the nose, the mouth, the set of the shoulders. After that, such things as the line of the eyebrows and the tone of the flesh become important. Of course, there’s very little we can do about changing the bony structure of our faces and bodies or altering the propor- tions of our features, without resorting to surgery. But, with skilful make-up, we can work some minor miracles and geta likeness to the type we want to be. And what fun it is to “watch it come.” j KNEW a petite, fluffy blonde whose fine hair was glossy and straight asa stick. In order to carry out what she felt were the requirements of her type, she kept it carefully marcelled. She used a light rouge and the pink-toned powder that went with her natural coloring. When she grew a bit older her hair darkened somewhat, and, of course, her experience ripened. Asa sophisticated, modern young woman she was tired of the réle of demure little blonde. But she felt she had been “typed” by Nature, so she just went along envying taller, brown- and black-haired girls who con- veyed by their appearance they were thoroughly grown-up and knew what they were about. A hairdresser to whom this girl confided her grievances, took her in hand one day. After the shampoo, she shingled the long bob into graceful lines close around the head, but with no hint of acurl. She accentu- ated the straight, light brows with a touch of brown eyebrow pencil. Ochre powder deepened the flesh tones and gave a be- coming pallor to the unrouged cheeks. A dark lipstick brought out the curves of the mouth. Delighted with her appearance, 18 improve your figure. acne, personal problems. Friendly Advice on Girls’ Problems M* reducing exercises and sane menus will help you i My complexion leaflet gives general advice, and specific treatment for blackheads and A stamped, self-addressed envelope with your request will bring you either, or both, or other advice on Address 221 West 57th Street, New York City. CAROLYN VAN WYCK What Any Gir Can Do with Make-Up the girl followed the hairdresser’s further sugges- tions and bought a dashing suit with long, slender lines, and a daring little hat. That should have been the happy ending. She had achieved an appearance that exactly matched the personality she had become. | UT the man who had found her interesting because she sug- gested sweet, old-fashioned femininity, in spite of her modern viewpoint and ways, evidently decided she was just like the other girls he knew. Even though he marvelled at the trans- formation, she was quick to note a subtle change in his manner. And, because she loved him and didn’t want to lose him, she went right back to her old self, just as fast as her hair grew out long enough to curl again. Back to the unsophisticated sweaters and skirts and jackets. Back to pink powder and rouge, although she did decide that a bit of eyebrow pencil and lipstick added something to her former make-up—something that was very flattering. But at least she was satisfied. She had found out what a girl —any girl—can do to change her appearance with a new coiffure, a different line in clothes, and, most important of all, a new make-up scheme. Nees like the girl whose story EF have just told you, you'll be glad to go back to being your old self. But if you're not sure you’re satisfied, why don’t you try a few changes in make- up? Give yourself time to get used to them, and decide on the merits after the newness has worn off. The cosmetic makers recognize this desire of most women for variety. Just a few weeks ago a well known perfumer and cosmetician told me about their new face powders. Not only have they a special blend for each type, but powders that so subtly alter the tone and tint of the skin that colors we used to think were taboo for us will be made becoming. That’s something else we have learned from the painters. They know that slight changes in tint can bring about perfect harmony of color to color. There’s a definite reason for the rosier tinted cosmetics of [ PLEASE TURN TO PAGE 116] me care of PHOTOPLAY,

Page 19

jn? Y How to make oily hair behave Dear Miss Carroll: My curly hair used to be the envy of my permanent-waved, mar- celled friends. But now it is oily and lifeless —not nicely straight, but simply in strings. And I’m wondering whether I’m doomed to wear a hat constantly. And why not... when I used to hear, “‘You’ve the most beautiful hair I’ve ever seen!’’—Mrs. H. G., Ebensburg, Pa. H. G. Please, please, don’t adopt that close-fitting little hat you've threatened to wear. One of the things your poor scalp probably most needs is plenty of fresh air and sunshine! Don't get panicky. With patience and the proper treatment, I’m sure you can revive the true beauty of your hair. You see, relaxed oil glands simply won't take correction quickly. But this is the way to help them reform— Wash your hair with Packer's Pine Tar Shampoo, every time a glance at the mir- ror hurts your pride. Yes, even if at the beginning this means a shampoo every third or fourth day! For Packer’s Pine Tar Shampoo is a special shampoo for oily hair . . . fresh, healthful pine tar and vegetable oils are combined with an antiseptic astringent which coaxes the lazy oil glands to tighten up and behave themselves! And make your finger tips help too!... with light, lively massages that bring the warm blood into your scalp. And perhaps you should discuss your Viet with your physician—you may be a bit too fond of rich foods! No one should neglect dandruff Dear Jean Carroll: I am having trouble with my hair—it is coming out in bunches, truly. Looking through the hair, I can see dandruff, lots of it, especially where my hair is heaviest. I have tried everything I can think of.—Mrs. A. W. A., Pittsburgh, Pa. Ey something should be done at once. Dandruff should be checked before it becomes so serious a case. Dan- druff is a germ disease and needs curing. I don’t want to alarm you, but PHOTOPLAY MAGAZINE FOR AuGuST, 1930 Prease tell me... 19 9 -JEAN CARROLL'S Page on Hair Beauty Doctors approve the use of Packer's Tar Soap, a standard treatment for years in dandruff cases. Use this tonic tar soap, and massage the healthful piney lather well into the scalp—it’s pure, gentle and antiseptic. (And dandruff germs hate pine tar.) Give two latherings every time you shampoo, with a couple of rinses after each lather- ing. Do this every day for three days just as regularly as if it were a prescription ... Then shampoo every four or five days and later once a week. If eight or ten Packer shampoos don’t show a noticeable improvement, go to your own physician for additional help. “Used to wave easily, now it’s too dry” My dear Miss Carroll: I’ve seen others get help from you—now here’s my ques- tion. My hair used to wave easily when I dampened it and pressed my fingers on it. But now it’s getting so dry and straight and it’s breaking off. What shall I do? I've been a little afraid to use liquid sham- poos—I usually use...........-. soap.— Mrs. W. T., Belle Plaine, Iowa. rm not going to tell you that the } soap you've been using has ruined Of your hair—that wouldn't be true, Pi because it is a good soap. But I do know that you would do better to use a shampoo especially prepared for dry hair like yours. And I can tell you one that any doctor would approve. The Packer Company, makers of the famous Packer’s Tar Soap, have a golden colored liquid shampoo especially for dry hair—Packer's Olive Oil Shampoo. This shampoo is made of pure vegetable oils and, in addition, it contains soothing glycerine. (You know how soft glycerine and rose water leave your hands. ) You'll find that Packer's Olive Oil Shampoo leaves your hair softer and silkier than usual. Then, I have another suggestion. Brush your hair every day with a good strong pull away from your scalp to stir up those lazy oil glands (awfully good encourage- ment for a natural wave). I can’t promise that this treatment will give you ringlets all over your head, but I have had Jetters that tell me that it has brought back a natural wave. Will you teJl me how it works for you? JEAN CARROLL Tune in—radio talks on hair beauty by Miss Carroll every Tuesday morning— for the East and Middle West over the Columbia Broadcasting System's “‘Na- tional Radio Home-Makers’ Club” period; for the Pacific Coast, as part of the National Broadcasting Company's “Women's Magazine of the Air™’ (see Tuesday morning’s newspapers for details). If you have any of the difficulties de- scribed above, one of the packer products will help. If you have a special problem, write Miss Carroll personally. The cou- pon below is for your convenience. Send for Samples (10c for one; 25c for all 3) JEAN CARROLL, ThePackerMfg.Co., Inc. Dept. 16-H, 101 W. 31st Street, New York. Please send me your Packer Manual on the Care of the Hair, and sample of the Packer Shampoo I have checked. Benclose. cfasceciers to's cents (enclose coin, not stamps—toc for 1 sample; 25¢ for all 3) O Packer's Pine Tar Shampoo (Oily Hair) © Packer’s Tar Soap (Dandruff) O Packer's Olive Oil Shampoo (Dry Hair) NAME ADDRESS When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Page 20

UG FI FIT I LN _ANY POSITION [aA wd \» A tuck that banishes ugliness Smart women of America are now wearing smaller size undergarments — because of a clever tuck. A full expanding back gives to Kickernicks liberty of action and a snug fit, without bagginess. So perfectly do these models fit the form in all posi- tions, that clumsy reinforcements are not needed to relieve strain. Long wearing garments —garments you will be unconscious of. Beautiful garments of refined workmanship. Kickernick has revolutionized the art of underdress making. A distinguished American success. Complete lines at better stores everywhere, includ- ing especially attractive and comfortable children’s garments. Popular in price. Don’t buy until you have seen them. Made by Winget Kickernick Company, Minneapolis, Minnesota—in smart models of modish materials. Send for booklet. Kickern iCR_ PATENTED UNDERDRESS Every advertisement In PHOTOPLAY MAG AZINE Is guaranteed.

Page 21

HEN, a few years ago, Neysa McMein, the cele- brated portrait paint- er, selected Alice Joyce as the most beautiful of twelve great beauties, she said, “When I go to heaven I want to be like her.” Her first job wasasa telephone switchboard oper- ator. She started her picture work with the old Kalem Com- pany twenty years ago Alice Joyce was born in October, 1890, in Kansas City, Mo. She is 5 feet 7, weighs 120 pounds, has brown hair and hazel eyes. Her first husband was Tom Moore. She has been Mrs. James Re- gan for about 10 years. Has two daughters Chidnoff

Page 22

Kenneth Alexander Kay Francis was born in Oklahoma City, but she doesn't say what year. Ron ald Colman was born in England in 1891. Both have black hair and brown eyes, and came to movies from the stage F you paid attention to the studio gossips you might take this for a snapshot from real life. Kay Francis, a successful new” comer, is really posing in a scene from “Raffles” in which Ronald Colman is starred. Kay is his first brunette leading lady, and they do say the lad is quite smitten and vice versa

Page 23

EANETTE MACDONALD marched, singing, into the talkies with “The Love Parade,” and clicked. She had been on the stage for years, but looks like a permanent fxture in pictures. Here she is having a merry holiday at Palm Springs on the desert outside Hollywood Jeanette MacDonald was born in Philadelphia, Pa., June 18, 1907. She is 5 feet, 5 inches tall; weighs 122 red-gold hair and gree blue eyes. Unmarned

Page 24

af Betty Compson, in summery white. But she’s prepared for chill autumn winds to come. Her novelty tweed coat is light but warm, and the detachable scarf wraps snugly around the throat. A broad belt follows the natural waistline. Her close-fitting hat is made of the same cloth * aol Gee Maybe There’s An Idea For You In What Just to be dif- ferent, there's only half a jacket and therefore only one sleeve in this yellow crepe that Gloria Swan- son wears in “What aWidow!” Hand-painted flowers are out- lined in tiny crystals Black chiffon, pat- terned in a lea design of pale yel- low, with yoke of flesh chiffon and matching flesh- colored long gloves. Worn by Ruth Roland in her new talkie, “Reno” ee ee eee | ar ws

Page 25

They’re Wearing Onand Off the Screen Another hint of fall, in Miss Swanson’s en- semble of black broadtail and ivory velvet. One sleeve is untrimmed, the other cuffed with fox Alice White goes demure in a long-sleeved afternoon gown of black lace. The skirt fairly touches the ground, and even the slip is discreetly long Do you suffer from late summer wardrobe ennui? We prescribe a new bathing ensemble. One like Lillian Roth’s, of yellow and lavender jersey

Page 26

Don English Richard Arlen was born in Virginia in 1899; Jobyna Ralston, his wife, in Tennes- see in 1904. Dick weighs 155; is nearly 6 feet tall; has brown hair, grey eyes A FRIENDLY game, all in the family. At least, we hope it’s friendly, because we wouldn't want any spats in the Arlen family. Dick stars for Paramount, Joby Ralston keeps house, and they both relax by playing “Doug” on this court. It’s the tennis-like game Fairbanks invented

Page 27

dy cigis POUDREIS CoC a Nacree. SeverOse, FASCINATING NEW COMPLEXION SHADES Coty creates two new face powder shades, “Nacree” and “Severose“—and opens new worlds of beauty to every woman. For now that LES POUDRES COTY appear in twelve colour-perfect flesh- tones, all the smart colours of the new mode become “possible” for you. There is an appropriate tone to harmonize your complexion type with every colour. Naturelle Rachel No.1 Nacree Rose No.1 Cotytan Ocre Blanche Rachel No. 2 Severose Rose No. 2 Ocre-Rose Mauve ONE DOV t-Ak Write for “DIVERSITY IN BEAUTY”— Coty's new guide to colour harmony. Coty, 714 Fifth Avenue, N. Y.—Place Vendome, Paris ee Fee 5

Page 28

Dorotuy Dix SAYS “ROMANCE doesnt always demand DOROTHY DIX, famous writer on romance and marriage HY is it so many girls think romance must wait for just the right moment? That moonlight, music, atmosphere are essential? Romance is everywhere —after- noons at the beach, hiking in the country — simple picnics— all have their opportunities. But you must always look your charming best! You should know above all the significance of color in clothes. For you needn’t wear expensive things if you know this secret. Men Love Color Men respond quickly to color — as the old saying goes, “It’s color that takes a man’s eye.’’ Even on a picnic where old clothes are called for, avoid faded blouses, color-dimmed prints. For the loss of original color in a garment means a cor- responding loss of allure. Therefore, let me give you two simple hints — FIRST: In even your simplest frocks, choose the pretty colors that are most be- coming to you. THEN: Guard the charm of color always from even slight fading—for there is a magnetic appeal in vibrant fresh color. When I say this, girls often reply that frequent washings — which daintiness Even picnics have their opportunities — and simple frocks their charm demands—too often take the loveliness from colors. If that is the case, you have probably been using the wrong soap. Ordinary “good” soaps are sometimes not good enough — and some of the color goes with the dirt. To play absolutely safe, use Lux, which is made to safeguard colors. Lux has a slogan . . . “If it’s safe in water, it’s safe in Lux.” And that’s true. AT HOME, TOO, let the charm of color add glamour to you. Even the sim- plest home makes a lovely frame to your dainty, feminine self, if everything—from the cushions on the porch swing to the curtains in the living room— is kept colorful as new with Lux. Remember men love color. Dorotny Dix THE SECRET OF CLOTHES APPEAL Sample after 12 Lux washings — unfaded, live, vibrant as when it was bought, magnet- ism of color retained. Sample washed 12 times with ordinary “good” soap—undeni- ably faded, the allure of fresh color lost! if it’s safe in water. . it’s safe in LUX

Page 29

% =” RIENDS of Carl a Laemmle have manned August, 1930 The National Guide. Motion (TRADE MARK } to Pictures PHOTOPLAY the pumps and are work- ing seriously on the sugges- tion that the Nobel Peace Prize for 1930 be awarded him because he produced “All ~ Quiet on the Western Front.” Far be it from me to inti- mate that the jolly idea orig- inated with anyone even remotely connected with Unele Carl’s payroll. But that the idea was born in Hollywood IT have no doubt. It is just that kind of an idea—if you know what I mean. Three Americans—Theodore Roosevelt, Elihu Root, and Woodrow Wilson—have re- ceived the $35,000 check that goes along with the honor. Wilson got his for keeping us out of the War for a year or two. F I mistake me not didn’t Laemmle's Universal Com- pany produce one of those blood-red war pictures that were the box-office fashion in the early days of our participation in the late conflict ?—the days when “The Beast of Berlin,” “To Hell With the Kaiser” and “Qn To Berlin” helped to send our boys to the enlistment offices yelling for vengeance. Not a word about Remarque who actually wrote the book which Director Louis Milestone translated so faithfully into celluloid with camera and micro- phone. At the next National Convention of the Bull-Moose party I shall rise in my place and, with all my usual eloquence, put into nomination a presidential ticket _ headed by Amos ’n’ Andy. A ND now China bans an American film because, they say, it’s “Christian propaganda.” They simply don’t appreciate our new movie code _ of ethics. But you should see how the Japanese girls look in new one-piece bathing suits. Close-Ups and Long-Shots By JAMES R. QUIRK “T) OX-CAR,”’ said Ernst Lubitsch, dot German director, to Warner Baxter (he couldn’t say Baxter, so he called him Box-ear), “I want you should make a test for me. I am going to make “The Marriage Circle.’ ” Baxter made the test. “Fine, fine,” said Herr Lubitsch, and the picture started. Then the great di- rector began to find fault. He didn’t like the lapels on Baxter’s coats. He bawled the actor out because he was not as adept at kissing a lady’s hand as Menjou. He didn’t like the way Warner openeda door. Finally, he said Baxter couldn’t photograph. Baxter gave up indisgust after threedays. The truth was that Lubitsch had been told by the studio executives to substitute Monte Blue because he was already under contract, and it would save a salary. That was five years ago. ECENTLY, Warner Baxter was awarded the Mo- tion Picture Academy medal for the best acting performance of the year. It was in “Old Arizona.” He met up with Lubitsch on the street a few weeks ago. “ Box-car, that was good work you did in ‘Old Ari- zona, ” said the director. “I hope some day we make a picture together.” “What is the German word for hell?” said Baxter. “T want to tell you some place to go.” LARA BOW has broken out again. This time it is serious. Clara is probably the last, or at least we hope she is the last, of the type of motion picture actress who disregards all laws of convention, and hopes to get away with it. A shopgirl who has been lifted, by mere pulchritude and impish personality, from nowhere to worldwide fame. She has had no regard whatever for her i ee «

Page 30

responsibilities nor for the interest of her employers. Unmanageable, talented, reckless, hard-working, un- selfish, tactless, it was inevitable that the time would come when she would bring destruction upon herself. HERE is a potential Clara Bow in every town in America. There are girls just as beautiful, just as adaptable to pictures, but the one essential ingredient to continued success, to prolonged popularity, Clara did not have—a modicum of regard for public opinion. She paid no attention to the modern adage: “If you can’t be good, be careful!” Clara, we are afraid you are on a toboggan! F YOU'VE heard this one, stop me. I got it from one of the members of that night-owl firm of Win- chell, Hellenger and Skolsky. I forget which. A man walked up Hollywood Boulevard shouting at the top of his voice, “No! No! No! No!” A cop, who had been following him, approached and asked: “What's the matter?” The man kept right on shouting, “No! No! No! No!” Quit that or I'll pull you in,” said the cop. “ What’s the big idea?” “Tm a studio ‘yes man’ on my vacation,” he re- plied. “Yell away,” said the cop. ‘‘The change will do you good. When I get my two weeks I’m going to a sani- tarium to cure myself of the liquor habit.” HESE two pages of—well, anyone is entitled to his own opinion—are being scribbled on the “Golden State Limited” en route to Hollywood. Seated opposite is a beautiful blonde. There is a haunted look in her eyes. She was in- veigled into a voice test on her last trip to Hollywood —six months ago—and she’s going to listen to that test again this trip. Although she has given up the cinema for matri- monial and geographical reasons, and has no intention of resuming her screen career and quitting writing for Ray Long, of Cosmopolitan—also a good editor—she cannot resist listening to the results of that test any more than she can stop looking out the car window at the Technicolor New Mexico desert. “Let bygones be bygones,” she said, as she pounded out another piece of literature. “Why rake up the past? By the way, how do you spell vegetable?” Oh, yes, the lady’s name is May Allison. T happened the other night at the Hollywood Le- gion Stadium, where filmland goes to see its prize fights when Tully and Gilbert are at peace. The crowds there have seen so many stars that film people are no treat at all any more. But the other night, between bouts, there was introduced from the ring, one Maurice Cheyalier. 30 And here’s the point: They stood up and cheered, and even climbed on their seats to do it! Whatever is the name of this something he’s got, it’s certainly high-powered. ND while I am telling you about Chevalier, I might as well tell you what he thinks of being compared with Valentino. “Oh, non, non, non, non,” says Chevalier. “ Valen- tino—he was a thousand times more handsomer and better actor than I could ever hope to be.” XCERPT from advertisement in United Artists’ gorgeously printed year book, offering its celluloid wares to exhibitors for 1930-31: “Forever Yours” will be a greater drawing card than any production in which this famous star has appeared.” Blahe 2 eee blah sean Dlalis sear ae “An announcement that will be of tremendous in- terest all over the world.” A Milwaukee theater owner who was going through this handsome edition of sweet promises, and who had read that Mary Pickford had just called off the picture that morning because it didn’t work out, muttered one word, and laid the book down. The word was: “ Yeah?” NSWER to: How Could Howard Hughes Have Spent Four Million Dollars on “Hell’s Angels”? There’s one scene, just a few seconds long, wherein John Darrow, as the young German Zeppelin officer, steps into the dirigible’s observation car to be let down through the clouds. That scene was shot exactly 103 times before Hughes decided it was right. Three whole days were spent taking it over and over again. And the scene in the picture, as released, is the third of the 103 attempts, or, as we camera artists call them, “takes.” UST before he began to film “Moby Dick” John Barrymore had a permanent wave. This is not un- common among the male stars of Hollywood, but, mind you, only when the réle they are playing de- mands it. Very often, for picture purposes, straight locks are made curly. John went into the beauty shop and naturally de- manded that he be completely alone, except for the operator, while the wave was in progress. It would be embarrassing for the great Barrymore to be caught with his hair wrapped in curlers. But this was just a dare to the other beauty experts in the shop, and the girls, along with a few dozen customers, climbed upon chairs in the other booths and watched him while he was oblivious of an audience.

Page 31

NNA Q. NILSSON, young as the little cripples of the Children’s Hospital of Los Angeles, dreams of her busy years in pictures and of returning to the screen next winter. Over two years ago, while on a holiday, the kick of a horse broke her hip. At last health is returning. The kick cost her a quarter of a million in money—to say nothing of untold suffering !

Page 32

loria, Connie @ She married the handsome Marquis de la Coudray, but she’ll always be Gloria Swan- son to her fan army IVE years ago Constance Bennett, a somewhat poor but distinguished looking young woman, married a very rich man. He was Philip Morgan Plant, Broadway’s most fabu- lous playboy, heir to fifteen million dollars and more spoiled than a new baby in a childless household. Also, five years ago, Henri de Bailly de la Falaise, Marquis de la Coudray, a somewhat poor but most distinguished young man, married a very rich woman. She was Gloria Swanson, Hollywood's greatest star, with a salary that then was approximately a thousand dollars a day. She was shortly to be offered a raise to $25,000 a week. Supposedly, every one of those four people was tolive happily ever after. Both marriages had been love marriages. Both marriages had been most romantic. Both gentlemen were very handsome, and what the one lacked in money he made up in charm, and vice versa. Both the ladies were somewhat learned « 3 Q lhe Marquis By Ruth Waterbury in love. Connie had possessed one husband who got an annulment. Gloria had possessed two husbands and had gotten divorces. Connie swept into matrimony, trium- phantly, glamorously. She positively detested reporters who reminded her that once she had been a dancer and that she had made a hit in the film, ‘“‘ Cytherea.”’ All that was behind her, forgotten. She was only nineteen, but her career was past. She wanted nothing so much as to be Mrs. Philip Plant, young society matron. LORIA swept into Hollywood. That town has seen many a triumph, but never did it witness or stage such a triumph as Gloria’s. The little Marquise crowned it all over the place—crowns and coats-of-arms on her sta- tionery, crowns and coats-of-arms on her calling cards. There were many in Hollywood who would have liked to crown her, but they grinned and forgave her. After all, she was their Gloria. Many of them had known her from her early Essanay days, through her De Mille personality, during her marriages to Wally Beery and Herb Somborn. She was one of the movies’ most successful stars. She was sitting on top of the world. Certainly no four people seemed more widely separated than Mr. and Mrs. Philip Morgan Plant, living luxuriously on the Continent, and the Marquis and Marquise de la. Coudray, living Juxuriously in Hollywood. That was five years ago. Today? Today Mr. Plant has been eliminated from the picture, leaving Connie all alone, but with a million dollars. Today the Marquis de la Coudray is in Europe, leaving Gloria all alone but with her artistic career on new heights. Miss Bennett is no longer a young society matron but a rising and increasingly important picture personage. And the whispers run around Hollywood drawing rooms, tense, quick amused little whispers, ““But what about Gloria, Connie and the Marquis?” In other words, it is Hollywood’s most glittering triangle. Triangles, of course, are common as palm trees in Hollywood. You can find one on almost any lot. But this one is the most elegant one ever originated. Two of the most famous and ; |

Page 33

Se ee eS eee Gloria Swanson’s Marquis de la Coudray—or is he Connie’s? glamorous women in the world and one of the most charming men. The one woman self- made; the other self-perfected; the man born to culture and leisurely-living through genera- tions. Ask a question of any one of those three and their oh-so-opaque glances will tell you that gossip is just one of those dear, quaint things people will indulge in. Surely, say their glances, there’s nothing to it if a titled husband stays some six thousand miles away from his stellar wife. EALLY, murmur their voices, it’s ridicu- lous to notice that Miss Bennett and the Marquis got off the same train arriving at Berlin, Germany. How stupid, gesture their hands, to think there’s any meaning in Henri’s and Connie’s staying at the same German hotel. How innocent, shrug their shoulders, Hank’s being a witness to Connie’s new Pathe con- tract. But for all that, Hollywood goes on talking. It goes on talking, largely because Gloria herself gives them topics for their gossiping. For it must have been Gloria who, uncon- sciously, started the surmises going last summer. There was no Connie Bennett in Gloria’s life then, but everything else was dead wrong. Gloria was no longer the biggest star on the Gold Coast—not by a long shot or several close-ups. Talkies had finally come in com- pletely, unnerving all Hollywood. Gloria had just dropped $750,000 on a comeback attempt with “Queen Kelly.” The film was scrapped, but even if it could be redeemed and pieced together, it would be Seena Owen’s picture, anyhow. Henri was in Europe and had been for many months. The future looked drab as the desert. Gloria needed love and encourage- ment but Henri wasn’t there to give it and Hollywood has never been famous for aiding a slipping star. If there hadn’t been two other people out there at that time who were in the same state of mind as Gloria, there would be no further story to tell. But it is one of the things that make the little palm-fringed city the most romantic spot on earth that three people getting together in desperation could turn failure for all of them into success for the trio. T is, if you like, a triangle within a triangle, only this was not a triangle of romance but one of ambition. The other two sides of this one were Laura Hope Crews and Edmund Goulding. Miss Crews, as you know if you’ve been reading press notices, was a distinguished star on Broadway when Gloria was a kid in She used to be Mrs. ; Plant, and she saw a good we deal of the Marquis in Paris, did Connie Bennett ‘The Three Sides of Hollywood’s Most Glittering ‘Triangle Phil school. Brought to Hollywood at the beginning of the talking menace to teach starlets to elocute, she had done a good job. But it wasn’t spectacular enough. She didn’t know enough producers, and the few she did know forgot about her. So, just at the time that Gloria struck her low for the year, Laura Hope Crews was ready to repudiate her middle name and go home licked. As for Eddie Goulding, you either like him enormously or dislike him just as much. But either way, you have to admit that he is one of Hollywood’s nearest approaches to genius. He either has fifty ideas a minute or none a month. He is either earning a fortune or flat broke. And last summer was one of his off-seasons. Laura Crews was about to go to Broadway and Eddie was about to go crazy. Three artistic souls swirling about in an ebb tide, he and Gloria and Miss Crews came together. They talked over their bad fortune. They discussed the bum breaks they had known, while growing up, while struggling [| PLEASE TURN TO PAGE 118 | 9 ro?

Page 34

Mutia and Riano dish up a little African slumgullion in their own cabin on the Metro-Goldwyn studio lot. The two ebony boys do much of their own cooking and mending, and domestic fowl are brought to them on the hoof 34 Harry Lang HAT’S what the only two genuine savages in Hollywood say about the place. To you and a few million others who’ve™ never been there, Hollywood is quite likely, the dream-place you hope to go to some lucky day. And to those several thousands of us who) are here, it’s still a darned swell place to be. | But to Mutia and Riano, two black-skinned! boys from the jungles, the studio city is just one» grand cumulative pain in the neck! They want to go home, to Kenya, where they came from. ~~ Mutia wants to get back to his cattle and his: three wives to whom he’s been faithful all the time he’s been in Hollywood. And Riano, a fightin’ fool especially when he’s) ginned up, wants to get back to Njokinangu, his sweetie, to whom—and the truth shall be told!— he hasn’t been faithful at all! New York has its Harlem and Los Angeles has its Central Avenue; and Riano’s been there. UTIA and Riano, youknow, are the two Afri- cans who were brought to Hollywood to act in the studio-made sequences of M-G-M’s talkie version of “Trader Horn.” After six months of life in the center of Hollywood’s mad whirl, Mutia and Riano decided: A—that Hollywood is kufanu, which is Swahili- talk and means something between wild and crazy. B—that male movie stars don’t know the first thing about what to wear or how. C—that Greta Garbo may be the prime rave of America’s movie fans, but to them, she’s just a white.woman with a too-thin stomach. D—that our other lovely ladies of the screen are the same, if not worse. Mutia and Riano like bulk, not chic. And— E—that the sooner they get back to Africa, where life is sane and reasonable and real, the happier they’ll be. Fooey and faugh for Holly- wood say they, in Swahili. It was toward the end of last year that these two were persuaded to go to Hollywood to finish the work they had started by playing some bits in “Trader Horn” when Harry Carey and Edwina Booth and Director Van Dyke were shooting it in Africa. When the company returned, they found retakes and additions were necessary, and since Mutia had become an important character, he had to be brought here. The British [ PLEASE TURN TO PAGE 133 |

Page 35

Jackie’s Coming Back By Mirtam Hughes s HERE’S a little boy outside who wants to see you. Says it’s about buying some space in his school Annual.” Mike Levee’s secretary speaking. Mike’s a big shot at Paramount’s Hollywood studio. “Says he knows you well,” continued the secre- itary. ‘‘Name’s Coogan. Jack Coogan.” Levee saw Jack Coogan, and bought a page in Jackie’s school Annual. But the important thing | for us fans is that this business interview led to more important matters. And as this is being written, Jackie Coogan, going on sixteen,’ is re-immortalizing the immortal Tom Sawyer of Mark Twain in a “ce | Paramount picture. It’s three years since Jackie last heard the camera whir. ‘‘Buttons’’ was his last picture, shot at the awkward age. Young Coogan, one of the richest little boys in the world, is five feet tall, now—but he’s still | a little boy. His eyes are round and frank, and | he’s very much like the wonder-baby of the old | days, even now. Sensitive, facile, eager, un- spoiled. He’s a sophomore at Loyola High School, Los Angeles. And he must make “Tom Sawyer” in vacation time, so he can go back and be an upper-classman! Puppy-love hasn’t smitten Jackie yet. He hasn’t had any time for girls, and anyway, all his schools have been strictly boy affairs. BOUT what he wants to do when his edu- cation is finished, Coogan is certain. He’s always been sure! “T want to go right on in pictures. That’s all I’ve ever wanted to do,” he says. “I can’t wait to get back. Of course, everything is different now. You can’t depend on pantomime—you’ve got to do things with your voice. And I think I’m going to enjoy trying it—even more than the old silent days.” And running about the handsome Coogan home is a carbon copy of the Jackie who came to glory in “The Kid.” It’sa little brother Robert—same clear eyes, same round face and Dutch bob. Maybe he’ll try pictures, too. It would be star- tling to see baby Jack live again in Robert! Hundreds of thousands of fans will look for his return. And whatever changes time has made, they can be sure of one thing. They’ll find in Jackie the same grand little actor! What the well dressed boy between the ages of fifteen will wear this summer. This adolescent fashion plate is none other than Master Jack Coogan, who even now toils on his comeback talkie, the immortal ‘‘Tom Sawyer”

Page 36

nd Now Something New— Norma Drew, one of the pretty paraders, sets off a step-in and negligée set of chiffon and lace. The negligée is cleverly cut to form a short, graceful train Pastel shaded chiffon, lace and ribbon trimmed. The robe is brocaded velvet, pan- eled in lace, Claire Dodd is the pretty model 36 A trousseau pa- rade of lovely motion picture players in lacy lingerie, led by Joan Crawford, in her new star- ring picture, “Our Blushing Brides” Blonde Gwen Lee, in black chiffon and lace nightie and robe that make her look like a fairy tale princess, and a little like Mae Murray! ee a ae

Page 37

A Movie “Undie’ Parade EMININE fripperies return to the screen. Interesting news, even in these amazing years of 1929 and 1930 when sen- sational Hollywood comebacks have piled up thick and fast. Of course, there are still those who prefer the practical lounging pa- jama to the frothy and fetching negligée, the severely tailored, easily tubbed undies to these deli- cate, cobwebby wisps. But—well, you know how it is yourself. Now and then you just have to throw practicality to the winds and go off on a spree of buy- ing things you don’t really have to have—or things you need, but in more extravagant versions than vour purse usually allows. The mode is with you, this season. That’s your excuse, and here’s your inspiration! Walda Mansfield’s hair is the color glorified by Titian. So she chooses black, beautifully patterned lace, combined with crepe de chine Joan Crawford’s costume has quality, if not quantity. It’s of exquisite ivory satin, with bandeau, bandings and insets of real lace. Simple lines, and simply elegant! Right from Mr. Ziegfeld’s stage productions, Catherine Moylan took her place in the line of models, in a typically Ziegfeldian costume wy ol

Page 38

What Janet Hates—In “Sunny Side Up” T the height of her popularity, with two box-office hits just completed and fan letters pouring in like the Pueblo flood, Janet Gaynor may leave the screen. The Fox company, under whose auspices she de- veloped from an obscure extra to one of the best-loved stars on the screen, cannot seem to handle her any longer. There are murmurs of “temperament” and “ bighead’’—familiar words in this industry. As for Janet, she sits calmly on the beach at Playa del Rey, looks at the ocean, and waits for the studio to see things her way. And the high moguls of Fox sit behind their desks, look at the production schedule for 1930-31, and wait for Janet to come to her senses. That production schedule includes two Janet Gaynor specials —but whether Janet will ever play in them or not remains to be seen. Janet says: “I will not make another film until I have the assurance that .I will never again be required to play in a picture unsuited to my talents.” Fox say—unofficially, of course—“If Miss Gaynor does not come around to a saner point of view we may have to find some- one else to play the réles scheduled for her.” It all boils down to the fact that Janet is dissatisfied with the pictures given her since the talkies became established. When the craze for singing-dancing pictures began, the studios shoved anyone and everyone into musical comedy, whether or not they were suited for it. Janet, who up to that time had played 38 Janet 3 Goes to & WAR! @ If the little Gaynor Girl doesn’t get the parts she wants to play—she just won’t play at all! By Harriet Parsons What Janet Loves—In “7th Heaven” dramatic réles, was suddenly required to burst into song and do a dance. Well and good, Janet /earned to sing and dance. She made “Sunny Side Up.” It was a box-office hit. But when the studio saw fit to cast her in another musical comedy, “ High Society Blues,” she decided it was time to call a halt. She says: “I can’t sing and I know it. I enjoyed making ‘Sunny Side Up’ because it was something different and it was fun. But it’s not the sort of thing I do best and I don’t want to go on doing it. “I did ‘High Society Blues’ against my better judgment, be- cause the only alternative offered me was a straight dramatic role in a story so poor that I felt I couldn’t afford to do it.” The studio, however, was perfectly satisfied with “ High Society Blues” and with Janet’s work in it. OT so Janet. So she fled to Hawaii with her mother, leav- ing Lydell Peck to confront curious reporters and equally curious friends. There, lying on the beach, Janet thought things over, and came to the conclusion that she would not make any more pictures until she could make the kind she wanted. She was happier in Hawaii, she says, than she has ever been before in her life. She stayed four weeks. During these four weeks the studio called her frantically to come back and play the feminine lead in “Liliom.”’ It was a grand part. Just the sort of thing Janet had been waiting for. But she didn’t come back. [ PLEASE TURN TO PAGE 119 ]

Page 39

‘loo Many Guests A Hollywood adventure in hospitality that has ended 1n disaster for the host and hostess WEN eStores Seinen. eca.d By Dolores Foster Betty Compson and Jim Cruze, famous for their ‘open house” hospitality. Along came the talkies, giving Betty a new chance, but demanding in return hours of study and concentration, time for adequate rest. And their romance ended in divorce! HE long and happy married life of James Cruze and Betty Compson is dead. And too many guests killed it. Remember the silly old song—‘‘too many parties and too many pals”? Something of the sort finished off the Compson-Cruze love story that lasted seven long and happy years. That, and the talkies—the new deal in filmland that gave Betty so much work that hours were needed for rest and study. What an odd and tragic freak of fate—that Betty Compson’s brilliant come-back should be an indirect cause of the break- up of her home! But you can’t understand the ending of this love story with- out knowing the people. Let me tell you of Jim and Betty and their home as I know them. I was introduced to James Cruze on a set. The press agent, who had brought us together, mumbled in his beard sounds that almost resembled my name. Cruze was as busy as only a motion picture director on a set can be. I registered with him as a certain Miss Oompah and I have never seen him again. I knew Betty Compson so slightly that when, a few days ago, I came to interview her, she began her apologies, for being late, to another woman who happened to be standing by. Yet I have, off and on during the last few years, been invited to the Cruze-Compson home at least a dozen times. I have been invited to dinner, to tea, to open house, even for week- ends. Oh, mind you, neither Miss Compson nor Mr. Cruze knew my name. It was their very dear friends who were so gracious. It’s an old Hollywood custom. ‘What are you doing to- night for dinner? Nothing? Great! Then come out to the Cruzes with me.” ‘““Where are you spending your Sunday? At home? How silly! Let’s run out to Flintridge and see Betty and Jim for eight or ten hours.” The Compson-Cruze estate, with its comparatively small house, was the most popular night club in town. There were no couvert charges. In fact the hosts paid the guests. Literally. A large money bow! filled with small change was placed on a table near the door where uninvited house guests might help them- selves. Guests swarmed the house. They occupied the chairs, the grounds, the rooms. They ordered the servants about and at last some of the steady customers formed the guest association. It was a joke, of course. But a grim sort of joke. For it was just these things that made Hollywood pause over its toast melba, drip coffee and morning paper to say, “‘ Betty and Jim divorced. Too bad. Nice fellow. Nice girl. Shame. Thought they were so happy.” Happy? Hollywood thought they were happy and it was Hollywood that made it necessary for them to separate. It was Hollywood that, in making the [ PLEASE TURN TO PAGE 100 ] 39

Page 40

Beauty, Brains or Luck > By Adele Whitely Fletcher Amazing Stories of the Early Hardships and Privations of Ruth Chatterton, the Gish Girls, Mary Pickford, Gloria Swanson, Norma Shearer and Betty Compson - HE got a lucky break!” They say it of every girl on the screen, as if that told the whole story and there were no early histories of struggles, and even privations. They say “it without regard for hardships and heartaches which would have broken less gallant spirits completely. In every field the battle goes to the strong and the race to the swift. Achievement has a way of being the fruit of hard work and an indomitable courage. And the screen is no exception. Many of the girls in the movies had to get out and be the man of their family. Perhaps this extra spur of necessity forced them on, when discour- agements otherwise might have overtaken them. With mothers and, in some instances, younger brothers and sisters looking to them for clothes and food, they couldn’t afford to admit defeat. They might have married nice, home-town boys and live com- paratively unknown today, far less colorful bits in the American mosaic. But they are doers; the stuff of which successes are made. In whatever réle they found them- selves, it is most probable they would have attained some prom- inence. There are, of course, many who never were called upon to shoulder a man’s load, but who lived in dismal, furnished rooms and cooked frugal meals on Sterno lamps from choice, be- cause they had the courage to strike out for themselves and forge their dreams into realities. There is, however, not one instance where a girl of wealth has made the steep, starry grade, although countless numbers have 40 When her father fell ill and the family went broke, Betty Compson, at 14, became the breadwinner as a violinist in an orchestra @raa’™ When the Gishes and the Pickfords lived together to save money in the old days, Mary was the household manager. Pennies and nickels were counted closely in those days tried. In such a fight for glory, riches, strangely enough, are a handicap and not an asset. There is-no buying your way. . . And the uphill road becomes so steep and the going so rough that it is natural enough to give up the struggle, provided you have any possible alternative. Necessity and a definite incentive must be your travelling companions. And once you begin the ascent there is no turning back, no time out, regardless of how tired your body or how weary your spirit may become. Whatever your inclination, you must press on- ward or else yield your hard-won place to one of the number waiting for it, eager to take up the struggle where you have left off. Too much has been written about the stars’ jewels and loves. Too little about their courage. And it is a great pity to become so absorbed with them as spectac- ular personalities that we over- look them as gallant individuals. s OTHING today, Miss Chatterton,” the agents along the Rialto used to say. “Thank you, I’ll be back to- morrow,” Ruth Chatterton used to answer. Sometimes the pavement on Broadway was soft under the summer sun. Broadway can come close to being an inferno in August. And in the sleety rains of February it is torture hi * ees

Page 41

Ruth Chatterton in the stage pro- duction of “The Man With a Load of Mischief.” Ruth had to fight every inch of the way to the top to wait on the corner for the ceaseless traffic to pause, especially if your suit is too thin. But in August and in February, in the rain and in the sun, Ruth Chatterton walked Broadway. She was in her very early ’teens and she had her mother to support! Previously, the Chattertons had accepted gracious living as a matter of course. All branches of her family were well todo. Their social status had been assured for generations. Ruth played the piano beautifully and there had been plans for her to continue her studies in Vienna when she was sixteen. The plans of mice and men .. . At sixteen, Ruth Chatterton and her mother were living in a third-rate hotel in the West Forties in New York, where bottles of milk and covered dishes on window sills have had their part in many a saga of greasepainted adventurers. At fourteen, she had faced the fact that her father had proven unequal to his responsibilities and even her mother’s little fortune had been dissipated. Immediately following the crash, Ruth and Mrs. Chatterton went to visit relatives in Washington, until they could get their bearings. And while her aunts and mother sipped tea from fragile cups and decided what was to be done about things, Ruth went out and secured an engagement as the little girl in the first act of ‘““The Prince Chap.” Actually for that one act she was leading lady, the play’s action spanning so many years that a different actress was required to portray the heroine in each of the three acts. Imagine the amazement and the clatter of teacups when Ruth returned with her news! Gloria Swanson in the de Mille “‘clothes- horse” phase of her career. despite her apparent outstanding film success, has had to battle with financial troubles all through her screen years “There Is Not One Instance Where a Girl of Wealth Has Made the Steep, Starry Grade in Pictures Although Countless Numbers Have ‘Tried!”’ Norma Shearer in one of her first pictures. At one time she, her mother and sister lived in one small furnished room Just how a totally inexperienced girl, without one drop of theatrical blood in her veins, ever secured such a part always will remain a mys- tery. Just how she convinced herself that she could play it an even greater mystery. However, that was only a few weeks’ engagement. The fight for glory was ahead of her. Inch by inch she made her way. ‘The difficult experiences in New York followed. If she ever was discouraged, no member of the family remembers it. Always she seemed to rise above things. For instance, when she was playing a small part in a Chicago stock company, a cousin went to see her in her dressing room. Her head was high. Her voice was confident. “Within two years,” she told him, ‘‘my name will be in the electric lights on Broadway.” It was! It took a good part of the money Ruth had been able to save during that engagement to pay her fare and her mother’s fare to New York. But she had decided that she had served a long and difficult apprenticeship. She felt the time had come to gamble. When her porter had deposited their bags in a taxi, Ruth directed the chauffeur: “The Seymour.” She was through with third-rate hotels and shabby living. She was going to stop at a hotel where she might reasonably expect to meet people influential in the world of the theater. She would sink or swim. But Ruth Chatterton isn’t the sinking kind. [PLEASE TURN TO PAGE 111] 41 Gloria,

Page 42

How About ee P. and A. About the time Mary was stopping production on ‘Forever Yours” in Hollywood, Doug was congratulating nineteen-year-old Diana Fish- wick on winning a British golf championship MARY ena DOUG? OUG FAIRBANKS himself started it all! One day a royal bulletin was fired from the Palace at Pickfair. It announced, in chaste and understandable United States, that Mr. Fair- banks had decided to go to England and see himself some high- powered golf matches. And quite—except for a couple of big mashie and niblick men—alone! No mention of Queen Mary. No plans for another royal progress like the many the famous globe-trotting team has made during the ten years of their married life. Doug was going away alone. Think of Damon without Pythias—Amos without Andy—and you get an idea of the shock. Hollywood, home of the sly eye-wink and roguish leer, pricked up its long ears. Doug himself had tossed the first stone into the placid mill- pond of his married life with Mary Pickford! And the ripples are still spreading. Wherever there’s a fan who cherishes the memory of them during the days of their picture greatness, one question is being asked— How about Doug and Mary? The complete answer hasn’t been written yet. It can’t be. But you can bet your last smooth dime that something is happening at Pickfair—that modest, peaceful castle where Miss Pickford and Mr. Fairbanks have ruled so urbanely for a decade. Something has happened. Change is in the air. Of course, it would be easy to say— That Mary didn’t feel like traveling when the golf champions went to England. 2 4a By Leonard Hall That the pair felt a little marital holiday would be in order, after ten years of uninterrupted companion- ship. It would be easy—but it wouldn’t quite fill the bill. Too many elements have entered into the personal and pro- fessional relationships of the Pickford-Fairbanks family in the recent past. See talking picture was a direct challenge to Doug and Mary. For some years each had batted out a semi-occasional picture, before the sound storm broke. They and their work began to be taken for granted, like the changing seasons, the milkman and the sanctity of Caesar’s wife. Doug and Mary, little by little, ceased to be really vital figures in the picture scene, and became symbolic of an earlier and more spacious day in films. Then came the assault of the maddening microphone! It struck squarely at the royal family. Once the first panic had passed, the eyes of the film world turned to Pickfair. The vassals and varlets in Hollywood, down below, were ina frenzy. How about the king and queen? Well, we all know. Mary shingled her hair and made “ Coquette’’—yes, and got a modernistic statuette for her work from the Hollywood “Academy.” It was a creditable first try, but few could be found who would agree with the Academicians that it was last year’s out- standing labor before the microphone. Then both members of the family had their fling at Shake-

Page 43

What is happening at Pickfair? Rumors storm the royal castle where two once-great stars have ruled so long pearean slapstick with “The Taming of the Shrew’’—not the big thing they had hoped to make, but lively fun. In the onward march of pictures it didn’t mean a thing. The great industry they had adorned was performing miracles over- night—and Doug Fairbanks ate an apple at his own wedding, and Mary Pickford cracked a bull whip! And up to now—that’s all. OUG says frankly that he doesn’t want talkies, or any part of them. That he doesn’t think he is fitted for the audible screen. If he never faces a movie camera again, no one will die of shocked surprise. Of course, he says he is hunting something called ‘‘tempo,” and has talked considerably about the Russian director, Eisenstein, as a possible guide. But Hollywood is full of all sorts of tempo, and some of it is elegant. There’s a feeling that Doug is fencing with a windmill. Mary seems even more adrift. With preparations all made for filming “Forever Yours,” suddenly the wheels stopped, and lights went out on the Pick- ford set. A “suspension,” they say. And we all might as well face the music, even if we don’t feel like dancing to it. The sober fact is that, from the greatest of stars, Mary has slipped gracefully and quietly to the estate of just another actress, gratefully and happily remembered by thousands. So, while Doug was watching the golfing gentlemen in England, back home in Hollywood Mary was stopping work on a picture on which she banked more than we know. She is very much disappointed about the picture and about her photog- raphy. Mary has always said she’d retire from the screen before time took the throne from beneath her. AS that time come? Will she and Doug—separately or jointly—announce their passing from the active scene? Well, three things may have already retired them! Their own weariness, a certain amount of public apathy, and an icono- clastic little dingus called a microphone. And that isn’t all that has been happening at classic Pickfair! Tempus fugits along for kings and queens as it does for com- moners. ‘Time has been marching relentlessly for Doug and Mary. They can paraphrase Caesar’s magnificent line, and say, “You and I grow old, but the crowd on Hollywood Boulevard is ever the same age!” You can’t whip the vital statistics. Doug grins through the middle forties, and Mary is over the half way peak of the thirties. They have been before the public so long! They’re rich—and here’s a significant thing! They have been bound to each other by a chain stronger than steel for ten years—the chain of public opinion! All eyes have been on them—the shining example of a happy Hollywood family. Marriages came and went—but there were Doug and Mary! A gold fish lives a private, sheltered life compared to Mr. and Mrs. Fairbanks. How unutterably gall- ing, sometimes! Ask your old family psychologist! And with the middle years comes a divine restlessness—a powerful yearning for liberty that is the final kicking and threshing of the youth that is passing. And that may have come to the happy couple in the palace, too, or to half of it. That feeling [ PLEASE TURN TO PAGE 131] A tender love scene that may never be seen on the silver screen! Mary Pickford and Kenneth McKen- na as they appeared in ‘Forever Yours,” Mary’s new talkie on which shooting came to a halt while Fair- banks was hobnobbing with golfers in England

Page 44

By Grace Mack There was a puzzled look in his eyes, as he said, “Do you know, you’ve changed a lot since that night I met you in Del Monte” HAT were perhaps the prettiest legs in the Graybar building walked unconcernedly out of Elmer Crane’s private office and paused at a desk in the outer office just long enough to permit their owner to toss her notebook into the waste basket with a gesture of indifference. The legs belonged to Miss Joan Gordon, who, up to a few moments previous, had been a stenographer in the employ of Crane & Cox, contractors. “When the boss calls you into his office and tells you you’re fired, be nonchalant. Powder your nose!” She flippantly para- phrased the slogan of a popular cigarette as she swung open the door that hid the lavatory and took an enameled vanity from her bag. The mirror reflected an independent young modern to whom the loss of a job was of slight importance. Nonchalantly she pulled on her hat, waved goodbye to the other stenographers and walked out of the office with her chin up. Noone, watching 44 her exit, would have guessed that beneath the cocky, upturned hat, that looked twenty-five dollars and had cost five, was a brain that was plainly worried. Undoubtedly, Joan had missed her vocation. She should have been an actress. Outside the office, her pretended indifference quickly wilted. “Three weeks to get a job and one week to lose it,’’ was the disconcerting thought which passed through her mind as she pressed the elevator button. ‘One week’s salary to pay three weeks’ expenses. And it isn’t that I’m sucha poor stenog- rapher,” she reflected. ‘It was those awful building specifica- tions. Words I never even heard of. And the crazy way he talked out of the window when he dictated, instead of sitting

Page 45

to at his desk where he belonged.” up and couldn’t read her notes. Oh well, she tried to assure herself philosophically, there were other jobs. The trick was to know where to look for them. By this time she had reached Fifth Avenue. It was glutted with five-o’clock traffic. She paused at the edge of the curbing, trying to make up her mind whether she should be reckless and go to a movie, or economical and take a bus ride. As it turned out, she did neither, for just as the green lights merged to red, Fate, in a Rolls-Royce, stopped alongside her, “Ronnie!” The young woman in the car was saying. “Do you see what I see?” No wonder she got all mixed | | CINDERELLA But in a Limousine, Not a Royal Coach ? “In what way?” she asked. > an But to herself, she said, x, “Watch your step, Joanie. The coach may turn into a pumpkin any minute” “What do you mean?” asked her companion. “That girl there—the one with the impudent green hat.” “Why—she does look sort of familiar.’’ Ronnie stared at Joan. “But I can’t quite place her. It looks like—” —~me, Ronnie! Exactly the way I looked when I played Nola in ‘His Office Wife.’ Don’t you remember me in that little blue suit and the turned-up hat?”’ Ronnie didn’t, but that was immaterial. He was one of those young men who found it easier to say yes than to argue. “Quick, Ronnie,” she exclaimed excitedly. ‘Tell him to stop.” She referred to the chauffeur who had just received his signal for a right turn. ‘I want to speak to that girl. I’ve got a simply marvelous idea.” Joan had reached the safety zone in the middle of the street by the time Ronnie caught up with her. “T beg your pardon.”” He touched her on the arm self-con- sciously. Ronnie was not in the habit of accosting strange 45

Page 46

young ladies. “Miss Radia Benson would like very much to speak to you.” Joan had often been told that she resembled the celebrated screen star. This was the first time, however, that anybody had attempted to use it as an opening line for a pick-up. She opened her mouth to say “Run along, freshie,’’ but the words remained unspoken. As she looked at society’s playboy with his fawn spats, chamois gloves, gardenia in the buttonhole and eyebrow mustache, feminine intuition whispered that per- haps there was some truth in the old Santa Claus gag after all. nO Reeder BENSON?” The lips which had been ready to squelch Ronnie curved into an amused smile. “Then you must be Lon Chaney in a new disguise,’’ she kidded. “No,” replied Ronnie, who was slightly afflicted with an arrested sense of humor, “I’m not. As a matter of fact, I’m Mr. Loring, a friend of Miss Benson.” “Well, I'll say this for you, Galahad,” laughed Joan, ‘“‘you’ve got a brand new approach and just because you’re so original, I'll bite. Where do we go from here?” “Miss Benson’s waiting—in her car.” Ronnie gestured toward the curb. Joan did not really believe this. But what price convention? She was only twenty-two, city-wise, and her lovely, adventurous mouth correctly classified her. When Ronnie opened the door of the canary-colored limousine, however, she suffered a momen- tary qualm. “ Heaven protect the poor work- ing girl,’ was the thought that shot through her mind. “She’s certainly taking chances.” But, having started something, Joan was not one to turn back. She’d see it through, now. If she were bound for trouble, at least there would be some satisfaction in having made the trip in a Rolls- Royce. At the same time she was relieved when she heard Ronnie direct the chauffeur to the Ritz. A New Author —wear her clothes—riae in her car—live here at this hotel “This,” thought Joan, “is just another one of those crazy dreams. I’ll wake up any minute now.” oe S—you’re enough like me to get away with it,” Miss Benson was saying, as though Joan had already consent e “If your eyebrows were shaped in a more arched line, you hair waved in a short, curly bob like mine—and with m clothes and my make-up—you could fool anybody, that is, you're as intelligent as you look. What do you say?” For a moment Joan couldn’t say anything. The whole ides seemed so utterly fantastic. ae you really serious, Miss Benson?” she asked breath- lessly. “Serious? Of course Iam. Do you think I would pick you up off the street and bring you here if I weren’t serious. 0} I know it must sound weird,” she paused to light a gold-tipper cigarette which she took from an onyx case, “but I’ll be p Q) fectly frank with you. I’m in New York between picture It’s supposed to be a holiday, but that’s a joke. The company has kept me so busy trying on costumes for my next picture an attending asinine publicity lunch eons and glad-handing everybody» that I haven’t had a minute to really enjoy myself.” , Joan wondered just what the screen star called enjoyment. __ “T had my heart all set on a lovely little yachting trip. Then one of those awful tabloids came out with headlines about rumored engagement to Ronnie I mean Mr. Loring. The Compan simply threw a fit. You see have a ‘no marriage’ clause in m contract,”’ she explained. “Really you've no idea how difficult itist be always on parade—to have ni life of your own at all.” The poor) little five-thousand-dollar-a-weel star sighed wistfully. “T can imagine,” said Joan, though, of course, she reall couldn’t. She could keep straight on her geography, anyhow. HE young woman, introduced as Miss Benson, looked less like that much-photographed person than did Joan herself. It was not until they were alone in her ex- pensive suite, and she had removed the dark glasses and the hat which shaded her face that Joan sud- denly realized that this actually was the screen star. Ronnie had been dismissed at the door, with instructions to telephone in an hour. Joan’s eyes widened unbeliev- for PHOTOPLAY IXIE WILLSON, who is today one of the best known short story writers and screen authors, knows life and knows Hollywood. She danced and sang her way to New York in musical comedy and was with Ring- ling Brothers’ circus for three years. Next month PHOTOPLAY starts a series of Hollywood short stories by her. The first one, in the September issue, is “Tn the studio I always have a- double to ‘stand in’ for me,” con: tinued Miss Benson. “So when saw you standing at the curbing, looking enough like me to actually be me, I thought what a marvel ous idea it would be to get you double for me while I’m here New York. I’ll pay you one hun=) dred dollars for a week. Will yo) do it?” “I'd love to—but do you thinky IT can?” asked Joan feeling ex= actly as though she had _ beer asked to double for the Queen of Sheba. “Of course. It will be perfectl: ingly as she watched the girl fluff up her curly hair with a gesture which she had often seen on the screen. “Why, you are Radia Benson!” she gasped. “Of course I am,” laughed Radia. “Those dark glasses fooled you. I wear them for protection. Until I got the glasses I had less privacy than a goldfish.” “But it must be wonderful to know what a thrill people get out of seeing you—in person,” sighed Joan. ‘Can’t you just imagine how they go home and say, ‘Guess whom I saw to- day?’” Radia merely smiled. She seemed to be studying Joan. Finally, she said: “How would you like to try it for a week?” Joan had thought that she was prepared for anything, but this was so breath-taking that she could only stare at the star in bewilderment. She wondered if she had heard her correctly. “Why—I don’t believe I understand what you mean,” she managed to stammer. “T mean, how would you like to be Radia Benson for a week 46 197 ‘“A Queen Goes Fishing’ simple. You look exactly my size, You'll merely keep my fitting appointments at the costumer’s | and be seen going in and out of the | ‘ hotel. My secretary is very clever. She'll arrange everything and see that you are protected from) telephone calls and meeting people and all that.” “Til try anything once,” said Joan recklessly. OLLOWED an hour with a hairdresser who knew his busi= | ness, a lesson in make-up, and presto chango, the mirror reflec ted two Radia Bensons. Only the clever secretary knew that on of them, discreetly goggled and veiled, slipped quietly away on an} unpublicized yachting party, while the other remained at the Ritz, The next morning Joan, exquisitely attired from the skin out and tremendously thrilled from the skin in, walked out of the Ritz as casually as she had heretofore emerged from the sub- way station. Inwardly she was wondering what she would do» if somebody stepped up to her and said: “Take off those whiskers, Joan Gordon. Weknow you.” But, of course, nobody © did. [ PLEASE TURN TO PAGE 135]

Page 47

Read the Answer in [his Fascinating Story of a Girl Who Found That Love and a Career CAN Mix! HE time has come when the Norma Shearer issue must be faced. Coldly, the facts are these. A thoroughly inexperienced little Canadian girl went to New York some years ago, to go into pictures. She was } handicapped by a beautiful face which, she was told on excellent authority, would not photograph. She had neither stage nor screen experience and knew not one single soul in any way connected with show business. Today she is one of the greatest actresses in talking pictures. Her latest film, “The Divorcee,” has broken the records set at a Los Angeles theater by “Anna Christie.” And, before the | talkies, she had never read a dramatic line! Now she has the poise of the Ina Claire you knew on the stage and the dramatic ability a real star should have. She is married to Irving Thalberg and, some time in August, will become the mother of his child. Will she now leave the screen to play the réle of a normal, happy woman? | Her life has taken one direct course. She has hewn to the line. She has the most amazing energy of anybody in pictures. Recently her doctor said, ‘‘ You know, you really don’t have to do everything all in one day. Why don’t you learn that good old Spanish word mafiana?” “But I must do things,’’ Norma said to him. precious. I can’t waste it.” Before she married she had definite ideas about love and a career. She told me once that she must relinquish love for her work, that the two did not go together. And, when she married, everybody prophesied that Norma would retire. | It is a characteristic of Thalberg’s race that the men do not like to have their women work. So before they were married they discussed the all-important question of love and work. “T think, Norma,” said Irving, “that you should give up your career.” And Norma said, “‘I’ll give it up any time you want me to do ” “Time is so so That was three years ago. It has not been mentioned since, and just as soon as she finishes one picture he has plans for her for another. He is her boss, you know, as well as her husband. If she is going to leave the screen, now is her chance to do it. She has everything she wants. She really loves Irving Thal- berg, there is no doubt about that, and the child will add to her happi- ness. She has had her fame. She By Elaine Ogden Will Norma Shearer The star and her pro- ducer-husband, proud and happy in the dis- covery that their married life and their careers blend blissfully. We present Norma Shearer and Irving Thalberg! Why won’t has had her glory. she give it all up? But right now both she and Irving are reading stories and discussing the first film she will make after the baby is born. And Norma has a reason for all this. She knows why she will not retire. “See here,” she said, ‘‘there is so much talk about combining marriage and a career, but I’ve a different idea about it. I believe that one should take up a career for the sake of love. Really I do. “There is nothing so exciting as work. There is nothing so thrilling and glamorous as accomplishment. It gives you some- thing, working does. It makes you equipped for life. It gives you strength with tenderness. I glory in women who have accomplished things. I love the working girl because I am one myself. See is a certain type of successful woman I can’t abide. That is the woman who has that chin-in-the-air attitude. That mental thing that makes her say, either really or subcon- sciously, ‘I’m economically independent. I’ve made a name for myself. I’m betterthan most men. In fact, I can do anything a man can do in a business way and I won’t have any man telling me what to do.’ “That I can’t abide and, I really believe, I’ve never been that sort of woman. Because when a man has ordered me about I’ve usually obeyed, and if Irving had told me to give up my work because he wanted me to do so, I would have given it up. [ PLEASE TURN TO PAGE 125 ] y 4d

Page 48

One old trouper “backs up” another. Norma Talmadge talk- ing to the veteran William Farnum, with her in “Du Barry.” In the theater, “up staging” means one actor forcing the rest to turn their backs to the audience to face him. In pictures it’s “backing up.” But Bill doesn’t mind! Es E’VE been married a year—and are still happy!” That’s the cheery message Ina Claire gave the press boys some time after the Gilberts had celebrated the first anniversary of their wedding. “Tell the world THAT!” she added. “The papers keep printing rumors to the effect that we’re about to separate, but nothing about our happiness!” A good point, Ina! Glad you brought it up! John made no public statement. Just Somebody’s Coney: ee and by A dozen times during the critical “first year’’ the betting has carries peppermint drops in her handbag for been Packards to kiddie-cars that the John Gilbert-Ina Claire oi a el joc ree marriage was about to blow up with a terrific crash. Such Peco Cry peo Docecss 2 ue , af : B is is Lon Ch hi If in a reports crossed on the cables while the Gilberts were on their gael “The Unholy Three? am honeymoon. But here they are, after all the storms—married a year and blithe about it. Gilbert is making another talkie. Ina is going on the stage in Los Angeles to be near him. The quarrel started, you remember, when John was courting AX independent producer had a picture that needed Dolores. Maurice objected strenuously—and it all ended by patching up, so he sent for Arthur Caesar to do the job. the elderly actor’s home being broken up, Mrs. Costello siding Arthur is Hollywood’s best little professional insulter. vith her daughter. The picture was run off for Caesar in the projection room. It is believed that the birth of Maurice’s first grandchild— When it was over the producer asked anxiously: “Well, the little daughter of Barrymore and Dolores—brought the what do you think of it?” reconciliation. “There’s a fortune in that picture!’ Caesar replied. “How do you mean?” asked the producer. ILMA BANKY is apparently through in pictures for all “Cut up the film and sell it for mandolin picks!’ was the time. And she doesn’t care! Here’s why: Caesarian crack. First, she’s salted down about a half million good American dollarinos of her own. She always rather thought of pictures HE long, bitter feud between John Barrymore and Maurice as a means of making much money fast. She did. When Costello is over! Samuel Goldwyn first brought her from Hungary, her salary John, the hatchet well buried, is now one of those trying to was $500, but it was whooped up after each growth in pop- rehabilitate the veteran star. Already Maurice has been given larity when teamed with Ronald Colman. a role in “ Never the Twain Shall Meet,” Brother Lionel’s pro- At the end of her Goldwyn agreement, she was getting duction at Metro-Goldwyn. $6,000 every week! 48

Page 49

York/ A favorite star of other years returns to the screen—this time to give the world’s fans her beautiful voice. None other than Elsie Ferguson, so well remembered, who is film- ing one of her stage plays, “Scarlet Pages,” for First National Unteamed, she was not so forte, and the talkies hurt. True, she tried to lick her thick accent, but anyone who heard her in “A Lady to Love” remembers that she had a long way to go. So listless was she during this film that Metro-Goldwyn didn’t make a move to use her again. LL in all, with her accent, her heavy salary and her lack of picture ambition, the producers found no spots for her. She wasn’t angry. She wrote a sincere letter of thanks to Samuel Goldwyn for all he had done for her—settled down, and became Mrs. Rod La Rocque in earnest. She and Rod are happy. When he finishes his pictures they rush off to their retreat at Arrowhead Lake, and enjoy them- selves. Vilma, at heart, is a good Hungarian housewife. Down goes the curtain on a rich picture career. Vilma’s happy! A couple of Rogers boys, loose in Hollywood for no bad reason. The one on the left, of course, is Bud. The one on the right is his younger brother, Bh., who is solemnly said to have no name but that. Paramount’s signed him—probably to pre- vent his falling into a rival’s hands ELL, it’s a frenzied summer for the stork! In addition to the Shearer-Thalberg baby another famous infant is expected to arrive on Park Avenue, New York, almost any time. It’s the newcomer to the lavish apartment of Florence Vidor and Jascha Heifetz, noted fiddler. Florence lives elegantly these days, in a style befitting the Leautiful wife of one of the world’s greatest violinists. She sees hardly any of her old picture friends, and moves almost ex- clusively in society and circles of the higher fiddling. And Eleanor Boardman and King Vidor are the parents of an eight pound daughter. LORIA SWANSON and Ronald Colman met at a dinner party in Hollywood one evening and discovered that they liked one another. Because they found many things to talk about they spent a good part of the evening chatting. 3ut that was enough for old Dame Gossip—the lady with the long ears and longer tongue. Before long Hollywood was fairly buzzing with stories of the mad infatuation of two of its most colorful figures. Then Colman went to Europe suddenly and in his excitement forgot to remember to say good-bye to Gloria. Gloria cheer- fully admitted that he didn’t even call her up before he de- parted. Pop! went another Hollywood rumor! Now the town has settled disappointedly back in its chair to wait for a new—and more satisfactory—topic of converation! AE MURRAY has just lost another court bout. She lost a $96,000 damage suit she had brought against L. Eccles and J. M. Ferguson, real estate dealers. Miss Murray charged misrepresentation.

Page 50

The press agent slipped this under the door asa gag, but it’s a piece of advice now! Polly Moran is about to inhale a hunk of forbidden pie while in a hospital recently. But we insist that the nurse on the right be signed for pictures! T’S always a tremendous pleasure to record a generous and gentle act performed by a star without the slightest thought of personal gain. This happened when John Boles was making a personal appearance in Baltimore. A bed-ridden old lady of seventy-nine is an ardent admirer of John’s. And there’s no chance of her ever seeing him on the screen again. A friend plucked up courage and asked Boles if he would mind calling on her. ‘“ With pleasure,” he said, and he did call, bringing untold pleasure to the heart of his aged fan. Not a word about this leaked out in Baltimore, nor has it since. But I can’t resist telling you of John’s generous, thought- ful act. "THERE is quite a definite rumor floating around that Garbo’s next picture will be “Camille.” Greta is alluringly thin and certainly could put over this old war-horse of a story in a convincing manner. ACQUELINE LOGAN sends us a few notes on the activities of our friends in London. Jackie herself is making quite a hit in British pictures for the Gainsborough Company, and her old journalistic training is called into play in a scenario she has written for Sono Art. Her story is called ‘Sawdust and Satin.” Ronald Colman, says Miss Logan, tried to slip quietly into London, but it was no go. He’s so tremendously popular in his homeland that, in order to get a little peace and quiet, he had to announce that he had gone to France! The star of the moment has been Marie Dressler. She made a‘personal appearance at the London Empire, where “ Caught Short” was being shown, and was nearly bowled over by an ovation. Bobbies were needed to escort Marie through the mob of fans. Dennis King upset the fans in London, where he is playing in “The Three Musketeers,” by saying he was disappointed in his picture, “The Vagabond King.” He let this fall at its opening, when he appeared in person. And Douglas Fairbanks, during his English stay, said he would like to live in England at least part of the time. 50 The costume ball of the future, or Cecil de Mille seein’ things again! This mechanical marvel is the fancy dress ball held on board a Zeppelin in the old Plumbing-Master’s new picture, “Madame Satan.” Yes, sir—looks like a genuine old-time de Mille orgy! SSS Sea EBE DANIELS, previous to her recent marriage, was the most showered upon young woman in Hollywood. Thoseg stunning pre-nuptial affairs on which the society editors dote: Just about wore Bebe down to her warp and woof. At the first shower Bebe found a lovely present from Beny She thanked him for it and thought it was rather sweet. At thes next shower there was a present from Ben. That evening shed said: “It was nice of you, dear, to send me something, but you don’t really have to.” Ben looked puzzled. “Really?” he said. “Why, I thought! the groom was always supposed to send presents when the girls gave showers for you.” EVERAL years ago Bebe and Marion Davies decided that! they would go in for a little plain and fancy sewing and! agreed that they wouldn’t buy a single dress, but would make. all of each other’s clothes. Marion created a bright red moiré evening gown for Bebe. It didn’t quite meet across one side so. Marion attached a wreath of black velvet roses. The effect was* spectacular, if nothing else. A few nights later Marion asked Bebe to a dinner party, “And I thought,” said Marion, “that you might wear your new) red dress.” ‘““Er—why—yes,”’ said Bebe, “that would be fine. you having at your party?” Marion was amazed. “Why, you’ve never asked me thatt before,” she said. ‘But I’m only having two other people: whom you know very well.” Bebe heaved a sigh of relief. “Oh, that’s lovely.” And she» wore the dress for the first and last time. However, since then Marion has learned to sew and makes: perfectly beautiful dresses. Some of |the loveliest things in Bebe’s wardrobe have been) made by Marion. Who are:

Page 51

| The most dramatic picture we’ve ever found of a first-line director moving hundreds of people in a big outdoor scene! Raoul Walsh, with arm raised, bossing an episode in his latest open air spectacle. At his right is Archie Buchanan, always his chief assistant VERYBODY expected that Colleen Moore’s divorce from John McCormick would hit her hard. Certainly the two }loved each other devotedly. But Colleen has set up an atmosphere of brilliance about her and is not letting the world know how she feels about the matter. She is entertaining regularly with luncheons, tennis parties and buffets and is, to the casual observer, always the gayest of | the gay. OLLEEN has not yet made a new picture affiliation and she may be resting through the summer. The supposition is that there are few companies which know how to pay a star twelve thousand five hundred a week and still make money on the picture. There are still rumors that Colleen may sign with United Artists, where she takes her chance on the earnings. O many stories are told about the raw treatment accorded New York celebrities when they report for work at Holly- wood studios that we were delighted to discover the following example of solicitude. When Rube Goldberg, nationally known cartoonist, arrived on the Fox lot to aid in the making of his picture, “Soup to Nuts,” he was handed one of the only two vacant bungalows at the Hollywood studio (Bee Lillie drew the other). There was much bowing and scraping on the part of the studio yes- men, and Mr. Goldberg was made to feel that he was a person ) of no small importance. But the climax came when one of the underlings rushed up to him with a terror-stricken countenance and wailed: ‘Oh, Mr. Goldberg—your bungalow—I’m so sorry—” “‘There, there,’ said Rube, ‘‘what’s happened?” “Oh, Mr. Goldberg—it’ll never happen again—I promise Two Ben Alexanders, both great. Left, at 19, in the character he plays so magnificently in “All Quiet on the Western Front.” Right, at 5, as the wonder-child in that other fine war film, Griffith’s “Hearts of the World” you!” By this time Rube was all worked up. He had visions of fire, flood and earthquake. “What is it ?—tell me the worst!” ““Oh—h, Mr. Goldberg—I’m so sorry—they forgot to fill your fountain pen this morning!” ELL, they come and go, but the old master, D. W. Griffith, remains an interesting and fascinating figure. Hear the story of the making of “Abraham Lincoln” —and its aftermath. On this picture Griffith worked like a fiend. He turned out the job in twenty-nine shooting days, and with somewhat less money than he had expected. He has no illusions. He some- how felt that this might be his last great job—and he wanted it to be a gloriousone. A fitting exit for the first of the giants! When it was over, the Old Fox of Mamaroneck was nine- tenths dead. He went away to Texas to rest. No doubt, while there, he thought of the rush and frenzy of making his talking “Lincoln”—and wondered what it would turn out to be. How they’d like it. Whether or not it would satisfy him when he saw it again. Well—that’s about all. Except that one morning a wire came from Joe Schenck, head of United Artists. It said that the picture was great, and that Griffith could work as long as he wanted to! Who said you couldn’t teach an old dog new stunts? Griffith has probably whipped the microphone to death! You probably won’t believe this, and we wouldn’t blame you at all for that matter, but “Ginger” Rogers, Para- mount’s new discovery on view in ‘Young Man of Manhat- tan,” is married to a fellow named Pepper. We've restrained ourself from any reference to a “spicy marriage” since “Ginger” gets awfully mad if anyone calls her ‘‘Ginger’’ Pepper. N all-star cast testified in Los Angeles municipal court the other day against a Hindu “love seer’” whose name was Raw and whose actions, it is charged, were the same. Raw, defending himself, asserted he was intimately ac- quainted with Mary Pickford and [ PLEASE TURN TO PAGE 86 | bl

Page 52

The girl who didn’t want to be known just as the daughter of a beauty! Leila Hyams and her parents, John T. Hyams and Leila McIntyre, famous in the vaudeville world Shea 6 LHe aughter of a Beauty By HE’S the daughter of one of the most beau- tiful women on the vaudeville stage—and she’s one of the loveliest and most promising leading women in pictures. But she got her start in public life by posing for advertisements because she didn’t want to cap- italize on the name and fame of her mother, Leila McIntyre! That spunk and independence no doubt had a lot to do with Leila Hyams’ rapid rise in pictures—for that, indeed, is our heroine’s name. The talkies have only made her climb the faster and more interesting. For good work in a long run of rather ordinary parts she was given the ingénue lead in “The Big House’’—that Metro- Goldwyn-Mayer picture of prison life that bids fair to be some- thing of a sensation. For a girl of Leila’s temperament, it was a tough break to be born the daughter of important people. Her dad was John Hyams, and Hyams-and-McIntyre is a name combination that means a lot in vaudeville and stage life. But Leila didn’t want to cash in on being their daughter. She is the sort of girl who wants to be something for herself. She could have gotten a good job merely for the asking, from friends of her parents. As a matter of fact, she did! William Collier—father, not son—who knew Papa Hyams and Mama MclIntyre-Hyams even before they married, gave daughter Leila a réle in his play, ‘‘Going Crooked.” Leila knew he handed her the part merely because she was her parents’ child, and it peeved her. So she started out for herself. ODELING was her entrée into capitalizing on her in- herited beauty. Leila didn’t want to cash in on her mother’s fame, but the mother’s beauty was reflected in the daughter, and she couldn’t help cashing in on that. Modeling wasn’t any too lucrative, though, and Leila had to live in a cheap hotel while she posed for pictures—and occasionally got a job as an extra in films. Her income was so small that she had to mend and press her few dresses constantly to keep up appearances. Then a call came to her from a studio—came without her having to haunt casting offices to get it. And it resulted in her Ko 52 Robert Cranford first real film role—the lead with George Walsh in “The Kickoff.” gorgeous blonde. Leila is a knockout, there’s no denying that. Even in Hollywood, where beauti- ful blondes are just girls with light-colored hair, Leila is something to look at long, lingeringly and lovingly. Why, a noted portrait painter once called her “the golden girl’’—which is really a grand name for this doll with the golden hair, the golden-cream complexion, and the golden lashes about those intriguing eyes of hers. The réle in “The Kickoff” led to better and better things. Her-first real recognition came in reward for her work as leading lady opposite William Haines in ‘Alias Jimmy Valentine.” Leila is bound to make good, though. Besides her beauty, she’s got acting ability. Inherited, a great deal of it, of course. And then, when she was just a kid, she used to sit in the wings and watch her parents and the other acts on the bill. And, being brought up in the theater, she absorbed the technique of the actor naturally. She used to act in kid theatricals—she and Fred Stone’s daughter, Dorothy, and the Collier kid, Buster, and Fred Niblo. They rigged up a theater in Dorothy’s attic in Amityville, where they lived. Leila used to get into Fred Stone’s scarecrow costume from “The Wizard of Oz.” EILA’S greatest pride, aside from her success, is the fact that she made that success as herself, and not as “Leila McIntyre’s kid.” And that’s something to say in Hollywood, where two of the favorite gods are “Pull” and “Influence,” according to which side of the tracks you happen to come from! By this time the whole world is familiar with the part that “pull” has played in many a picture career. We've all seen the wheels greased and the road rolled for many an aspiring starlet. None of this for lovely Leila! She’s where she is—all on her own! Well, you never can tell! Young Leila’s parts keep getting better and better, and her beauty is superb. I don’t think Leila McIntyre will feel badly when someone says, some day, “ Meet Leila Hyams’ mother!” After that, it was all berries and cream for the - a ee eee et ee ee ee

Page 53

»* Why Nils Nils Asther and the reason he didn’t want to go back to Sweden. If you don’t know who she is, read the story. Oh, read it anyway! Did Nor Want to Go Back By NLY a little less than two years ago Nils Asther’s future was the most bril- liant in all Hollywood. Rumor had it that he was being groomed as a rival to the then ruling king, Jack Gilbert. Certainly he had already produced that cer- tain brand of hysteria that bespeaks the entrance of a new star. Fan letters poured in by the hundreds of thousands. Wherever Nils went he was recognized, until he was to be found only in the most secluded and out of the way restaurants. Autograph seekers besieged him wherever he showed his face. He bade fair to become one of the most glamorous of all the male stars. In a day when democracy, bounding Americanism and reg’lar fellers were at their peak (as they still are), Nils stood out as the type of man who could inspire old-fashioned matinée idolatry. He was exciting, mysterious, handsome, eccentric, romantic and dramatic. His past was as colorful as a Mexican sunset. Strange and vivid stories were whispered about him, and the aloofness which he affected only added to his Nordic charm. All the old prophets said that nothing could stop the boy, that he would become as fantastically brilliant as the Latin Valentino and would be adored in much the same way. When these things were pointed out to Nils he merely shrugged his shoulders. For, ever since his arrival in this country, he had been as unhappy as a revolutionist in a drawing room. Nils complained of Hollywood. He didn’t like the hail- fellow-well-met attitude he found everywhere. He was restless. He couldn’t discover friends who satisfied him, or work that was interesting. Being classed as a great lover was torture. The cut and dried routine of American pictures bored him. Nowhere could he find peace of mind. He had one great desire —to return to Sweden and be more or less contented again. And then came the talkies. Nils was idle for months, and at last things happened to his contract. By mutual agreement it was not renewed and he was free. Everybody said that he would go back to Sweden. Now was his chance. Now he would not be tempted by a large salary to Janet French stay in a country that he could not understand and that could not understand him. And what happened? Nils did not go back. Instead he remained and did what the hangers- on of the film colony usually do. He made a personal appearance tour! The great dramatic actor appeared in American picture theaters and clowned with the masters of ceremonies! And, upon his return to Hollywood, he took a home at Malibu Beach and sat waiting for something to happen. You expected something else of Nils Asther. You rather thought that he would make some dramatic gesture with his life. Hurl some strange defiance in the teeth of the producers— declaim some famous last word and depart. Instead he sat, waiting to work in American pictures! At least that is what he appeared to be doing. But in order to understand his attitude you must understand the infinite patience of the Swedes and the artistic ideals of this strange man called Asther. Now, I’m the sort of pest who is always going around remind- ing people of what they have once said. I’ve an appallingly good memory, and if ever anybody remarks to me in 1924, “I don’t like sweet potatoes” and I discover the person eating them in 1930, I’m sure to recall the fact brightly and ask for an explanation. REMEMBERED that Nils had once confided to me that he wanted to return to Sweden, that he was unhappy in America—and I couldn’t let this pass unchallenged, when the months dragged on and he did not return. So, fixing him with my most steely gaze, I said, ‘“ Now, why didn’t you go back home?” He wasamazed. “But Iam at home,” he said, ‘I’ve got my citizenship papers. This is my home.” “In Hollywood?” I questioned. ‘You're staying on in Hollywood? You're waiting around for something to happen like all the rest of the actors?” “Yes,”’ said Nils. “But what about your swell misery? What about all your unhappiness? Don’t tell me you’ve gone Pollyanna!” “T’m happy now,” said Nils. [PLEASE TURN TO PAGI 100 | oe

Page 54

THE NATIONAL GUIDE 3 THE BIG HOUSE—M-G-m “TT*HE Big House,” based on the original story by Frances Marion, finds its inspiration in the prison riots which have colored the daily press recently. It is a gripping presentation of the psychological drama underlying prison breaks. The three central figures are Kent Marlowe, a boy jailed on a manslaughter charge as a result of a drunken automobile crash (Robert Montgomery), Butch, a hardboiled killer with more brawn than brain (Wallace Beery), and Morgan (Chester Morris), forger and gentleman crook, who falls in love with Marlowe’s sister, goes straight and turns out the best man of the lot. The cast includes Lewis Stone, George Marion, J. C. Nugent, DeWitt Jennings, Karl Dane and Leila Hyams. The picture is masterly and intelligent entertainment. ig HOLIDAY—Pathe NN HARDING, Pathe’s dazzling blonde from the stage, after a couple of hopeful tries in the talkie line, at last comes into her own in this excellent picture. They gave her a tremendous part, and she fills every inch of it. As Linda Seton, daughter of the very rich, whose whole life is rebellion against the golden bars of her little social world, Miss Harding does brilliantly. She is helped by an unusually fine cast. In fact, Mary Astor, as her soul- less sister, very nearly carries off the picture. Robert Ames, Monroe Owsley, William Holden and Edward Everett Horton are all perfectly cast. This is as fine a piece of high comedy, with tragic over- tones, as the talking screen has yet held. Another justifica- tion for the mike—and another for the talented Harding. b4 TO MOTION PICTURES C hadow Stage (REG. U. 3. PAT. OFF.) A Review of the New Pictures oi WITH BYRD AT THE SOUTH POLE—Paramount ERE is something far greater in scope than any motion picture writer can write for the screen. Here is heroism, here is self-sacrifice, here is patriotism, here is adventure, with death hovering every minute over the devoted little band of Antarctic explorers that followed Commander Richard E. Byrd literally to the end of the earth. To call it thrilling would not only be inadequate. It would be silly. Two of Paramount’s crack cameramen went along with Byrd, one of them flying with him over the Pole itself. When the picture shows the plane leaving Little America, the last camp, for the final dash, Floyd Gibbons’ voice comes in to describe the action, and when you see Com- mander Byrd drop the American flag, laden with a stone from Floyd Bennett’s grave, onto the Pole, you are witness- ing one of the most heroic achievements in history. Another episode which will make you gasp ig that in which the occupants of the plane face the seemingly impassable mountain barriers, jettison their only food supply, and dash through a crevice of jagged ice tops thousands of feet above sea level. Then the hazardous flight back. Food gone, wind rising, will the gas last? It will make you preud of humanity. i ‘ et

Page 55

faves YOUR PICTURE TIME AND MONEY The Best Pictures of the Month WITH BYRD AT THE SOUTH POLE ROMANCE THE BIG HOUSE HOLIDAY THE UNHOLY THREE GRUMPY The Best Performances of the Month Greta Garbo in “Romance” Lewis Stone in “Romance” Robert Montgomery in “The Big House”’ Chester Morris in “The Big House” Bernice Claire in “The Toast of the Legion” Ann Harding in “Holiday” Mary Astor in “Holiday” Lon Chaney in ‘““The Unholy Three” Norma Shearer in “Let Us Be Gay” Edmund Lowe in “Good Intentions” Bebe Daniels in ‘‘Dixiana”’ Cyril Maude in “Grumpy” Casts of all photoplays reviewed will be found on page 140 vx ROMANCE—M-G-M HE rich, sweet warmth of the word “‘romance’’—Greta Garbo has caught it all, and made it the very essence of as fine a characterization as she has ever done. It makes no difference whether you’re a Garbo fan or not, you'll love Rita Cavallini, the worldly yet womanly singer, as Garbo makes her live again in this phonoplay version of the story so popular on the stage and silent screen. Comparisons are called odious. Rather, they’re foolish. Whether Garbo is better in this than Doris Keane was, is, after all, a matter of individual judgment. None can say that herein Garbo has not achieved magnificent heights of portrayal without a single marring touch of histrionics. Her Cavallini is as adorable a woman as the screen has known. Lewis Stone, as her current protector, is a sophisticate and a gentleman. A less experienced player might have brought hatred to the character. Stone makes it finely sympathetic. Such criticism as may be aimed at this picture will likely find its mark in Gavin Gordon’s conception of the character of the young minister to whom Cavallini opens the doors of greater understanding. Gordon plays the réle with much harshness and with little humanity. It is hard to believe that Cavallini would fall in love with a man whose soul holds so little sweetness. It is a grand picture. A picture to stir the emotions deeply—nothing has been spared to makeit pictorially perfect. . “ # j £ » #5 ad Cee " _ Le ition, xe THE UNHOLY THREE—M-G-M HE finest thing about this picture is that it discloses Lon Chaney’s natural voice just exactly as it should be deep, vibrant, and perfectly poised. Chaney followers have eagerly awaited his first talking picture. Besides this, the silent version of ‘‘The Unholy Three’ was one of Chaney’s best, so this production was warmly anticipated. In the réle of the sinister ventriloquist, Chaney uses five voices, those of the barker, the ventriloquist, the dummy, the feminine voice of the old woman, and the imitation of the parrot. He actually does this, but the deeply satisfying thing through it all is his own voice. A splendid cast supports, but Lila Lee’s work as the crook, Rosie, is excellent. You'll get thrills a-plenty! rin GRUMP Y—Paramount HE stage’s most lovable old crab takes to the screen at last—and grouches his way into your heart as he did in the theater. One could write a mess of pedantic twaddle about how much this sort of thing means to the screen. Of course it does—but equally important and vastly more pertinent is the fact that here’s a grand piece of entertainment. Too many people misbelieve that “Grumpy” is just a sloppily sentimental thing about an old man. Wrong!—for in addi- tion to the sheer delight of Cyril Maude’s characterization, the plot packs a kick like a mule. Naturally, Maude gives one of the performances of screen history. And there’s no flaw in cast or production, with your Phillips Holmes taking second honors. 65

Page 56

Here’s HELL’S ANGELS— Caddo Productions which took three years and several lives to make, is sorely handicapped. Only in spots is it great, notably in the immensity and daring of its flying stuff. Ben Lyon and James Hall, as the brothers, are splendid. Jean Harlow, newcomer, tries hard with an unsympathetic rdle. oS terete ANGELS,” The rest of the cast is fine. Now, don’t mistake. “Hell’s Angels” is worth seeing. But $4,000,000 worth? QUEEN HIGH— Paramount AS ace musical comedy—lots of laughs, plenty of pretty girls and some nice tunes. This sort of thing is the screen’s hope in the light musical line. Charlie Ruggles and Frank Morgan are responsible for the chuckles, and Ginger Rogers’ youth and charm are swell. Others who make this an unusually happy film are Stanley Smith, Nina Olivette and Helen Carrington. ANOTHER sophisticated drama that makes a grand follow- up for ‘‘The Divorcee.” How unattractive Norma Shearer makes herself early in this picture and how beautiful she be- comes! Marie Dressler gives another fine characterization, and Gilbert Emery and Rod La Rocque play important parts. After this Norma need not fear that her fans will forget her while she is off the screen for the blessed event. 56 Your Monthly Shopping List! THE TOAST OF THE LEGION— First National = Pace twenty-five years of vigorous life, “Mlle. Modiste,” Victor Herbert’s famous operetta, comes to the singing screen under this name. The great “Kiss Me Again” show is a beauty in the new medium, all in Technicolor, with good voices singing the pretty tunes. Bernice Claire scores heavily in the Fritzi Scheff réle, and others are Walter Pidgeon, June Collyer and Edward Everett Horton. SO THIS IS LONDON— Fox ees ROGERS is loose among the English toffs, with side- splitting results. The droll Will is at his funniest as the American who gets unhappily mixed up with a flock of anti- American Britons. There is a tender love story, too, with Frank Albertson and Maureen O’Sullivan. Other grand actors are Irene Rich and Lumsden Hare. Rogers fans will be mad about this mad picture. BRIGHT LIGHTS— First National OW we know why Dorothy Mackaill spent so much time in Honolulu. It was so she might out-hula the best of them. And she does it in “Bright Lights.’ This musical extravaganza, with original music, is entirely Technicolor, and gives both Dorothy and Frank Fay a fine opportunity. The result is delightful. Even though Dorothy broke a rib in mak- ing this, we think it is worth it. ee

Page 57

The GOOD NEWS —M-G-M HIS one, like the pardon from the governor, came too late. “Good News’ has been stolen so many times that now it’s no longer news. But it is done in a sprightly manner and if you haven’t seen the Varsity Drag so often that you’re bored, you'll love it. It is college run rampant, with Bessie Love, Stanley Smith, Mary Lawlor, Lola Lane and Ukelele Ike helping it run. THE OTHER TOMORROW —First National HE ever-gorgeous Billie Dove is here involved in a tri- angular love affair set in the South, sah! The story is all broken out with heavy drama, but Billie is so beautiful and well-gowned and the supporting cast so serious and vigorous that the end of entertainment is fairly well served. The two gentlemen involved over Billie are Grant Withers and Kenneth Thomson. GOOD IN- TENTIONS— Fox LOOD-AN’-THUNDER mellerdrammer in swell clothes! “Good Intentions” is another crook thriller, but so well done that it’s a fine piece of entertainment. Edmund Lowe is great as the master-bandit who falls in love with the society girl and—no, he does NOT reform! Instead, he and the story come to a logical ending in an exciting climax with a bullet for the final period. First and Best Talkie Reviews! MIDNIGHT MYSTERY Radio Pictures f HEREIN a practical joker frames a fake murder to cure his thrill-loving fiancée of a mystery story complex. The murder turns out to be real, and the fun-loving youth almost kids his way into the chair. The cast includes Betty Compson, as a female combination of Edgar Wallace and Sher- lock Holmes; Hugh Trevor, as her playful fiancé, and Lowell Sherman as the villain. Fair entertainment. DIXIANA— Radio Pictures HIS screen operetta, for which Harry Tierney has written delightful music, is a grand spectacle. And it doesn’t stop at that. Everett Marshall, of Metropolitan fame, makes his screen début, and proves he has both voice and personality. And Bebe Daniels is at her best as a circus girl of old New Orleans. With Mardi Gras in Technicolor and negro spirituals, you will be charmed by this. DUMBBELLS IN ERMINE— Warners The studios can’t forget “Is Zat So?” Hence Bob as a prize fighter and Jimmy Gleason as his trainer. The story concerns the more amorous side of fisticuffs. The awfully nice little girl tries to be bad and is aided by a modern grandmother. That's Beryl Mercer and she’s swell. It’s a funny picture with gobs of elegant lines. [ PLEASE TURN TO PAGE 80 | OBERT ARMSTRONG is at it again! gy vi

Page 58

Would You Like qa’ New Nose? By Harry Lane IVIENNE SEGAL flashes across a Holly- wood movie screen, and in the audience a man whispers to his companion: “See her? Well, that’s my nose she’s wear- apy. 17 Cryptic? Yes—until you understand that this man is Dr. Josif Ginsburg, one of the “Beauty-Makers of Hollywood.” He is a young Russian, a war-taught plastic surgeon. He is one of that limited group of practitioners who, with knives, acids, and uncanny electrical and mechan- ical devices, have re-made the faces and even the fig- ures of so many screen luminaries that you can no longer be sure where God left off and the surgeon be- gan his handiwork! Dr. Ginsburg alone, in five years in Hollywood, has operated on no fewer than six hundred movie peopie! There are others of his profession—among them, most notably, Drs. W. E. Balsinger, H. O. Bames, T. Floyd Brown, and R. B. Griffith—in movieland. Altogether, figures show, these plastic operators have remodeled more than two thousand faces for the screen. Of course, it stands to reason that only a small per- centage of these thousands are stars. But the stars are among them. You’d be surprised at the famous names whose screen beauty is synthetic; who have had nos€ corrections, new chins, pinned-back ears, face lifts, deep acid peels, fat removals, and other Opera- tions at the hands of these specialists in putting beauty where it isn’t! I } Ake these people wrong? By no means. They are right. Their faces and their voices are their stock in trade. They have as much right to try to perfect their faces for their business as they have to take voice culture. If we could look into the records, we would prob- ably find as many New York society women in the plastic surgeons’ consulting rooms. Among the women whose names stand out are Mollie O’Day, Bebe Daniels, Fannie Brice, Ruth Taylor, Helen Ferguson, Lola Todd, Virginia Brown Faire. And the men go for it, too! Consider Georgie Price, Paul Lukas, LeRoy Mason, Georges Carpentier and Jack Dempsey. Telling the actual names of all the stars who have been to the plastic surgeon is an impossible task. They won’t admit it, except in a few isolated instances. Time was when a visit to the plastic surgeon was considered as great a secret as to get married, in filmland. It’s only lately that a few of them are beginning, not only to admit that they’ve had their faces bettered, but to even go so far as publicly to announce it. And, of course, the surgeons themselves keep their operating room secrets sacred. The ethics of the profession are strict. In only two ways does knowledge of a plastic operation ordi- narily come to light. One is for the patient himself to tell about 58 How Hollywood submits to the knife of the plastic surgeon in the name of Beauty it, or authorize the doctor to. The other is when an operation goes wrong, and a face-ruined patient seeks redress in the courts. This story will deal with those cases as well as those where beauty has been found. But in all fairness to the sur- geons, this must be borne in mind: That for every court case of plastic scandal that receives publicity, there have been hundreds of successful operations which remain an inviolate secret between the surgeon and his patient. It is not fair to condemn the plastic surgeons, whose success could be attested by the biggest figures in filmdom if only they would admit it, because of the few cases that went wrong. What is the most frequent plastic operation in filmland?

Page 59

Over 2,000 of our stars and near-stars have had their faces shuffled and reassembled for the screen “ Correcting bad noses,” face-doctors unhesitatingly answer. The camera has a fiendishly keen eye. It catches and magni- fies defects that the human eye does not notice. And here’s another thing to remember—that the average movie close-up presents a star’s face fourteen times magnified! There isn’t a facial blemish or mark that can well escape that treatment. A slight bump on the nose assumes the proportions of Mount Ever- est. A button at the end ofa nose, which might look merely pert to the eye, looks like a jelly doughnut in the close-up. A tip- tilted nose, instead of being cute, looks like a rain catcher. Take Fannie Brice. On the stage, the nose God gave her got by easily. But on the screen—well, Fannie had it trimmed a bit. Bebe Daniels took her nose to the surgeon, too. Bebe was always pretty, but since she’s had the tiniest little revision at the tip of her nose, she’s prettier yet. or rather, a double case: The contrast- 30th were Here’s another case ing episodes of Belle Baker and Vivienne Segal. among the stage stars who heard the golden call of the talkies. Up to then, the pictures needed only beauty, and could find plenty ofit. “ But with the advent of the talkies,’’ explains Dr. Ginsburg, “the need arose for talented singers and dancers. The screen found them on the stage—but found, too, that God had given them talent but forgot about their faces.” Belle Baker and Vivienne Segal came to Hollywood. Both of them had noses that didn’t photograph well. Vivienne’s was too much of an incurve; Belle’s was on the outcurve model. Both registered splendidly in their voice tests, but not in the lens test. Belle Baker thought it over, and decided to do nothing about it. She’s not in pictures any more. Vivienne Segal, on the other hand, decided that no nose was going to cheat her out of success. She went to Dr. Ginsburg. He tooka piec e of carti- lage out of her ear, and put it where her nose was swaybacked. Now she has contracts for five pictures ahead. Do you remember Gloria Swanson’s nose when she was a Sennett bathing beauty? was? Recall how pronounced the up-tilt There’s no available record that she ever underwent a plastic operation, and yet the nose looks different today. There are other screen figures whose photographs show a difference between now and then. Harry Richman’s nose, since he went into pictures, doesn’t look like it did. Dr. Balsinger removed a lump from Helen Ferguson’s nose. He gave Jack Dempsey the facial adornment which sports-writers call the mauler’s putty nose, although it isn’t putty at all! Georges Carpentier, when he went into films, had to have his glove-flattened nose made over, and Dr. Ginsburg did it for him. Virginia Brown Faire had her nose straightened in 1927, Marie Wood was an extra girl who couldn’t get work because her nose looked “‘funny” on the screen, so she had it fixed and got more jobs afterward. Le Roy Mason, who had trouble getting film jobs, finally had his pugilistic style nose rebuilt and now works steadily. Paul Lukas had the tip of his nose nar- rowed and won a contract with Paramount for reward. Richard Dix’s nose today isn’t the same as it was when he first began starring in pictures. [PLEASE TURN TO PAGE 102 ] 59

Page 60

The Rules Are S: imple 1 Seventy cash prizes will be paid by * PHoropLray MaGazine, as follows: First Prize vex a « 3 ap hOOO0 Second Prize .......... 750.00 Thirdperize! so 2. 500.00 Fourth Prize 300.00 Risch Prizene see oe 200.00 Twenty-five Prizes of $50 eachs; 3.5. ... 1,250.00 Forty Prizes of $25 each 1,000.00 2 In four issues (the June, July, August * and September numbers) PHotopLay MAGaztne is publishing cut puzzle pictures of well-known motion picture actors and actresses. Eight complete cut puzzle pictures appear in each issue. Each cut puzzle picture will con- ’ sist of the lower face and shoulders of one "4 eg ’ player, the nose and eyes of another, and the upper face of a third. When cut apart and properly assembled, eight complete portraits may be produced. $5,000.00 in prizes, as specified in rule No. 1, will be paid to the per- Sons sending in the nearest correctly named and most neatly arranged set of thirty-two por- traits. 3 Do not submit any solutions or answers * until after the fourth set of cut puzzle pictures has appeared in the September issue. _ Assembled puzzle pictures must be submitted in sets of thirty-two only. Identifying names - should be written or typewritten below each assembled portrait. At the conclusion of the contest all pictures should be sent to CUT _ PICTURE PUZZLE EDITORS, PuHorortay _ MaGazrnz, 750 North Michigan Avenue, _ Chicago, Ill. Be sure that your full name and 60 complete address is written on, or attached to, your entry; that your entry is securely packed to guard against damage in transit; and that it carries suflicient postage to avoid delay. 4 Contestants can obtain help in solving * the cut puzzle pictures by carefully studying the poems appearing below the pictures in each issue. Each eight-line verse refers to the two sets of cut puzzle pictures ap- pearing directly above it. The six-line verse applies generally to the four sets on that page. Bear in mind that it costs absolutely nothing to enter this contest. Indeed, the contest is purely an amusement. You do not need to be a subscriber or reader of PHoropray MaGazINE to compete. You do not have to buy a single issue. You may copy or trace the pictures from the originals in Paoroptay MAGAZINE and assemble the pictures from the copies. Copies of PHotopray MacaztvE may be ex- amined at the New York and Chicago offices of the publication, or at public libraries, free of charge. 5 Aside from accuracy in assembling and * identifying cut puzzle pictures, neatness in contestants’ methods of submitting solu- tions will be considered in awarding prizes. The thirty-two cut puzzle pictures, or their drawn duplicates, must be cut apart, assembled and pasted or pinned together, with the name of the player written or typewritten below. 6 The judges will be a committee of mem- * bers of PHoropLtay Macazine’s staff. Their decision will be final. No relatives or members of the household of anyone connected with this publication can submit solutions. Otherwise, the contest is open to everyone everywhere. 7 In the case of ties for any of the prizes * offered the full amount of the prize tied for will be given to each tying contestant. “ 8 The contest will close at midnight on * September 20th. All solutions received from the time the fourth set of pictures appears to the moment of midnight on September 20th will be considered by the judges. No responsi- bility in the matter of mail delays or losses will rest with PHoTopLAy MaGazINE. Send your answers as soon as possible after the last set of cut puzzle pictures appears in the September issue, which will be for sale on the newsstands on or about August 15th. The prize winners will be announced in the January, 1931, issue of PHoropray. 9 Because of the time and labor required * to re-pack and re-ship thousands of entries, it will be impossible to return any of them. They will be sent to hospitals and orphanages to gladden the hearts of sick and homeless children. S . Contestants should — USLESTLONS study the poems appear- ing in connection with the cut puzzle pictures. These are the indicators for identifying the contest puzzle pictures and winning prizes. It is suggested that contestants merely pin their solutions together until the four sets of pictures are complete. This will permit the shifting and changing about of pictures as the contest progresses—and will give time for lengthy consideration and study. Each cut puzzle picture is a portrait of a well-known motion picture actor or actress, Follow the Arrows

Page 61

Ss LL I know is that you are in my arms,” sings Reginald Denny to Kay Johnson in “Madame Satan,” in process of manufacture by C. B. De Mille If you are old enough to remember Wallace Reid in “The Woman God Forgot’ ’ you will notice a striking resemblance This Way to Cut Puzzi Turn Over

Page 62

Photoplay Magazine’s New $5,000 Cut Puzzle Contes A ena i tt KP al i Pt ah es eo tin Upper Upper [he hair is twice married—and not twenty-two— The hair has a child—though she’s just one he rself— [he eyes own a dear little girl The eyes in “‘Peter Pan” made good, The mouth’s a New Yorker, her orbs are deep blue, The mouth in the town of the gangsters was born, ‘ And her red hair shows many a curl! She's safer in calm Hollywood! 4 Lower Lower 2 The hair is from Texas, her height is five-two Che hair in a family of actors was raised, ’ The eyes were a social success The eyes did their bit on the boards 4 Che mouth in the state of mosquitoes was born, The mouth is unmarried— though suitors she has * But they didn’t dare bite her, we guess! In legions, battalions and hordes 2 oS tee dale 4 RESUME { Three of them are married, and two were divorced, \nd one girl has never been haltered \nd each has had sudden success on the sc reen, \nd a courage that never has faltered Two of them are mothers, and two have brown hair— (nd one is a blonde—and that baby is there! ee ee

Page 63

‘omplete Rules for Competition Appear on Page 60 Upper Upper The hair's from old England—he’s Britain's great gift, [he hair's a six-footer, he’s just twenty-two, The eyes are a present from France! Che eyes made their hit with a Gish The mouth has co-starred with Joan Crawford in what The mouth was a dancer—he’s Spanish, no less, We would call his own special romance. He's the flappers’ most romantic wish! Lower Lower The hair has a voice that will make opera yet, Che hair is of brown, and he's happily wed, The eyes have a most famous dad, The eves to Rex Ingram owe much The mouth as a singer of gallant, gay songs The mouth saw war service and earned a wound stripe, Has made many talkie fans glad. And his acting few others can touch! RESUME Just one man was born in our own U.S. A., Just one is unmarried, to date, And one—this should please many ardent young fans— Is separate, now, from his mate Two are very dark—we mean both eyes and hair!— And one, while not blond, is decidedly fair

Page 64

- ‘ BROWN:-489 |. DANIELS - iid NITE SounD =: - ARBO doing a warmish love scene in the filming and sounding of “Romance” which is reviewed in this issue of PHoTOPLAY The actual temperature or the set, caused by the t dattery of lights, is 104 degrees. Gavin Gordon, from Mississippi, a stage actor who got a real break in this, his first picture, is aiding and abetting, while Clarence Brown bosses

Page 65

The two Greta Garbos that make up one of the most romantic and glittering figures in all screen history. At the left is a plain girl, with simple tastes, who lives her own life and minds her own business. She likes children, and funny stories, and is timid in a crowd. At the right is the other Garbo—+littering, mysterious, exotic. The Greta of the screen whose allure is so powerful a magnet that she is talked about by millions of fans hat GARBO Thinks of HOLLYWOOD WISE man in one of his profound moments said that = isn’t what people say that matters—it is what they o! And it’s lucky that this is so. For the actions of Greta Garbo, even without the speech that she withholds so energetically, gives us the key to the strange mosaic that is this stranger woman from over the Northern sea. It has been said of Garbo that the story of her conquest of America is that of the neurotic triumphant. Don’t misunderstand the word “‘neurotic.’’ A neurotic per- son is not always one given to neurotic tremors or other obvious symptoms. A neurosis may often find its outlet in moodiness— aloofness—and an escape into a dream world. An escape into a dream world! Ora world of the screen? Could Garbo love Hollywood? Does it fit into the dream world where she finds rest for her spirit? Instead of courting it, she avoids and shuns it. She takes no part in its life. The beauties of our Western land leave her unmoved. She was not even impressed by the noble, majestic Yosemite. She ordered her chauffeur to drive faster through its glories. “Those mountains are pretty high,” was her comment. The obvious thing to say is that she is two personalities rolled into one. There is that person up there on the n. And then there is the Swedish By Katherine Albert girl called Greta who likes her native food and loves anchovies, is always cold, suffers from insomnia, wears bedroom slippers between scenes, loves jazz music but hates dancing, is five feet, 6 inches tall, weighs 125 pounds and wears size seven double-A shoes, likes solid substantial furniture and hates feminine gee- gaws, but adores children, has a big hearty laugh, likes to hear funny stories, invests her money wisely and is frugal as a Scotchman, but is terrified of meeting strange people and is actually timid and embarrassed in a crowd. The screen Garbo is somebody else, a vague, exotic mystery woman. It is not true that the publicity department has built up a Garbo myth, but it is true that the busy press-agents at Metro- Goldwyn-Mayer have helped the idea along. And the fact that she does not grant interviews and that she draws within herself and keeps secluded is as good a stunt as sending a lion around the world. However, Garbo really IS mysterious, although she hates the legend about herself. What goes on within her mind as she paces up and down the set, back and forth, you nor I will ever know. She may be thinking the most profound of thoughts. She may only be wondering if her herring will be chopped properly for dinner. It is more amus- ing to believe that she is contemplating life and cosmic love. 65

Page 66

The first time I saw her was a month or so after she had arrived. She was just another stock actress on the lot and she was bewildered. She looked at me with those strange, sad eyes and said, “Oh, dis studio, it is so beeg. In my poor leetle country the studios, dey are not so beeg. My leetle country is a sad leetle country. Here everyone says, ‘ Hello, you feel goot?’ Even the mothers, dey say to the leetle children, ‘ Darling, are you happy?’ When I have children of my own I will say to dem, ‘Darling, are you happy?’ I like that.” But she didn’t like Holly- wood. She was bewildered by it. She would take to her heart none of its people. The other actresses tried to be nice to her. She smiled her wan little smile and kept away from all their activities. Apparently Garbo didn’t like anything. She was utterly miserable and utterly lost. Be- cause of the publicity that was sent out about her, she began receiving fan letters before she appeared on the screen. Once she said, “But who are dese people who write tome? Dey do not know me. Perhaps I am very bad girl. Perhaps dey would not like to get letter from me.” “And what do you do with the letters?” I asked. “T throw dem all away.” Thus she dispensed with a sacred gesture of stardom. She pined, in those days, for Sweden. “Here it is so beeg,”’ was her constant complaint. She begged to be allowed to go back home never to return, but the studio was beginning to realize that they had in hera rare property that would, perhaps, develop into one of the greatest personalities of the screen. Next Month— PHOTOPLAY begins a series of stories titled “The Private Life of Greta Garbo.” It is the most intimate in- sight into the home life and friend- ships of this famous screen star ever written. Do not miss it for it is full of So they clung to her while she spoke tenderly of my “poo leetle country” and could find no joy in the bright, hot days o California and the teeming, happy life of the studio. ; But Garbo has remained in Hollywood. She made but one trip to Sweden and returned. She is not ready to go back there to live. So how has she adjusted herself? Since one cannot talk to her one can only surmise how she feels by the gestures she makes. If you believe your copy book, these actions speak louder - words. Now the great Garbo walks on the set. She is always E Ss : time. They have no difficulty with her and, although she has been credited with the words, time and time again, she has never said, “I t’ank I go home.” There is always a great deal of fuss about Garbo on the set, There is a little flurry of excite- ment when she comes among the workers. When she does a great emotional scene black — flats are set up around her to ward off the prying eyes of the j electricians, prop boys and ; others. The greatest of direc- _ tors says to her, ‘“‘ Now, Miss Garbo, are you comfortable? Do — you think this scene should be played like this or do you feel it _ another way?” And when these things happen, one look at Garbo’s face will tell you what is going on in her mind. A little amused, whimsical smile plays across her features. She looks at the director, almost with disgust and with a great deal of ironic humor. She knows that only a few years ago she was a little nobody. She is secretly amused at all the ballyhoo about herself. The glamor that has been thrown up [ PLEASE TURN TO PAGE 120 | —Surprises Never let it be said that Richard Barthelmess is a star afraid to share his spotlight with a couple of handsome pals! When Dick started “The Dawn Patrol,” two good-looking leading men, Neil Hamilton and Doug Fairbanks, Jr., were engaged to support him. And here they are! 66

Page 67

By Marquis Busby F course it was bound to happen sooner or later! This stepping out with the beauties of the film colony is risky busi- ness for any susceptible young man. There’s an awful chance of developing serious trouble under the left ribs! And it took a blind date to doit. My evening with Grace Moore wasallarranged through a mutual friend. I had never met her. I had never heard herinopera. Ihadseen pictures of her, but newspaper portraits all look alike—it might be the Roosevelt Dam and it might be Miss America. Now, in college, I always steered clear of blind dates. Your fraternity brother would fix it up with a “keen number” of his acquaintance. Your hopes would be all built up, and the girl would turn out to be a museum curiosity with squint eyes and gopher teeth. I was quite sure that Grace Moore would be a lovely girl. Picture contracts running ’way up into five figures a month are not handed out to girls that don’t qualify as to pulchritude, but still it all was an intriguing uncertainty. Exciting, too. I had never spent an evening with a famous opera prima donna. Oh, once I had lunch with Jeritza—me and twenty other people. I was elected to be the village boy that showed the city gal the Hollywood bright lights—and they’re pretty bright. Hollywood is no town to hide its light under a bushel. Miss Moore had never been to Montmartre, the Ambassador, the Roosevelt, or any of the night clubs. In all of my other dates the girls knew the rounds as well as I, and probably better. G In a way, stepping out with Grace Moore is a bit like dating up the Queen of England. Only nicer, although in justice to Mary I must say I’ve never been out with her. | No star in Hollywood lives in more regal splendor than Miss Moore. Never having been known to have the slightest sense of direction, I fully expected to get lost trying to find her home. She lives on a huge estate, a big hacienda on a hilltop, with acres of grounds stretching away on either side. But you couldn’t get lost. You can see the lights of that house for five miles. Ill bet on a clear night you could lean from the sev- entieth floor of the Chrysler Building in New York and count the candles on the dining room table. As you approach the estate the landscape takes on a feudal look. There is an unlighted country road, and tenant houses. Don Juan’s fatal moment! It was bound to happen! 4 Casanova” Busby FOES on a blind date with Grace Moore and falls hard! OOTE. In spite of his cus- tomary leer, our hero fell easy prey to the charms of Grace Moore, Metropolitan Opera star in Hollywood to sing for the screen In fact, it looked as if the Chic Sale Foundation had done some missionary work in the neighborhood. You leave the valley and start climbing a narrow, winding road, lined with spruce trees. There are signs that read—No trespassing—police dogs loose.” That’s enough to scare anybody away. A mile and a half up the road you drive through the great gates and you are in the courtyard of the Moore Manse. The house is one of those places where you come in upstairs and then go downstairs. A maid ushered me into the hallway where I was turned over to the Number Two Secretary. After a short period of waiting in a library, the Number One Secre- tary took me into the big living room. Both of the Secretaries were charming. I had time to admire the view from the win- dows, glance at the pictures of opera stars on the open grand piano and a well-worn score of “The Love of Three Kings.”’ There was a roaring fire on the hearth. It smoked a bit. Whoever made that fire was a bum Camp-Fire Girl. HEN I met Grace Moore. “T didn’t mean to give you the smoke cure,” she said by way of greeting. [ said something incoherent and not too bright. was taken away. Now most opera stars run to bosoms, girth and the grand manner. Not Grace Moore. She is young, slender and lovely, with dark blonde hair. She wore a white velvet dinner gown, and a cloak of the same material trimmed with a band of bronze ostrich plumes. And jewels, there must have been $100,000 worth—a diamond and [ PLEASE TURN TO PAGE 117 ] My breath 7 61

Page 68

“A brilliant personality in | h ‘ AIL the new star!” aA S l Nn poe “This girl bears watching.” he film fi we : Hier’: ater material.o: we Se Why did these glamorous a Aas reviewer without these old youn esters rocket through the film k phrases is ab ff las : Piadttic hes aoc eae ale heavens—and fail ? You'll find these bright sallies set up in type in every self-respecting newspaper and magazine office. When a critic can’t lay his hand on them he gives up journalism and goes in for some com- paratively honest profession like safe-cracking. The public is eager for new stars. So are the producers. The studios publicize new faces and the little Cinderellas to whom they belong are petted, feted and receive good salaries. Then what happens? Where are some of the brilliant actors and actresses who bear watching? You'll have to wear your specs to find them. Great actors and actresses many of them are. Others not so good—just lucky, or unlucky, enough to be cast in one out- standing film. And then—puff!—the little light is out. What has become of Dorothy Burgess, Ruth Taylor, Nils Asther, Molly O’Day, Stepin Fetchit, Baclanova, Camilla Horn, Gareth Hughes, Don Terry and more—many, many more who lived on the screen for such a little while? But. more important still, why did they fail to keep faith with their public, with their producers and with themselves? Hollywood has an answer. It shrugs its shoulders and says, “Oh, So and So was just a flash in the pan.” A flash in the pan. Why? HE case of little Ruth Taylor is an outstanding example. You know her story. You remem- ber the publicity ballyhoo, the elabo- * ae rate personal appearance tour. The veryone predicted a blazing headlines, “Unknown picked long page rr for leading réle in ‘Gentlemen Prefer a ee hy Se hd F i a B ter h i Blondes.’’’ The interviews. The ia “Peter Pa Bee spotlight. r like many others, she You also remember the film. It turned out to be a failed for a number of reasons. The one-réle star fo 4 No more beautiful girl than Camilla One of the greatest natural actors the Horn ever flashed into Hollywood. But screen has seen, Stepin Fetchit just after a picture or two, fate and the couldn’t be good! Now he is exiled talkies licked her to short comedies Os

Page 69

in the Pan book was too well known. Lorelei Lee had found her way into too many trite imitations before the picture was re leased. Yet Ruth came through. She B y gave a good performance. It was not her fault that the picture was unsuc- cessful. ¥ K qa t h er 1 ne A l b er t But, for this failure, Ruth took the rap. She was the fall guy. The po- tential star sank into photoplay obliv- ion through no fault of herown. Now she is in New York—married and very happy. EVERAL months ago all the old critic phrases were dusted off for Dorothy Burgess. Well, here was a personality! Here was something brilliant come to the screen. Surely, oh surely, the leading woman in “‘In Old Arizona” would rise to the pin- nacle of fame. But she hasn’t. The story is as strange and ironic as any ever told in the cin- ema capital. It concerns a little Spanish girl, Maria Alba, Dorothy Burgess and the picture, ‘In Old Arizona.” The film played the heavy. Maria was given the réle. She played it for a couple of weeks only to have the executives realize that her natural Spanish accent could not be sufficiently understood. An American stage actress, Dorothy Burgess, was given the role. And what of Maria? Hers was a heart-breaking task. It was her duty to sit on the set and coach Dorothy in the Span- ish accent. To watch another girl do the réle she loved. To see another girl in her costumes, made especially for her, and to look on while a hairdresser arranged for Dorothy the coif- fure that Maria had created for herself. Maria did this job uncomplainingly and Dorothy contributed to the screen a flashing performance. Then what? Dorothy was a type. She was not pretty in the accepted Hollywood sense. It was difficult to find parts that suited her. After many hectic scenes (the com- Ruth Taylor was fine in “Gentlemen Prefer Blondes.” But the film flopped at the pany says that Dorothy was unreason- box-office, and, as able, and she accuses them of petti- often happens to a ness) her contract was allowed to player, Ruthie didn’t lapse. She is now doing a part at come back Pathe and [ PLEASE TURN TO PAGE 96 | Don Terry made a brilliant beginning Baclanova, the Russian tigress who in “Me, Gangster,” and he seemed flashed in the Hollywood jungles so certain to succeed. But he proved too briefly. There’s a chance, however, much a type to land often that she’ll return to us 69

Page 70

Big Broadway Star Wanted to Help Poor Little aha > + By Eleanore Griffin Eva retired to her make-up box and dabbed at her eyes. ; She was so little and pitiful looking that Roger thought she was crying, but Eva was really making some small adjustment on her eyelashes. There had been much publicity over the advent of Roger Blake in talking pictures. He had been quite ex- ; cited over his reception. Screen celebrities met him at the station. He was driven to his hotel preceded by two motorcycle policemen with sirens screaming, and over the hotel entrance was a banner bearing the words, “Welcome, Roger Blake.” HE had been a sensation last season on Broadway, and had been brought to the Coast by one of the biggest com- panies for a picture. He was not exactly handsome, but he had something—a combination of pathos and humor that had been found irresistible. Funny little mannerisms that went straight to the heart. He strolled over to Eva. “I’m awfully sorry. He shouldn’t have talked to you that way.” “Of course, he shouldn’t, but he did, and he probably willagain. I have to work,” replied Eva. Then she sighed. “They will be showing that part in the projection room tonight. I wish I dared to go. I’ve never seen myself on the screen.” “T’m going. Do you want to come with me?” “Pst!” went the girl in the sports coat. “That’s Eva “Oh, I'd love to.” 5 oe Moore herself! She’ll be a sensation! And that’s In the projection room they saw Eva for a brief instant Blake behind her. Didn’t she steal his cake!” obliterate the form and features of the leading lady and then pause, dismayed. Again Roger renewed his first impression. She was cute. And with the peculiar VA was very small, very blonde, had huge blue eyes and a psychology of Hollywood, because Eva was there with mouth that couldn’t decide to be sullen or smiling. Roger Blake, the director and the assistant noticed that ~ . The first time Roger Blake laid eyes on her, he said, “Gee, Eva Moore was a cute little trick. “How about that © | but she’s cute.” Eva wasanextra then. In fact, she had just Moore girl for the manicurist in the barber shop scene to- been most effectively and profanely “bawled out” by anirateassistant morrow?” asked the director. “O. K.,” agreed the assist- director when she nonchalantly walked directly in front of the lead- ant. ing lady ina scene. Roger was visiting the set. The next day Eva was moderate in her gratitude, if not PT 0 a |

Page 71

Eva—She Was So Pretty, and Helpless, and Cute! actually haughty, when her first bit was proffered. She was going to dine with Roger Blake that evening, and she saw to it that the director, the assistant and every last extra on the set knew it. If the electricians had evinced interest in anything but the prospects of overtime for the week, they might have been included in the secret. They dined that night at the Ambassador. Eva basked serenely in the atmosphere of good food, music, and im- portance. Everyone knew Roger. Eva was presented to countless celebrities, and hoped no one recognized her fluffy pink evening outfit as a veteran of many ballroom sets. “You look like a little wild rose,’ Roger told her. ““Why have they passed you up so far, baby?” Should she offer the excuse offered by almost any girl in Hollywood when someone inquires why success has not singled her out, ‘“‘Because I wouldn’t let the producer, di- rector, assistant, or casting director, respectively, make love to me’? She decided that, for Roger, that was not such a good answer, so she merely shrugged and dimpled as at a bit of flattery. HE news spread quickly on the lot that Roger Blake had fallen hard for a little blonde extra girl no one had ever heard of, but the executives were quite unprepared for his demand that she be given the ingénue lead in his picture. They pointed out to Roger that while he was an idol on Broadway, he was an unknown, a beginner as far as the screen was concerned. And pictures were shown in thousands of places where Broadway was less than a street. Undoubtedly, he had the personality to put over the picture, but why take a needless risk? He must have a carefully selected supporting cast—a cast with names. The ingénue part was important—and who was this Eva Moore? Sure, she was cute—but could she be cute before the camera? “T’ll teach her, Let me give her two weeks of coaching Hands reached out to touch Eva—to shake her hand. There was a demand for autographs. And Roger, standing in the background, felt small, and out of it and you won’t know the kid. She’s cute, she’s clever and she’s a good little kid. You give her a chance, or I'll go back to New York.” “Well... All right, but if the picture’s a flop you’re through in Hollywood.” “T don’t know anything about flops,” said Roger Blake. Eva didn’t know what work was [ PLEASE TURN TO PAGE 123 ] 71

Page 72

Chevalier—giving the world both barrels of his tremen- dous personality, his zest, his charm! This is the straw- hatted Maurice who stormed and took America, also New York M4 URICE CHEVAL- ER was born in Men- ilmontant, the youngest of three sons in a family of laborers. His father died when he was ten, and when he had finished his schooling at welve, he was apprenticed lo a carpenter, But his heart was elsewhere —on the stage of a small music hall of his neighbor- hood. There, at twelve, he made his début as an ama- leur! Soon he was a poorly paid comedian, touring the halls. A few years later he adopted the conventional dress and the straw hat that mark his stage work today—and almost overnight became the toast of the Folies Bergéres and the pet of Paris. Then, as success dawned, he entered the service of France as a common soldier. It was the tragic war year —1914! UGUST, 1914. War burst overa horrified world, and the boys who were making ready to embark on the adventure of life took arms and went forth on the great adventure of death, instead. To Maurice Chevalier the call came while he Was serving the regular period of military duty required of all young citizens of France. The German tide rolled Southward mighty, irresistible. To stem it, France’s standing army was rushed to the North, there to fight as long as might be while other classes were called to the colors and the full military might of the Republic was marshalled. Much has been written of Britain’s little army of ‘‘Contemp- 72 tibles,” whose dogged, fighting re- treat from Mons kept the German army from the Channel ports. The army of France was larger, and it, too, fought an equally courageous, though losing fight, stretched far across the Motherland from Belgium to the Swiss border. We have not heard quite so much of these gallant poilus, in the pitiful blue coats and red trousers of peace time, who stood against the field-gray masses until Papa Joffre could rally his strengthened forces and roll the enemy back from the Marne. But a young war poet wrote well of this first French army—the flower of the nation’s youth, who first met the enemy horde and made their country like a castle— “Their breasts the bulwark, and their blood the moat.” In this first army, that melted away like the snow of spring, Cheval- ier served as a private in a regiment of infantry. In those fearful, tragic early weeks of war there were no set engagements, with names that now have a place in history. It was one long battle—never ending, day and night. The French army fought, and then retreated, still fighting—hurled backward by the might of the great gray war machine from the North. In one of those nameless battles of 1914 Chevalier fell, wounded in the chest by shrapnel. His right lung was pierced. The wound might well have been mortal. In the days of that terrible retreat warfare was still open— the retiring French had not even a protecting shadow between their bodies and the terror of the shells. When Chevalier’s company found a roadside ditch in their path, it was as though God’s arms had opened to receive them. Dizzy and sick, Maurice managed to pick himself up and tumble into the poor shelter with his comrades, dimly realizing

Page 73

AT) PART 2 that later he might drag himself to the dressing station farther back. |} But he soon saw that his presence with his friends was only a hindrance. He stumbled and fell in agony. Anything, he | thought, would be better than this torture. ELIRIOUS, he climbed from the ditch and started back —fell, rose again, wavered a few steps, fell unconscious. He did not know that bayonets were flashing in the shelter he had just left, and that his comrades were killing and being killed as the German wave rolled over them. He lay like one dead, on that pitiful battlefield, his life saved by the same freak of fate that had taken his fellow soldiers’ lives. When Chevalier recovered consciousness, he | was in the field dressing station he had been try- ing so desperately to reach. But he didn’t stay there long. Within a few hours it was captured by the Germans, and the wounded were placed on hospital trains and sent, as prisoners of war, to the hospital in the city of Magdeburg. So ended Maurice Chevalier’s active service for France in the Great War. No “hero,’”’ in the abused sense of the word, this smiling fellow. He was a soldier of his country when the call came. He faced the | enemy bravely, interposing his body between the | Northern host and his country’s heart. In the | heat of battle, he fell, gravely wounded. Could ’ any man do more? A brave man and a good soldier. Those two ' titles belong to Maurice, and no man can ask for better. | The German shrapnel that entered Chevalier’s \ lung more than fifteen years ago is still there— / sometimes stationary, sometimes roving. Some- | times troublesome, more often not. | The doctors at Magdeburg decided it would be | i 1 t i ; . less dangerous to leave it where it was than to operate. When questioned as to whether he thinks they were right, Chevalier shrugs his shoulders. Shrapnel in the lung is no unmixed blessing, but it might very well have been worse if they’d tried to remove it. It no longer bothers him actively. He is conscious of it on rainy days, and it prevents him from dancing as energetically as he once did. UT what he probably regrets most is that it put an end to his boxing activities. He had been one of the best amateur boxers in France, and had kept in trim by sparring so vigorously with professionals that he sometimes had trouble repairing his damaged face sufficiently to present it to his audiences. He is still an ardent fan, and may frequently be seen at boxing matches, accompanied by a slim, dainty young woman, whose glowing, dark eyes follow an exciting bout with the intelligence of a connoisseur and an enthusiasm hardly less than her husband’s. In connection with his boxing prowess, a story is told, too good to be omitted here. It happened Maurice Chevalier Goes to War—and Comes Back to Cap- ture Paris with His Smile CC in wartime, after his return to Paris, when the well-known piratical tendencies of Parisian taxi-drivers were uncontrolled. The particular robber, who had taken Chevalier and the lady he was escorting to a popular café in the heart of an Apache section, demanded something so grotesque in the way of fare that his passenger—never a man to be bamboozled even by a taxi-driver—laughed in his face and offered him what he con- sidered a reasonable fee. The taximan eyed it, spat with great deliberation, and de- livered himself of a stream of crackling language intended to convey his excessively low opinion not only of Chevalier and all his ancestors, but of the lady with him, who, he stated, was, in point of fact, no lady. Chevalier knocked him down, and an unsympathetic crowd <, ™“ ALS The young prisoner of war. Chevalier at the German prison camp of Alten Grabow in 1916, after he had been wounded and captured in one of the 1914 battles ~ te

Page 74

King of the Paris music halls! €he- valier during his early fame in the French capital, when he was as much one of the city’s great sights as Montmartre and the Eiffel Tower gathered—the taximan was one of their own, and the stranger was far too well dressed to take their fancy. As he tried to force a lane through the jeering throng, there loomed in his path a vaguely familiar and unattractive face which he suddenly recognized as that of a notorious bad man who went by the appealing name of Zuzu des Batignolles. Beginning at his patent leather shoes and traveling upward to his top hat, Zuzu took Chevalier in, while the crowd held its breath in gleeful expectancy. At last his narrowed eyes met those of his enemy. “So you’re the guy,’ he croaked, “that eats everybody.” “No,’”’ answered Chevalier, “I don’t. But neither do I allow anyone to insult a lady under my protection.” But Zuzu wasn’t going to have his big scene ruined. “So you’re the guy—”’ this yy if Monsieur and Madame Chevalier sitting before one of the mammoth posters which heralded the appearance of the star at the far-famed Casino de time he bellowed it, crouching a little and thrusting his ugly jaw under! Chevalier’s nose, ‘“—that eats everybody!” A moment earlier, searching vainly out of the tail of his eye fora} policeman, Chevalier hadn’t the faintest notion how he Was going to! get his companion and himself out of this mess. Now he stopped / thinking, and acted almost automatically. To a boxer that jutting chin was a thing of beauty, “a gift,” as he himself described it later, | “dropped straight from heaven.” His elbow jerked back, his fist shot forward, and the next second } Zuzu lay sprawling in the gutter among his stupefied admirers, while an} elegant young gentleman and his girl went sprinting down the street as fast as their legs would carry them. HILE Chevalier lay in the hospital at Magdeburg, too sick te know or care what was going on about him, the military authori ties reported him as missing. For three months his mother had no | word from him—for three months Paris hummed with conflicting 9 rumors of his fate—he had been killed, he had been captured, he had | lost his sight, his arms or his legs had been amputated. | At the end of three months a letter to his mother got through, putting | an end to conjecture and relieving her heart of its blackest dread. And | now, as never before, her son might rejoice in that early resolve of his to | save half of whatever money he might earn—for it was thanks to that § resolve that his mother was spared the misery of want while he was gone. From the hospital he was sent to a prison camp where, with fifteen or twenty thousand fellow prisoners— _[ PLEASE TURN TO PAGE 128] ¥ } | | | | ” > 4 Te) i Ve | Paris

Page 75

OO ‘~()alentino’s Memory HILE preparations were being made this Spring in Holly- wood to commemo- rate Rudolph Valentino’s birth- day, May 6, by the unveiling of a memorial statue to his mem- ory—a symbolic piece of sculp- ture called “Aspiration,” which does not bear any likeness to Valentino personally—the Val- entino Association commemo- rated his natal day in England in a way they felt was character- istic of the real Valentino. The sum of three hundred pounds was collected and a check for that amount presented to the Vice-Chairman of the Italian Hospital in London. It will be used for the complete renovation of the children’s ward, which is now re-christened the “Valentino Ward.” A new ultra-violet ray lamp for surgical treatment was also bought, in- scribed with the star’s last words: “T want the sunlight to greet me.” Shortly after Valentino’s death, on August 23, 1926, an actress gave a slanderous inter- view to the London press. Ap- parently, she thought she saw a chance to get some lurid publicity. T was more of a chance than she reckoned for. Her confes- sional memoirs of the “Great Sheik” were neither to her credit nor to his. Moreover, they were not true. But Valentino’s friends were not dead. In a small town in England, there lived a lady who knew all about Valentino. She resented the slanderous state- ments made by the inventive actress. So she took a train to London, and Valentino’s niche among the immortals began to be carved out. She confronted the actress in her apartment and asked her to retract her false statements. The girl refused. Up to that time the lady had lived a life of retirement, but now she called in the reporters and gave her first interview. Her admiration for Valentino’s work and what she felt to be his true nature went deeper than an infatuation for the turn of his lip, or the lobe of his ear. Since he could no longer speak for himself, she would be his cham- pion against any one who fatten- The Valentino Associa- tion is evidence that his art and his kindness still survive He is now remembered for other things besides the turn of his lip, the slumbrous eyes, the handsome physique ed her publicity by defaming his memory. The lady’s interview proved a complete alibi for Valentino as to time and place. After it had appeared in the papers she, as well as the editors, were sur- prised to find hundreds of letters pouring in from every part of Great Britain, the Dominions over the seas and America. All were full of praise and thanks for the action of Valentino’s champion. From the great correspond- ence that developed from this chivalrous action, the Valentino Association was formed, to pro- tect and perpetuate his memory. S the membership grew, the Association dues were set aside to create a Valentino Me- morialFund. Theproblemofjust what to do with the fund began to puzzle the Association, and that is how they learned about asecret kindness of the great star. Remembering that Valentino was an Italian by birth, the lady, who was now secretary of the fund, looked in the telephone book to see if there was an Italian hospital in London. Thereis. Ittakes patients of all nationalities and denominations. By an odd coincidence, Valen- tino himself had once discovered it, quite by accident. He was searching for an address in that part of London one day and asking the way, was told it was in the square ‘‘near the Italian hospital.” He was alone at the time and one of his sudden impulses to do something generous came over him. He entered the door of the hospital with eager steps. HE institution was run by an order of nuns, and one of the sisters asked him what he wanted. Valentino was a little embarrassed. He said it was nearing Christmas and he won- dered if he could help in any way to make it happier for those in the hospital—especially the children’s ward. The sister smiled sadly and shook her head. The hospital was very poor, she said. They could not do anything for the sick that Christmas, and as for the children’s ward, there was none. The children all had beds in the adult wards. Valentino dashed out of the [PLEASE TURN TO PAGE 115] ry / 5

Page 76

Season I Hollywood’s Beaches Flash With Color This OLOR and individuality are the two keynotes of this year’s bathing suits, as far as our movie girls are concerned. They either design them themselves or call on the studio artists, and all the creations are gay with bright colors. These are the models chosen by Joan Crawford and Raquel Torres. —

Page 77

Reeling Around oi: Our French Pal It gripes my innards when I hear So many call him ‘‘Shevaleer,” And out they go into the alley Who do no better than ‘“‘Shevalley.” .» And one gal set my bangs afire By speaking of our “Shevaliar.” So in a simple case like this Where few can click and most must miss— Believe me, I am never sorry That I just call the old boy “Morry!” Anything for a Laugh A screen actress, says the Town Crier, is suing her husband for divorce, charging extreme cruelty. He tried to make her learn the alphabet. . . . And did Earle Hampton tell you about the new Hollywood hit whose head bloated to the point where she needed Grandeur double-width film for her closeups? . . . Ernest Vilchez, signed to do Spanish versions in Holly- wood, is said to be the “John Barrymore of Spain.” All right, son, let’s see your nose! . . . Ata benefit in New York not long ago Warner Brothers contributed a new short, showing the American Flag in Technicolor. And the program read “The Star-Spangled Banner—Courtesy of the Warner Brothers.” . . . Walter Winchell says an extra girl called up the head of a casting department. The conversation ran like this—‘‘Oh, Mrs. Rose, have you anything for me today?”—“ NO!”’— “But Mrs. Rose, do you think you will have anything for me this week?” “NO!”—“But Mrs. Rose, you never have any- thing for me!’’—‘“Oh, don’t bother me!’’—“‘Oh, all right. Goodbye, Mrs. Rosenberg!” Russian Wins Prize! Reeling Around’s Gag of the Month Prize—this month it is two quarts o¢ slightly used tempo—goes for the first time to a Russian! The Lucky Man is Serge Mikhalovitch Ivan Eisenstein, famous Muscovite director of ‘Potemkin,’ now in this country to show Paramount some directing. He was guest Dumb and nervous interviewer: ‘Oh, er—Miss Bow is there anything er—unusual I could tell my public about you?” Leonard Hall of honor in New York at a typical movie tea party— crowds, chatter, gush, drivel, cocktails, sandwiches and 500 deadly bores. “Mr. Eisenstein,” drooled one woman, “I think what Russians REALLY lack is a sense of humor!” “Ah, yes,” said the director, looking over the motley, mewling mob. ‘Well, they’ll laugh when I tell them about this party.” Getting Personal The man who posed as the make-up expert with Gary Cooper on the Saturday Evening Post for May 24 was John McCallum, a character actor who plays bits in pictures. He says he recently co-starred with Cooper in ‘The Post.” . . . Greta Garbo and George Bancroft were chosen as their favorite screen actress and actor by the Class of 1930 at Princeton. Good old Nassau! ‘Disraeli’? was voted the best of the year’s pictures. . . . Joan Crawford’s favorite fruit is rhubarb, either in pie or in the nude. . . . Stunt fliers who used to get $50 a day in pictures are now asking $200. Reason—in order to keep within microphone range they have to fly within 500 feet of the ground —so low as to be very dangerous. . . . Over 17,500 extras are now listed at the Central Casting Office in Hollywood, and now and then one gets work. At least, it gives them a chance to say “movie actress” when the police ask their business... . William S. Hart was once a mail clerk. . . . Merchants of Stryker, O., are showing a talkie free each Wednesday night at the town’s theater. This is to drum up trade from neighboring farmers. . . . Charlie Chaplin gets over 5,000 press cuttings a month from his three clipping bureaus. . . . Earl Carroll, cast- ing his new “‘ Vanities” revue in New York, wired to Hollywood for beautiful chorus girls! “It seems that all the beauty in the world has gone talkie,” says Earl. . . . The former Kaiser of Germany is anxious to have talkies shown at his Doorn castle. Installation costs $2,000, and the apparatus will be difficult to install. So he still sees silent pictures. . . . Winnie Lightner’s sister, Theo, in vaudeville with Winnie as the Lightner Sisters, has opened an actors’ agency in Hollywood. .. . Jetta Goudal’s favorite flower is the pink carnation... . / A small phonograph record of Valentino’s voice, which he made for his own amusement in 1924, is to be offered for sale to the public. . . . According to the State Industrial Commission of Cali- fornia, there were sixteen fatal accidents during the making of motion pictures in 1929. Nine persons were permanently dis- abled, and 1,272 men and women checked in at the doctor’s for this reason or that. = se

Page 78

T is time to vote NOW! It is the pleasant duty and real privilege of every true lov to help award the PHoropray Gold Medal of Honor to t during 1929. Thousands of ballots are pouring into the offices of this magazine. We urge you to have your voice in this outstanding award in the film world. Literally millions of fans have a voice in the choice. So fill in the ballot printed on this page, clip it, send it along, and so do your share in rewarding good work well done! Remember the high standards of previous awards. designed as a reward to the producer making the best picture in points of story, acting, direction and photography. Puotopray also wishes voters to consider the ideals and motives governing the The PHoropLtay Medal was er of the motion picture he best picture released Balloting for the PHoropLay Gold Medal is on. Clip This Ballot—Send it in! Winners of Photoplay Medal 1920 “é Humoresque” 1921 “Tol’able David” 1922 “Robin Hood” 1923 picture’s production. Remember all this when you cast your vote and remember, as well, the great array of previous gold medal winners. These nine winners of gold medals present a veritable panorama of motion picture progress. “The Covered Wagon” 1924 “Abraham Lincoln” Two things make the 1929 award notable. amazing product of the newest art. A list of fifty important pictures released during 1929 is printed on this page. It is not necessary, of course, for you to select one of these pictures. You may vote for any picture released during last year. If you want pictures to continue their upward trend, here is your chance to do your share by expressing your opinion through this ballot. In case of a tie in the voting, equal awards will be made to each of the winning pro- ducers. The Puotopriay Medal of Honor is of solid gold, weighing 12314 pennyweights and is Each medal is designed and made by Tiffany and two and one-half inches in diameter. Company of New York. Photoplay Medal of Honor Ballot Epiror PHoropray MAGAZINE 221 W. 57th Street, New York City In my opinion the picture named below is the best motion picture production released in 1929. NAME OF PICTURE Name Address 78 First, it is the tenth annual presentation of the medal. Second, it will probably go for the first time to a talking picture—that 1925 “The Big Parade” 1926 “Beau Geste” 1927 “7th Heaven” 1928 “Four Sons” Fifty Pictures Released in 1929 Alibi Blackmail Broadway Broadway Melody, The Bulldog Drummond Canary Murder Case, The Case of Lena Smith, The Close Harmony Cock Eyed World, The Coquelle Dance of Life, The Desert Song, The Disraeli Doctor’s Secret, The Dynamite Fashions in Love Four Feathers, The Gold Diggers of Broadway Saturday Night K id, The Hallelujah Hollywood Revue of 1929 In Old Arizona Tron Mask, The Kiss, The Lady Lies, The Last of Mrs. Cheyney, The Letter, The Love Parade, The Madame X Marianne On with the Show Our Modern Maidens Pagan, The Paris Bound Rio Rita Shopworn Angel, The Show Boat Sins of the Fathers Sunny Side Up Sweelie Taming of the Shrew They Had to See Paris Thunderbolt Trespasser, The Trial of Mary Dugan, The Virginian, The Weary River Wild Orchids Woman of Affairs, A Young Nowheres coat nh te

Page 79

PHOTOPLAY MAGAZINE FOR AuGuST, 1930 New Lahwow for : foe pe: ADRIAN ISELIN “cE NEN FASHIONS for your skin, to go with the new fashions in frocks. When fashions change, our faces must change, too! “Yesterday the keynote was smartness. To- day it is charm . . . loveliness, romance, the fascination of the eternal feminine. White shoulders gleaming in the ballroom . . . fair faces shadowed under the new wide hats... skin fine as silk, lustrous as pearls, delicately tinted as flowers. “Sun-tan? Yes, if you really must—but guard the fragile texture of your skin with utmost care! For sun-tan asa fad is passing. 7 From the smartest bath- nr) ing beach in Europe, Deauville, comes this dic- tum, ‘Three things a beauti- ful woman has her skin, her teeth and her hands “Everyone returning from Paris tells of the which are extraordinary pains the Famous Forty, who set the fashions, are taking to keep their skin dazzlingly fine and fair. And smart American women are following the lead of these chic Pari- siennes. On the grass metal QL backer. 1 ges & courts at Piping Rock; watching the polo at Narragansett Pier; taxi-ing by air- plane between New York and Newport, as they all do constantly; at the Saratoga races; on the yachts at the Cup Defender trial races— everywhere one sees the importance given to the protection of the skin. “T always use Pond’s four famous prep- arations because they provide in the simplest, purest form these four essentials of home care. “To keep the skin like silk... Pond’s Cold Cream, the lightest and most exquisite obtain- able, for immaculate cleansing several times a When [PONDS you writ day and always after exposure. “To give that alabaster look of utter daintiness ... Pond’s Cleansing Tissues, softest, safest, super- absorbent for removing cream. “To assure fresh natural color, Pond’s Skin Freshener, which banishes all oiliness and shine and keeps the skin looking radiantly young. “To bestow a peach-bloom finish... Pond’s Vanishing Cream, so delicate that only the daintiest film is needed for powder base and all-important protection from sun and wind. to advertiser York. Pasal and white. from today—and persevere! charm and your success! kin A personage of capti ing charm, Mrs. Adrian Iselin II, is th leader of one of the mc exclusive coteries in N brilliant P And precious, too, to keep hands smooth “Try them, all four! Follow Pond’s Method Here’s to your Senp tof FOR Ponp’s 4 PREPARATIONS Pond’s Extract Company, 114 Hudson Street « « « « Dept. H New York City Name —_—_—_——_ Street— —_——— = City —- —State Copyright, 1930, Pond’ please mention PHOTOPLAY MAGAZINE Extract Company

Page 80

The Shadow Stage RECAPTURED LOVE—Warners ON’T let the silly title mislead you. This is a bright little yarn about a married man who revives his youth with a cabaret dancer. The dialogue is sparkling, and Dorothy Burgess gives a characterization so realistic that you feel as if you’ve known her all your life. John Halliday is swell, too. You'll like this. NUMBERED MEN—First National Tues is from the play “Jailbreak.” Bernice Claire, Conrad Nagel, and Raymond Hack- ett are excellent in the leading rdles, and Ralph Ince, the villain, and Ivan Linow, the heavy, are exceptionally good. Fair entertainment. SHE’S MY WEAKNESS— Radio Pictures AN’T you imagine what Arthur Lake does with this réle of the youth with a virulent attack of adolescent love, complicated with meddlesome parents? It’s made to order for him. Sue Carol helps along splendidly, and with the fine help of a well chosen cast, achieve a phonoplay that’ll make you happy. TRIGGER TRICKS—Universal ape is a typical Hoot Gibson Western with a few new angles to brighten up the aged business of the hero outsmarting the bad man and getting the girl in the last ten minutes of play. Sally Eilers plays her real life r6le—that of Hoot’s girl friend—and plays it excellently. And if dear old Jack Richardson isn’t still villaining as he did in the days of Warren Kerrigan! The dialogue is a bit poky. BACK PAY—First National Wu Corinne Griffith retiring, this last picture comes along to plague her exit from the active photoplay scene. For, in spite of Corinne’s almost overpowering beauty, this film just fisn’t there. The story itself is weak and frayed, and Corinne’s voice is deadly un- interesting. Too bad. Let’s forget it! NIGHT WORK—Pathe [= latest Eddie Quillan picture leaps from wild farce to melodrama to comedy drama and back again—but if you don’t mind this kind of mental hop-scotch you’ll find it good entertainment. Most of the action takes place in an orphanage and there’s some kid stuff that will make a hit with audiences. A fat young- ster named George Billings waddles away with several scenes. THE RIGHT OF WAY—First National EY’RE dusting off all the old ones and dressing them up with fine words. Here’s your friend, “The Right of Way,” with Conrad Nagel in a fur cap and Loretta Young as the beautitul Canadian girl. The story starts out with a flurry of interest, but something happens to it along toward the end that makes you wish you’d stayed home. BRIDE OF THE REGIMENT— First National HIS is another of First National’s gor- geously dressed, sumptuously mounted and very slow-paced operettas taken from the theater. It positively glitters, and some of its Technicolor is grand, but it is a ponderous piece of business. Vivienne Segal, Walter Pidgeon, Allan Prior and Myrna Loy sing the leads, and Louise Fazenda and Ford Sterling try hard for laughs. But the pace is funereal. 80 [ CONTINUED FROM PAGE 57 | HOT CURVES—Tiffany Productions you will like Benny Rubin in this. In fact, you will cry with him, for he plays a sym- pathetic, humorous réle. And it’s not what you think it is, unless you know your baseball vernacular. That cunning little comedienne, Pert Kelton, plays opposite Benny, and Mary Carr, Alice Day, Natalie Moorehead, John Ince and Rex Lease help. THREE FACES EAST—Warners HIS was a great stage play. It was fine silent stuff. But now, in this latest mani- festation a /a talkie, it comes out very confus- Pictures’ latest Boy Wonder! Janney, who did such fine work in Leon “Courage” that Warner Brothers signed him to a contract that will bring him $300,000 in four years. He will make a Tarkington “Penrod” story into a talkie, for one ing. They tried to make it ultra-mystifying for the audience, apparently, but they got the cast that way, too, it seems. It’s too bad, but things like that sometimes happen to pictures. BORDER ROMANCE— Tiffany Productions HIS is rather a jumble of cattle rustling, love making beneath the Mexican moon, love stricken heroes and shooting affrays on the border, but one contribution does stand out and shine—that of little Armida, the dark-eyed Mexican who has the leading réle. Senor Don Terry, the leading man, is quite amateurish, and the story gallops all over the place in a silly way, but this Armida is a knockout. THE MAN FROM WYOMING— Paramount HERE is so much real charm in some of the scenes of this war picture with a Western title that it’s a pity it falls short of its own standard. But Gary Cooper has a quality of tenderness and sincerity that grows with each performance he gives, and June Collyer is grand. You should see it. TOP SPEED—First National A MUSICAL comedy, with emphasis on the comedy. Jack Whiting, of the stage, is a personable hero and Bernice Claire sings like the proverbial lark. But to us the whole thing is simply a framework for the antics of Joe E. Brown and Frank McHugh. The highlight is a thrilling speed-boat race. F WILD COMPANY—Fox _ would be just another one of those younger generation, wayward son of a rich father films, if it were not for the acting of Frank Albertson. This eighteen-year-old high school kid gives as clean-cut a performance as you'll see in many a moon. H. B. Warner, as the father, is his usual suave self. LADIES IN LOVE oes Pictures, ne. A PICTURE that provokes laughter—but at the wrong moments. The plot centers about a radio broadcasting studio. A musician composes a song which is crooned over the air by a girl singer. They meet and fall in love. That’s the plot, but there are several counter- plots, all flimsy. Alice Day, Johnny Walker and James Burtis do what they can with it. GIRL OF THE GOLDEN WEST—First National Ts famous old Belasco drama has been good entertainment for many a year and it doesn’t fail us now, though Ann Harding gives it its real zest. However, a fine support- ing cast—gamblers, cheaters, and Girl of the Golden West match their wits in cheating, but a strange destiny works a surprising finale. Don’t miss your old favorite. WAY OUT WEST—M-G-M HERE'S another Billy Haines picture. the title of which lets you in on the big secret that Billy is a smart city slicker who becomes a cow-hand, wears woolly chaps and teases the boss, who turns out to be—guess what!—Leila Hyams. It’s one of the funniest Haines opi in a long time and you'll enjoy it. THE BAD MAN—First National CORE one more for Mister Walter Huston! Swaggering lustily through this sage-smelling melodrama of tangled loves and intrigues, he makes a well-worth-the-time picture out of something that might have flopped but for his presence in the cast. You'll get a kick out of this while Huston’s Bad Man is on the screen— and praise Allah, that’s most of the time. THE SEA BAT—M-G-M NOt quite bad, but oh how much better it could have been! Another of these raw- life-in-the-tropics affairs, with a giant and ill- tempered fish thrown in for added menace. Charles Bickford does the best he can as an escaped convict masquerading as a missionary. Others in the cast are Raquel Torres and Nils Asther. It’s just another talkie, ho hum! SOLDIERS AND WOMEN—Columbia ANGLED love affairs in American military circles in Haiti make this into a murder mystery with a few dashes of humor. On the stage it was British military circles in India. Aileen Pringle, now the beautiful blonde, does fine work as the selfish wife who commits mur- der and then kills herself, while Helen Johnson and Grant Withers are good in support. dit ie

Page 81

& ' | Inimitable... juicy... rich with an incomparable flavor ... like the fruit itself... Lemon Life Savers are winning a nation- wide popularity overnight... the flavor actually flows from these delectable drops. Perfectly packaged...sealed tightly for protection ... now in the famous Life Saver shape ... these little fruit rings come for your approval...fresh... dainty ... tantalizing ... an amazing new taste sensation. Also Orange, Lime and Grape.

Page 82

MAYBELLINE products may be purchased at all toilet goods coun- ters. Identify the genuine by the Maybelline Girl on the carton. MAYBELLINE CO., Chicago Nitrplbehit7v7e D4. 3 SORE. UR HO®. EG Al 6. A sid Pe 2, elline This delicately perfumed cosmetic instantly makes the eyes appear larger and intensely interesting! It deepens the color and imparts a wonderful brilliance that vivifies the expression, at the same time giving new loveliness to all the tones of the complexion. Applied lightly for daytime use and with somewhat deeper shading in the evening, the four colors of Maybelline Eye Shadow are most effectively used as follows: Blue is to be used for all shades of blue and gray eyes; Brown for hazel and brown eyes; Black for dark brown and violet eyes. Green may be used with eyes of all colors and is especially effective for evening wear. If you would make the most of your appearance, a thrilling discovery awaits you in Maybelline Eye Shadow. Incased in an adorably dainty gold-finished vanity at 75c. Lashes Abpear Conger by Qlsing Maubelline Svelash Varkener Dark, luxuriant lashes are essential to feminine beauty and Maybelline Eyelash Darkener is the choice of millions of women the world over. A few simple brush strokes of either the Solid or Waterproof Liquid form and the magic of Maybelline Eyelash Darkener is achieved in- stantly. This easily applied, perfectly harmless beauty aid, in Black or Brown, will delight you, particularly when applied after Maybelline Eye Shadow. Be sure to insist upon genuine Maybelline. Price 75c. » EF) 2 & &@ A Pre » Gg R fil ear e Unstant BDeauti ters Jor the Ouves BT FR SAO Wy Bial,, and Wiawhelline ° G webrorw encl Neatly lined, perfectly formed eyebrows — every woman desires them for theadded expression they lend. They are nordiffi culttoacquire withthe new style indestruct- ible Maybelline Eye- brow Pencil. You'll like this pencil— you'llrevelinits smooth ness and cleanliness — it'ssO easy to use. Colors, Black or Brown, 35c. Be NiGer

Page 83

Gloria has upset the hair styles again! It’s an old Swanson custom! This time, however, Gloria’s change of coiffure fashion is good news for lots of people. For the hairdressers — to whom the girls will flock to have their locks put up “‘the way Gloria wears hers in ‘What a Widow!” And for the hairnet makers, whose business was knocked to bits by the bobbed hair mania which swept the world. But only fairly long hair can be arranged this way Coiffure Here’s the way Gloria’s new hair dress is done. First, part the hair on the left (see profile view). The hair to the left of the part is combed toward the back and pinned flat, while the long hair to the right of the part is brushed around the head from left to right. This long swirl, kept low (see back view), continues around to the left to cover hair on left of part. The swirl is then brushed over the part and is held on the right side by the ornament Pictures by Russell Ball

Page 84

PHOTOPLAY MacaAzINE For Aucust, 1930 “THE Way 'to be! As revealed to KATHERI — “TSVERY normal girl wants to be | captivating,” says Lila Lee, the girl whose dark fascination has made her an adored favorite on the screen. “And every girl can be if only she will keep her skin always lovely. “For smooth, soft skin has an irresist- ible charm—a charm which every screen star, certainly, knows she must have. “Hollywood directors discovered long ago that only with ravishingly beautiful skin can a girl win her way into the AILEEN PRINGLE, the star whose loveliness wins hearts by the thousand, says: “Smooth, exquisite skin is a screen star’s most priceless posses- sion! Make-up is of little help under the great close-up lights. Her skin must be genuinely lovely! Lux Toilet Soap keeps mine petal-smooth.” Laura La Pants, lovely Universal star, is one of the alluring stars who depend on this fragrant white soap for complexion beauty: “Like those very expensive French soaps, it gives my skin a marvelous softness.” public’s heart, and hold her popularity. “When you face the glare of the great close-up lights, you know that even the tiniest flaw in the skin is fatal! So you see why smooth, fine-textured skin is especially important to a star! “A few years ago some of us began using Lux Toilet Soap and now most all Photo by Clarence S. Bull, Hollywood ALBERT of us do—and are delighted with it! “Tts lather is so quick and gentle, and it keeps the skin smoothly clear—with that soft, glowing look that is so tempting. “Naturally, my advice to the girl who wants to be winning is take regular, in- telligent care of your skin!” Hollywood — Broadway — European Stars—use Lux Toilet Soap Of the 521 important actresses in Holly- wood, including all stars, 511 are devoted to Lux Toilet Soap. // the great film studios have made it the official soap for their dressing rooms! The lovely Broadway stage stars, too, have discovered that Lux Toilet Soap gives their skin just the gentle care that is required to keep it exquisite. And now the European stars are using this fragrant white soap! You, too, will wanttotryit. Orderseveralcakes—today. Photo by Ray Jones, Hollywood LUX. Foilete sonia Every advertisement in PHOTOPLAY MAGAZINE 4s guaranteed,

Page 85

PHOTOPLAY MAGAZINE FoR Aucust, 1930 85 charming set LIVINGSTON, © . ARET “Lux Toilet Soap » smooth! Marcar Columb keeps MY skin a star: so arC olumbia I ever used oTHY REVIERs popu! : . “The nicest soap “vy ety!” really delighttul- Dor star’ It’s Lita LEE, irresistibly beautiful fayorite of the screen, in the luxuri- ous bathroom designed for her by a well-known artist and builtin Holly- wood. At home, as in her dressing room on location, she cares for her exquisite skin with Lux Toilet Soap, and says: ‘‘A screen star’s skin must be so smooth and flawless, it is not Strange we all use Lux Toilet Soap!” al) Ns : Pboto by Longworth, Hollywood Luxury such as you have found only in fine | French soaps at 50¢ and $1.00 the cake. . . NOW 10¢ When you write to advertisers please mention PIIOTOPLAY MAGAZINE. ——

Page 86

Let’s Drop In a¢ Gossip With Old Cal York! [ CONTINUED FROM PAGE 51 ] P. and A. Do they mean it? Jack Gilbert and his old enemy, Jim Tully, hobo author, shaking hands on the Metro lot and saying they’re glad they’ll be in the same talkie. Friends now? Look at the way those two left fists are cocked ready to throw. Dear, dear! Gloria Swanson and Charles Chaplin. So Mary and Gloria were haled into court and testified briefly and positively that Raw was wrong and that they’d never even heard of him. Chaplin evaded court process servers for four days. And when he did finally take the stand, he gave the courtroom a laugh. “Where do you live?” he was asked. “Beverly Hills.” “What's the address?” “Er—well—I guess I must have an address, but I can’t remember it.” Well, what’s your phone number?” 86 “Ah—uh—I can’t remember that, either.” He, too, said he’d never heard of Raw. But here’s the truth about Charlie’s address and phone number: It’s not that the comedian doesn’t know them. He was merely protecting himself by “forgetting” them on the stand, for if they had been published, his phone and door- bell would have been clanging constantly, thanks to cranks who pester movie folk. HE Lila Lee-James Kirkwood unhappiness broke into the courts at last. Sad—and also inevitable. The girl who picked up the great lead- ing r6le in “‘Liliom’”’ when Janet Gaynor pouted and laid it down. The beautiful Rose Hobart, who was on the New York stage in “Death Takes a Holi- day” when signed for pictures When Lila and Jim separated he made it clear he would go to any lengths to prevent her from getting custody of their child. And he refused absolutely to give her a divorce, even when all chance for a reconciliation had gone glimmering. At last he seems to have given in on the divorce matter, and not long ago sued for a decree, charging that Lila deserted both the child and himself. And Kirkwood further says that a financial settlement has been made out of court, and that Lila has agreed to let him have the child. Meanwhile, Miss Lee’s attorney says she will file a counter suit. ; One of those unhappy things that break out in Podunk as well as in Hollywood—only oftener, perhaps, in Podunk! Ves says a Los Angeles city editor sent a reporter to check up on a Will Hays film conference. The leg-man reported to his superior that the confab was about adultery. “Well, what did they say about it?” asked the boss. “Why,” answered the reporter, “they were against it.” LICE WHITE is just plain sore. Her emotion is nothing so elegant as anger. That girl is mad. Here’s the story. Seems as how Alice bought herself a lot of new clothes, among them a handsome black lace gown. Alice paid a lot of money for the dress and it looked awfully good. [ PLEASE TURN TO PAGE 88 ]

Page 87

\ Glory on the check. y Sparkle in the Bye: a Health How a saline helps as much or more than the finest creams AITHFUL as they may be to their cece and cosmetics, many women | still meet their mirrors with displeasure. Blemishes mar their beauty. Charm is Overcast. Yet it’s folly to frown on beauty jars and boxes when they bring no loveliness that lasts. For the fault most likely lies in the failure to keep inter- nally clean. Without internal cleanliness no complexion can approach perfec- tion. And the way to it is safe and simple — the saline method with Sal Hepatica. Yet not as a competitor does this famous laxative enter the lists of beauty aids—but as a potent champion of their effectiveness. Sal Hepatica sweeps away the poisons that bring blemishes to the cheek. It » + + Gal Hepatica PuotTopLay Macazine ror Avcust, 1930 wi \ banishes the shadow of acidosis. It brings, instead, a skin of flawless fine- ness and the sparkle of brilliant health. Seeking loveliness by the saline method is not new. For generations physicians, both here and abroad, have urged this natural means to beauty and well-being. The famous saline spas —Vichy, Carlsbad, Wiesbaden—regu- larly draw the fashionable and distin- guished people from the four corners of the earth to “take the cure’. Under the saline method, constipation, colds and acidosis, rheumatism, head- aches and auto-intoxication disappear. Digestions are regulated. Sluggish livers respond. Complexions bloom. For salines, by purifying the blood- stream, do generous good to the entire body. Get a bottle of Sal Hepatica today Keep internally clean for one whole week. See how much better it makes you feel, and how your complexion improves. Send the coupon for free booklet, “To Clarice in quest of her youth”, which tells in detail how to fol- low the saline path to health and beauty. * * * Bristot-Myers Co., Dept. G80, 71 West St, N. Y. Kindly send me the free booklet, “To Clarice in quest of her youth,”’ which explains the many benefits of Sal Hepatica. Name =! Street : = City. wes : ___State. When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Page 88

Let’s Drop In az¢d Gossip With Old Cal York! . China’s greatest actor listens to a playback of his own voice under the auspices of Mary Pick- ford! This is Mei Lan Fang, who made a three months’ tour of this country last winter at the head of his own com- pany. He will remain in Hollywood awhile study- ing motion pictures, but has no intention of work- ing there himself Isn’t Kenyon a big boy now? Milton Sills, happy in his successful comeback and new con- tract at Fox, with his son. Master Kenyon, of course, is at least half the property of Doris Kenyon, Mrs. Sills. And the lad surely looks like his beautiful mother, of the theater and screen! s&s [ CONTINUED FROM PAGE 86 | In the meantime it was learned that Con- stance Bennett spends a quarter of a million dollars a year on bodily covering. That makes Connie the best dressed woman in pictures. The Mayfair party arrived. Alice wore the black lace dress. Constance wore a white satin gown. A few days later an item appeared in one of the gossip papers to the effect that the most stunning and best gowned woman at the Mayfair was Constance Bennett in a black lace gown and a long bob. “Don’t you see?” Alice wailed. “That was me. That was me in the black lace dress and they thought it must be Constance because she spends so much money. It isn’t fair and I'll make that paper retract that statement if it’s the last thing I ever do in this life!” EW YORK continues to run wild with picture actors, as usual. If they are not working in the East, they’re playing, or taking a last look at Broadway before sailing for foreign parts. Gwen Lee popped into town, and did a few night clubs and saw the sights, but admitted that she liked Hollywood a lot better. (Could Jack Oakie’s presence in New York have had anything to do with Gwen’s flying trip? Oh, tut, tut!) Why, in one night club these misty old eyes saw Sally O’Neil and Rudy Vallée at a table— and Rudy had more eyes for Sally than for the [ PLEASE TURN TO PAGE 90 ]

Page 89

PHOTOPLAY MaGAZINE FoR Aucust, 1930 It Gives Your Teeth A Double Cleansing! Colgate’s penetrating foam sweeps into tiny crevices, washing out decayin, y es particles as well as polishing the surfaces...thus cleansing teeth completely. T is easy to fool yourself that you have really cleaned your teeth, after vigorously scrubbing the outer surfaces until they sparkle. But unless you use a denti- frice like Colgate’s, whose active foam penetrates the spaces between teeth, and the tiny fissures where food particles collect, and washes out these hard-to- clean places, you haven’t done a complete job of cleansing. Your teeth, though pearly white, are only Aa/f clean! Not all dentifrices are able to clean these crev- ices equally well. Scientific tests prove that Colgate’s has the highest penetrating power of any leading toothpaste . . . hence, Colgate’s cleans best. Its lively, bubbling foam creates a remarkable property which enables it to penetrate into tiny spaces, softening the im- purities and literally flooding them away ina wave of cleanliness. Thus Colgate’s cleanses the teeth completely . . washing out the crevices as well as polish- ing the surfaces brilliantly. Why not give your teeth this doub/e protection? Colgate’s is the largest selling toothpaste in the world today. More dentists recommend it than any other. If you prefer powder, ask for Colgate’s Dental Powder... it has the same high cleansing abilityas Ribbon Dental Cream. When you write to advertisers ple ASE Ribbon Dental.Cream witl Name Addr mention PHOTOPLAY MAGAZINE. COLGATE BREE oc 2, Dept. M 604, P. O. Box York City. Please send 375, Grand Central eth a 1 Mc 89 How Colgate’s Cleans Crevices Where Tooth Decay May Start me a free tube of Colgate’s ith Healthy.”*

Page 90

Let’s Drop In ax@ Gossip With Old Cal York! is the first one you’ve really seen! girls in the revue. Buddy Rogers was at the same place—and being a very good boy, too. When they get away from the studios they sure do like to have good, cleanfun. And why not? ee elegant Constance Bennett is reported pouting at Pathe. Her present salary is said to be $1,750, slop- ing up to $5,000 weekly at the end of the contract. That, thinks Connie, is not enough. Pathe thinks it is, inasmuch as they have done a lot for the girl with boosting and bonuses. There have been rumors that Connie was going a good deal uptown since she swept into Hollywood like a queen—with her servants, her Paris clothes, and her alimony of about a million. Maybe this is the result. ELL, ‘“Hell’s Angels’ finally opened— and owit opened. Not in years has there been such excitement along the Boulevard. The day was made hideous by fleets of enor- mous trucks tearing up and down and de- positing mammoth sun arcs on every available inch of curbing. Early in the afternoon the professional onlookers began to foregather in front of Grauman’s Chinese, and by evening Hollywood’s main street looked like Paris on the first day of the Revolution. Griffith in his palmiest and most spectacular days couldn’t have done a more thorough job. Huge arc lights played across the sky in moving lanes of light. Airplanes swooped hither and yon, dropping flares and parachutes. The boulevard was a solid mass of cars, moving at about the speed of Howard Hughes directing a picture. Mobs milled up and down the pave- ments. Whole families hung out of windows. 90 You’ve heard slangsters speak of “doggy” previews, but this “The Dogville Murder Mystery,” one of those all-barkie dog comedies, is being shown for the cast. In the first row, Charles Bickford, Karl Dane and Anita Page with their pets [ CONTINUED FROM PAGE 88 | Kenneth Harlan tries again. Ken and Miss Doris Hilda Booth, of Somerville, Mass., as they applied for a mar- riage license in Los Angeles. He was for- merly married to Flo Hart, and later to Marie Prevost. Harlan is 34, Miss Booth 23 Mothers told their first-born in hushed voices: “Remember this night, my son.”” And when the stars began to draw up in front of the Chinese Theater in their limousines there was a panic the like of which hasn’t been seen since the Chicago fire. Women screamed, policemen bellowed, children were trampled under foot, strong men fainted—and a pleasant time was had by all. Many of those attending the opening had to abandon their cars several blocks from the theater and tramp the rest of the way on foot, only to find themselves blocked by the seeth- ing mob of fans in the forecourt of the Chinese. More fun! I ‘HE showing of the picture was preceded by a Grauman super-prologue that was ap- parently achieved by laying end to end all the vaudeville acts, circuses and musical comedies at large in these United States. In addition to which Harry Green introduced Frank Fay, who introduced Col. Roscoe Turner, who introduced his pet lion, Gilmore. Turner, who did some of the flying in ‘“‘Hell’s Angels,” arrived in Hollywood just in time for the opening, after setting a new one-stop flight record from New York. Eventually they got around to showing the picture. And at 1:30 A. ut. those who had not been trampled to death during intermission were able to go forth and say they had seen “Hell’s Angels.” Note—the airplane scenes in the picture were wonderful; otherwise not so hot. : BLL HART paid a visit to King Vidor during the filming of “Billy the Kid.22 A very gushing actress rushed up to him and said: “‘Why, hello, there, Mr. Hart. When I last saw you you were playing the title réle in such and such a Broadway production.” P. and A. Hart withered her with a look. “Yes, madame,” he said. “And that was just 32 years and 10 months ago.” HEY notified Polly Moran that she should take her twelve weeks lay-off. Polly went into Mayer’s office. “Mr. Mayer,” she began, “I wish you could see your way clear to lending me to another company during my lay-off. My expenses are pretty heavy and I need the money.” Mayer looked stern. ‘‘Why should I lend you to another company? We've built up your name, given you good parts and good publicity and now you want another company to cash in on that. Asa matter of fact, I just wrote youa letter this morning.” Polly’s face went pale and she began check- [ PLEASE TURN TO PAGE 92 ] eee: CR ates bets ta ek

Page 91

PHOTOPLAY MAGAZINE FOR AucusT, 1930 gI “There is one itemof my home treatment which never varies—the pre- liminary cleansing of the skin with pure soap and water at least twice a day. For this purpose I always recommend Palmolive Soap.” Ohne 5 Rue CAMBOD PARIS “The vegetable oils of Palmolive Soap leave the skin soft, refreshed, responsive” AN i Ol N KE oils. The natural odor of these oils makes unneces- SAYS sary the addition of heavy perfumes. It contains no other fats whatever. celebrated beauty specialist of Paris And more than 23.720 beauty experts recognize its special advantages. They find that it cleanses as other soaps can not—that it removes impurities without skin irritation. Never has any product, of any kind, had such tremendous professional endorsement. This is the kind of endorsement —and the only kind — which women can trust, because it is the recommen- se dation of those who know. *“Q'OME clients seem to think,” says Antoine of Paris, “that my treatment will give them a beau- tiful complexion with no more effort on their part than an occasional visit to my salon. “You compli- ment me too much, madame,’ I say. ‘It is necessary for you to do your share between visits to my salon.’ ” Antoine continues by stressing the need for soap and water cleanliness . . . and he prescribes, for this Here is the famous treatment Massage a lather of Palmolive Soap gently into purpose, “just one soap—Palmolive.” me “Its delicate yet penetrating lather,” he says, "is : the pores for two minutes. ise 3 it aw ay a the most effective means of clearing away every trace ous : warm water, ull you can actually feel the pores being 4 freed of impurities, dirt, make-up. Then rinse with of dust and rouge and powder from the tiny pores of the skin.” cold water. There! Isn't that refreshing? "I always recommend Palmolive Soap,” says Antoine. And his clients find it ideal for the bath, as well. You will, too. Retail Price (se Beauty specialist to Paris society Paris society, New York society, the better figures in the theatrical world, form Antoine's exclusive cli- entele. He is one of the most far-famed of all Pari- sian beauty specialists with a reputation which extends to both Eng- land and America. Antoine has, of course, experimented with various home beauty methods to determine which would be best. And he is convinced that nothing is so satisfactory as Palmolive. Olive oil, as combined with palm oil in Palmolive Soap, produces a lather which brings out natural loveliness. It protects the skin...» I - L is safe, soothing, delicate. Palmolive is pure. Its color is the natural color of olive and palm PALMOLIVE RADIO HOUR-Broadcast every Wednesday night—from 8:30 to 9:30 p. m., Eastern time; 7:30 to 8:30 p. m., Central time; 6:30 to 7:30 p. m., Mountain ume; 5:30 to 6:30 p. m., Pacific Coast time — over WEAE and 39 stations associated with The National Broadcasting Company. When you write to advertisers please mention PILOTOPLAY MAGAZINE,

Page 92

Let’s Drop In azd Gossip With Old Cal York! ing up on option time. Mayer rang for his secretary and asked her to bring the letter he had dictated to Miss Moran. He handed it to Polly. It read: ‘Enclosed please find check for $5,000, a bonus given because of your very excellent work in ‘Caught Short.’ ” They carried Polly out swooning! SVEN GUSTAFSSON is in London. Which means that Greta Garbo’s brother is in the British capital, and get- ting quite a lot of notice. He looks like his famous sister, with the same coloring, eyes and even the eyebrows. He also acts, both on stage and screen, and he doesn’t care for parties or mingling with new people. His chief en- thusiasms are for lan- guages, books, English clothes, the theater— and his sister. That can’t be held against him. Do we hear any bidding in Hollywood for the handsome Sven? IN Gary Cooper’s new picture, ‘‘The Man from Wyoming,” June Collyer plays the lead. She also gives one of the most ardent and sincere perform- ances of her career and they say that there’s a reason for this. Some people are prone to pass the whole thing off like this: “June and Gary admire’ eachother tremendously.” But the fact remains that Gary’s eyes light up when he sees her and they were always chat- ting together on the set. “COME home—all is forgiven” or words to that effect. Anyhow Tom Mix’s divorced wife forgave her eloping daughter, Ruth, when the seven- teen-year-old girl mar- ried Douglas Gilmore. Doug played the English army officer who treated Jean Harlow like she wanted to be treated in ‘“‘Hell’s Angels.”” Ruth’s mama ob- jected because Ruth was so young and had a promising career ahead of her. So the couple just upped and ran away to Arizona. RNST LUBITSCH, the director of the most sophisticated films that ever came out of Hollywood, has been sued for divorce by his wife, Helene. She charges a lot of things. Lubitsch should know about marriage and divorce. He’s directed enough pictures con- cerning them. AS we think sadly of the death of Rudolph Valentino four years ago, let us give a thought to his brother, Guglielmi, who is now fighting as best he can for something from Rudy’s estate. Guglielmi is a pleasant, simple chap who left a comfortable government job in Italy to come to Hollywood some years ago. After Rudy’s passing someone talked the 92 Just another phase of the world-wide resul what Hollywood is doing to Tokio. Admiral Perry made Japan safe for Americans. make Cherry Blossom land safe for the Mikados. Japanese motion picture studios demonstrating the broadening influence of that grand old missionary, the Rev. Mack Sennett. Now a kimono is just another mother hubbard to these four little maids [ CONTINUED FROM PAGE 90 | surviving brother into letting a plastic surgeon try to remodel his nose so that it would be acceptable to the camera. He went through several such operations, until his nose was ruined and his wallet, too. Poor Guglielmi! He should have stayed in his own sunny land, working for King and Mussolini. r I ‘WO stars of another day have been appear- ing in a stage show around New York. Agnes Ayres and Herbert Rawlinson have been laboring in a piece called “Jungle Love” —no doubt one of the classics. “TT*HE show must go on” theory has been rathered cheapened by many maudlin movie plots, but there are many incidents to prove that the ancient adage is true. Mary Astor, who has faced dreadful tragedy this year and bravely continued her career, fainted on the “Holiday” set at Pathe. She refused to be sent home, or have undue fuss made about her. She knew that every effort was being made to finish the picture that day. Ina few minutes she went on with her scene, as if nothing had happened at all. Y this time we’re getting worn down to the warp and woof from saying that Clara Bow isn’t like other girls.. But it’s still true. It’s a good thing, for there is always something new to say about the famous sorrel-top. Clara has created her own summer sports ts of motion pictures, showing It has been seventy-six years since Now someone will have to Four little maids of wardrobe, and every time she appears in her new invention traffic is stopped for miles around. Reading from top to bottom the ensemble consists of a blue flannel jacket with i natty brass buttons, and a pair of jaunty | flannel trousers, cut fuller than a gentleman's _ nether covering. The sky-piece is a gob’s cap, worn at a rakish angle. <4 BLE DOVE is in a fortunate position at the moment. She has a number of pictures _ yet to be released by First National through the summer and fall months, so she does not feel the necessity of working during the | hot weather and she is now taking the first vacation that she has had in many years. The Caddo Produc- tions purchased her contract from First National so that she did not have to make the remaining pictures there and she will be- gin her work with Caddo in the early fall. , Howard Hughes, mil- © ‘» — lionaire producer head of Caddo, evidently thinks a lot of Billie. ARY LEWIS, the beautiful opera star now making her first singie for Pathe, is just getting over a big mad. While she was mak- ing a quick trip abroad to visit her family, fol- lowing the sudden death of her foster father, someone started a story that she had turned down a chance to play the Jead in a French film called ‘‘LaBelle Helene’’ because Helene was to appear wearing practically no clothes! All of which was news to Mary, who hadn’t even heard of such an offer. Pathe was upset, as the rumor got about that her contract with them was off. But it blew over, and a slim and radiant Mary Lewis is preparing to sing merrily into the mike out at Culver City! [Hs sort of thing is bound to happen in Hollywood. Colleen Moore, who has just been divorced from John McCormick, gave a party one fine evening and among the guests were Jack Pickford, Marilyn Miller, Ben Lyon and Bebe Daniels. Jack was once married to Marilyn. Then he was engaged to Bebe. Ben was engaged to Marilyn after she and Jack separated and now he is married to Bebe. Just one happy family! When Mary Pickford walked into Colleen’s living room and saw the four together she burst into loud guffaws—if you can imagine Mary guffawing—and said to Colleen, ‘Good Lord, you haven’t got Owen Moore hidden in the bushes somewhere, have you?” Owen was Mary’s first husband. [ PLEASE TURN TO PAGE 110]

Page 93

2 The Detroit papers called her one of Michigan’s prettiest girls. At college they nicknamed her ‘The Goddess.” Everybody predicted great things for her. Popularity. A career. Successful marriage. But she didn’t live up to a single prediction. As the saying is, she “‘fell flatou Of course she did! So would any trouble she had. The only one who doesn’t realize that he or she has halitosis (unpleasant breath ) 1s the victim. Social ostracism follows. Don’t fool girl with the same yourself that you are always free of this trouble. That is folly. Surveys show 1 per- son out of 3 is a victim—due to the fact that the mouth is the constant scene of germ ac- tivities, many of which result in bad breath. mak HALITOSIS ...LI When you write to advertisers plea: PHotTorpLAy MAGAZINE For Aucust, 1930 Shaving Cream Now 25¢ 93 who fell a AT Keep yourself ever free of halitosis by the systematic and frequent use of full strength Listerine as a mouth wash. Though safe and pleasant, Listerine is an active germicide* which immediately attacks the cause of odors. Then being a powerful deodorant, it destroys the odors themselves. Keep Listerine handy and use it before any engagement, that you may appear at your best. Lambert Pharmacal Company, St. Louis, Mo., U.S.A. 50c-quality a : F LISTERINE *Listerine kills the virulent Staphylococcus Aureus (pus) and Bacillus Typhosus (ty- phoid) germs in counts ranging to 200,000,000 in 15 seconds. (Fastest kill- ing time science has accurately recorded. ) STER YME 2. abe oe ANTISEPTIC e mention PHOTOPLAY MAGAZINE.

Page 94

Read This Before Asking Questions You do not have to be a reader of PHOTOPLAY to have questions answered in this De- partment. It is only necessary that you avoid questions that would call for unduly long an- swers, such as synopses of plays or casts. Do not inquire con- cerning religion, scenario writ- ing, or studio employment. Wntte on only one side of the paper. Sign your full name and address; only initials will be published if requested. Z. H. W., Lonpon, Exc. — Your favorite countryman, Ralph Forbes, made his entrance into the world September 30, 1901. He reaches 6 feet in height, weighs 160 pounds and has blond hair and blue eyes. Before joining the flicker colony, Ralph appeared on both the English and American stages. He has been married to Ruth Chatterton since 1924, M. Gorskx1, St. Louis, Mo.—Now to hop back to the U. S. A. That cute little vest pocket edition, Dor- othy Lee, is just 5 feet short and tips the scales at 97 pounds. E. A. K., New Haven, Conn.— Why the sudden interest in the mar- riage license bureau? Loretta Young is mar- ried to Grant Withers; Charles Morton to Lala Medona, and James Murray to Lucille McNames. Dorothy Mackaill is divorced from Lothar Mendes. Buddy Rogers and Catherine Dale Owen are still single. Catherine hails from Kentucky, where she was born about 25 yearsago. She is 5 feet, 614 inches tall, weighs 128 and has blonde hair and blue eyes. A Dennis Kinc Fan, BROOKLINE, Mass.— A bromide would be good for a case like yours, m’dear. I never heard such raving. Dennis King, the target of your outburst, first saw light in Warwickshire, England, in November, 1897. He is almost a six footer, weighs 155 pounds and has light brown hair and blue eyes. This may quiet your nerves a little. He is married to Edith Wright. At this writing Dennis is appearing on the stage again in London. M. McM., New Yorx.—Sidney Blackmer is a native of North Carolina, where he was born in 1894. He was married to Lenore Ulric in July, 1929. Buddy Rogers is 6 feet. tall. Norman Kaiser is the real monicker of Norman Kerry. T. J. C., Newark, N. J —Before you and the fifty million other PHoropiay readers, I salaam and beg forgiveness for saying that the beautiful Vilma Banky was a native of Sweden, when she really comes from Nagydorog, Hungary. If you fans would give me a break and not rave so much about the Glorious Garbo, I wouldn’t be thinking of Sweden when my mind should be elsewhere. Greta Nissen hails from Norway. Emp, Ex Centro, Carir.—You were right in two instances. Gwen Lee and Lilyan Tashman are the same height. They both reach 5 feet, 7 inches, while Sally Blane stops at 5 feet, 4. Gwen is about 24 years old. Ronald Colman is separated from his wife, Thelma Raye. You will soon see him in “Raffles” with Kay Francis. Ronny is 5 feet, 11 inches tall. 94 Casts and Addresses As these often take up much space and are not always of in- terest to others than the in- quirer, we have found it neces- sary to treat such subjects ina preeres is printing a list of studio addresses with the names of the stars located at each one. Don’t forget to read over the list on page 122 before writing to this department. In writing to the stars for photographs PHOTOPLAY advises you to enclose twenty- five cents, to cover the cost of the Picture and postage. The stars, who receive hundreds of such requests, cannot afford to comply with them unless you do your share. Mary Srravss, CaLumer, Micu.—Little Vera Reynolds was born in Richmond, Va., November 25, 1905. She is 5 feet tall, weighs 90 pounds and has brown hair and blue eyes. She is married to Robert Ellis. Marie Brypa, WATERTOWN, Conn.—You girls have evidently come to the conclusion that as long as Janet Gaynor is ina picture, Charles Farrell must be part of the scenery too. You are wrong this time. Charles Morton and Barry Norton were the two youths who ap- peared with Janet in “Four Devils.” JOAN JorDAN, RuvuppLAN, WaLes.—You will find Joan Bennett’s address under “Ad- dresses of the Stars,” listed elsewhere in this, issue. Joan is a native of Palisades, New Jersey, where she was born February 27, 1911. She is 5 feet, 5, weighs 108 pounds and has blonde hair and blue eyes. She is divorced from John M. Fox and has one daughter, Adrienne. Joan’s two sisters, Constance and Barbara, are also in pictures. S. Dupitry, BrapENTon, Fra.—Back in 1920, Hope Hampton and Henry Woodward appeared in “The Tiger Lady.” Lupe Velez’ next picture will be “The Storm.” Evelyn Brent boasts of Tampa, Florida, as her home town. Lovetta Scumrr, Demarest, N. J.—I simply can’t disclose my real name. ‘After slaving all these years, I am convinced that I must have been christened “Gutta Work.” William Powell, the man of your dreams, is a native of Pittsburgh, where he made his world entrance July 29, 1892. Bill is 6 feet tall, weighs 160 and has dark brown hair and gray eyes. He is divorced from Eileen Wilson and has one son. In 1922 he entered pictures after spending several years on the stage. Leslie Fenton, who deserted the screen about a year ago, is now enjoying a hiking expedition which will take in the principal cities of Europe. Maybe when he has wearied of the scenery, he will return to the screen. different way than other ques- tions. For this kind of informa- tion, a stamped, addressed envelope must be sent. It is imperative that these rules be complied with in order to insure your receiving the information you want. Address all inquiries to Questions and Answers, PHOTOPLAY MAGAZINE, 221 W. 57th St., New York City. Marr, Orri11A, WasH.—You little kidder. Of course Clara Bow wasn’t in the Duncan Sisters’ picture “It’s a Great Life.” GracrEta, Havana, Cusa.— Norma Talmadge and Joseph Schenck were married October 20, 1917. Warner Oland is a native of Sweden. (I’m not quoting Garbo this trip.) The following girls were Baby Wampas Stars in 1924: Jul- anne Johnston, Dorothy Mackaill, Eleanor Fair, Ruth Hiatt, Lucille Ricksen, now deceased, Clara Bow, Marian Nixon, Margaret Morris, Gloria Grey, Hazel Keener, Car- melita Geraghty, Blanche Mehaffey and Alberta Vaughn. Star, ARAPAHOE, NEBR.—As long as I com- municated with your friend Diane last month I will give you a break this time. Lawrence Gray was born in San Francisco, July 27, 1898. He is 5 feet, 10; weighs 155 and has brown hair and green eyes. He is still a:bachelor. Tell Diane that Ivan Lebedeff is a Lithuanian who came to America in October, 1925. He is 6 feet, 1 inch tall, weighs 148 and has black hair and dark brown eyes. He speaks eight lan- guages, which makes him a good bet for the talkies. Two Movresqur Sopus, Cotumsus, Miss. —What are the chances of my getting an in- troduction to the fifteen hundred members of the M. S. C. W. (Mississippi’s Sweetest Collec- tion of Women)? Although they are just too be-u-tee-ful to be true, Maurice Chevalier’s pearly grinders are his own. John Boles only had to rely on a double for the German version of “Rio Rita.” Jawn handled the English version himself. I’m a firm believer that one question brings ona hundred others. Beautiful Billie Dove was Jack Holt’s “Light of the Western Stars” in the silent days. EpytHE Morton, East Sr. Louis, Mo.— The theme song of “Hearts in Exile,” was “Like a Breath of Springtime.” Richard Arlen, whose family tag is Van Mattemore, hails from Charlottesville, Va. He is 5 feet, 1114 inches tall; weighs 155 and has dark brown hair and blue-gray eyes. He is about 30 years old and is married to Jobyna Ralston. A. M. Bururte, Dayron, O.—Gosh, can’t you give the young folks a chance? Joan and young Doug are one of the most devoted couples in the movie colony. They have been married for over a year and there is no such thing as a separation between them. DupLey Duntop, ANDovER, Mass.—Ralf Harolde played the part of Mike Patello in “Officer O’Brien.” Ralf seems to be a special- ist in that type of rdle. [ PLEASE TURN TO PAGE 132 }

Page 95

PuHOTOPLAY MaGAzINE For Auaust, 1930 KEEP YOUR SKIN HEALTHY ‘wae 4 = 4 =a < - = a) — - @. oa 7) WATCH IT GROW.. 4 } e 1 | - says Francesa Ingram i e N = : 4 OUR skin can be so clear, so satiny | smooth and soft and young—if only j you will use my Milkweed Cream and my special method to keep your skin healthy! For Milkweed Cream is a marvelous | corrective for the complexion. When you Juse it, you will understand my enthusi- jasm—you will see how its delicate oils cleanse the skin exquisitely and how its } special toning ingredients help the health of skin as no other cream possibly can. Let me show you how Milkweed Cream brings health and loveliness to your skin. First, study carefully the six starred places on my famous mannequin—the | places where lines and imperfections first jappear to steal away your youth and beauty. Then, scrutinize your own skin at the same six spots. Is there a tiny, \thread-like wrinkle here? A blemish ithere? Take steps to banish them, now! | The Milkweed Way to Loveliness ; | First apply Milkweed Cream generously | upon your skin ( preceded by bathing with | warm water and pure soap if your skin is | oily). Leave it on for a moment to pene- | trate the pores. Then carefully pat off every bit. Next, apply a fresh and lighter film of Milkweed Cream and with upward | and outward strokes pat gently into the skin at the six places starred on my mannequin. All drug or department stores have Milkweed Cream—50¢, $1 and $1.75. If you have any special questions on skin | care, send for my booklet, ‘‘Why Only a Healthy Skin Can Stay Young’, or tune | in on ‘‘Through the Looking Glass with Frances Ingram’’, Tuesday 10:15 A.M., | (E.D.T.)onW]Zand Associated Stations. THE FOREHEAD — To guard against lines XN / and wrinkles here, apply Milkweed Cream, stroking with fingertips, outward from the center of your brow. THE EYES—If you would avoid aging crows’ 2 feet, smooth Ingram’s about the eyes, stroke with a feather touch outward, beneath eyes and over eyelids. THE MOUTH — Drooping lines are easily de- tr feated by filming the fingertips u ith my cream and sliding them upward over the mouth and then outward toward the ears, starting at the middle of the chin. INGRAM’S When you write to advertisers MY MANNEQUIN SHOWS Only a healthy shin CaN slay young ibweed. Cream please mention PHOTOPLAY MAGAZINE, 95 WHY THE THROAT — To keep your throat from LT fabbiness, cover with a film of Milk weed and smooth gently downu ard, ending u ith rotary movement at base of neck. THE NECK — To prevent a Sagging chin and a lined neck, stroke with fingertips covered with Milkweed from middle of chin toward the ears and patting firmly all along the jaw contours. THE SHOULDERS — To have shoulders that +x are blemish-free and firmly smo lean with Milkweed Cream and massage with palm of hand in rotary m Frances Ingram, Dept. A-80 _ 108 Washington St., N. Y. C. Please send me your free booklet, “Why Only a Healthy Skin Can Stay Young’, which tells in complete detail how to care for the skin and to guard the six vital spots of youth. N Address

Page 96

Flashing in the Pan that studio holds an option on her services. But Hollywood believes that Dorothy gave her best when she played “Arizona.” (CERTAINLY no one is to blame for the failure of Stepin Fetchit but the gentleman of color himself. And hereisa fineartist. I’m not kidding. He had what all great artists have, the ability to be completely natural and utterly simple on the screen. But naturalness and simplicity were not the gods of his private life. The boulevards rang with Stepin Fetchit stories. His fleet of cars, his two footmen in red and green costumes, his disregard for speed and liquor laws. The boy could not conform. It seemed that a stupid director insisted upon having his actors on the set at nine A. m., at which hour the rare spark of Stepin’s genius did not burst into flame. If it pleased him to wander off the set and make personal appearances at a local theater he did so without consulting anybody. Nor could he be made to realize that he was being paid to act. Stepin acted only when inspired. Sometimes he had to wait for inspiration for days. Fox decided to struggle along without Mr. Fetchit’s services and now you can hear that tired voice and see that sloping forehead only in Hal Roach’s comedies. How long this studio will put up with Step remains to be seen. The sensation of “Hearts in Dixie” was, I’m afraid, just a flash in the pan and it was all his own fault. E “type” actors and actresses usually fare very badly. They appear in one réle that suits them and then—no more. There is Don Terry, the brilliant youngster in “Me, Gangster” who was so typed that only especially written réles suited him, and he was not of sufficient box-office value to merit them. There is Karl Dane, a one-réle actor. He played the tobacco-chewing riveter in “The Big Parade.” He’s been playing it ever since in different costumes, but he doesn’t fool any- body. He had but one réle to give to the screen. He gave. Dane’s star has set because he was merely a type. And there is the tragic story of Margaret Mann, who flashed into fame in “Four Sons,” selected by PHororray readers as the best picture of 1928. She achieved her re- markable success in middle life in a picture exactly suited to her talents. And then there were no more. She was bewildered by this strange situation. Long after “Four Sons” was almost forgotten, she used to find her way to the publicity de- partment and inquire pitifully, ““Doesn’t any- body want to talk to me? Doesn’t anybody want to use a picture of me? Isn’t anybody interested in me any more?” They didn’t have the heart to tell so elderly and so sweet a lady that she was merely a flash in the pan—a type who happened to strike her stride too late. She is an extra woman now. LL the old predictors got together on Sue ‘arol’s career. She was the real thing. She had everything. And while she was under contract to Douglas MacLean, there were more demands upon her than she could meet. She was drawing a small salary and being loaned at an enormous one. 96 | CONTINUED FROM PAGE 69 | It wasn’t right, thought Sue, so she broke her contract with MacLean and signed with Fox. But something that the psychologists can ex- plain better than I made producers not half so anxious for her when she was free as when she had been bound to MacLean. Sue has passed the peak, and rumor has it that Fox won’t renew her contract. SEVERAL months ago her husband, Nick Stuart, was let out at the same studio. I may be wrong, but I'll bet a couple of oranges and a pineapple or two that the executives were hurt en ~alets There’s a trick to this black crepe dress, worn by Betty Garde of “Queen High.” When the bolero jacket is re- moved—there! you have a smart in- formal dinner gown because Nick and Sue married secretly without telling their best friends. Nor were their pictures made together any too successful. They were too engrossed in young love to give much thought to careers. The talkies have taken some of the old favorites. They have also swept aside many of the brilliant newcomers. Nils Asther leapt into fame—a brilliant actor, a heart-throb lover. His fan mail was enormous. rivaled John Gilbert’s. But his accent was bad. the pan. Baclanova was another. His following He was a flash in And Camilla Horn. They may all work again. Baclanova, in fact has a role in a Fox picture. But I feel sure that the golden opportunity is lost. The public is fickle, particularly with its” newer favorites. As whimsical as Barrie himself is the fate the Barrie heroes and heroines. Little Betts Bronson, who remains for me (and for you too, I imagine) Peter Pan, has never lived up to her promise. There’s a reason for this. Peter Pan was a foolproof réle. It was tailor rade for Betty, but she was not wise enough te resist temperament, nor great enough as an actress to play other parts convincingly. She, too, is a one-réle actress. And she has playec that rdéle. 3 Esther Ralston—ah, the charm of her in “Peter Pan”! On the strength of it she wa: starred by Paramount and they do say tha Esther might still be a star had it not been fo: her husband, George Webb, who started te manage her career. With few exceptions, like John McCormick, Colleen Moore’s husband, and Walter Morosco, Corinne Griffith’s, this is not a successful coms bination. Greatest of all the Barrie players, perhaps, was Gareth Hughes. His Sentimental Tommy was one of the perfect gestures of the cinema world. But he lived on the screen for one brief mo- ment and then sank into obscurity. M28Y BRIAN, alone, seems to have sur. vived. She played Wendy in “Peter Pan” and Grizelle in “Sentimental Tommy.” She is still rated as a first-class leading woman. ; Mary Duncan, she of “The Shanghai Gesture,” came to the screen too late for the technique she brought it. She insisted upon wearing the absurd negligees of another era a the symbol of great emotion to her was heaving bosom. The picture public had long since grown tired of Theda Bara. ‘ The short career of Ruth Elder was an ex- periment. Her pretty face and her world-wide publicity were not enough. And Molly O’Day the great actress of “‘The Patent Leather Kid,’ could not combat obesity. Lina Basquette, the victim of too much pub- — licity before she was ready for it, is now in vaudeville with her husband, Peverell Marley, — one time camera man for Cecil De Mille. Eve Southern, too tall and too much of a type, found work only at a small studio after she played in “The Gaucho.” THE flash in the pan—it is a symbol of Hollywood, a sudden, intense town that makes brief, decisive gestures. What children of the cinema now on the crest of the wave will fall heir to the title? Winifred Westover? Will she find other work now that “‘Lummox”’ is released? Or is she merely a type? } And Raquel Torres, the brave little trouper of “ White Shadows in the South Seas’? After months of inactivity she has been cast in “The Sea Beast.” It is her crucial test. Will Edwina Booth be able to stand her ground after ‘‘ Trader Horn’’? Had she remained at United Artists that vivid child, Lupe Velez, might have been a flash in the pan. But she has signed a five-year contract with — Universal and that studio is placing all their hopes upon her. But there will be other bright young people — who will rise and fall after one great picture and the critics will continue to hail new stars and insist that So and So “bears watching.”

Page 97

PHOTOPLAY MaGAzINE FoR AuGustT, 1930 97 ale S Hale me ; | ” j ‘ « | as my SNAGOW | says BETTY BRONSON “Only, my shadow follows anes ae this new perfume leads me! On and up S. £O mew imaginings, to quicker Bought, to lighter laughter. My new a commands me to keep step with Youth! Sweeps me into its iglorious rhythm sree who'd want to escape? Not Il I intend to wear this | buoyant perfume always . a) cOmILeeL life under i its dauntle 28S spell. I intend |to grow no older than its name, its both are SE VENI ‘EEN! “4 Rood eee Not anew idea 2 «. tO match your perfume to y ourself . : but anew conce ption of you ee wis Sev enteen. A modern you...aspz ark- ee you «felis with sudc Jen notes of tender me aning . ..and alwz ays, alway SS SHEL, wines eet YOU Syliahe mood, be See dpncnast whose a, ] daring, cannever grow older than Seventeen . o o Eight Toiletries ] exquisitely scented with the fragrance of Seventeen The Perfume... of course! Inspiration for all the rest Tt . setting the rhy thm... guiding your mood. Powder .to le ave upon your skin eee the tinted sheen eee the delicate texture... of youth. Dusting I fe owder. ate clean, fresh, elusive as abath powder should be. Toilet Fakes sats Sik thicipecfuine as sta alndaw. Backer em to breathe into every garment the characteristic fragrance { of you. Co ympact... stunningly beautiful ... in black and gold. Talcum Powder... soothing eat refres shing for sensitive skins. Brillantine Sseee tole ave a shimme r and the faintest possib le scent upon your hair. — When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Page 98

Beauty that is envied everywhere Loretta Younc First National Pictures, Inc. STRIKINGLY smart sports costumes, trail- ing evening gowns so alluringly feminine —such fashions as these were made for beautiful women. For women who pos- sess that much-to-be-desired “rounded slimness” of youth. Today, graceful curves and the radi- ant glow of health are necessary to look well in the new modes. And most women can achieve this fashionable figure by wise dieting... . But avoid strenuous, starvation menus. They often destroy beauty. No doubt you know girls who complain of dizziness while dieting. Of headaches, of listlessness. Often they lose their color, the complexion be- comes sallow and tiny lines of age appear. The reason for this is that most reducing diets lack roughage. Without roughage, the symptoms and evils of im- proper elimination are inevitable. Yet they are easy to avoid. Just add two tablespoonfuls of Kellogg’s Art-Bran to the diet daily. It is not fattening —yet it is guaranteed to re- lieve and to prevent all danger of improper elimination. In addition, Kellogg’s Att- \| Bran helps prevent dietary \Y anemia. It contains iron. This KELLOG Ev Help yourself & health, BATTLE Coreen, m4: PHotopLay MacazInE For Aucust, 1930 In dieting for the fashionable figure, be sure your diet is well balanced with a regular supply of roughage mineral restores color to the complexion, bringing the glow of radiant health. Eaten with fruit juices or milk, important vitamins are introduced to balance the diet. You will like the many ways Kellogg's At-Bran can be eaten without adding many calories to the menu. In clear soups —in fruit juices—on salads. Cook it in muffins, breads. Isn’t this better than taking pills and drugs that only bring temporary relief—and are often harmful? Keep healthy by mak- ing Kellogg's Att-Bran a part of your diet every day. It is rec- ommended by dietitians. You'll like the improvement in both texture and taste. Ask for it in the red-and-green package— madeby Kellogg in BattleCreek. ti] EK Kelhegs ‘G COMPANY HC LOMDOM.CAM ery advert:sement in PHOTOPLAY MAGAZINE Is ¢uaranteed. SEND FOR THE BOOKLET “Keep Healthy While You Are Dieting to Reduce” It contains helpful and sane counsel. Women who admire beauty and fitness and who want to keep figures slim and fashionable will find the suggested menus and table of foods for dieting a in ™ valuable. It is free upon request. Kettocc Company, Dept. P-8 Battle Creek, Mich. Please send me a free copy of your booklet “Keep Healthy While You Are Dieting toReduce.” Name Address al

Page 99

f hitee Recipes for Lhose Who Like SWEETS sweetened and flavored, between and on top. Garnish with candied cherries. As soon as cool, remove centers, and fill with whipped cream, forcing the cream through a pastry bag and tube. Pineapple Pyramids 1 can sliced pineapple Pinch of salt 1 cup pineapple juice 3 tablespoons granulated gelatine “Thank goodness, I only have to think about dialogue 2 tablespoons lemon juice 14 cup cold water lines and not figure lines!”’ says little Mitzi Green 14 cup sugar 1 pint cream 1 glass red Bar-le-Duc currants Drain canned pineapple from the syrup. Chop fruit fine. Ce cc y - : 5 eye ign oon wa ee aa aa is a teREOY To fruit pulp add pineapple juice, lemon juice, sugar, salt, and Secret ral a are) bideres SB cae € ~ gelatine which has soaked in water fifteen minutes. Ei Seer Set ot Mi AiG ‘ Poy Siac Heat mixture until gelatine has dissolved. Remove from Age ? 1 aff ete Se ienaes Be eeu Atches cae stove, set in pan of cold water, and when mixture begins to te rae e Se Daiecandr Sweet paties Watfile ; thicken, fold in cream, beaten until stiff, and currants. Turn mond larts, Pineapple f yt , Beh Se ightly oilec Id < hill tt shly. I have found that nine-year-old prodigies aren’t the only ones into slightly oiled’ mold ang chal Pupsonens who like sweets, so I asked Mitzi to send along her favorite Sweet Potato Waffles recipes. And as the radio announcer says in introducing Amos ’n’ 1 cup mashed sweet potatoes 1 cup bread flour Andy: ‘Here they are.” % cup sugar 14 cup melted butter Almond Tarts 1 cup milk 1 egg Puoropray MaGazine 4 eggs ao ahi ; : Mix the potatoes, flour, 1 cup powdered sugar 750 N. Michigan Ave., Chicago, Ill. sugar, butter and milk, in the 14 cup grated chocolate Please send me a copy of PHoropLay’s Famous Cook order given. Add yolk of egg, 1g cup blanched Jordan al- Book, containing 150 favorite recipes of the stars. beaten until thick, and then monds, finely chopped I am enclosing twenty-five cents. egg white, beaten until stiff. 1 teaspoon baking powder The waffle iron should be 34 cup cracker dust well heated on both sides and thoroughly greased. Put a tablespoonful of mixture in each compartment near cen- ter of iron, then cover, and mixture will spread to just fill. Turn almost as soon as filled and covered. Serve with maple syrup. CAROLYN VAN WYCK. 99 Beat yolks of eggs until thick and lemon colored. Add sugar gradually, and fold in whites of eggs beaten until stiff and dry. Add chocolate, almonds, baking powder and - , cracker dust. Bake in but- Be sure to write name and address plainly. tered round pan, cool, split, You may send either stamps or coin. and put whipped cream,

Page 100

? Why Nils Did Not Want to Go Back “You see, I was miserable in my work. I was thoroughly discontented with every part I was given to do—except ‘Sorrell and Son.’ I hated being the great lover. I loathed being under contract and having to do whatever they said I was to do. I know what I can do best, and it is not what I was told to do. I’d rather never work again—never!—than to be so miserable. NESS means everything to me. I can’t be happy when I’m untrue to what I be- lieve is the right sort of work forme. M-G-M kept giving me the wrong kind of parts. They wanted to make me a great lover. I was handed scripts that were absurd. “Just to finish out my contract I did a part in ‘The Sea Bat.’ I hated it, but I wanted to leave amicably, so I took it. “But now I’m free. Now, I can do what I choose! “They wanted me to do a part in ‘The Eyes of the World.’ I thought I would like it at first. “T read the script. I thought it was bad. It was not my type of thing. I will never again play a réle I don’t like!” “And you mean to say that you’ll wait right here until you find just what you like?” “Can’t you see?” he went on. ‘‘Can’t you see that there is no happiness for me, just misery, in doing a réle that doesn’t suit me? T’d rather make a living digging ditches or run- ning a grocery store—in fact, I might open up | CONTINUED FROM PAGE 53 } one out at Malibu—than in doing something in which I’m not true to myself, not sincere.” It is the artist’s attitude. I’ve known but a few who had it. But I have known a few. Writers who wouldn’t change a comma in their copy even to have their books published by the best houses. Musicians who would starve before they would add popular selections to their programs. Of this type is Nils Asther. The uncompro- mising artist. “But how long will you wait?” I asked. “Two years—maybe. I’m financially able to wait for two years and longer. I’ve turned down a lot of offers because I couldn’t bear the stupid scripts.” “All right,” I said. ‘You’ve answered me that. You’ve told me about taking out your citizenship papers, but you haven’t told me why. You haven’t told me the real reason that you wait in America for the réles that you want to play to come along.” He started to answer, and just at that moment we looked up, and there was Vivian Duncan. I had my answer! She sat down at the table with us—vivid, laughing—a complement to the restraint that has always been a part of Nils Asther. A strange attachment this—but one that must go much deeper than the eye can pene- trate. Over a year ago their first engagement was announced and broken. Nils told me then that she was the one girl in the world for him but that their viewpoints about life had kept them apart. They met again and another engagement was announced. Vivian and Rosetta are living at Malibu, too. Apparently Vivian has changed. They ride horseback together—Nils and Vivian. They swim together. They are not to be seen at the various whoopee parties around town. For there is, between these two, a deep understand- ing. The mysterious Swede and the lively Ameri- can comedienne. And Nils is happy. HE wants but two things of life—so he told me two years ago—work that satisfies him and a woman who is both sweetheart and companion at the same time. He has found the woman; and as for the work, he has the patience of a great artist. That work, he is sure, will come. In the mean- time he can fill in with a vaudeville sketch that he is taking to New York shortly. And he can wait. He can wait until he finds the great things that are right for him todo. He is much happier waiting than he is making a com- promise with himself and doing réles that are hateful to him. And that is why he has stayed in America and that is why he is happy. “But,” I persisted, “when are you two going to get married?” Nils laughed. Vivian giggled. ‘In 1940,” she said, ‘‘so that people can say, ‘Ah-ha, the Asther-Duncan romance is on again!’ ” ‘Too Many Guests Flintridge home a road house, had put Betty in the place where she “just couldn’t bear it any longer.” Days went by when she had not a moment to herself. Hours and hours of her time were spent in entertaining the guests that overran the house. Many of them were people she didn’t know. Jim marched to bed when they became too numerous and too noisy. And yet it was Jim’s fault that they were there. They are his life. Yet he always marched off to bed when he grew tired, leaving Betty to smile and be charming. POR Betty knows more of real hospitality than Jim. Before they were married, she and her mother maintained a large, comfortable home on Hollywood Boulevard. Their friends knew that dropping-in time was from five- thirty to six. Promiscuous dinner invitations were never extended. Betty entertained lay- ishly, but her parties were invitational and she did the inviting. She knew her guests—at least by sight. There is, you must admit, a certain dignity in this. It is not strange that she found herself wondering how much longer she could bear it in the house that knew no quiet. And it was she who had to cope with it all. It was she who had to order the food and pacify the servants and see that there was money in the money bowl. And her pretty evening frocks hung de- jectedly in her closet. Only sports clothes and other unconventional attire is correct at Flint- ridge. She did not go to theater parties. She was never seen at a Mayfair dance. They sel- 100 { CONTINUED FROM PAGE 39 ] dom attended an opening. Cruze, in white duck trousers and shirt open at his dark throat, sat in his seething home waiting for parties to come to him. Which they did! It didn’t matter so much when Betty was making a young fortune in quickies. A quickie means ten days chalked off your life and no effort required. The picture people can play the parts assigned to them by Poverty Row while making the blindfold test. But suddenly Betty staged a comeback. She was called by one big studio after another and had more real, vital parts than she could handle. The talkies presented new require- ments. She had to study lines. Where was she to concentrate? Ina house that harbored hundreds of roistering, idle guests? Lines to memorize. Scenes to be thought out. And always there were people, people, people. There was laughter at breakfast. Jokes at luncheon. Gaiety at dinner. And every time Betty heard the purr of another car turning into the driveway and every time she was called upon to smile and extend a gracious hand toa new arrival, she felt she “just couldn’t bear it another minute.” They talked it over calmly, Betty and Jim. At first Betty suggested a five or six months temporary separation. “Don’t you see, Jim,’’ she said, “it’s the only way. I can’t stand this. I can’t bear it. You and I have a perfect understanding. We know each other well. We admire and respect each other, but this can’t go on.”’ Jim didn’t think much of the idea. He tried to mend his ways. They began by stopping their Sunday “at homes.” That was im- possible. People came anyway. Might as well try to close down all Hollywood as put a “No Admittance” sign over the Cruze front door. That didn’t work, and they talked of di- vorce—always calmly and sensibly. But it seemed so wrong that these two, so compatible in most ways, should separate permanently. So Betty took an apartment in town for a month. you probably remember that episode, now over a year ago. The newspapers jumped on the story, and issued the usual form letter announcement that James Cruze and Betty Compson had separated. It wasn’t so. Jimmy and Betty remained on the most friendly terms—saw each other often—soon were back together again. And the world, following its usual habit, forgot all about it. But the damage had been done. Every possible solution had been tried. Every compromise that either could think of had been attempted. But Jim must have his friends and friendly whoopee—Betty must have her hours for rest and study away from the unceasing grind of the sound stages where she is so much in demand. And so another home smashed into smither- eens—a home that was so solidly built with understanding, tolerance and good cheer. Cruel and unhappy things came out in court— there were stories for a few days—the world and its talkies marched on. But two wonderful people are going separate ways who might have been together, save for two reasons. One—too many guests at all hours. 4 And second—the invention of the thing that allowed motion pictures to talk, and give an actress new and greater fame!

Page 101

PuHotTopLray MaGAZINE For AucustT, 1930 Io] I Saw a Miracle of Beauty >a = Photo by Clarence Bull "She's wonderful now”, cried Frank Beers, M-G-M Casting Director, to BESSIE LOVE, M-G-M star and Max Factor, Hollywood's Make-Up King. E were in the casting director’s office, where we had stopped for a minute on the way to the set. Faces, one by one, peered in inquisitively, apprehensively and hopefully, ex- pressing mingled emotions as they were scrutinized by the casting director. But not one paused for more than a minute, for the di- rector, not satisfied waved them on. “What is the part”, inquired Max Factor, Hollywood’s Make-Up King, who had come in a few moments after me. “Oh! it’s just a ‘bit’, but she must have personality. And all the girls that answered the call this morning look the same to me. I must have some one, too... . and quickly.” “A dozen girls are still waiting in the lobby; perhaps there’s a “Eu *er 8 2 ~ ~ I P ” possibility among them”, suggested Max Factor. “Shall we look”? “Okay! But I’m pessimistic.” Max Factor stepped into the lobby, and in a few minutes returned with one of the girls. “Here's a young lady who looks like somebody else, not herself... if you know what I mean; and if you can see through the “off-color” make-up. Now we'll clean it all off and see if I’m a good detective.” The magic make-up box of Max Factor flew open, and in a few seconds a cream deftly manipulated had removed every speck of “paint and powder.” Then he started all over. A little foundation, a few touches of rouge; now powder, lipstick . . . together beautifully with the natural colorings of the girl. Then to the eyes... and how he brought them out. They sparkled and danced with invitation. “Look! Like a miracle, she had been transformed into a fascinating beauty. Her allure and personality, hidden before by her own ¥ . all blending Here she is herself,” exclaimed Max Factor. Le MAX FACTOR’S Society MAKE “Cosmetics of the Stars”, .». HOLLYWOOD When you write to advertisers please 3 of postage and handling. Ti | / AS, 1 (OLOR LASHES|Dry if B | Name — aK | U COLOR HAIR |Oily 1 = I | Address —_________—— I Anewerin City spaces with check mark! | ———— ieee © Happen in Hollywood She was just like a dozen other girls, but A lax Factor Hollywoods Make-Up Wizard, by the flattering touch of make-up, transformed her into a ravishing beauty .. = almost instantly. AS told by. .--.- BESSIE LOVE M-G-M Star to Florence Vondelle Revealing a Secret of how every girl may obtain New Beauty and New Personality grotesque application of cosmetics, now shone forth radiantly and vividly, emphasized and enhanced by the magic of make-up by Max Factor. The effect was electric.... aware of her new magnetism. the girl herself was vibrantly “She’s wonderful now”, cried the casting director. To the girl he said, “Report to Stage 12 at once.” * * *& & x & . Max Factor now offers to tell Hollywood's Make-Up secret. T hrough the courtesy of this maga- zine you are offered a priceless gift... like a screen star, you will re- ceive your own complexion analysis, your make-up color harmony chart, personally from Max Factor, Hollywood's Make-Up King. To every girl, to everywoman, to you. . In Society Make-Up, . . powder, rouge, lipstick and other make- up requisites . .. Max Factor has produced an everyday make-up for every woman based on his famous discovery of cosmetic color harmony, which is the beauty magic in Max Factor's Make-Up used exclu- sively in every picture released from Hollywood. Now you'll discover why your powder, rouge, lipstick and other make-up essentials must be in color harmony with your complexion. You'll discover how to individualize your make-up to accentuate your personality and magnetic attraction. You'll discover that the magic of Society Make-Up as created by Max Factor can perform 4\ 2 miracle of beauty for you, too. And if you mail the coupon -\\ now you'll also receive Max Factor's book, “The New Art of Society Make-Up.... FREE. ee MAIL FOR YOUR COMPLEXION ANALYSIS | Mr. Max Factor—Max Factor Studios, Hollywood, Calif. 1-8-22 l ‘. , Dear Sir: Send me a complimentary copy of your 48-page book, "The New al _—— of Society Make-Up”, personal complexion analysis and make up color harmony chart. I enclose 10 cents to cover cost T COLOR EYES Lips Mou T COMPLEXION mention PIOTOPLAY MAGAZINE.

Page 102

Would You Like a New Nose? Perhaps you’ve noticed. But when you meet Dix face to face, you can discern a slight scar toward the end of the nose. He refers to it as “my bum nose,” and it’s reported that he’s considering another operation. Otto Lederer is beginning to think he made a mistake when he had his nose changed. Otto had been getting a lot of Jewish comedy réles, because his nose fitted the parts so well. But Otto had aspirations toward “straight” réles, and he felt that his nose was dooming him to play Hebrew comics forever. So he took the nose to Dr. Ginsburg and had it trimmed. Soon afterward, Warner Brothers called him. “Hurry over,” they said, “we have a part for you.” Proudly, Otto presented his new nose to the casting executive, who forthwith howled in grief. “What have you done?” he cried. “Now we can’t use you. We had another Jewish comedy part, but your nose is out of character now!” And the same sort of thing has happened too many times since then for Otto to be any too happy over his new face. OLA TODD, who was a Wampas Baby Star in 1925, had a nose correction performed by Dr. Balsinger. So did Duane Thompson, and Mrs. Harry Langdon, among others. And so did scores of extra girls and boys. Here’s another side of the picture. In 1914, Mrs. Syd Chaplin—Charlie’s sister-in-law— went to Dr. Griffith for a nose correction. It wasn’t long afterward that the newspapers told of the filing of a $100,000 suit against the doctor. Mrs. Chaplin charged he had ruined her nose completely, instead of making it look better. He replied that it was her own fault—that the operation had been a perfect success, but that she had picked at the bandages and caused the trouble of which she complained. The thing took up a lot of newspaper space for a while, and then was settled out of court. It is reported that Mrs. Chaplin collected some $10,000 from an insurance company. Then there was the case of Thais Valde- mar. She had a nose-and-lip remodeling op- eration done by Dr. Ginsburg. Eventually, the doctor sued for $500 for his services. She entered a unique defense. kisses any more,” she claimed. That case, too, was settled out of court. And there’s a persistent rumor, which has seen print at times, that a Hollywood girl had a tragi-comic sequel to her plastic surgery quest for beauty. She went, so the story goes, to a plastic surgeon to have dimples put in her cheeks, but something went wrong, and when the bandages were taken off, her face was set in a horrible smile. It stayed with her forever— asleep or awake, sad or happy, no matter what the circumstances, there was that everlasting grin. “T can’t feel T’S a sad story—but to tell the truth, no public record can be found to shed a ray of fact on it. Plastic surgeons insist that no such thing could have happened. However, there are several other mishaps that did. In 1927, William Scott, actor, sued Dr. Griffith for $100,000, charging that the surgeon had cut away too much of his nose. And in 1925, Lucille Woodward, actress, de- manded $25,000 from Dr. Balsinger, because, she said, in removing superfluous tissue from about her eyes, he had left her left eye with no more expression than a dead halibut’s! 102 [ CONTINUED FROM PAGE 59 ] Aside from nasal operations, those most common among film people are the ones which have to do with remodeling of the chin and ears. “Flop ears” sent Rudy Valentino to the plastic surgeon. Before the operation, they stuck out like a mad elephant’s. The surgeon pinned them back, and Rudy became the great sheik. After his death, his brother—Alberto Guglielmo—had screen aspirations. He, too, believed that plastic surgery might help his looks, which weren’t the par of Rudy’s to begin with. Alberto had Dr. Balsinger do a remodel- ing job on his face. That was in 1927, but as yet Alberto hasn’t been any second Rudy, new nose or not. One of the most publicized cases of plastic surgery in the movies, undoubtedly, is Mollie William Harrigan of Fox pictures. But just twelve years ago he was Capt. Bill Harrigan, commanding the third battalion of New York’s 307th Infantry. It was Bill’s battalion that went to the rescue of ‘‘The Lost Bat- talion.” And one of his company commanders was Capt. Eddie Grant, third baseman of the New York Giants, who was killed during the Argonne fighting. Think of this when you see Bill the Actor O’Day’s effort to lose poundage. In 1928 she announced she was going to have her appendix out—and added that she hoped the ordeal would also take off some of the fat about which producers were shaking their heads. She went tothe hospital, and people wondered. A little later, Mollie admitted to the world that she had had pounds of excess tissue carved from her hips and legs! This is one of the most difficult and dangerous operations in plastic surgery. Many of the best surgeons will not undertake it, holding it non-effective as well as perilous. ‘The fat comes back almost immedi- ately after this sort of operation,” one ex- plained. The instances of facial remodeling wherein names cannot be mentioned, in Hollywood, are innumerable. There is, for instance, the hand- some male leading light who has a nose built up with paraflin!—and another who has a chin similarly molded with injected wax, so he looks like a he-man instead of one of those weak- chinned individuals. There are countless players who have had their “‘sail ears” pulled back out of the wind. And the number of facial lifts and deep peels are beyond all calculation. "THE facial lift calls for the cutting away of tissue at the ear and the sewing together of the wound, which, automatically, pulls up the flabbiness of the face and removes years from the looks. “Tt’s safe to say,” admitted one of Holly- wood’s foremost plastic conjurers, “that the majority of women over thirty in pictures have had facial adjustments of some sort.” By deep peel, the plastic surgeon doesn’t refer to that comparatively simple thing they call a “peel” in the beauty shops. The plastic surgeon’s peel uses carbolic acid to burn away the skin on the entire face and usually the shoulders, neck and back and down a way on the chest. When this burn heals a new tissue forms—smooth, blemish-free, unscarred, un- wrinkled and unmarked by freckles and dis- colorations. It is called a new skin—but it isn’t actually. It is scar tissue. The suffering that is undergone in Holly- wood in this endless quest for greater beauty is beyond estimation. So is the amount of money that’s spent onit. The prices of the operations vary widely—depending both on the nature of the work and on the prominence and afflu- ence of the patient. But certain it is that the plastic surgeons are making dollars while the screen shines. And much of the work is in vain! Not that it doesn’t ordinarily accomplish its object of beautification—but because plastic . surgery cannot give a person talent. “Many of our patients,”’ confided one sur- geon, “have what might be called the ‘plastic surgery complex.’ They come for operations again and again—always a new operation, a new change in appearance. Many of the points they ask to have corrected are such in- finitesimal blemishes that they really don’t matter at all. The truth is that these persons have made of plastic surgery a subconscious excuse or alibi for their failure in the films, for their continuance of the effort to land in the movies. “Unfitted for pictures, they won’t admit it to themselves or to others. Instead, they offer the excuse that they have some facial defect that keeps them out—and they go to have it corrected. “When they still can’t make the grade, they pretend to discover a new, hitherto overlooked blemish, and go to the surgeon again and again. nf HY, directors have stopped telling as- pirants that it is because of a poor nose, or bad chin that they can’t use them. They used to do that. “Say it was a girl, and the casting director, too tender-hearted to tell her she was no actress, told her instead that she had a nose that wouldn’t photograph. “The same girl would come back, two weeks later, with a remodeled nose. ““T’ve spent lots of money, and suffered much pain to have my nose corrected,’ she’d say. ‘Now, where’s my job?’ That left the direc- tor in a tough spot. “But even though the directors have stopped using that excuse, I notice that the screen aspirants themselves use mirror-analysis—try to find their facial shortcomings, and then come to us and buy our services in the hope that, beautified, they may attain screen fame.”

Page 103

PHOTOPLAY MAGAZINE FOR AUGUST, 1930 VACATION SPECIAL MODESS COMPACT Thinner... for the snug silhouette... of summer wear Modess Compact was especially created to assure the inconspicuousness so nec- essary with closely fitted afternoon and evening gowns. The Compact is simply regular Modess, gently compressed. Most women have found that their requirements are best satisfied by regu- lar Modess for ordinary use, with a smaller supply of Modess Compact for special occasions. This offer enables every woman who acts promptly to learn at our expense the convenience and desirability of Modess and Modess Compact. When you write to advertisers plea This new TRAVEL PACKAGE 103 } FREE fo acquaint every woman with the sensa- tionally popular MODESS COMPACT A you probably know, we an- nounced early in the year a thinner Modess suitable for sheer, closely fitting gowns, but absorb- ency as regular Modess. It is called Modess Compact. Three Modess Compacts were packed in each box of regular Modess, having the same high This refinement has been so appreciated and the demand for Modess sn Aa daee > VACATION : tee SPECIAL Compactsooverwhelm- i is F ing that we are intro- ducing a new Travel Package Modess Compacts. Dur- containing six ingJuly and August, this new twenty-five-cent || box will be given abso- lutely free to purchas- |} ers of regular Modess. OUR OFFER Buy two boxes of regular Modess, value forty-five cents each, at the special price of 79 cents. You will receive free, the twenty-five-cent Tra vel Package } 1 Travel Package 256 containing six Modess Compacts. You will find this small, thin box admirably suited to go in your traveling case or week-end bag—a real convenience for va- That is why we call this unusual offer cation or brief visits. “Vacation Special.” These three packages, two box- 7 2 Baes Regular Modess 9O* h Bex 12m 6 Mode ss Compacts es of regular Modess—considered by those who use it the finest, most comfortable and efficient product available— and the use- ful Travel Package, will be partic- ularly appreciated this summer. Gohnsor+ Goh msen NEW BRUNSWIC N.J.U.5.A World’s largest makers of surgical dressings, mentic n PHOTOPLAY MAGAZINE bandages, Red Cross absorbent cotton, etc.

Page 104

- ay Dont D OD GE §$ummer.. love it! + = CLR Mae i ; 4 \ ; O MUCH... todo OUEGOOLS s&s under summer skies! So much to miss... if you’re afraid of . 35c.,50c.,31. everywhere. 1l0c. handy size at 5 & water, wind,sun... We. stores. Mail orders filled by on your face... your The Frostilla Co., t. 68— Pp neck... your hands! Elmira ‘NewYork. Play... but play safe... use Frostilla! A few fragrant drops ... then dismiss all fears... no wind-drying, or water -chapping, or sun-burning. Frostilla protects, guards... against all ex- posure. Use it every summer's day... before you go out... and when you come back! FROSTILLA SAVES YOUR SKIN from New Pictures By Maurice Fenton The Best Sellers of the Month: ‘It Happened in Monterey,” from ‘‘The King of Jazz,” “Sweepin’ the Clouds Away,” from ‘‘Paramounton Parade,” and “The Moon is Low,” from “Montana Moon.” that the pouting baby singer has crashed through with another double- faced record for their delight. Both songs are from Helen’s new picture— DANGEROUS NAN McGREW Hii KANE fans will be glad to know | Dangerous Nan | I Owe You Victor Victor Helen Kane Helen Kane McGrew Those who like to hear Buddy Rogers’ young voice give off a song or so—and those who are just Rogers crushes and like a record of his for company—can get two new ones. This time America’s Boy Friend records two of his songs from the picture— SAFETY IN NUMBERS | I'd Like to Be (A Bee in Your Boudoir) Buddy Rogers Columbia My Future Just Passed Buddy Rogers Columbia THAT “HONEY” SONG Two new recordings have been made of “Sing, You Sinners,” that sensationally effective spiritual that Lillian Roth gave off in “Honey.” The records are £ing, You Sinners The Revellers Victor Belle Baker Columbia The Revellers’ recording is especially fine. THE KING OF JAZZ It Happened in Jesse Crawford Monterey Organ Victor Regent Club Orchestra Brunswick Song of the Dawn Burnett’s ’ Biltmore Orchestra Brunswick Ragamuffin Paul Whiteman Romeo and Band Columbia I Like to Do Paul Whiteman Things for You and Band Columbia Here are some excellent recordings from the Whiteman-Universal picture. Particularly those by the old master himself—who begins where all other modern bandmasters leave off in the matter of arrangements. UNDER A TEXAS MOON Undera Texas Gene Austin Moon (vocal) Victor Nawahi’s Hawaiians Columbia This record marks the first use of Hawaiian PHOTOPLAY MaGAZzINE For Aucust, 1930 ‘Thre Best Records. yy Helen Kane Records Two More! instruments in recording motion picture music as we know it at present—via the talkies. And it’s very effective. The number, of course, is the very sweet piece used all the way through Frank Fay’s first starring picture. THE BIG POND You Brought a New Kind of Ben Bernie’s Love to Me Band Brunswick The High Hatters Victor Belle Baker (Vocal) Brunswick Paul Whiteman’s Band Columbia Livin’ in the Ben Bernie’s Sunlight Band Brunswick Lovin’ in the Paul Whiteman’s Moonlight Band Columbia Bernie Cummins’ New Yorker Orchestra Victor How the companies rush to get the Maurice Chevalier song hits on the wax! They just can’t wait. All these recordings are orchestral fox trots with the exception of Belle Baker’s warbling. Maurice’s recordings will probably be along by next month. IN GAY MADRID Into My Heart Nat Shilkret’s Orchestra Victor Paul Specht’s Orchestra Columbia Santiago Paul Specht’s Orchestra Columbia Dark Night Nat Shilkret’s Orchestra Victor The boys hop right after Ramon Novarro numbers, too. They remember the enormous success of “Pagan Love Song,’’ one of the great early theme song hits, These three are from the latest Novarro romance, played by two big-league recording bands. Maybe Ramon will sing for us soon. Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Page 105

br aitan team hic’ ‘CHEWING GUM veeancesmipsammemmnoan PHOTOPLAY MAGAZINE FoR AucustT, 1930 Peer ee VERYONE knows that the real fascination of any charming 5 woman centers in her possession of a pair of pretty lips. Keep lips young and you keep them pretty. And here's just about the easiest and most inexpensive way yet discovered. All there is to it is to chew Wrigley's—oh, say, about ten minutes a day. Note the added elegance in texture and charm of contour that find their alluring way to your lips. It's all based on the simple theory that the ordinary daily diet does not furnish a sufficient amount of chewing and that Wrigley's supplies this need. Without this your lips become dry and old, and heavy furrows creep about the mouth stealing your youth. Enjoy Double Mint—it’s a delicious new style peppermint. Chew WRIGLEY’S every day —FOR LOVELY LIPS When you write to advertisers please mention PILOTOPLAY MAGAZINE. 105

Page 106

106 “Now I can stand the Public Gaze” Can You? When you slip your beach coat from your shoulders and your bathing suit Lprgech BS seems all too brief eer omices ..When you tee off in front of a watch- ful gallery and the sunlight glances on your stockingless legs . . . When you raise = your arms to pin back a stray lock and your dress is sleeveless . You can meet such moments with non- chalant poise if your skin shows no trace of ugly superfluous hair. The Secret of Charm It’s so easy to keep your under- arm, fore-arm and legs free of fuzzy growth w hen you use faintly fragrant Del-a-tone Cream. (Removal of under-arm = hair lessens perspiration odor.) Perfected through our exclusive formula, Del-a-tone has the distinction of being the firstand only whitecream hair-remover Easy to apply as cold cream, Del-a-tone actually removes hair safely in 3 minutes or less. When you see how smooth and clean it leaves your skin you will understand why actresses and society women, who are con- stantly in the public gaze, consider it an indispensable aid to loveliness. DELA-TION FS The Only White Cream Hair-remover Del-a-tone Cream or Powder— at drug and department stores. Or sent prepaid in U.S.in plain wrapper, $l. Money back if desired. ‘Address Miss Mildred Hadley. The Delatone Co. (Established 1908). De- partment 88, 233 E, On- tarlo Street, Chicago. aN 1929 sales of Del-a-tone Cream reached a record volume—four times ow bs ina greater than any pre- \ . ee “| A vious year. Superi- ks NN ority—that’s why. —— SS | Trial Migs Mildred Hadley. The Delatone Company * Offer, Dept. 88, De’ atone Bidg., 233 E. Ontario St., Chicago, Ill. Pleane send me in plain wrapper prepaid. generous trial tube of Del-a-tone Cream, for which | enclose 1 PHOTOPLAY MAGAZINE FoR Aucust, 1930 These New Faces Watch for This Each Month INEZ COURTNEY First National) peeped from the screen in a tiny réle n “Song of the Flame,”’ and was immediately liked. She has had and is to have more and better parts. Inez has long been known as one of the very best of Broadway’s dancing comediennes. She did two comedy dances with Gus Shy in “‘ Good News”’ that were famous. Pictures were sure to get her. FRED SCOTT (“Swing High,” Pathe) is a newcomer who'll go far, with his fine tenor voice. While he was studying with Bebe Daniels’ singing teacher, Bebe liked his voice and got him a small part in “Rio Rita.’’ On the strength of that, and tests, he got the lead opposite Helen Twelvetrees in Pathe’s big circus film. A good contract was his reward for that. FRANCES DADE (‘‘ Raffles,” United Artists) was a young stock actress— twenty-two, blonde and pretty—when Samuel Goldwyn signed her up for the new Colman picture. Regular Cinderella story. She was picked from a class of over 300 girls. After finishing in ‘‘Rafiles,” she went into ““He Knew Women,” Radio picture. Goldwyn then renewed her contract. DAVID MeN (“He Knew Women,” Radio Pictures) is one of the screen’s buddingest juvenile actors, having done grand work in that masterly Tiffany, ““Journey’s End.” Born in Nova Scotia in 1902, David was a successful stage juvenile for some years. He was on the way to a Honolulu honeymoon when hired for *Journey’s End.’ Now he’s made in films. MARY LAWLOR (‘Good News,” M-G-M) is another Broadway musical comedy lead to strike out for the Gold Coast to catch some of the talkie money. She has for some time been in great demand for girly plays in New York, and created the ‘‘Good News” lead she is now playing on the screen. You'll like Mary—she is one of the stage’s prettiest and very best. oe ee WOOLSEY (“The Cuckoos,’”’ Radio Pictures) has been teamed with Bert Wheeler in all his Radio Picture appearances. They clicked in ‘“ Rio Rita,” did “The Cuckoos,” and will next be seen n “Dixiana.”” Bobby, like his partner, Bert, is a veteran young comic of the Broadway stage. He has appeared in innumerable musicals, last with Wheeler in ‘“ Rio Rita.” Wis IRENE DUNNE (Radio Pictures) is slated for big parts at this studio. Sheis mentioned for the feminine singing lead in “ Babes in Toyland” resent Arms.” Irene is another of New York’s favorite musical comedy prima donnas. Golden haired and blue eyed, she has had many Broadway successes. One of her first hits was 1 “Sweetheart Time.” and “P GUS SHY (“Good News,” tion of “ department. M-G-M) is another graduate of the stage produc- This seems to be their month in this Gus has been clowning around for a long time, but he scored sensationally in this success, and followed it with another wow in the comedy réle in ‘‘ New Moon,” the beautiful operetta. Then films nabbed him. Good News.” Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed.

Page 107

shades of tone value. — brilhiant-bright-mellow -deep ability are extraordinary. In the new Philco Screen Grid Plus you have Automatic Volume Control, which counteracts fading so you can not only get but hold and enjoy out-of-town programs, near and far. And Philco has added a TAMOUS for its own perfect tone, Philco now F adds perfection of tone from the radio Station—subject to your contro! simply by the turn ofaknobon the front of the set. Now, with Philco Tone-Control,you €an bring in music, great artists, great speakers, your way — with the One quality you like best. PHILCO SCREEN GRID PLUS HIGHBOY American butt and pencil-striped waln Yet further, you can turn the Philco Tone-Conrrol to“mellow” and bring in a prelude played by the great Philco Symphony Orchestra in dreamy, luscious tones. Turn to “brilliant,” and jazz bands are crisp and snappy, or turn to “deep,” and they croon and whisper at a touch of your hand. Philco Tone-Control is an. addition to all the great features which gave Philco the leadership it still holds. Balanced Units and the wonderful life-like tone they pro- duce are retained. And Philco also offers its new, exclusive circuits producing that marvelous selectivity which gives fine tuning anywhere on the dial. Power and distance- ing Great power, distance ous Balanced-Unit Philco tone. Pri $145. You cannot buy more in ra matter how much more you pay. Wat SR e UNIT (eo. # PHOTOPLAY MAGAZINE FoR AucGust, 1930 CHARLEY MACK orf moran « MAcK THE “TWO BLACK CROWS” In “ANYBODY’S WAR”. (A PARAMOUNT PICTURE) When CHARLEY MACK, OF “THE TWO BLACK CROWS,” comes to you on the air, a radio set with partially balanced units can only bring you the distorted approximation pictured at the left. With Philco’s exact balancing of all units, you get the true, clear, undistorted tone pictured at the right 107 PHILCO TONE-CONTROL BRILLIANT - BRIGHT - MELLOW - DEEP Just turn this knob to bring in pro- grams your way—with any one of these four tone values. At last you control station tone. You can listen to music as you dike it. Speech can be more distinct, Interferencen Lm PHILCO TONE-CONTROL Station Recording Dial on which you can per- manently log your favorite stations. The two new Philco sets—Philco Screen Grid and Philco Screen Grid Plus—are enclosed in Consoles, Lowboys, Highboys and Radio- Phonographs — cabinets which will delight your eye and satisfy your most exacting de- sire for beautiful furniture. See them today at your nearest Philco dealer’s. He wants to put one in your home for a free demonstration, without obligation. All models have Philco Tone-Control. Operate it for yourself and learn what radio’s newest miracle means to your greater home entertainment. Prices from $95 to $198 (Radio-Phonograph), less tubes. Easy terms, of course, when you decide to buy. l igher in Canada, Denver and West. @ for AC or DC current and also in a battery set, All prices less tubes. PHILCO, PHILADELPHIA, PA. ond Grid Battery for Motor tive Power, Auxiliary IN CANADA: PHiILCO Propucts, Ltp., ToRONTO > , When you write to advertisers please mention PHOTOPLAY MAGAZINE,

Page 108

I 08 ” Girls Test? eur Art Ability 1M SAO, ALUID, ANG: DRAW, here is your opportunity to find out how much talent you have. Test your natural sense of design, proportion, color, perspective, etc., with our simple scientific Art Ability Questionnaire. Learn if your talent is worth devel- oping. You will be frankly told what your score is. Federal Students Are Successful Many Federal School stu- ents and graduates—girls as well as men—are making $2,000, $4,000, $5,000, and $6,000 yearly. In Commer- cial Art work you can earn as much as a man of equal ability. Millions are paid yearly for illustrations and designs. Learn at home in spare time. The Federal Course contains lessons by the leading artists, gives you personal eriticisms, and leads rapidly to practical work. Send for Free Art Questionnaire By all means get this free test—send now for your Questionnaire — and we will also send our book “Your Fu- ture” showing work of Fed- eral Students and explaining the course in detail. Please state age and occupation. 4 315 Federal Schools Bldg., Minneapolis, Minn. ! Please send Free Art Questionnaire and book “Your Future.” | NAMC ceeecccccccecccceccccccccsccsncsensnecs | Present | AGO ceccceecee OcCUPAtlON. ce eecceeeecceeeeeee | ACAreSS .eccccereccccccccccceesess eeeeccesere | Every advertisement In PHCTOPLAY MAGAZINE js guaranteed. PHOTOPLAY MAGAZINE FOR AucustT, 1930 Short Subject of the Month T is becoming more and more evident that one of the chief functions of the short subject in the talkies is to dis- cover new talents for longer pictures—chiefly comic. This month Helen Broderick, covered” stage audiences. NILE GREEN Warners-Vitaphone This eight-minute comedy serves to show that Helen Broderick, a tall comedienne who gets off excruciating sarcasms from a solemn face, is a great picture bet. She’s well known in vaudeville and musical comedy. This short concerns her adventures seeing Egypt with a helpless guide. THE CHUMPS Sennett-Educational A laugh-crammed story of honeymooners from the country who get square with city slickers who cheat them at cards. Marjorie Beebe, now Sennett’s ace comedienne, is fine as the bride, and Andy Clyde—he’l!l kill you!— and Franklin Pangborn are fine. And un- usually good recording. HAY WIRE Metro-Roach Laurel and Hardy, whatever other comics do, keep up the old tradition of slapstick, knockabout comedy with sound. To them, a kick in the pants is still the funniest thing in the world—and maybe they’re right. At any rate, they have a lot of grief putting up a radio aerial. HER BASHFUL BEAU Universal This is about the best of Arthur Lake’s comedies to date. Arthur is a bashful adoles- cent who tries feebly to make love to his sweetie in the face of papa’s opposition. Jealousy enters, and there is a big ruckus in an ice cream parlor that is funny. If you like kid stuff, here it is. HEARTS AND HOOFS Pathe This is a Rodeo Comedy—with less comedy, and more attention paid to romance, song and dance. Cornelius Keefe, Mona Rico and Fred Warren have the featured réles. Miss Rico, as a gypsy, gives off a bit of singing and dancing that pleases, but the short is not too good. COLLEGE CRUSHES Sennett-Educational Nick Stuart, who’s developing into a full- fledged Sennett comedian, collaborates with Marjorie Beebe to give much-needed medicine to the college bully. Funny, fast moving and not offensively “collegiate.” Lincoln Stead- man and Andy Clyde round out a snappy and talented cast. MICKEY THE ROMEO Radio Pictures The Toonerville Kids are at it again. This time, headed by Mickey McGuire, they in- dulge in the oldest of comedy situations—the chase. What a chase it turns out to be! Just in a picture way, though she has long delighted comedienne, is ‘“‘dis- ’round and ‘round an amusement park. AL though it is not as funny as the last few, kids _ will like it. FAST WORK Metro-Roach One of the best two-reel talking comedies yet turned out! Charlie Chase has a certain hit i this baby. It is a rip-roaring, cleverly turned comedy of mistaken identities, with Charlie doing splendid work, and June Marlo opposite. This is a credit to Roach. THE STILL ALARM Warners-V itaphone This howling short was made from the best ¥ comedy scene in the famous “Little Show,” | Broadway revue, and has the original leading | comedians, Fred Allen and Clifton Webb. It’s a silly piece of business, with all being non. chalant while the building burns. You'll enjoy it. RESOLUTIONS Paramount The star of this two-reel comedy is Billy) House, the huge singing comic well known in) vaudeville. This picture has to do with adven tures while trying to two-time his wifie on Ney Year’s Eve. Billy is tremendously funny, and if he sings too loudly stop your ears. PEACE AND HARMONY Jack White-Educational The good old domestic squabble is trotted out again to make laughter in this two-reeler. Most of the way it is kitchen slapstick, with a few good dialogue laughs by the plump little Eddie Lambert. E ach member of the cast gets at least one good sock in the nose. A BATTERY OF SONGS Warners-Vitaphone This is interesting because of its two person alities—Waite Hoyt, the Detroit baseball) pitcher, singing—J. Fred Coots, composer 0 many popular song hits at the piano. the short is one Miss Questelle, a boop-a- dooper who won a prize imitating Helen Kane SHES A HE Universal A fairly pleasant number in the Sunny Jim series, featuring that awfully funny little kid with the top-knot. Jim is forced to pretend he’s a girl because his visiting auntie likes little girls better than little boys. He gets great fum out of the notion. PALOOKA FLYING SCHOOL Radio Pictures Presenting Russ Brown—and keep an eye on this fast-cracking lad for pictures! Russ is 4 former member of the vaudeville team _ Brown and Whittaker, and is now in “Flying High,” Broadway musical comedy. In this plays a comic instructor in a big flying school '

Page 109

PHOTOPLAY MAGAZINE FOR AuGustT, 1930 10g STARS % PHOTOPLAY 950 BEAUTIFUL REPRODUCTIONS IN ROTOGRAVURE 250 WITH A BRIEF BIOGRAPHY BELOW THE PORTRAIT OF EACH STAR This new de luxe edition of the **Stars of the Photoplay” represents the very finest collection of beautiful art por- traits of screen celebrities ever assembled under one cover. PuHotoptray Magazine’s close per- sonal contact with the stars of the industry has enabled us to procure not only the latest but the most attractive portraits of all the screen favorites. Two hundred and fifty photo graphs have been carefully selected and reproduced by rotogravure proc- ess. This process retains the soft, deep tones and highlights, and has Only resulted in exceptional reproductions of the original photographs. The portraits, for convenient reference, have een arranged in alphabetical order according to the names of the stars, and below each portrait you will find a brief biography which gives a clear and comprehensive sketch of the star’s career, in- cluding such information as weight, height, com- plexion, age, etc. Just the type of information that you want. This wonderful collection is printed on a choice grade of white super paper. The outside measure- ment of the book is 714 x 101% inches, and the . i | ie RE a ES Es ers please mention PHOTOPLAY MAGAZINE, When you write to advertis THIS NEW DE LUXE EDITION OF THE STARS of THE PHOTOPLAY HANDSOMELY BOUND IN EMBOSSED RED ART FABRIKOID WITH oa LETTER- size of each individual portrait is 514 x 71% inches, the balance of the page being devoted to the biographi- cal sketch of the particular star featured on that page. You will also find ‘Stars of the Photoplay” an invaluable help in the solution of moving picture star puz- zles. The new $5,000.00 Cut Picture Puzzle Contest started with the June, 1930, issue of PHOTOPLAY. Write for your copy of “Stars of the Photoplay” now. the coupon below for your convenience. $1.75 the Use : Stars of Photoplay, Dept. PH. 8-30, Photoplay Magazine, = 919N. Michigan Ave., Chicago, Ill. Please send me my copy of the new 1930 edition of Stars ]Money Check of the Photoplay, for which I enclose [ order for $1.75. Send to the following address: achat

Page 110

TREAT that properly There’s a pleasanter treatment for corns than “grin and bear it.” There’s a safer treatment than “trim and pare it.” There is, in short, a proper treatment for corns —provided for you by one of the foremost producers of surgical dressings. It is Blue-jay, of course—the simple, efficacious 3-day treatment that millions have used these thirty years. Blue-jay’s soft felt pad in- stantlyrelievesthepressure-friction that causes the throbbing pain. Its mild medication soon softens and loosens the corn, Blue-jay is so easy to apply, so com- fortable to wear, that it is a pity to think of anyone’s enduring the anguish of a corn a minute longer than from here to the druggist’s! --. 25 cents (in Canada, 35 cents). Blue-jay CORN PLASTER IC BAUER & BLACK] DIVISION OF THE KENDALL COMPANY Chicago - - New York « + Toronto PHOoTOPLAY MAGAZINE FOR Aucust, 1930 Let’s Drop In avd Gossip With Old Cal York! [ CONTINUED FROM PAGE 92 J iG certainly pays to have an idea of what you want to do before you start doing it! Edmund Goulding’s work directing Nancy Carroll in “The Devil’s Holiday” proves that all over again. He was just eighteen days shooting that excellent talkie, and went only slightly over the budgeted cost—$250,000. The first cut version was ready just two days after the last scene was shot—and a final cut- ting only snipped 100 feet from that footage. Also, there were no retakeés, nor added scenes. That, friends, is some kind of a record! Gus, will you kindly have some sort of medal struck off for Eddie Goulding? HAT “bon homme,” Maurice Chevalier, had Hollywood standing on its ears during his one man show in a Los Angeles downtown theater. Ben Bernie’s band, no less, provided the music. The opening night had been set for a Sunday evening, and film society arrived in full evening regalia. Emily Post could have told them that it isn’t quite the thing to wear evening duds on a Sunday night, but Holly- wood, the old insurgents, wore ’em anyhow. O more wisecracks! That is the basis on which Mary Nolan and Universal made up. Mary promised to be a better girl, the story says. Deference to Junior Laemmle, and no harsh kidding be- hind the backs of the bosses. So Universal opened its arms, and all was merry and bright! OMETIMES an overzealous friend may ac- complish more harm than good. When the studio was getting ready to cast “Journey’s End,” Barry Norton had a great yearning to play the part of the young juvenile in that picture. He learned all of the dialogue and he talked to all of his friends about it. One woman, who has some connection with a fan club, conceived the idea of having all of Barry’s admirers write to the director about casting him for the part. This they did by the hundreds and the result was that Barry was not even given a chance for a test. L®2= Renee Adoree is back home from the sanatorium where she has been for the past few months. She is still confined to her bed, however, and sees only a very few visitors. RETA GARBO may be surprised to hear it but she is the leading woman in a picture called “When Lights Are Red,” which isn’t nearly as exciting as its title. S. S. Millarde, a firm believing in pepping up the screen, bought one of the Swedish star’s very old European pictures, originally titled something else entirely. Greta’s supporting cast consists of Kinar Hansen, the young actor who met an accidental death in Hollywood several years ago, and Werner Kraus. Garbo was exotic in those days, too, but not the calm, poised woman of the world she is today. But the combination of Greta Garbo and “When Lights Are Red” attracted consider- able attention on Main Street, Los Angeles, where people are looking for sensations, any- how. Crm has sneaked up on Cath- erine Dale Owen, beautiful blonde leading woman of ‘The Rogue Song” and other pictures. She is expected to announce her engagement soon to a young New York bond salesman. During her Hollywood sojourn she Was seen places often with Prince Youcca Troubetskoy—who may now be “carrying a torch,” as old Broad- wayites say about a lover left out in the cold. AGooP many of the more delicate ladies of filmdom were not able to sit through the entire filming of “All Quiet on the Western Front.” But we hardly thought that a big he-man like Grant Withers would have to be led out gently but firmly. There is something to be said in extenuation of Grant. He had been flying all afternoon— stunting with a friend. He had gotten home late and did not have time to eat dinner before going to the theater. NEW YORK has been a few per cent agog over the strange case of one Gina Malo. When Lily Damita decided to step out of the musical hit, “‘Sons 0’ Guns,” and go to Paris for a rest, a hunt for her successor was started. In Paris a beauteous young lady named Gino Malo was found and signed for the Damita role. When she arrived in New York, with great trumpeting by the press agents, Broadway watchdogs were greatly struck with her resemblance to one Janet Flynn, who had been an obscure New York show girl of a couple of seasons back. They tried to trap La Belle Malo in all sorts of ways and they all failed. She just rattled French and looked imploringly for her manager for relief from these impossible Americans! Yet a large percentage of Broadway says Gina Malo is the former Janet Flynn. Gina Malo says she is Gina Malo, Paris born. Her managers say nothing. But, oh, how broadly they do grin! Ay ' JILL persistence win? Blanche Mehaffey had an idea. Film luck hasn’t been any too hot for her. So she thought it over. She decided some things were wrong. So she dyed her hair and changed her name to Joan Alden. She figures the two changes will change her luck. NOTHER dream shattered! Fred Kohler, when he gets his “heavy” make-up on, may throw all sorts of fears and terrors into the hearts of the heroes he menaces on the screen, but to Hollywood bur- glars he’s just another householder, The other night, for the third time in a few months, his house was robbed! F course there is nothing unusual about a movie star wanting to take a trip around the world. It’s quite a simple matter. You just engage the royal suite on the Berengaria and have forty cameramen at the docks. Claudette Colbert and her husband, Norman Foster, who has been playing in “June Moon” in New York, are going about it in a different way. No fuss and feathers about this trip. They are sailing on a freighter. Long, lazy days on the water, plenty of time to rest and think. Hollywood informality! is pretty upset over such Every advertisement In PHOTOPLAY MAGAZINE js guaranteed, ee ee ee eee ee

Page 111

PHOTOPLAY MAGAZINE FOR AuGusT, 1930 Beauty, Brains or Luck? [| CONTINUED FROM PAGE 41 ] Gilbert Miller, Henry Miller’s son, was | He wired his father | stopping at the Seymour. he had found the actress to play the daughter in “Rainbow.” Henry Miller met Ruth and approved his son’s judgment. If her part in that play was comparatively small, it was, nevertheless, her voice and her face and her little gestures that audiences remembered after they had left the theater. AME wooed her. She played in “Daddy Long Legs.” She played in ‘Come Out of the Kitchen.” The powerful bulbs that spelt out her name over the marquee of the theater spilled their light on the dark pavements of Broadway. There were those who said Ruth Chatteron was “upstage.” They’re likely to say that on Broadway unless you qualify as their idea of a good sport. And Ruth never did. While she was under the Miller management, she never was seen along Broadway or in any public place Furthermore, she was busy. She studied voice culture. She continued with her music. She translated many plays from the French and helped rewrite *many of her greatest successes. Also, having accumulated her fortune in the | theater, she helped finance some plays. One play, into which she put forty thousand dollars, failed. But no one ever heard her utter one word of complaint. She is a thoroughbred. And now the screen is richer because of her coming, because of such brilliant portraits as her “Madame X,” her “Laughing Lady,” and | her ‘‘Sarah Storm.” But perhaps, after all, they are right when they say of Ruth Chatterton, “she got a lucky break!’ For it is a great deal to be born with | such a high spirit that no matter what life holds, you are not found wanting. HE bogy-man of the Gish girls’ childhood was the Gerry Society. In the wings of strange theaters, in the long, dark corridors of cheap hotels, Lillian and Dorothy looked fearfully behind them. The Gerry Society would get them if they didn’t watch out. It was a very real bogy that easily might have | interfered with earning their living. | Undoubtedly it would have been difficult | for Mrs. Gish to satisfy the authorities that the lessons she taught her daughters between matinee and evening performances and on trains were enough. It would have been difficult for anyone to | believe that they could grow up as they have, | as intelligent and well informed as though | they had attended regular classes in the best schools of the country. Even as very little girls, Lillian and Dorothy dreamed of a future when they would be leading ladies, able to keep their mother in a | gracious home. But they more than just dreamed. When Dorothy was only four she knew the meaning of responsibility. | She stood alone on the drafty stage and the shadows made terrifying shapes. She homesick. And it was evident from the w the stage manager pulled at his braces that | she wasn’t saying her lines to suit him. Her hair was like spring sunshine and hurt | pride trembled at the corners of her baby mouth. “Please,” she said, and her voice was a whisper, “let me alone for a little while and then I can do it.” She knew her mother hadn’t let her go off on tour with their roomer, who was leading lady in this “East Lynne” company, because she had any choice in the matter. And cer- BG our poise and charm are safe with this deodorizing protection Costumes from Kaskel & Kaskel Dunlap Because Kotex deodorizes... is inconspicuous .. . stays light and cool for hours .. . it is really necessary to your summer poise and comfort. ON'T sacrifice your feminine charm one single day in summer. Kotex pro- tects when daintiness is especially difficult. All through every Kotex pad a wonderful deodorant is sprinkled. This deodorant is your protection. It is safe and gentle. . . soothing, even ... yet deodorizes as long as the pad is worn. Meantime, Kotex gives a degree of com- fort that seems almost miraculous. This is largely due to its unique filler, Cellucotcon (not cotton) absorbent wadding. Preferred by hospitals Cellucotton is used by 85% of America’s leading hospitals because of its many advan- tages. It is not cotton, but a cellulose sub- stance which absorbs five times as much as an equal weight of finest cotton! Do you realize what this means? It means your Kotex pad can be five times lighter than any cotton pad, and give equal protection. Think of the difference in summer, when bulk and weight are so trying. Kotex keeps its original delicacy an amaz- ing time. It is made of sheer layers, laid Y! | lengthwise. These layers permit free circu- lation of air, and carry moisture quickly away from the surface. This method of absorption is important both to comfort and hygiene. Round, tapered corners keep Kotex always inconspicuous. And you dispose of it as easily as tissue. Kotex Company, Chicago, Illinois. IN HOSPITALS 1 85% of ourleading hospitals use the very same absorbent of which Kotex is made. 2. Kotex is soft. . . nota deceptive soft- ness that soon packs into chafing hard- ness. Buta delicate, fleecy softness that lasts for hours. 2 Safe, secure. + ease. 4 Deodorizes... a special process. 5 Disposable, instantly, completely. . . keeps your mind at safely, thoroughly, by Regular Kotex—45c for 12 Korex Super-Size— 65c for 12 Also regular size singly in vending cabinets through West Disinfecting Co. KOTEX SANITARY APRON atany drug, dry goods or department store. K Ose 7 The New Sanitary Pad which deodorizes | Ask to see the KOTEX_ BELT and | When you write to advertisers please mention PHOTOPLAY MAGAZINE,

Page 112

What $1.25 Will Bring You In six issues of Photo- play Magazine hun- dreds of unusual pic- tures of photoplayers and illustrations of their work and pastime. Scores of interesting ar- ticles about the people you see on the screen. Splendidly written short stories, some of which you will see acted at your moving picture theater. Brief reviews of cur- rent pictures with full casts of stars playing. The truth and nothing but the truth, about motion pictures, the stars, and the industry. You have read this issue of Photoplay, so there is no necessity for telling you that it is one of the most superbly illustrated, the best written and most at- tractively printed maga- zines published today — and alone in its field of motion pictures. Send a money order or check for $1.25 addressed to PHOTOPLAY MAGAZINE Dept. H-8, 919 No. Michigan Ay., CHICAGO and receive the next issue and five issues thereafter. QCCRTSRSESS See eeeeeeeeesnsassennasensseeeneseneaaseees PHOTOPLAY MAGAZINE Department H-8 919 No. Michigan Ave., CHICAGO Gentlemen: 1 enclose herewith $1.25 (Can- ada $1.50; Foreign $1.75), for which you will hindly enter my subscription for PoropLay Macazine for six months (six issues) effective with the next issue, SING $0 veavey ee oduadsees ames aioe ki ane ate Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed, PuHotopLray MacazInE For Aucust, 1930 tainly she knew that, hard as her mother worked as demonstrator in a department store, leaving a darky to look after her and Lillian and the flat in which they took roomers, there never was enough money to pay all the bills. Later, Mrs. Gish and Lillian and Dorothy all travelled together, playing parts in the same company. Then sometimes Lillian would be left some- where in school for a few months. Or Dorothy would be left behind in a classroom, depending upon the plays in their repertoire. T was when Lillian was in Ohio at school and Mrs. Gish and Dorothy were on tour together that Dorothy awoke one night to find her mother raving in delirium. They took Mrs. Gish to the hospital, very ill with inter- mittent fever. Late the following night the company moved on to the next town. Dorothy had to go, too. There was no one to play her part and, with hospital expenses to be met, her salary was doubly needed. “Go back . . . go back . . . go back,’’ the wheels of the train seemed to roar that night. Dorothy could not sleep. Fear laid cold fin- gers on her heart. And she had to go on and on, always further away from her mother. In the weeks that elapsed, before Mrs. Gish recovered sufficiently to join her, Dorothy learned more about emotions than little girls of nine are supposed to know. The young poet, John V. A. Weaver, has written a poem about one of Dorothy’s experi- ences, which has been included in his book of verse, “To Youth.” For those who haven’t read it, it follows: Bowland-Pitcher Holiday (For Dorothy Gish) No more troupin’ with kids for me, that’s final. God knows the life is tough enough, any- ways... You see, I’m out with a turkey*—‘‘Her First False Step.” This little Dorothy, she’s six years old, And talk about your troupers! There she is, Sleepin’ on day-coach seats, or in hotels Cockroaches wouldn’t live in. And for dinner Many’s the time only one dry ham sandwich And maybe a couple of apples . . . and the theaters! ... Honest, the lousiest route of one-night stands Anywheres in the sticks . . . and Christmas week Twelve shows . . . But all the while never a yip Outa the kid. Brother, that’s troupin’, that is! Now, in the last act, it’s supposed to be Christmas, and the kid enters—you remem- ber? Of course, we never carried a Christmas tree, But she was supposed to act like it was there. Well, then, we get to Fond du Lac, Wiscon- sin And, bein’ it’s really Christmas, the rest of the troupe They get a bright idea. They’re goin’ to give The kid a celebration, to make her happy. So then, Dorothy’s goin’ along, as usual, Doin’ herstuff real good. And the third act, She starts to gallop on in her big scene— And there’s a real tree standin’ on the stage, Lit up with candles, and hung with all the fixin’s! She takes three steps—and her eyes starts to pop. She stops dead in her tracks, tries to go on Sayin’ her words—and gives a couple of gulps, And busts out cryin’. And she cries, and cries, Watchin’ the tree. And the audience all laughin’, And me dried up, with lumps stuck in my throat... Finally, they have to ring the curtain down. I tell you, it ain’t fair to have a little Yellow-haired kid puttin’ things in your head, — Things you gave up many’s the year ago. You got to be hard-boiled to stand the gaff! Next time, by God, they got to use a midget! *Third- or fourth-rate road company. DL oRoTay GISH says that whenever household budgets are mentioned she re- members that summer, not so very long ago, when the Gishes and the Pickfords (only in those days the Pickfords were the Smiths) lived together in order to reduce their overhead and pull through the slack season on the little they had been able to lay by. Both Mrs. Pickford and Mrs. Gish used to listen to Mary’s advice. For even when Mary was ten years old it was evident she knew what she was about. A little pucker between her eyes, the stump of a pencil grasped in her stubby fingers, Mary would sit for hours over the kitchen table, computing how much could be spent on this and how much on that. Excel- lent training for a girl who was one day to be one of the richest self-made women in all the world. And, poor as they were that summer, Lillian and Dorothy and Mary and Lottie managed to see every worthwhile play in New York. Mary’s efficiency and aggressiveness again... They would go to the box-office of the theaters, all four of them blonde and one a trifle taller than the others, and Mary, present- ing her card, would ask if the management recognized professionals. Her card read: GLADYS SMITH Little Red Schoolhouse Company Needless to say, if the house was crowded to capacity that day the man in the box-office told them to come around another time. A native business sense, combined with the personality Mary always has possessed—plus the responsibility she knew as man of the family, Jack being considerably younger— might have been expected to bring her out- standing success even without her divine spark. No wonder her name has a place in every language and her image a place in many hearts. LORIA SWANSON remainsa brilliant star, not only because she is a great actress but because she is the stuff of which big business men are made, a streak of the gambler running through her make-up like the streak of lean in bacon. Years ago, with keen vision, Gloria realized that she must stake her claim to continued popularity on firmer ground than as a manne- quin for bizarre costumes. It isn’t exagger- ating to say Gloria would have been all through if she had failed in her first dramatic réle. She risked her half loaf to prove herself an artist. And she made good. Today her early posturings have been obliterated by memories of her Subway Sadie, Madame Sans Gene, Sadie Thompson, and her work in “The Trespasser.” It appeared Gloria was to be rewarded for the chances she had taken to-make herself truly great. Paramount offered her a new contract at an enormous sum. Gloria refused to sign that contract. She was ambitious to produce her own pictures. She signed with United Artists, although she received only a fraction of the sum Para- mount would have paid her, plus a percentage on her profits. Almost everyone felt she had made a serious mistake. They said no woman could shoulder a financial responsibility that would irk a high financier, worry about the thousand and one details of production and, at the same time, do justice to herself as an artist. Gloria, in the last few years, has worked

Page 113

unendingly. She has conferred with her execu- tives while still wearing her greasepaint be- tween scenes, or over luncheon at her suite in the studios. She has spent her week-ends at her country place with directors and authors as house guests, and the talk has been of the picture in the making and the one to follow. Immediately after “The Loves of Sunya,” it looked as if the calamity howlers were right. Certainly the picture was not the expected success. Rumor said Gloria was heavily in debt. It was likely enough. It was necessary for her to maintain a high scale of living and her overhead was tremendous. Furthermore, she is naturally extravagant. She sold her country estate. She disposed of her pent-house twenty odd stories above Fifth Avenue. With dogs and baggage, chil- dren and servants, she departed for California. And her detail worry and financial responsi- bility were exaggerated by the urgent nec ity of her next picture being an unusual success— and a talkie. If you’ve seen “The Trespasser” you know PuHoTopLAy MAGAZINE FOR AucusT, 1930 how magnificently she has come through. And | you may well marvel, as I do, that in spite of the countless and ceaseless demands made upon her energy and time, not the least of which have been her two children to whom she is devoted, Gloria somehow, some way, found time to study singing. There seems no limit to her prowess. Yet she is small and softly spoken, and more often than not a little wistful and sad. N-Canada, Norma Shearer must have spent a good part of her time reading success arti- cles. They always emphasize the importance of grasping opportunity. And that’s exactly what Norma did when a post-war depression sapped her father’s business, and she and her mother and sister, Athole, landed in New York to pave their own way to success. All three lived in one small, furnished room and every mouthful they ate brought them nearer the end of their little bank account. Norma haunted agencies and earned some money posing for advertisements. But she had to pick her way carefully. There are as many unscrupulous agents as there are scru- pulous ones. Only a girl with a good head on her shoulders runs this gamut unscathed. Some of the agents insist the girls take lessons in modeling from them, and for these lessons they charge a comparatively exorbitant sum. Other agents are far too interested in the girls personally. Through the agent Norma had chosen as decent and honest, she heard that a director in one of the motion picture studios was to pick twelve girls for a day’s work. With Athole she hurried to this studio. As usual, a call for a dozen girls found hundreds waiting. Norma and Athole stood lost {n the shuffle. The director began to make his selection, pointing out one girl after another and count- ing as hedidso‘“‘one ... two... three...” and so on to “eleven” .. . And in that crowd he well might have chosen twelve girls without even seeing the Shearers. One chance remained. 1 es coughed. The director looked in her direction. finger shot out. “Twelve,” he said. Norma grasped her opportunity. Nor was she satisfied with that coup, either. She con- vinced the director he needed Athole, too. However, don’t let any inspirational success story tell you Norma Shearer coughed her way tofame. Before she came to the day of signing her contract with Metro-Goldwyn-Mayer she needed every ounce of pluck, perseverance and ambition she possessed. Even after she had made her first success in “The Stealers,’ Norma had plenty of hard- ships. Her agent, overestimating her success, placed too high a price on her services. “Thumbs down on Shearer,” said the resent- ful producers. ‘“She’s holding out for a helluva 3)? lot of money. Who does she think she is? Loudly. Deliberately. His 113 the Kleenex way to remove cold cream LEENEX makes it so pleasant to care for your skin the proper way! With this smart box filled with exquisite tissues on your dressing table, you'll never be tempted to use a towel to wipe away cold cream! You'll never "T USE KLEENEX for removing cold cream because the tissues are so very absorbent that rubbing is unnecessary.” aria. think of rubbing your delicate skin with a germ-laden “cold cream cloth.” And do you know how dangerous these wrong methods can be? An unabsorbent cloth or towel leaves part of the cold cream in the pores, and with it tiny bits of dirt and cosmetics. That's what starts pimples and blackheads! Even hard rubbing can’t remove all the impurities, when you use an unabsorbent cloth. And this hard rubbing is injurious. Stretches the skin. Relaxes it. And so in- duces large pores and premature wrinkles. Kleenex just can’t irritate in any way. It’s so soft, so readily absorbent. It blots up every bit of surplus cream, and lifts impuri- ties from the pores. More and more people are using Kleenex for handkerchiefs. It’s especially valuable for colds, to avoid reinfection. Kleenex comes in pure, lovely tints and white, at drug and department stores. Kleenex Cleansing Tissues TO REMOVE COLD CREAM = PH-8 — Kleenex Company, Lake-Michigan Bldg., Chicago, Ill. Please send a sample of Kleenex to: Name— City Address— — — = - When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Page 114

114 FRECKLE A Simple, Safe Way to Get Rid of These Ugly Spots There is no longer the slightest need of being ashamed of your freckles, since it is now an easy matter to fade out these homely, rusty-brown spots with Othine and gain a clear, beautiful complexion. After a few nights’ use of this dainty white cream you will find that even the worst freckles have begun to disappear, while the lighter ones have vanished en- tirely. It’s seldom that more than an ounce of Othine is needed to clear the skin of these unsightly blotches. Be sure to ask at any drug or department store for Othine—double strength. It's always sold with guarantee of money back if ic does not remove every last freckle and give you a lovely, milk-white complexion. OTHINE DOUBLE STRENGTH BECOME A MOTION PICTURE <g7 CAMERA MAN/ EARN $60-$250 A WEEK pee NOW to ») enter the BIG, UN- ( ROWDED FIELD of Mo- tion Picture Photography— opportunities everywhere in moviestudios, news films, edu- cational or industrial work. YOU CAN QUALIFY QUICKLY AT HOME! Thru our Home Study Course in Motion Picture Photog- raphy you can quickly qual- ify for a well-paid position. Send Today for Free Book—Our FREE Book gives full details about the ever growing field of photog- raphy—shows how you can quickly become a: ( ) Motion Picture Cameraman or (_) Projectionist. ( ) “Still” Photographer or ( ) Photo-finisher. Send for it TODAY! NEW YORK INSTITUTE OF PHOTOGRAPHY Dept. P-1220, 10 West 33rd Street, New York City Practical Motion Picture Camera included FREE of extra charge. PHOTOPLAY MAGAZINE FOR AucusT, 1930 To have success almost within your grasp and then have it elude you, leaving you in the same hall bedroom and wearing the same little tailored suit growing more and more shabby at the seams and elbows, is an acidic test for your metal. But Norma Shearer managed to live through this experience and keep inviolate her élan-and her fresh youth. HEN Betty Compson was a little girl in Salt Lake City the neighbors used to borrow her as often as her parents would let them. There was something about her heart- shaped face, her silver blonde curls, her bot- tomless blue eyes and her little girl hands upon the bow of her violin, not to mention her music, that made her the neighborhood darling. Her days were happy and carefree. Her home was typical of thousands of comfortable homes scattered all over the country. And Betty was her parents’ star of hope. They planned and saved for the day when she would study at the Conservatory. Then Mr. Compson fell ill. Whatever money had been saved dwindled alarmingly. Doctor bills and druggist bills. Betty watched her mother grow old. There were no more violin lessons. And when Betty picked up her violin, only the sad little tunes seemed to have survived “You'll have to be brave,” neighbors told her the day she stood beside her mother in the parlor, heavy and sweet from the funeral flowers. ‘You'll have to be the man of the family now.” Betty only nodded. She couldn’t get her voice over the great ache in her throat. Little did those well meaning neighbors know how truly they spoke. At fourteen, Betty was literally “the man of the family”’— the breadwinner. She was too young to leave school. What- ever she did she had to do after three o’clock. So she played her violin in an orchestra. And when acts that needed no accompaniment were on she managed to do her homework. The little money in the bank was almost gone. Every month, perforce, inroads had been made upon it. Even Betty’s musical scores were scribbled with her frantic calcula- tions. So much for the butcher and grocer, so much for rent, so much for light and heat, a mere pittance for clothes . . . but it wouldn’t prove. Asa child Betty had learned the old proverb, “One door never closes but another opens.” So she waited, and sharpened her eyes for the opening of another door. An act that had been booked at the theater where she played failed to materialize. Betty begged to go on inits place. It was her chance to make more money. It was the opening of that other door she always had heard about. Without enthusiasm the manager agreed. ? “You'll have to fix yourself up with different clothes,” he said, looking over her little black dress, shabby these days even for the school- room. Fix herself up with different clothes! Of course! But how? Her one other dress was even shabbier. Ever since she had been play- ~ ing in that theater Betty had envied the actresses their sparkling gowns. And she had © listened, down there in the orchestra pit, for the swish of their fine silk skirts. Word got about that Betty was to appear in an act that night. Betty’s schoolmates attended in an enthusiastic body. The ‘‘Stand- ing Room Only” sign hung beside the box- office. The manager rubbed his hands appre- ciatively. Two page boys changed the announcements at the corners of the stage. The Vagabond Violinist read the placards. The theater darkened. The curtain rose. There, in a pool of golden light, stood Betty in rags and tatters, a gay scarf tied about her soft hair, her violin beneath her chin. Without benefit of silk or satin, without benefit of jewels or paste, she had achieved a becoming costume. She smiled like a frightened doe. fingers were firm on her bow. Her violin sanz of her heartaches . . . of her young wisdom . . . of her shining dreams. And when she had finished the applause boomed like the waves of the sea. She received a contract to go on tour, but she was inexperienced about such things and agreed to pay her own travelling expenses. With her mother she sat up all night in day coaches. They snatched what sleep they could. They cooked scanty meals in hotel rooms except when there wasn’t money for any dinner at all. No sacrifice was too great if they could continue together. But jumps between towns became longer and engagements became shorter. The little salary could not be stretched any further. Mrs. Compson had to go back home. And, lonely, Betty had to travel on. But her HE reached Seattle. Outside of the station the bright sunshine suddenly revealed how shabby her dress had become. It was gritty from the dirt of trains and there were little threadbare spots where her valise and violin case had been carried against it. However, a new dress was out of the question. From her last stop Betty had sent her mother a money order and she wouldn’t receive her money for the Seattle engagement until the end of the week. In the meantime she had to live. Then, in a shop window, she saw a necklace of blue beads. They were the blue of the sea when it lies beneath azure skies. Without any thought of the meals they would deny her, Betty went in the shop and bought thera. NEXT MON TH-Still More Remarkable Stories of Five Picture Stars of Today OW Betty Compson became a nursemaid to save up for her fare home, and what happened when a rich man’s son fell in love with her. How Ann Harding quit the home of her army colonel father and became an obscure typist, and how she broke into pictures reading current novels to make extra money to live on. How Clara Bow has fought to make borrow clothes from her relatives. up for the lean years, and had to How Alice Joyce, now of Park Avenue, supported herself from early girlhood. How Estelle Taylor posed as a hat model so she wouldn home, and then got down to her la apple and a bottle of milk. In the Sept. Issue— Out Aug. *t have to return to a small-town st nickel, which she spent for an 15 Every advertisement In PITOTOPLAY MAGAZINE Is guaranteed,

Page 115

They did help her eyes. They did help her dress. What if her purse was lighter? It had been a long, long time since she had owned a trinket. Whatever economies she had to practice until pay-day, she would practice willingly. It was with a lighter step she proceeded to the theater. “Compson?” queried the doorman “Betty Compson?” She nodded, elated. be known. He handed her a telegram. She slashed at the terrifying yellow envelope. It was from the booking office. They were sorry, but times were bad and they would be obliged to cancel all bookings. She stood alone in the maelstrom of that strange street. There was nowhere she could go. The fare to Salt Lake City was sixty dollars. And, opening her purse, her trembling fingers counted three single bills and less than a dollar in change. She was beginning to Valentino’s Memory [ CONTINUED FROM PAGE 75 ] place. He cancelled his appointment and hurried around London all afternoon. Then trucks and wagons began to arrive at the hospital and unload bundles and boxes, the drivers insisting to the bewildered sisters that all this was really meant for them. Finally, Valentino himself arrived to assure them that everything was all right. All the baskets and crates and packages belonged there. He explained he had sent them. It was a wonderful time, especially for the Sheik who played Santa Claus for the children and brought them toys. There were presents for everybody. “Whom do we thank for all this happiness?” one of the sisters asked “T would like to do all this without a name,” the star said. “But we want to pray for you,” the nuns persisted. Valentino smiled his gratitude but shook his head. HEN, suddenly, a young nun recognized him from his picture, which was on all the billboards in London. “Tt’s Rodolpho Valentino,” she cried. Valentino looked dismayed and disappointed. He begged them not to let any word of it get into the papers. He explained, earnestly, a little sadly, that he was able to do so little as a private person and that he would enjoy the memory of all this so much more if it remained just a personal thing. It would have made a wonderful publicity story, but it never appeared. The Valentino Association heard about it for the first time when they went to the hospital to see what they could do in his memory. Now the answer was easy. They created a children’s ward and dedicated it in honor of Ste. Theresa de Lisieux, the little Carmelite nun. The Valentino Association is now flourishing. It stresses the more spiritual side of his character, his generosity and kind-heartedness In order to preserve his art and maintain his vivid personality before the public, his pictures are shown every year under their auspices, and | great crowds flock to see them. The lady who founded it with her gallant defense of his name and reputation has a small place in her house set apart in his memory. There she keeps the pale blue silk shirt and sash he wore in one of his pictures. His make- up box is there, just as he left it the last day on the set, with a bit of pipe tobacco still in the pouch in one of its compartments. These were bought at auction when the things he once owned and used brought fabulous prices. When you write to advertiser PAS ADV -ani PuoropLray MAGaAzINE FoR AucusT, 1930 Paris Chicago aT doesn’t take Jong for delicate skin to develop large, conspicuous pores. And enlarged pores make the loveliest complexion look coarse, old. But nowit's easy to avoid enlarged pores. Dorothy Gray Texture Lotion will keep your skin delicately textured, fine and fresh. And if the pores are already large, Texture Lotion will gradually reduce them to their normal size. But that isn't all. Texture Lotion cleanses your skin thoroughly, and, unlike many liquid cleansers, it does not dry even a sensitive s cin. Texture Lotion picks up every imperceptible particle of dust or grease. It removes the last suggestion of stickiness alter any sort of facial cream has been used: leaving your skin exquisitely clean, gloriously cool, refreshed, tingling with life. Ask for Dorothy Gray Texture Lotion at your favorite drug or department store. There are two Aires: ole O0candis 2200: DOROILNY “Saka 683 FIFTH AVENUE, NEW YORK San Francisco Washington Los Angeles please mention VILOTOPLAY MAGAZINE, I1$ hep BEROEY are soon parted Atlantic City © D. G. 1930

Page 116

116 PHoTOPLAY MacazINnE For Aucust, 1930 When SUNBURNT run for TUBES and JARS 30¢ LARGE JARS 60¢ It is NOT TOO LATE to Enter PHOTOPLAY’S $5000 Cut Picture Puzzle Contest. See Page 124 for Special 6 Months Contest Subscription Rate and Handy Blank. You never lose lvory in your bath — it floats ! 99 4+ i0o0 % PURE | Jour G.: Girls’ Problems [ CONTINUED FROM PAGE 18 ] this season. So many of us are wea brighter colors and gayer patterns that our skins must be made to glow in harmony. We aren’t willing to let our clothes pale us out the picture. But it’s nice to know that if we get tired f glowing brightly, we can turn about and mak ourselves just as interestingly subdued as we want to be. ; Because we girls of 1930 have waked up to make-up! BARBARA JOAN: Your blackhead treatment does not sound very effective. Send a stamped, self-addressed _ envelope, repeating your request, and I’ll for- ward my leaflet on treatment of blackheads and acne. For stubborn cases there are a number of excellent blackhead preparations on the ; market. The advertising columns of PHoro- PLAY are always your safe guide in selecting toilet preparations and cosmetics. Pearl or light champagne face powder is a better choice for you than rachel. A medium carmine rouge, applied lightly, ought to strike the right balance between the too-bright color you dislike and the paler shades you find in- adequate. There is such a comprehensive range of rouge shades that you will have no trouble in finding the right one. FREDDY: I think you are making a mistake in refusing invitations to go swimming. That is the very exercise you need to improve your figure, although judging by your height and weight it seems to me you are exaggerating this fault. Select a plain, dark bathing suit that will make you look and feel inconspicuous. Then get out on the beach and have a good time. I can’t advise you to go to New York with- out sufficient money to tide you over the first few months, in addition to railroad fare and tuition fees. After you have become acquainted with the city and properly established, you could probably find some part-time work, but I doubt if you could earn enough in that way to pay for your entire maintenance. Since you are alone and have no one to consider but your- self, you may be willing to take the chance of living on what you can earn in your free time and of going back to stenography full time if the need arises. I like your courage and ambition, but I want to warn you that, like all big cities, New York is a difficult place for a young girl with in- adequate means. I suggest you consult your local Y. W. C. A. or similar organization for advice on living quarters and employment opportunities in New York before making any definite plans. Unnapry: There’s no reason for you to remain un- happy. All you want right now is a chance to go to parties and dances, to mingle with young people and make friends. Then you are foolish not to accept the invitations of this boy who likes you and wants you to meet his friends, just because he is a year younger than you are, You say that his friends are older, but you hesitate to accept the attentions of a boy who seems so young. I certainly don’t think you should overlook this opportunity to meet young people who interest you. If there is no other reason for refusing this boy’s invitations, start right now to accept them. EVELYN: In addition to blues and greens, these colors should be becoming to you: pale pink and rose, clear yellows, orchid, black, white, black and white combinations, pale gray, bronze and dark | browns. Every advertisement in PHOTOPLAY MAGAZINE js guaranteed.

Page 117

PHOTOPLAY MaGaAzINE FOR AUGUST, | A professiona: water wave occasionally, aided by your own efforts, should result in a soft, natural ripple in hair that is already in- clined (0 wave. Auice M.: You don’t have to “make conversation,” Alice. Let the boys do most of the talking. They like to, as a rule! The reason you can’t forget yourself when you are with boys is be cause you are trying to be a different person, one you think will appeal more to a boy. And of course, you have to keep concentrating on that girl you are trying to be. Talk about the movies you have seen, the book you just finished, the tennis match you are going to. Be natural, and then you will enjoy your “‘dates.”’ And, what is equally im- portant, so will the boy. Just try it. Joan T.: From your description, Joan, these are the colors you can wear: pale green, dark greens that are not olive in tone, pale blue and all clear blues, black of high lustre, rose taupe dark brown, flesh pink, very pale yellow. White will be most becoming when trimmed with a color, or worn with jewelry that adds the color note. Your proportions and. measurements are splendid for a growing girl. Enity N.: Yes, pale blue is a favored color this season, and one made-to-order for a _ blue-eyed blonde like yourself. And why shouldn’t you wear all-white? As long as we have summer weather the all-white costume will always be popular. The white pique hat you describe is just the right one for a white crepe sports dress. It sounds like a most attractive en- semble. Give Me Moore! | CONTINUED FROM PAGE 67 | emerald necklace, and more bracelets than Margaret Livingston wore the night we went slumming in Los Angeles. We had dinner at 8:30 in the rather baronial dining room. Everything that is served in that house is raised right on the ranch. Grace brought her own chef from Italy, and Holly- wood has never tasted such food. There was an zvocado cocktail, a bortsch soup, squab, peas and escalloped egg-plant, cold asparagus and coffee. No dessert. Some conc to be made to diet, although the secret of the Moore lissomeness is exercise and sun baths. From the dining room we could see a circle of lights, Los Angeles, Hollywood and Beverly Hills. “We're not in America tonight,” said Grace. “Let’s have a toast to Paris. That’s Mont- martre below us, and that lighted spire you sée is really the Eiffel Tower.” Well, a young lady with imagination! VER the dinner table she told me of her early life in a little Tennessee town, and her boarding school days at Chevy Chase, in Washington, and how she had run away from school to go to New York. “TI couldn’t imagine staying in Tennessee and marrying one of the local beaux. So I left Washington for New York with exactly ten dollars. I went to the Martha Washington Hotel and from there to the apartment of a girl I knew. All the time they were searching the town for me. Ina short time I had a job at seventy-five dollars a week.” Her first smashing triumph was at the Music Box. She was the sensation of New York, but she had her eyes on the Metropolitan. And then her voice began to fail her because she had sung the same songs in the same voice for so long. Dr. Marafioti, now at M-G-M to train stellar throats, and a famous teacher in When The delicate sheath of Glazo that gives your fingertips love- liness by day... . retains the same charming tone by evening light. Glazo's smart colors... 4 ... never vary with a change | of light. The beauty it brings is constant, and lasts for a week or more. ©1930 — 1930 117 Unchanging Beauty for your Fingertips GLAZO POLISHES, which never vary their tones, are the smartest colors you can wear N a less active generation, lovely nails and fingertips signified a woman with very little to do. Today, thank goodness, women are busy—at sports and at work. Hands are exposed to this and that. And Glazo, with its unique virtue of looking as well in evening as in day, helps the busy woman to guard her beauty and her time. Only with Glazo will your fingertips be constantly smart Glazo liquid nail polish, ina few moments’ time, brings to your nails a lovely delicate sheen that lasts a w eck or more. It never peels, and it never verges on artificiality. And Glazo’s smart colors never change their tone, re- gardless of varying lighting conditions. Other polishes, pleasing by daylight, take on a different and disappoint- ing cast by candlelight or electricity. Glazo alone, because scientifically made so, remains unaffected. With Glazo on your nails, your fingertips will always be lovely, will always be admired. Be sure to see Glazo’s Lipstick Reds—Flame, Geranium and Crimson—three new nail polishes that harmonize with the popular lipstick shades. With a “‘light’’ lip- stick, use Glazo Flame. Use Geranium with a “‘medium.”’ And with a ‘‘dark"’ lipstick, use Glazo Crimson. These Lipstick Reds, as well as the standard Glazo shades, may be found at all toilet-goods counters. GLAZO Coupon THE GLAZO COMPANY, Inc., Dept. GQ80 191 Hudson Screet, New York, N. Y 0 Plain Perfumed I enclose six cents. Please send me Glazo samples (polish and remover). See check above, Also booklet, “Lovely Eloquent Hands.” (If you live in Canada, address P.O. Box 2054, Monweal.) State you write to advertisers please mention PHOTOPLAY MAGAZINE,

Page 118

118 “T don’t have to carry a lipstick with me,” explains the charming actress whose lovely lips fascinate countless film fans. ‘‘Before going on the lot or out for the evening, I simply make up my lips with Kissproof. That’s my assurance that they will look their best—and keep looking their best—all day or evening long.” "See the Kissproof lips of Miss Loy in “The Great Divide,” and remember that she is but one of the 5,000,000 women who have found that they can leave their lip- sticks at home—free themselves from con- stant “making up’’—if they use Kissproof. Follow their example and you'll find that this lasting waterproof lipstick will do more than stay on—it will flatter your lips tre- mendously, making them glow with natural beauty. Kissproof is available at toilet counters everywhere. Black and Gold Case, 50c; Swivel Case, 75c. ‘Kiss proof PEDODYNE the newscientificsolyent process stopsthe torturing painof the most sensitive bunionalmostinstant- ly, and reduces the enlarged, disfig- ff uring growth so quickly you'll soon have ebapely: feet and wear smaller, trimmer shoes with ease and comfort. ~@ MAKE THIS TEST AND PROVE IT! Just mail the coupon below —Try Pedodyne on your own bunion and prove the quick, sure, amazing results, —— —— = 1 KAY LABORATORIES, Dept. 342-H | 180 N. Wacker Drive, Chicago, Ill. | **l want to try Pedodyne."’ There is no obligation, Address— Name. .coscccccceses ee Address....--++05 eee eceecesee ee eeeeee eeeeeeece a eee ee TURN YOUR SPARE OR FULL TIME INTO MONEY With our Christmas Box Assortments which contain 21 Cards and Folders in dainty water color designs, beautiful engraving and embossing, tipped-on illustrations, sparkling raised gold metallic effects, marvelous creations in parchment and deckle-edged foldera— every card and folder with an artistic harmonizing envelope. SELLS FOR $1.00—COSTS YOU 60c, WE PAY ALL SHIPPING CHARGES. It yo o make money write immediately for full particulars and FREE SAMPLES Waltham Art Publishers, Dept. 66, 7 Water St., Boston, Mass. Does Your Mirror Reflect Rough Pimply Skin? ve CUTICURA And Have a Clear Skin! Price 25c. each. Sample free. Address: “Cuticura,” Dept. 8B, Malden, Mass, New York, brought back her voice. She feels that she owes him a debt that can never be repaid. Then two years of study in Europe, and a début at the Opera Comique, where Mary Garden had scintillated before. Garden, by the way, is one of her closest friends. And both believe that there is nothing like a sun bath to keep a prima donna looking like a Follies queen. Then, at last, the Metropolitan, the night of nights when she sang Mimi in “La Boheme.” RACE didn’t want to come to Hollywood. She was to sing “Louise” in Paris this spring. She has a villa on the Riviera, but she is practical, too. Why not make a lot of money? France is always there. Her first picture will be “Jenny Lind.” Then “The New Moon,” with Lawrence Tib- bett as her co-star. After that, ‘“The Merry Widow.” A whole basketful of talkie plums is showered in her lap. At ten o’clock we started for the Mont- martre. We went in Grace’s limousine, driven by an imported French chauffeur who in some uncanny way learned all the roads but can speaknoEnglish. Another chauffeurfollowed, driving my car. It was like leading a parade. Grace was going on to Malibu Beach later on, and didn’t want to return to the ranch. She couldn’t very well take me to Malibu, and she couldn’t gracefully ask me to walk back for my car. Over her light wrap she wore an ermine coat. I didn’t like to mention it, but that was a bit insulting. Most girls realize that it is a sort of affront to a gentleman to take two coats —even if it is a cold night. At Montmartre we had a couple of dances to Ben Bernie’s marvelous music. Ben came over and spoke to Grace. She had known him in New York. By that time she was in a mood to see the town. We paid something like $4.75 at Montmartre for something or other, and started for George Olsen’s Night Club. “About once a year I feel like this,” she said. “T want to go touring, and stay about half an PHOTOPLAY MAGAZINE FOR AucuSsT, 1930 “Fd no more carry a Lipstick than a hair brush hour in each place. My chauffeur will think he is driving me about Paris.” It was nearly midnight when we reached the Olsen Club. The place was packed. People were almost hanging from the chande- liers. It was an impressive entrance we: had. If the orchestra had just been tipped off I’m sure it would have played “Pomp and Circum- stance.” Grace was easily the most stunning woman in the place. We ordered. I know you won’t believe this, but Grace ate an apple. A friend of mine who has been places and seen things says that this is quite the thing in Europe. I had chicken salad, which I didn’t want, but it was the first thing I thought of. I don’t like apples, and two people at the same table eating apples would have started a riot. “T like this place,” she confessed. gay. It makes me think of New York.” Under the mellowing influence of a good dinner, gay music, and, of course, the apple, we became very good friends. In fact, an hour after I had first met the lady I felt as if I had known her always. At two o’clock Grace had to leave for her cottage at Malibu. A photographer was com- ing down at ten in the morning, and a new star in pictures can’t meet the “birdie” with circles under her eyes. The bill was $5.50. In other words the whole evening cost just $10.25. Now anyone can afford to step out witha Metropolitan opera star at these bargain rates. Sometimes it’s nice to live in Holly- wood where pleasures are simple and you can have a big evening on a ten-spot. “Tis AYBE it isn’t sporting to mention this, but an operatic songbird is a most glam- orous person. In fact the whole evening was the most exciting I’ve had. With that I apologize to Sally, June, Anita, Lupe, Jetta, Margaret, Polly and Helen. Gosh, I didn’t realize that I had been around so much until that summing up. Pretty soon I can write my memoirs and retire to a villa at Tia Juana. Gloria, Connie and the Marquis | CONTINUED FROM PAGE 33 ] along. And as they talked, something began developing. They called it “The Tresspasser.” Ieddie wrote it. Laura Crews coached Gloria for it, giving her the benefit of all a brilliant stage career had taught her. Gloria starred in it. It took just eight weeks from paper to cut- ting room. At the end of it, Gloria had lost twenty pounds and was close to a mental and physical wreck. Now, when the average husband returns home to the average wife, after a hard day at the office, she has the house ready for him, his slippers before the radiator and a good, hot dinner steaming on the table. After dinner, she takes time out to tell him how wonderful he is and then, if possible, packs him off to bed with the rest of the children. Gloria, when she finished “The Trespasser,”’ was, metaphorically, a man coming home from a hard day at the office. She dashed for Europe and Henri. She told the ship’s news reporters, “T’m going abroad to bring my husband back. No more of these uncompanionate marriages for me. I want Hank to be with me, not separated from me.” She was even more tired when she reached Paris. She needed rest and quiet. But Henri was full of ideas for her entertainment. He proposed a trip to Deauville. It was the racing season. They ate dinner at midnight and breakfast at four p. Me From Deauville they rushed back to Paris and Gloria endured days of fittings. Then word came that Pathe was to open “The Trespasser” in London and that Gloria was to broadcast one of her songs. Gloria just made the boat train and landed exhausted. The oflicials of her company say that they have never seen anyone in such a state of nerves as Gloria after that B. B. C. broadcast in London. You know, of course, what “‘The Trespasser” did, what an outstanding hit it still is at the box-office. You know that Gloria was the first of the genuine made-in-Hollywood dramatic stars to triumph in the new medium of sound. But what did it all really matter? Gloria came back from Europe without the thing she had gone after—Henri. Which brings us down to what undoubtedly created this triangle in the first place—and to a problem that confronts every working wife, whether she works as a stenographer or as a movie star. An idle wife can, as a rule, appreciate her husband’s tiredness. She can realize the ex- penditure of mental and physical energy even the easiest day demands. She can subdue her own energy to attune with her husband’s weariness. But a man can’t reverse that situation. An idle husband doesn’t appreciate a weary wife. He doesn’t want a weary wife, no matter how famous or beautiful or rich she may be. He resents a tired wife. He wants an amusing, feminine companion. And to this rule Henri de Bailly de la Falaise, Marquis though he may be, is no exception. Henri married the gay, debonaire Swanson of 1925. He trailed the paths of her glory. He was her manager. He was heragent. He tried being an actor, a dealer in manuscripts, even a Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Page 119

PuotopLray MaGAzInE For Aucust, 1930 writer. Somehow, he and work never got along. He began finding out, too, how Gloria worked—how serious she is about her work how it excludes everything from her mind, save her children—when she is engaged in it. And so when things began being a little less delight- ful around the home, when Gloria’s luck wasn’t holding out and she was forced to be more serious, Henri began going more often to France and returning less. Iam not accusing Henri of shirking. I think it was inevitable that he should act this way. He had been brought up in an atmosphere of leisure and laughter. It was natural that he should hate the atmosphere of stress and struggle that is artistic creation in the most fluctuating medium known. ET the tragedy of it is that Gloria cannot give up working, since her greatest piece of art is the creation she has made of herself. With Connie Bennett it is altogether differ- ent. Connie is acting. That’s true enough. But Connie started with much more than Gloria and so the struggle will never be so severe on her. Connie was always a personality. She never had to overcome shyness and plain features as Gloria did. Connie was beautiful even as a baby. Learning came easily to her and she had a perfect background of it, schools on the Con- tinent, finishing schools here. When she was sixteen she was so exquisite it stabbed you to look at her and so sophisticated you couldn’t believe it. She eloped with a college kid that year. His parents had it annulled. She went into ball- room dancing and met Phil Plant. He was a dificult lad and got engaged and nearly mar- ried several times while Connie knew him— but Connie finally got her heart’s desire and became Mrs. Plant. A couple of blissful years passed and then Connie came back from Europe, with her divorce, her million, her Con- tinental mind and the figure of a growing boy. Hollywood held out open arms to her and that was that. But Connie says, “‘ Between working all the time and drifting all the time, I’d far rather work. But I’d give up either work or idling if the right man came along, without waiting five minutes to think it over and renounce fame for a first choice ata home and romance. I believe any kind of a career comes secondary to happi- ness in love. This is as true for a man as fora woman, as I see it.” That is the voice of the romantic speaking. HEN Gloria talks, she mentions her home, her children, and her career. And that is the voice of the artist. What the end will be no one cares to forecast. It may be that Gloria will discover Henri is worth giving up all her career for. It may be that Connie will start working very, very hard. At any rate, they will continue, for a while, to provide Hollywood with its choicest gossip— Gloria, the glorious; Connie, the exotic, and the charming and genial Marquis known as Hank. Janet Goes to War [ CONTINUED FROM PAGE 38 } She says she refused to return because she had no definite assurance from the studio that they would not ask her to make another “ High Society Blues” after ‘“Liliom.”” Perhaps she thought that by holding up “Liliom” she could bring the studio to her point of view. But “Liliom” was not held up. Fox im- ported Rose Hobart, Broadway stage actress, to play the part Janet was to have played. The picture went into production. 5 And Janet came back without having won her point. She came back, she says, because 1 ie) every woman should begin on Nose. ae Coarse sy hin to watch for ass Ne ~ for chead ONSPICULOUS Pores... "THE SPELL of a beautiful skin! Almost every girl has it at eighteen when the pores of her face are small and fine! This is the time to begin to watch for the gradual coarsening that starts right after eighteen—and shows espe- cially on nose, chin and forehead. To keep your pores small and fine, use Woodbury’s Facial Soap. It actu- ally shrinks large pores to fineness, and guards against big pores. Formulated by a skin specialist who spent a lifetime studying the skin and its needs, Woodbury’s keeps the face pores small by freeing them of the hardened fatty substance that causes them to enlarge—contracting them to their natural size. The first time you use Woodbury’s you will notice its astringent action on your skin. Begin using Woodbury’s today! With each cake of Woodbury’s comes the booklet of the most famous skin treatments in the world. It will help you to keep the clear, fine skin texture that is your right. Woodbury’s is 25 cents a cake at any drug-store or toilet-goods counter. It also comes in convenient 3-cake boxes. John H.Woodbury, Inc.,Cincinnati,Ohio Send for the large-size trial set John H. Woodbury, Inc., 2215 Alfred St., Cincinnati, O. For the enclosed ro¢—please send me large-size trial cake of Woodbury’s Facial Soap, Facial Cream and Powder, Cold Cream, treatment booklet, ““4 Skin You Love To Touch,” and instructions for the new complete Woodbury “ Facial.”” In Canada, The Andrew Jergens Co., Led., 2215 Sherbrooke Street, Perth, Ont. Name = = PL ee Se ES = ~ = © 1930 G __J.H.W., Inc. When you write to advertisers please mention PHOTOPLAY MAGAZINE,

Page 120

120 HERE is no excuse in al- lowing armpit perspira- tion to discolor and ruin your clothing, and its disagreeable or to humiliate and em- barrass you. More than a million men and women keep their armpits dry and odorless and protect their clothing with NONSPI (an antiseptic liquid) used, en- dorsed, and recommended by physicians and nurses. NONSPI destroys the odor and diverts the underarm perspiration » parts of the body where there er evaporation —and need be used on an average of but two nights each week. You, too, can have dry and orless armpits and save your clothing. Get a bottle of NONSPI today. Use it to- night. Use NONSPI the year around—spring, summer, fall, and winter. Your Toilet Goods Dealer and Druggist has NONSPI at 50c (several months’ supply) or if you prefer Accept our 10c Trial Offer (several weeks’ supply). For the enclosed 10¢ (coin or stamps) send me a trial size bottle of NONSPI The Nonspi Company 2641 Walnut Street Kansas City, Mo. Name S Address City PHOTO GED Size 16x20 inches Same price for full au bust form, landscapes part of group p ture. Safe returm of ‘ONE UNITED PORTRAIT COMPANY 900 West Lake Street, Dept. K-130, Chicago, II. FILL OUT YOUR FORM this New, Easy Way LAT chested? Fashion demands the full, rounded shapeliness of the wo- manly form. The stars of Hollywood are developing their feminine charm. _ You, too, can quickly add extra full- m ness where needed. My new method plumps out the hollows and builds firm, youthful tissue. Just TRY my wonderful CREAM and special developing in- struction! FREE Write today Send only $1.00 for liberal jarof VDEVELOPING CREAM (in plain wrapper) and I willinclude FREE my special Figure Moulding Exercises and complete advice. Take advantage of this big offer — write AT ONCE! NANCY LEE, Dept. PP-8 Phyvical Culture Institute 853 Broadway, New York, N. Y. DOROTHY DWAN, Pathe motion picture . exemplifies the feminine form, she felt it was unfair to her husband, Lydell Peck, to stay away any longer. They had been married only five months. On her return to Hollywood the battle took on the aspect of a deadlock. She did not go near the studio. The publicity department had great difficulty in reaching her and when they did get her on the phone she was far from confidential. The studio stopped her salary. Had she been dependent on her weekly check for a living the battle would probably have ended then and there. But Janet didn’t turn a hair. | She took a year’s lease on a house at Playa del Rey and with her husband moved down, | bag and baggage. WENT to see her the day she moved to the beach. She had not called the studio since her return from Honolulu three weeks before, nor had studio officials made any attempt to get in touch with her. I asked her what she was going to do. “Nothing,” she said calmly. She looked healthier and happier than she had looked in months. “Tt’s their move. They know exactly how I feel about the situation. They must come to me now.” Her-contract with Fox has four more years torun. Unless she comes to an agreement with them or finds a legal means to dissolve her con- tract she must remain off the screen for the next four years. Lydell Peck is in sympathy with his wife’s attitude, but says he would not want to see her retire from the screen. ‘‘Janet is emotional— she needs that outlet.” But Mrs. Lydell Peck says she is in no hurry to get back to work. If it becomes necessary to give up her film career for the next few years she will turn her energies to something else. She wants to write. And to travel. And for the time being she is quite content to lie on the sand, resting, reading, and doing a little mental house-cleaning. It is hard to tell just what the Fox studio will do about the situation. Their attitude is that Janet Gaynor is getting too har/ to handle, and that unless she comes around they will put someone else in the pictures slated for her on next year’s program. There is so much talent in the world, they feel, that no one individual is indispensable. Much time and money have been spent by the Fox organization, which gave her her chance, in order to build the name of Janet Gaynor to its present drawing power. It is go- ing to take more time and more money to groom someone for her place. The public adores Janet both in her wistful, emotional characteriza- PHOTOPLAY MAGAZINE FoR AucustT, 1930 tions and in lighter musical comedy rdles. There is no question about that. Janet says: “Just because I am holding out for what I know to be best, the studio thinks I am getting arty. In ‘High Society Blues’ I went back almost to the starting point of my career. I played an ingénue lead which any beginner could have handled. Surely I’ve worked myself out of the beginner class by now.’ Perhaps it will clarify Janet’s conception of a “suitable réle”’ to know that she was eager to play the lead in “Common Clay.” The réle, which fell to Constance Bennett, was that of a sophisticated young woman, possessing obvious sex attraction. But Janet says she would have played her as a girl irresistible to men not through any frankly sophisticated appeal, but by virtue of her helplessness and ingenuous charm. A type, certainly, which attracts big, strong men both on and off the screen! “T know that I can play emotional rdles. I’ve proved that—and I feel that I have some- thing a little out of the ordinary to offer on the screen. I’m at my best playing character réles in foreign settings, as in ‘7th Heaven’ and ‘Christina’—not doing straight American leads. A ‘Sunny Side Up’ every four or five pictures would be fine—but not all the time.” Janet seems to forget that Fox offered her “Liliom” after “High Society Blues’—not another musical comedy. That is the chief flaw in an otherwise con- vincing argument. While the Fox situation continues to become more involved, rumors of domestic difficulties in the Gaynor-Peck household grow increas- ingly persistent. Nor long ago Janet and Lydell quarreled publicly at a large party. Lydell went home, but Janet remained at the party.- It may have been only a spat. In the face of all reports, however, Janet and Lydell both maintain steadfastly that they are happy, and that there is no possibility of a split. Certainly the fact that they have taken a year’s lease on a house bears out their state- ment. Still, leases can be broken. What is more to the point is the fact that they /Jook happy. Any way you figure it, Janet Gaynor is sitting on a keg of dynamite at present. By her own admission her professional life is in a turmoil. And, by the admission of those close to her, her domestic life is in the same state. Either or both may have blown up by the time this is in print. But then, maybe Janet likes dynamite! What Garbo Thinks of Hollywood about her strikes her as strangely funny. When she once read a very high-brow treatise about herself in a national magazine she closed the book and said: “But what does it all mean?” She cannot, you see, reconcile herself to the illusions that people have about her. She does not believe herself mysterious. Hollywood, I think, amuses her ironically more than anything in her life. She will break out into a loud guffaw at upset dignity. One very pompous actor who played in a picture of hers walked across the set one day, tripped on a wire and fell sprawling. She could not control her mirth. She shows her feeling for the average Holly- wood party by not attending them. One of the reasons is that she is truly terrified of people en masse, And another reason is that she knows the | CONTINUED FROM PAGE 66 } stories that are always circulated about her when she makes an appearance. GHE has, by now, acclimated herself to Cali- fornia, a gesture that was difficult. Sheadores the sun—is, in reality, a sun worshipper and loves to have it pour over her lithe, long body. But she likes cold days best. Somehow the driving heat of Hollywood enervates her and always has. And, although she loves the ocean and lived at the beach when she first came to California, the constant roll of the ocean gets on her nerves. She has, however, decided to move back to the beach. She lived for a time in a rented house in Beverly Hills, but moved from there to a house of Marie Prevost. She discovered that the nois» of the electric cars passing close by annoyed her, so she is leaving that place. Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. — ees th Dt ti sl ti tt A a A a a

Page 121

PHOTOPLAY MAGAZINE FOR AucusT, 1930 Certainly she must have a profound con- tempt for all of the exhibitionist qualities she finds in Hollywood Howard Greer, the dressmaker, says that she is the only star customer he has who insists upon selecting her clothes in a closed fitting room, away from the prying eyes of even the people she knows. Garbo is not one to dissemble. She shows plainly what she feels and is the most deeply temperamental woman in Hollywood. That does not mean that she flies into tantrums. She has never been known to do that, but she is subject to a thousand moods. When she is in dark spirits she sits apart and will not inflict her misery on others. She simply makes her- self miserable. She either talks not at all or a great deal. HE has no place in the life of Hollywood. She has never adapted herself to it. When she thought she was in love with Jack Gilbert she was more social than ever before, because Jack is such a social person. Then, she went out occasionally, learned to play tennis and made some of the conventional gestures. She doesn’t even do that now. But Hollywood has been kind to her and I think she appreciates this. It has brought her wealth and fame. The wealth doesn’t mean a great deal to her, since she lives as simply as a hermit, and I believe that she is afraid of the fame. She feels that it is a Frankenstein that will some day destroy her. She reads all of the stories that are written about her and one day she remarked to a friend: “See, they say nice things about me now. But if [some time make a bad picture and if I am no longer popular you will see they will say I am not a good actress, and other bad things as well.” : She is like a caged lioness on the set, and be- fore she does an emotional scene she walks up and down the stage. Between scenes she sits hunched over in a chair with an old sweater thrown about her shoulders, like a prize fighter ready to go into the ring. Garbo will continue to remain an enigma in Hollywood. But she is really no enigma at all. She will continue to go her way alone, for she is essentially an alone person, an introvert and a neurotic, a woman not at all amazing to herself but amazing to those who watch her. There is almost as much hysteria about her in Hollywood as there is in the rest of the world Stars beg to meet her. Hostesses try to lure her to their parties. But Garbo does not like parties. Nobody is kidding Garbo. She does not overlook the fact that the reason she is so desired is because she is so inaccessible. She may be bewildered over the men and women who do not know her but who clamor to add her to other social lions in their drawing rooms. But she understands it better now. Ever the onlooker at life, she sits back and smiles a sophisticated smile at the irony and smallness of it all. T is probable that in her heart Garbo de- spises Hollywood. How can it fit into her ambition to be a stage star in Berlin, Paris and Vienna? She does not say much about her own Stockholm—probably because there she is not considered truly great, lacking, as she does, years of stage training in her own land. What part can Hollywood have—save as a gold mine—in Garbo’s greatest dream? That is the house she is going to build at Sallsgon beautiful island-dotted lake near the Swedish capital. There, on a cliff high above the blue water, she'll rear her castle, and from its doorway she can look down upon the world. Hollywood? What more can it be to Greta Garbo thana means to this cherished end? es ae Lath be New FOOT SAVER SHOES ASY rests the mind when the feet wear Foot Savers! ... Tense sole-nerves yield gently to the firm moulding of the arch. Wilted muscles fling off fatigue. Cradled safely by the pliant patented inbuilt construction of the shoes, grateful feet relax into tranquil poise .. Then — steps swing free! Spirits soar. There's a verve and a lilt in the Foot Saver walk! There's smartness, too, in color, line and mode. And a tactful knack of shedding over the ankle an air of enchanting slimness! Let us send you this New Style Portfolio! Toot Saver has some particularly spirited tdeas on the new shoe« mode. (Chey ra all in -the booklet. Cell us where to send il. THE JULIAN & KOKENGE CO., 412 East 4th Street, Cincinnati, O. Please send me, without charge your portfolio of FOOTWEAR Fashions. Nome es Address—__———— P8-30 Men's Foot Saver Shoes made by the Commonwealth Shoe and Leather Co., Whitman, Mass., and Slater Shoe Company, ltd., Montreal, Canada, When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Page 122

122 BEAUTY X-BAZ|IN—makes it at least “SKIN DEEP”! No one agrees on beauty — but everyone agrees that superfluous hairisugly. Whatever your conception of beauty at least be sure itis “skin deep” by permittinganapplication of X-BAZIN cream to remove undesired hair, It is the overlooked detail that has robbed many a woman of her heart's desire. Be sure that bair is not such a detail—not when X-BAZIN can remove it safely, and quickly, lo DEK ATEicy oP ER FUMED A cream or powder, to suit your taste— 50c at your druggist or department store. Trial size—10c—at five and ten cent stores. HALL & RUCKEL, Inc., Brooklyn, N.Y. “DPA | CREAM DEPILATORY *« X-BAZIN I Have Come From Paris to Help You REDUCE! Let us be frank! You American women have beautiful faces. But your figures ... ah! Where are the intriguing curves of the Parisienne? I will help you! At my Academie in the exclusive Women's City Club in San Francisco, I teach leaders of society the secrets of slender and alluring figures. Every woman who follows my instructions, loses ten to fifteen pounds a month ... otherwise I accept no money. My reducing chart contains complete directions for propor food and manipulation of the body, It ) > dollar. If you do not lose 10 to 1 unds the very I will refund your Start NOW . . . weigh less next month. Simply send ye and address with s dollar bill for my reducing chart. PROFE*SOR HENRY NIER at the Women's Clty Club, San Francisco, Calif. Earn $2,500 to $10,000 a Year! Hotels, Apartment Hotels, Clubs, Restaurants, Institutions,Schools, Colleges, Hospitals, etc., are call- ing for Managers, Assistant Managers, Stewards, Housekeepers, Publicity Directors, Sports Direc- tors, Room Clerks, ete. Lewis Sim- plified Spare-time Study Plan quali- flies you, Pastexperience unnecessary. We put you in touch with positions, Big pay, quick advancement, fasci- nating work. Write for Free Book, Clifford Lewis, Pres. LEWIS HOTEL TRAINING SCHOOLS Room CM-894 Washington, D.C, Make money taking pictures. Photo- vhe in big demand. Commercial Photography also pays big money. Learn quickly at home in spare time. No experience necessary. Write today for new free book. Opportunities in ome Modern Pho y. American School at of Photography, Dept. 125-C, 3601 Michigan Ave., Chicago. PHOTOPLAY MAGAZINE FoR Aucust, 1930 Addresses of the Stars At Paramount Publix Studios, Hollywood, Calif. Richard Arlen Jean Arthur William Austin George Bancroft Clara Bow Mary Brian Clive Brook Nancy Carroll Robert Castle Lane Chandler Ruth Chatterton Maurice Chevalier June Collyer Chester Conklin Gary Cooper Stuart Erwin Kay Francis Richard ‘‘Skeets” Gallagher Harry Green Mitzi Green Neil Hamilton Doris Hill Phillips Holmes Helen Kane Dennis King Jack Luden Paul Lukas John Loder Jeanette MacDonald Frederic March David Newell Barry Norton Jack Oakie Warner Oland Guy Oliver William Powell Charles Rogers Lillian Roth Regis Toomey Fay Wray At Metro-Goldwyn-Mayer Studios, Cul- ver City, Calif. Nils Asther Lionel Barrymore Wallace Beery Jack Benny Charles Bickford Edwina Booth John Mack Brown Lon Chaney Joan Crawford Karl Dane Marion Davies Mary Doran Duncan Sisters Josephine Dunn Cliff Edwards Greta Garbo John Gilbert Lawrence Gray Raymond Hackett William Haines Marion Harris Leila Hyams Kay Johnson Dorothy Jordan At Fox Studios, Buster Keaton Charles King Gwen Lee Bessie Love John Miljan Robert Montgomery Polly Moran Conrad Nagel Ramon Novarro Edward Nugent Elliott Nugent Catherine Dale Owen Anita Page Basil Rathbone Duncan Renaldo , Sebastian hearer Ernest Torrence Raquel Torres Roland Young 1401 No. Western Avenue, Hollywood, Calif. Frank Albertson Robert Ames Mary Astor Ben Bard Warner Baxter Rex Bell El Brendel Warren Burke Helen Chandler Marguerite Churchill Mae Clark William Collier, Sr. Joyce Compton Fifi Dorsay Louise Dresser Nancy Drexel Charles Eaton Charles Farrell Stepin Fetchit John Garrick Janet Gaynor William Harrigan Richard Keene Lola Lane At First Natienal Calif. Richard Barthelmess Bernice Claire Doris Dawson Billie Dove Douglas Fairbanks, Jr. Alexander Gray Dixie Lee Ivan Linow Edmund Lowe Sharon Lynn Farrell MacDonald Mona Maris Kenneth McKenna Victor McLaglen Don Jose Mojica Lois Moran Charles Morton Paul Muni J. Harold Murray George O'Brien Paul Page Tom Patricola Sally Phipps David Rollins Milton Sills Arthur Stone Norma Terris Don Terry Marjorie White Studios, Burbank, Doris Kenyon Dorothy Mackaill Marilyn Miller Antonio Moreno Donald Reed Alice White Loretta Young At Universal Studios, Universal City, Calif. Lew Ayres John Boles Ethlyn Claire Kathryn Crawford Lorayne DuVal Robert Ellis Hoot Gibson Dorothy Gulliver Otis Harlan Raymond Keane Merna Kennedy Barbara Kent Scott Kolk Natalie Kingston Beth Laemmle Allen Lane Laura La Plante Jeanette Loff Fred Mackaye Ken Maynard James Murray Mary Nolan Mary Philbin Eddie Phillips Joseph Schildkraut Sisters G Glenn Tryon Lupe Velez Paul Whiteman Barbara Worth At Radio Pictures Studios, 780 Gower Street, Hollywood, Calif. Buzz Barton Sally Blane Olive Borden Sue Carol Betty Compson Bebe Daniels Frankie Darro Richard Dix Jack Mulhall Bob Steele Tom Tyler At Pathe Studios, Culver City, Calif. Robert Armstrong Constance Bennett William Boyd Ina Claire Alan Hale Ann Harding Carol Lombard Eddie Quillan Helen Twelvetrees At Warner Brothers Studios, 5842 Sunset Blvd., Hollywood, Calif. John Barrymore Monte Blue Betty Bronson William Collier, Jr. Dolores Costello Louise Fazenda Audrey Ferris James Hall Al Jolson Myrna Loy May McAvoy Edna Murphy Lois Wilson Grant Withers At United Artists Studios, 1041 No. Formosa Avenue, Hollywood, Calif. Don Alvarado Joan Bennett Fannie Brice Charles Chaplin Dolores Del Rio Douglas Fairbanks Lillian Gish O. P. Heggie John Holland Chester Morris Mary Pickford Harry Richman Gilbert Roland Gloria Swanson Norma Talmadge Constance Talmadge Louis Wolheim At Columbia Studios, 1438 Gower Street, Hollywood, Calif. Evelyn Brent William Collier, Jr. Jack Egan Ralph Graves Sam Hardy Jack Holt Ralph Ince Margaret Livingston Ben Lyon Dorothy Revier Marie Saxon Johnnie Walker In care of Samuel Goldwyn, 7210 Santa Monica Blvd., Hollywood, Calif. Vilma Banky Walter Byron Ronald Colman Lily Damita In care of the Edwin Carewe Productions, Tec-Art Studios, Hollywood, Calif. Roland Drew Rita Carewe LeRoy Mason At Hal Roach Studios, Culver City, Calif. Charley Chase Oliver Hardy Harry Langdon Stan Laurel Our Gang Thelma Todd At Sono Art-World Wide, care of Metro- politan Studios, 1040 N. Las Palmas Street, Hollywood, Calif. Reginald Denry Fddie Dowling Jacqueline Logan Ruth Roland Robert Agnew, 6357 La Mirada Avenue, Hollywood, Calif. Jackie Coogan, 673 South Oxford Avenue, Los Angeles, Calif. Virginia Brown Faire, 1212 Gower Street, Hollywood, Calif. Gilda Gray, 22 East 60th Street, New York City. William S. Hart, Horseshoe Ranch, New- hall, Calif. Lloyd Hughes, 616 Taft Building, Holly- wood, Calif. Harold Lloyd, 6640 Santa Monica Blvd., Hollywood, Calif. Bert Lytell, P. O. Box 235, Hollywood, Calif. Patsy Ruth Miller, 808 Crescent Drive, Beverly Hills, Calif. Pat O'Malley, Angeles, Calif. 1832 Taft Avenue, Los Herbert Rawlinson, 1735 Highland Street, Los Angeles, Calif. Ruth Roland, 3828 Wilshire Blvd., Los Angeles, Calif. Estelle Taylor, 5254 Los Feliz Blvd., Los Angeles, Calif. Every advertisement in PHOTOPLAY MAGAZINE is guaranteed,

Page 123

Just a Cute Trick [ CONTINUED FROM PAGE 71 } until the next two weeks. From eight to ten / every morning she danced. Roger hired the + best dancing teacher in Hollywood, some said } in America, at the rate of twenty-five dollars an hour. Eva had natural grace. Then from } ten to twelve there was the best dramatic } teacher the colony afforded, who taught Eva to read and pronounce words all over again. } Then there was lunch with Roger. Milk, ham crackers, and vegetables, to which 4 Eva submitted with hungry zest. Then the } entire afternoon with Roger—in which he } taught her all he knew about putting oneself over. OGER wasn’t conceited, but he told Eva that he had never had a day’s failure. His career had been a steady climb upward, culmi- nating in last season’s triumph. He couldn’t remember a performance from his days touring | the sticks to these glorious later days when his audience hadn’t been all his. Sometimes it seemed rather futile to tell Eva his secrets of success—when she was such a delicate, femi- nine little person, and he so completely } masculine. | He was touched and flattered when she } begged him to do his numbers—the numbers }that had brought him such tremendous } ovations—just for her. ) And Roger, being not so different from other ' actors, performed with as much zest as if there had been an audience of thousands, instead of } one small girl with a rapt expression on her face. The two weeks sped to a close, and the morn- ing came on which the picture was scheduled to| begin. When Roger came on the set Eva was} already there, looking contented as a kitten, snuggled in her chair; with Eva Moore in big, black letters on the back. He stood there for some moments watching her, until he became conscious of the snickers of two burly elec- tricians, the true cynics of any studio lot. Roger himself couldn’t get over it. But he supposed this was what real love was. He had known hundreds of beautiful women—and then this little blonde person walked into his life, and everything was changed. Per- manently. | The cameras were lined up for the first scene. | But before that there must be a rehearsal. The director, Emil Dirk, looked at Roger with a | triumphant, now-we-shall-see expression. Of | course, there had been voice tests and screen tests of Eva—but this was the real test. Eva went through the scene with the poise of a veteran and a certain dainty charm. Roger was not in this scene. Just Eva, the heavy,| and a character woman. Even Emil Dirk could find no fault. “All right, this is a take,”’ were his only words. Eva fled to her make-up box, and dabbed at her nose. She swished the long skirt of the evening gown she was wearing, and the make-| up woman powdered her neck and arms. ‘I’m seared to death, honey,” she whispered to Roger, and rewarded his, “You needn’t be, darling,” with an affectionate little smile. E door of the sound stage was locked, the orders to “lock ’em up” were given, and the picture had started. It was a long scene. At the close Emil Dirk said, “Very nice.” Eva was evidently all right. Eva loved the respect and adulation she commanded as the recognized object of Roger Blake’s devotion. There was a property boy always ready with her coat or robe after every “take.” A closed studio car called for her whenever she was needed at the studio, if Roger was unable to call himself or to send his coffee-colored Rolls-Royce. He passed on her costumes, and scrutinized PHOTOPLAY MAGAZINE FOR AuGuST, 1930 I Quickly, Easily, at a few cents cost, you can have a Real “Beauty Shampoo” that will give Your Hair a Loveliness,quiteunobtain- able by Ordinary Washing. OU CAN SAVE TIME, expense and inconvenience, by adopting | this simple method of ‘“‘beauty sham- | pooing,”’ which gives truly professional results at home. The beauty of your hair, its sparkle ..its glossand lustre.. depends, almost entirely, upon the way you shampoo it. A thin, oily film, or coating, is con- stantly forming on the hair. If allowed to remain, it catches the dust and dirt —hides the life and lustre—and the hair then becomes dull and unattractive. Only thorough shampooing will remove this film and let the sparkle, and rich, nat- ural... color tones... of the hair show. Ordinary washing fails to satisfactorily Two or three teaspoonfuls of Mulsified in a glass or pitcher with a little warm water added, makes an abundance of , . . soft, rich, creamy lather. .. which her make-up before she stepped before the When cleanses thoroughly and rinses out easily, removing with it every particle of dust, dirt and dandruff. ° a e) remove this film, because—it does not clean the hair properly. 3esides—the hair cannot stand the harsh effect of ordinary soaps. The free alkali, in ordinary soaps, soon dries the scalp, makes the hair brittle and ruins it. That is why women, by the thousands, who value beautiful hair, are now using Mulsified Cocoanut Oil Shampoo. It cleanses so thoroughly; is so mild and so pure, that it cannot possibly injure, no matter how often you use it. You will notice the difference in the ap- pearance of your hair the very first time you use Mulsified, for it will feel so de- lightfully clean, and be so soft, silky, and fresh-looking. Try a Mulsified “Beauty Shampoo” and just see how quickly it is done. See how easy your hair is to manage and how lovely it will look. See it sparkle—with new life, gloss and lustre. You can get Mulsified Cocoanut Oil Shampoo at any drug store, or toilet goods counter .. . anywhere in the world. you write to advertisers please mentlon PHOTOPLAY MAGAZINE,

Page 124

124 be POPE EE LOLOL O ELE L LLL LLL EL Lib Lillia It is NOT Too Late to Enter Photoplay’s *5,000 Cut Picture Puzzle Contest (See page 60 for full particulars regarding Contest) So that our readers need not miss a single issue of Photoplay during this contest we are making a special six month rate of $1.25. If you haven't copies of June and July Photoplay, the coupon below will bring you the first two sets of cut pic- tures which appeared in those issues. Or take advantage of our Special Six Months’ Contest rate, fill out the cou- pon below and send $1.25 (Canada $1.50; Foreign $1.75)—we will enter your subscription for 6 months, start- ing with the September issue, and send you the cut pictures from the June and July issues. What a Subscription to PHOTOPLAY Will Bring You Fascinating pictures of photoplayers and illustrations of their work and pastime, Scores of interesting articles about the people you see on the screen. Splendidly written short stories, some of which you will see acted at your moving picture theater. The truth, and nothing but the “Ac about motion pictures, the stars, and the industry. You have read this issue of PHoToPLay so there is no necessity for telling you that it is one of the most superbly illustrated, the best written and the most attractively printed magazines published today—and alone in its field of motion pictures. Send money order or check to PHOTOPLAY MAGAZINE Dept. CP-8-30, 919 N. Michigan Ave. CHICAGO The coupon below is for your convenience PHOTOPLAY MAGAZINE, Bere CP-8-30, 9 N. Michigan Ave., Chicago. EE Hacked (COT enclose $1.25 (Canada, $1.50; For- eign, $1.75), for which you will kindly enter my subscription for PHOTOPLAY MAGAZINE for six months, effective with the September issue. Also mail me_ the sets of cut pictures from June and July PHOTOPLAY. (1 Send me the sets of cut pictures which appeared in June and July PHOTOPLAY. Perrier treet rr Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. PHOTOPLAY MAGAZINE FoR AucustT, 1930 camera, and was constantly paying her elabo- rate compliments, to the infinite disgust of Emil Dirk. Roger Blake playing lady’s maid to a babyish little blonde whose only distinction was to call one “honey” in dulcet tones oftener than anyone else could manage to! Roger was “honey.” The electricians were ‘“ honeys.” eee could do wonders in lighting if they like a girl. The assistant who had raged at her on the day she met Roger was also “honey,” and once she even “honeyed” Emil Dirk. But only once! To please Eva, Roger insisted that they work in the little dance she had learned, and she sang or rather talked a delicately risqué little song. OGER and Eva lunched ééte-d-téte every day to the accompaniment of Eva’s frantic ques- tioning. ‘How did I look this morning?” “Did I say that line about ‘never wanting to see you again’ all right?” ‘‘Oh, Roger, do you think I’ll make good? What do you really think, Roger?” “Shall I put on an all-new make-up?” Such fretting was very amusing to Roger. With a featured comedian, the girl’s part was a negligible thing at best. It was her first little fling and he was glad she was getting such a kick out of it. After the picture was finished they would be married, and if Eva still wanted to play about in the movies he was powerful enough to get her the rdles. But not a word of this to Eva. Her small worries were very tender things to him, so he contented her with fervent assurance that she would be a knockout. But sometimes the tense expression on her face as she studied her lines surprised him. She was taking it seriously, that is, as seri- ously as anyone as little and young and cute as Eva could. At last the picture was finished, and to cele- brate the return of Albert Chamberlain, presi- dent of the company, from a long European trip, there was to be-a special preview of the picture at a neighborhood theater. Eva was frantic with excitement. “Oh, Roger, I can hardly wait. You know what pre- views are! What if I should be terrible and they would laugh at me?” However, she recovered herself sufliciently to make elaborate preparations for the occa- sion. She purchased a very youthful sports dress of soft white wool, a powder blue coat of nau- tical design, and a tiny white hat. She liked the respect of the salesladies in the smart shops, but she liked better the substantial dis- count that professional people were accorded. She spent the remainder of the afternoon ina beauty parlor, and when Roger called to take her to dinner she was dazzlingly pretty. On the way to the restaurant he told her to close her eyes, and when she obediently held them shut, he fastened something on her wrist, and pressed a kiss on puckered red lips. He loved to kiss Eva—even before the cameras. She was so warm and fragrant and young— although almost distressingly matter-of-fact. She would sigh with what he hoped and be- lieved was ecstasy for a fraction of a second, and then push him aside to return to her petty discussions of the picture. It was cute in her, though. She was just a kid. EVA was emitting small shrieks of pleasure. \ diamond bracelet, and a gorgeous one, encircled her wrist. “Tt’s to celebrate the picture, dear.” “Oh, the picture—now I’m frightened again. How can you be so terribly calm, honey?” “Oh, I’ve lived through a hundred moments like this.” Eva loved the craning of necks as they en- tered the theater, and took their seats in the section reserved for studio people. At last the regular feature was over. There was a buzz of excitement. A feature preview will follow im- mediately. Then—ROGER BLAKE in MANHATTAN MANNERS. Eva clutched his arm. Thunderous applause greeted the first ap pearance of Roger Blake. Then Eva appea No applause, but a buzz that sounded “Tsn’t she cute?” all askew. Eva with one hand stroking hi head behind her ear, one eyebrow arched. quizzical, half-humorous, half-pathetic expre sion. A taunting inflection in her voice. Roger leaned forward in his chair. F had the child done? She was unconscious using all his tricks. But in her they were en trancingly feminine. They gave her a naiy sophistication that was charming. Unique And when she did her little song and dane number, with the self-deprecatory little gestures, the house burst into long and lo applause led by none other than Albert Cham berlain. THEN Chamberlain’s none too gentle voice boomed out—* Where is this fellow Blake’s famous personality? That little girl takes picture right from under his nose. Have we got her under contract?” Eva watched herself on the screen with no small amount of satisfaction. How well she photographed, and how neatly she got her lines over. Roger didn’t look so well. She won- dered how old he was. Why, on the screen he was really quite mediocre. When the audience laughed at her, and when they applauded he little song and dance, she could scarcely con trol the tears of pride and joy. And she, with no previous experience—why she really deserved all the praise and credit i the world! The picture was over. Roger and Eva picked their way through the crowd packed tightly outside the theater. Eva was soon busy signing autograph books for children, and everyone seemed to be crowding nearer for closer look. She was sweet and shyly gracious, and acknowledged their compliments modestl Emil Dirk approached. “Mr. Chamberlain is waiting to meet yo Eva. Hello, Blake.” | It was the first time Emil Dirk had called hery “Eva.” He usually pretended to forget her name completely, and addressed her as “‘you.’ A few times he had been gracious enough to remember she was “‘ Miss Moore.” Eva approached the great man with her most tremulous smile. ‘ You’re a wonderful little girl, Miss. Moore, and a great little actress. think we’ll be having a little talk tomorrow.” A little talk. Of course, that meant a con tract! Roger had no contract. He had been brought out from New York for one picture. You had to be good to get a contract these days. The ride home was very quiet. they didn’t laugh at you,” parting. Roger didn’t see Eva until three o’clock the next day. She was in the publicity office waiting to be interviewed. “Well, Roger, I’ve a contract. And, further- more, I am to be co-starred with Paul Luverne in his next picture, and I’m to have my name in the billing of ‘Manhattan Manners.’ What are you doing next?” = F ry ee - ~~ ao ss a ——— a oe —— =” 7 “Well, Eva, said Roger a H, I think I'll take a little trip to New York. I can’t stay away from Broadway very long. I’ve a new show lined up.” “Well, maybe you’re right, honey. You know you don’t photograph any too well. I'll miss you an awful lot—but I expect I'll be very busy. When are you leaving?” “Tonight. Will you have dinner with me? There is something I want to tell you.” “Oh, honey. I can’t. I’m having dinner with Mr. Dirk. You know he’s going to direct my next picture, and can do so much for me. I wouldn’t dare offend him. _ Besides,” dim- pling prettily, “I just know I’d cry if I said goodbye to you, Roger. I always cry when I say goodbye. Here comes Mr. Smythe from “The Times’ to interview me—so we'd better say goodbye right now when there is no time

Page 125

for me to be silly. It was perfectly sweet of you, Roger, to give me this lovely bracelet.” Roger turned for one farewell look. She was greeting the long and lanky Mr. Smythe. She was wearing the little powder blue coat that had the nautical look. And his bracelet. He sighed as he went his ay. “Gee, but she’s a cute trick!” Will Norma Shearer Retire? [ CONTINUED FROM PAGE 47 | “But the point is that the very fact that I have worked and that I have, in a small way, accomplished something, has made him love me more. “Oh, I’m quite sure of that. “He is so thrilled by what successes I have. To him, I’m really surrounded by glamour be- cause I have done a good job ona picture. It is true that I thought for a moment that he was going to be jealous of my work. And I loved him for that. I loved him when he was sometimes jealous of my leading men. But that is only a little thing. “The real point is that he glories in me for the things I’ve done. “The career has made our love bigger than it would. otherwise have been. “When I’m between pictures I’m bothered with a thousand petty details about the house, about clothes, about servants. I get lines be- tween mv eyebrows from worrying over those little things and I think, ‘Why, I can’t start a picture now. “How will ali of these little things get done if I’m not here to see that they do?’ “But when I start a picture they do get done and they get done well, too. And I shut them all out of my mind and plunge headlong into my work. “T KNOW that I’m a nicer person when I work than when I don’t. I always dread a new picture. I dread the worry of it, the anxiety, and I sometimes wish that I were a secretary who gets to the office in the morning at nine o’clock and leaves at five-thirty. Then I wouldn’t have those haunting fears, ‘Will I be good in this picture? Will my scenes get over? Will I not be an absolute flop?’ “Now, while I’m waiting for the baby, I’m studying French and Spanish. I wish I didn’t have to do it. I wish I could just rest and relax, but I must do these things. I can- not waste my precious time. “T have so many interests when I work Any woman who works does. She is kept alive and keen and ready for emergencies. “Of course, I love fame; what man or woman doesn’t? But more important than the fame and infinitely more beautiful, is the light of appreciation that I see in Irving’s eyes when I’ve done a good job. And that is why I say, ‘Take up a career for the sake of love.’ “The other day a friend of mine was talking of his little girl and wondering where to send her to college, which school would be best for her, and I suddenly wondered how would it be to have somebody plan your life for you. I sometimes miss a good education, but I’m glad I didn’t have it, if I had had to sacrifice the work I’ve done for it.” Norma has never looked so lovely before She has never been so radiant, so filled with the joy of living. And I feel very sure that if her own child is a girl she will be taught the glory of a good job well done. In the meantime, there is no chance of Norma’s retiring from the screen. At least not for many, many years to come. It’s all too glorious to have her love and her career each so definitely a part of the other! PuHoropLraAy MAGAZINE FoR AucustT, 1930 2 125 summer YET YOUR POWDER CLINGS, ROUGE STAYS ON AND YOU LOOK ALWAYS LOVELY Summer ... with old ocean beckoning down the white sands . . . limpid lakes mirroringforthjoy . . . slim young bodies flashing into caressing waters. Summer. . . calling you to a thousand activities . . . whispering of romance in night silence. . thrilling you with the joy of living every golden hour intensely. Ah, yes! But there must be no pale cheeks after the swim .. . no overflushed appearance of exertion ’neath the sun’s ardors...no shiny nose. You must re- main serenely, coolly beautiful under all conditions to fully enjoy summer. . . “Summer-Proof’” Make-Up. Princess Pat beauty aids, if used together, give a summer-proof make-up. You can actu- ally go in swimming and come out with color perfect — or dance through the evening secure in the knowledge that one application of make-up is sufficient for lasting beauty. For make-up that will last under trying conditions you first apply Princess Pat Ice Astringent — just as you would ordi- nary vanishing cream. Only, you see, Ice Astringent gives the skin lasting cool- ness, contracts the pores and makes the skin of fine, beautiful texture. After Ice Astringent, apply Princess Pat rouge for color which moisture will not affect. Then use Princess Pat almond base powder — the softest, most clinging powder ever made — and one which PRINCESS PAT CHICAGO, U.S.A, (IN CANADA, 93 CHURCH 8T., TORONTO) gives beautiful, pearly lustre. And of course Princess Pat’s wonderful new lip rouge! Now in the Brilliant Week End Set. This is really a sparkling, wonder-value ‘‘ac- quaintance” set — enough of each prep- aration for two weeks use — to last throughout your vacation. Also a per- fectly wonderful beauty book of summer make-up secrets and special summer care to keep the skin lovely. In the Week End Set you will receive generous tubes of Ice Astringent, Skin Cleanser (the modern cold cream), Skin Food Cream, almond base Powder, Rouge and Lip Rouge. The charge of 25c pays only for packaging the set in its beautiful box, and for postage. Consequently we desire to sell only one set to a customer. And we respectfully urge your promptness. Be Your Most Beautiful “Summer Self.’” All fragrant and beautiful — all charm- ing — all serenely perfect. That should be your “summer self.” The Week End Set will bring this loveliness unfailingly. The very popular Princess Pat Week End Set is offered for alimited time for ra18 CouroN and 25¢c (coin), Only one to a customer, Set contains easily a month's supply of almond base powderand FIVE other delightful Princess Pat preparations. Packed in a beautifully decorated boudoir box. Please act promptly. Get This Week End Set— Princess Pat, 2709 8, Wells St., Chicago. Dept. A-1068 Enclosed find 250 for which send me the Princces Pat Week End Set, Namo (print). ccosccsscessccssecssescssssssssssssas Street. .ccesceeseene a City and State When you write to advertisers plecse mention PHOTOPLAY MAGAZINE.

Page 126

126 LEILA HYAMS M-G-M STAR MILLIONS CALL IT apitceless sectet - and iti FREE/ Imagine a discovery that transforms dull, lifeless hair into lovely, radiant hair such as only a few lucky girls are born with! Yet so subtle is this new loveliness that it seems only to accent the natural sheen of your hair! Magic? Yes, the magic of just one Golden Glint shampooing! For Golden Glint is far more than a cleansing, film-removing sham- poo! It imparts just the least touch of a tint —ever so little—but how exquisitely it accents the nat- ural beauty of your hair! No other shampoo—anywhere like it! 25c at your dealers’, or send for free sample. FREE J. W. KOBI CO., 604 Rainier Ave., Dept.H Seattle, Wash. Please send a free sample. eee Name Address City Color of my hair: you can have the VOICE you want 100% Improvement Guaranteed Send today for free Voice Book telling about amaz- ing New SILENT Method of Voice Training. Increase your range, your tone qualities. Banish huskiness and hoarseness, Learn to sing with greater ease. 100 0/0 improvement guar- anteed—or money back. Write today for free booklet—one of the greatest booklets on voice training ever written. PERFECT VOICE INSTITUTE, Dept. C-125 1922 Sunnyside Ave., Chicago How to banish them A simple, safe home treat- ment—16 years’ success in my practice. Moles (also Big Growths) dry up and drop off. Write for free Booklet, WM. DAVIS, M. D., 124-D Grove Ave., Woodbridge, N. J. High School Course in 2 Years You can complete this simplified High School Course at home inaide of two years. Meets all requirements for entrance to college and the leading professions. This and thirty~ ather practical courses aro described in our Free Bulletin. Send for it TODAY AMERICAN SCHOOL Dept. HC-43, Drexel Ave. & 58thSt. ©AS 1923 CHICAGO Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed. PHOTOPLAY MacGAzINE For Aucust, 1930 Sez Mr. Graham! Winnipeg, Man., Can. I am a ‘“‘Garbo-Maniac,”’ first, last and al- ways. And how I would like to have Thomas A. Willington here right now! Of all the rot I ever read, his opinion of Garbo was the silliest. “Flat-chested, anaemic, goldfish out of water” indeed! Why, I’ve seen every picture of Garbo’s since ‘“‘The Torrent,” and she’s the most beautiful, fascinating, versatile, accom- plished and gorgeous woman who ever ap- peared on the silver screen! A great, big bouquet to William Powell for his enjoyable villains, his perfect detectives, and all his splendid, unforgetable acting in “Street of Chance.” B. GRAHAM. But That’s Life, Lady Geneva, N. Y. At last I have found someone who agrees with me. Irene Freeman, of Dallas, whose letter was printed in the May Puortoptay, is a lady after my own heart. “Anna Christie” was a terrible disappoint- ment—not Garbo, but the picture. It was like a slap in the face to hear that fascinating, en- chanting voice uttering the coarse expressions she was compelled to use. Please don’t ever let us see Greta in a saloon again. C. FEGLEY. Telling It to Connie! Fort Lauderdale, Fla. Didn’t the article in June PHoropLay by Constance Bennett on ‘‘How I Would Manage Six Famous Husbands” strike you as funny? With all that knowledge, surely she should have been able to make a success of managing the one she had. But such is human nature! Mary Mirron E tiorr. Uh Huh, You’re Right Santa Barbara, Calif. I have read every issue of your magazine for ten years. I have always enjoyed the articles written about the various stars, because they were chronicled in a newsy, sane manner, and not full of the over-sweet drivel that I note some of your readers seem to prefer. I refer to the recent protests that came to you because writers told the truth (and truth is usually more interesting than syrupy fiction) — that Greta Garbo does not dress fashionably, Clara Bow was getting too plump, Rudy Vallee did not “click” so loud in Hollywood, and John Gilbert’s outlook in the talking picture is not so rosy. None of those bits of news reflects on the character of these stars, and, personally, I don’t like to have our stars written up as such gods and goddesses. It is more human to know they are real people like you and me. Please don’t allow those protesting letters to “cramp your style,” and disintegrate into a periodical full of sweet little fairy stories. MurreL WHELAN. We're Boycotted! Belle Court, N. J. Your magazine shall not enter our club, and any of the twenty-five girls making up this club found with one in her possession is fined fifty cents (mere trifle, but I don’t want to be fined). So I “sneaked” ’round to a friend and read this month’s issue. It’s all because of Cal York’s insulting remarks about Vallee, that the girls refuse to buy Puororray. Of course that’s only twenty-five here, but ten of my girls belong to larger clubs in Pennsy]l- Brickbats and Bouquets [ CONTINUED FROM PAGE 16 ] vania and they are going to broadcast the b there. I looked over your articles and tol the girls you printed some “grand” ones abou Vallee this month—but no use, they’re o} you for life. Really itis laughable. And you star slammer, Cal York, will be minus a scal if he ever happens this way. How can an actor affect girls “that way” it’s positively silly to older folks like myself But I’ll have to admit I fell a little myse when Rudy carried off the honor of the year singing for Mrs. Hoover at her request. ADELE GORDON, Talkies That Speak For Peace Minneapolis, Minn. “Young Eagles,” although the photography was good and the story entertaining, did leave the impression that the Great War was a kind of community picnic, composed largely of young men with curly hair and engaging smiles, while ‘“Journey’s End’ made an honest attempt to show the war as it was, emphasizing not so-much its physical aspects as its slow, disintegrating mental torture. If the motion picture can force on the general public even a faint conception of. what war really means, without the drums and heroics, they will have done a great service to human- ity. Marcuetre CHvute. Los Angeles, Calif. “All Quiet on the Western Front” will receive its brickbats, for many will think it too real, too horrible. In saying that, although they may not realize it, they are condemning nol the picture, but what it represents—I] ar! stripped of its romance and glory. Henry Htnps. But Some Like “Em Light Riverside, R. I. “Men Without Women” made such an im- pression upon my mind that I cannot seem to forget it. It certainly is a splendid piece of work, both on the part of the director and the actors, especially Kenneth McKenna and Frank Albertson. Let us have more of these stirring dramas and less meaningless revues which do not give the players a chance to show what they really can do. Mary Louise Cross. What Price Laughter? Seneca Falls, N. Y. Don’t “cut the comedy.” Life is short and cruel enough without having tragedy fed to you for an evening’s entertainment. I would willingly pay twice any admission price to laugh my troubles away. Mrs. JAMEes F. McCartny. Less Bloodshed, More Romance Hillsboro, Ore. Please cut out the wholesale killings. After a hard day at the office I like a good laugh, a new idea for my wardrobe, or better yet, a palpitating romance. Mivprep McLeop. We Thank You, Johnny Your tribute to Mabel Normand was one of the nicest, kindliest stories we have ever read. I reach out and take your hand in apprecia- tion for putting into words that which I am certain thousands of your readers feel in their hearts, even though we never knew Mabel Normand except upon the screen. JoHnny GRUELLE.

Page 127

And Heaven Did! Freeport. L. I. The gayest, gladdest, happiest news I’ve heard in years is that Marie Dressler is to become a star in talkies. Goodness knows she’s been a star since I first laid eyes on her, when she was firing apples, plucked from her hat, at the musical director at Weber & Fields’ Music Hall. Bos Hatt. Will Starring Spoil °’Em? Flushing, L. I I hear they are going to make Marie Dressler a star. Oh Lordy, there’s another great character actress gone wrong! Why not let her just go along with the fine work she’s been doing? And this goes for George Ban- croft, too. Frances DENTON. PHOTOPLAY MAGAZINE Maybe They'll Laugh at the Law La Crescenta, Calif. I saw the hilarious comedy, ‘Caught Short,” recently but missed some of the best parts of the dialogue, because of the resounding laughs that filled the theater after a wise-crack from Marie Dressler or Polly Moran. we do something? Giapvys D. Myers. Laura La Plante, like many another film star, found that a vacation spent in New York City may be mentally stimulating but it isn’t exactly a rest. So she went to Battle Creek, Mich- igan, to recuperate from her vacation. Her visit to the Kellogg company at Battle Creek demoralized the entire working staff to the extent that pro- duction was a little below par that day. Laura finally went back to Hollywood for a real rest Can’t | When you write FOR AUGUST, 1930 127 disfiguring baie: arowihel effectively destroyed— not merely removed The undergrowth must also be removed in order to prevent a bristly regrowth After years of research this painless and safe product was created. Re- Applied as easily as cold cream, | ZIP gets at the cause, and in this way effectively destroys hair growths. So simple; so rapid; and so pleasant to use since special provision has been made in its preparation so as to avoid any semblance of pain or discomfort. Ideal for face, arms, legs, body and underarms, ZIP is Harmless Don't confuse ZIP with other pro- ducts. It is a delightfully fragrant balsam, easily spread on, and then gently removed, thus eliminating the cause of the growth. Really marvelous the way it works. There are many ways to remove hair merely from the surface, but ZIPis the way to destroy it. Simply ask for ZIP at your favorite Drué Store or Toilet Goods counter Gleclaws Toor the member, there is no other Epilator. ZIP leaves no trace of hair above the skin; no prickly stubble later on; no dark shadow under the skin. Only by removing the cause, can you be free of unsightly growths. Let ZIP prove this for you. Lasting Results It is a harmless, fragrant compound. There are no disagreeable fumes, no discoloring of porcelain and tile. ZIP acts immediately and brings lasting results. You will be delighted and you risk nothing, for ZIP is sold on a money-back guarantee basis. Treatment, or Dem- onstration without charge in Néw York only at Salon Specialise my 562 FIFTH AVENUE, NEW YORK Secret’ st without charge. Entrance on 46th Street Madame Berthé, Specialist 562 FIFTH AVE., NEW YORK By mail, in plain envelope, tell me | about Z/P and how to be entirely free | of hair, Also send ‘ sn] iI TS OFF because ITS OUT ‘Beauty's Greatest = Overcome Annoying Mra with ABSCENY Harmless, Colorless Deodorant, 50c to advertisers please mentlon PHOTOPLAY MAGAZINE,

Page 128

we Partrvins te nieniye “y Gat HP TSE TS Visiting New York. AT LITTLE EXPENSE ...live expensively Located in the ultra-smart, quiet neighborhood of upper Fifth Avenue, The Croydon is within 10 seconds’ walk of Central Park and 10 minutes’ ride of shopping, theatre and railroad centers. Luxurious, livable suites with unusual hotel service... but without the usual hotel tariff! Excel- Jent restaurant and commis- sary. Parlor, Bedroom and Bath from $10. Parlor, 2 Bed- rooms and 2 Baths from $18, Write or wire for reservations The Cropdon 12 East 86th Street New York Under the Direction of Wilbur T. Emerson yen RIGAUD PARFUM PARIS UN AIR EMBAUME That you may know, by personal trial, the ravishing appeal of this rare and piquant odeur, Henry Rigaud will send you a delightful purse size s flacon. The instant you re- move the stopper you will y understand the world-wide Vogue of this distinctively _. French creation and why you can expect itt fer upon you the very embodiment 3 sth and attractivencss Merely sond to cover cont of packing, mailing and omnes duty) and this ex- quisiteUn Air Embanme will co forward to you without further charge RIGAUD—Panis, Dept. 88, 79 Bedford Street, New York tiv WEEKS’ suppiy \ 1e Hair Root My method prevents hair from growing again; use it pri- vately in your own home. Booklet free. Write today, en- closing 3 red stamps. We teach beauty culture, 25 years in business. D. J. MAHLER 268-C Mahler Park, Kill Providence, Ri. PHOTOPLAY MaGAzINE For Aucust, 1930 A Chevalier of France [ CONTINUED FROM PAGE 74] English, Russian and French—he was destined to spend twenty-six long, disheartening months. The discipline was rigid. Despite his discharge from the hospital he felt weak and unsteady most of the time, and his phy- sical state aggravated the natural depression induced by the months of dreary prison rou- tine. But his captivity yielded him one price- less boon—the best piece of good fortune, he says, that ever came his way. That piece of good fortune was a British prisoner who hap- pened to be a school teacher. He and the French actor agreed to exchange lessons in their respective languages, but Chevalier maintains that it was a one-sided bargain. “That fellow, he could teach!” he declares admiringly. “Me—I told him the French word—this is a table—this is a chair—this is a music hall singer—but he could have found it as well in the book without me.” HOSE lessons, providing him with a regular task and giving his mind something to chew upon, did more than anything else to bolster his drooping spirits, and by the time he was released he could speak and write English correctly and easily—a knowledge that proved invaluable in his brilliant post-war career. Apart from his family, the one person from whom he heard regularly during those months was an English performer named Tom Hearn, whose Lazy Juggler act had placed him at the head of his profession, not only in England and on the continent, but in America as well. Their friendship had been born of a curious accident. For no good reason but simply because he liked the sound of it, Hearn’s brother had adopted the name of Chevalier for professional purposes, and Hearn was inter- ested to see that a man with the same name was booked to play at the Folies Bergéres while he was playing there. He made a point of looking the man up to tell him of the coincidence, and they soon found they had many things in common, among them a love of sport and a distaste for hard drinking. Hearn would go home with Maurice after the show, to share the suppers that his mother delighted in preparing for them, and before long the two had formed a fast friendship. During the war, Hearn joined the air service, and after eight weeks in France, was shot down in his plane. Lying flat on a hospital cot for six months, he still found the means of sending to the German prison camp letters of encouragement and packages of food and cigarettes. HE friendship, formed in lightheartedness and ‘strengthened by adversity, endured through all the years during which the French- man rose to fame and the Lazy Juggler gave up his juggling to become a producer. So that when Chevalier needed a manager for his American undertaking, it was to Tom Hearn he turned, the drawling, genial English- Irishman who now receives so kindly the ever- growing mob of promoters, song-writers, inter- viewers, unrecognized geniuses and ordinary pests camping on Chevalier’s trail, and turns them away so courteously that it takes them a minute or two to realize that they haven’t got what they came for. The war dragged on, the months stretched into years, and the gray monotony of prison life—unrelieved by a hint of what was going on outside—made each year a century. Chevalier suddenly resolved on a desperate scheme. There was to be an exchange be- tween France and Germany of imprisoned Red Cross workers, and he decided to pose as one of them. He was taking a long chance. He would have to falsify his papers in the first place, and then he would have to pass an examination in something that he knew nothing whatever about. If his trick was discovered, the life he had led hitherto would be paradise com- pared with what would follow. Nevertheless, he sent in his application. Nothing happened. For weeks he waited in dread, not knowing whether the next day would find him before a court martial or in solitary confinement, when suddenly there came the news that Red Cross applicants for repatriation would be examined the following morning. And on the list Chevalier’s name appeared. That night he didn’t sleep. In twenty-four hours he tried to stuff his head with as much as it would hold of wounds and dressings, of the position of the heart and the function of the liver, with the natural result that when he faced the German officer next morning his mind was so confused that if his life had depended on it, he couldn’t have told whether his lungs were for breathing and his stomach for digesting, or vice versa. He stood in line in the same fatalistic mood in which he had climbed out of the ditch, and steeled himself to meet what the Lord would send. The German examiner threw him a sharp glance. This face was familiar to him as the face of a man who sang for the prisoners at Sunday night concerts. He turned to the French doctor standing beside him, who knew exactly what Chevalier was trying to do. “QUT this one isn’t a Red Cross man!” said the German, while the actor’s dramatic tal- ents deserted him, and he turned red and white and red again, and wondered how long his trembling legs would hold him. The French doctor eyed him inscrutably. “Oh, yes,”’ he answered, ‘“‘he is a Red Cross man. He’s been in the prison hospital and I know him well.” The German slowly nodded his head, but what the nod was intended to convey it would have been impossible to guess. He examined his list of questions, selected one and opened his mouth to put it to the stony-faced applicant who was praying for the earth to open and swallow him up. What happened was hardly less amazing. Whether there was something in Chevalier’s expression that stirred his sym- pathy, whether the Sunday night performances had inspired in him that benevolent glow that it is Chevalier’s peculiar gift to inspire or whether he was acting on a moment’s impulse, is a matter for conjecture. The fact remains that, with his mouth open to ask the question, the officer suddenly changed his mind, cried: “Applicant passed! Next!” and waved his hand in a gesture that sent a shaky but happy young man back to his own country. Arrived in France, Chevalier was given three months’ leave in which to recuperate. There were two things he was bent on discover- ing—the truth about his physical condition and the possibility of continuing his profes- sional career. The French doctors could give him little satisfaction—to operate now would be a tick- lish business—“‘better let it sleep while it sleeps,” they advised him. His loss of appe- tite and vitality, his constant fatigue and his fits of dizziness might be due to the wound, or they might as readily be due to the long con- finement and the nervous strain he had undergone. Time alone would show. E accepted an engagement. Hardly had he opened his mouth to sing when he was overwhelmed by such a wave of giddiness that he had to stop. He made a fresh start, but couldn’t get any air into his lungs, and his voice sounded choked and smothered, as if it were struggling vainly to force its way beyond the barrier of his own throat. Shaking uncon- Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. ee

Page 129

PHOTOPLAY MAGAZINE FOR AuGuST, 1930 uickest Relief from sunburn pain trollably, somehow he got to the end of the song and walked off the stage and didn’t go back again. As far as the theater was concerned, it looked as though he were through. As far as the war was concerned, he undoubtedly was. When his leave was over and he reported for duty, he was awarded the Croix de Guerre and discharged from the army as unfit for military service. He traveled on the advice of one doctor, and rested on the advice of another. He tried mountain climates and he tried mineral baths, he forced himself to eat, though all food tasted like a dish of wooden shavings, but nothing a wise man who said to him: “Go back to the theater. Never mind if you’re rotten— never mind if they give you the razz. Make a fool of yourself once, twice, a dozen times if necessary—but the only way you’ll ever find out if you can get back is to go back—and the sooner you go, the sooner you'll find out.” He followed his friend’s advice literally. He went back to the theater and he was rotten. He went through his paces without enthusiasm and he was received without enthusiasm. But he stuck it out. Little by little, he improved. His voice began to grow stronger and surer, and with his voice came returning hope and returning confidence. OE day he noticed that something he ate had the taste of foodagain instead of sawdust, and it is that day that he marks as the turning point in his-illness. Still it took him two years to regain what he had lost, and it was his newly acquired command of English that helped him more than anything else to regain it. Paris was crowded just then with English and American soldiers and war workers, and Chevalier conceived the idea that it would be a friendly gesture as well as a stroke of good business to include in his repertoire songs they would understand. His war audiences were sympathetically disposed to begin with, for in the program appeared a straightforward little note to the effect that Mr. Chevalier had been a soldier, had been wounded and honorably | discharged, and that if he was playing while they were fighting, it was because he had done his job. And when he stood before them and, with | his endearing grin, his captivating accent, his radiant friendliness and sly humor, sang to those homesick boys that war classic: ““How’re | you goin’ to keep ’em down on the farm?” the ensuing riot was something to listen to. The word was passed along, and among the few indispensable forms of entertainment that marked the Parisian sojourns of Tommy and doughboy were the songs of Maurice Cheva- | lier. At first he played in revues with Mistin- guette—that perennially youthful lady whose illustrious legs still twinkle for the delight of Parisian theater goers. To her Chevalier feels he owes a debt of deep gratitude. Open-handed and open-hearted, with a man’s forthrightness and a man’s loyalty, she is affectionately known to the entire stage fraternity as the “best of good sports,” and to Chevalier she proved herself a staunch friend. WHILE he was making his laborious climb to favor before the war, she was riding the crest of the wave, and her recognition of his unusual talents and her choice of him as her dancing partner were in those days like a royal seal of ratification upon his career. When he returned, a very tired man, from captivity, she not only helped him with advice and encouragement but, as soon as he was ready, made a place for him in her revue lending him the support of her prestige until | he should feel steadier and surer of himself. It was only after Chevalier’s drawing power | grew too great for co-starring that this famous theatrical partnership was terminated. because Unguentine goes as deep as the burn helped. He returned to Paris where he met | -Unguentine goes as deep The success of his English songs turned his | thoughts, once the war was over, to America. When you write to advertisers please mention PHOTOPLAY nae Unguentine on your burning skin. Suave and soothing, it cools the fiery pain—quicker than anything else you could use. And it heals—gently, safely! Lotions and toilet creams only reach the outer surface of the skin. But Un- guentine penetrates right down to the inflamed tissue in the dermis, or inner layer of the skin. Here Unguentine eases the inflam- mation—takes out the sting. And being antiseptic—it guards against the danger- ous infection which any burn invites. Sunburn is no different from any other kind of burn. It’s just as dangerous. So be sure to use Unguentine, the famous remedy used in 8 out of 10 hospitals for burns and scalds. Unguentine will quickly change smarting red sunburn to a glorious tan. socents for the long-lasting tube. At your druggist’s. Use Unguentine for any kind of burn or scald, and for cuts, scratches, insect-bites, etc. Take it on your vaca- tion trips. { epidermis, or upper skin. where sunburn doesitsdamage and where Unguentine goes. {ier ts, or inner layer of skin, MAGAZINE,

Page 130

130 YOU CAN BE BEAUTIFUL! ¢ I do two things. I correct every defect. I develop hidden beauty. My startling results with more than 100,000 women prove that any one can be given beauty. No matter how hopeless, write me. My way of making women over completely is amazingly different. Thou- sands write me that results are almost beyond belief. Yet every Lucille Young beauty aid is scientific—known to act for all alike. That is why I can guarantee your absolute satisfaction. Not a penny to pay unless I give results you say are Use oat RED OF ; AMAZINGLY QUICK ta ee P ied ae No long waiting. In a few days clear ‘Gearan Pores your skin. End pimples, freckles, Wrinkles blackheads, whiteheads, muddy skin, Muddy Skin oily skin, dry skin, liverspots, rough- Salle ness, redness, sallow appearance, Banish wrinkles, Reduce fat legs, a ankles, your whole body. Or buil Fat re ; IMPROVE laatoeee Barth oe Beastly com ba sor al Dletely. i FREE TRIAL You can try all of my besuty aids—or just the ones you need most—absolutely i t risking a penny. I want you to make me prove that I can take any degree of homeliness and impart beauty instead. .. or take some prettiness andimpart stunning good looks. I willsend you everything to try amy beauty aids full two weeks. There are no conditions, strings, excuses. You are the sola judge. If not delighted, you just say so—and your word is final. And I Teach You Fascination Your physical beauty is not all. I give you, too} the innermost secrets of fascination. I disclose this priceless art in my sensational book “How to Fascinate Men.” In an hour you will learn marvelous things you could not discover your- self in a lifetime. You willlearn how the world’s sirens make men their helpless slaves, learn to win love, to control men, to pick and choose at will. These secrets are free to every woman with her free trial of my beauty aids. Remember, you have everything to gain—absolutely nothing to lose. So TODAY— Send Coupon For Free Trial Offer a cc ee ee ee ee ee ee ew live LLE YOUNG, 568 Lucille Young Bldg., Chicago, Tl | Abeolutely without obligation on my part, send your | wonderful FREE OFFER and _ Booklet. This coupon | only tells you I am interested. It does not commit me | l in any way. WITHOUT BURNING Don’t fear the sun this summer. Revel in it. Swim, motor, golf, ride—expose yourself as much as you please. acquiring a healthy, becoming tan without the penalty of ugly, painful sunburn or freckles. Simply apply Rose Laird’s Special Lotion before exposure and your skin won’t burn or freckle. Or apply it after- ward and the sting and disfiguring redness vanish as if by magic. This soothing loon, heretofore available only to the exclusive patrons of Rose Laird’s Fifth Avenue salon, is a quick drying liquid that leaves a protective powder—no dusting powder necessary. No greasc oroi to mar yourappearanceorharm yourclothes. Send dollar bill for a full 4-ounce bottle and Rose Laird’s book on care of the skin. Specify shade—white flesh, Rachel, brunette, peach and Beach Tan Rose Larxer 785 Fifth Avenue, New York Comfort For Shoppers! Out of one shop and into another—alsles, counters, elevators, crowds and packages—shopping can be a tor- cure if you're troubled with « corn, No need any longer to suffer; any druggist has thie sure, old remedy in convenient, modern 3c packages. es KOHLER “Removes - not only relieves pain” An American triumph is to a European per- former the crown of his career. It surrounds him with the kind of glamour he can acquire in no other way, by stamping him as an entertainer of international quality. But to fail in America is, by the same reckoning, a calamity. However popular you may be in your own country, the stigma can never quite be lived down. O, though he dreamed of trying for the prize, Chevalier was frankly afraid to take the chance—especially after playing a London engagement with Elsie Janis in 1919. Not that the Londoners didn’t respond to him— they did. But he didn’t respond to them. He didn’t, to use a graphic expression of his own, “feel in his shoes.” For once his work was really work instead of fun and he wasn’t happy doing it. Suppose, with much more at stake, he should feel the same way in America! He turned down the numerous offers made him to stay in England, and when he went back to Paris, it was with the idea of giving up his more ambitious plans and contenting himself with the plaudits of his countrymen. He still made occasional tours of the prov- inces, and there is a story of one of these tours that he likes to tell on himself. His brother— the one who had formed the other half of the acrobatic partnership of CHEVALIER BROS. —was ambitious to follow in Maurice’s foot- steps, and though his brief career trailed no clouds of glory, he did manage to get some en- gagements, largely—one may be excused for suspecting—on the strength of the relationship. It happened that the brothers were once playing the same town, and it also happened that Maurice was lying one morning in a barber’s chair, lathered beyond recognition, while two citizens, awaiting their turn, dis- cussed the affairs of the day. Having exhausted the weightier topics, one inquired of the other: “Have you seen this fellow Chevalier that they’re all raving about?” “Yes,” answered his neighbor, “I’ve seen him. And what’s more, I’ve seen his brother— the one that’s playing in the little theater at the end of town—and it’s my opinion that they’re all crazy. The other’s worth a dozen of this one—sings better, acts better, dances bet- ter. This Maurice has a reputation and that’s all he’s got! Mark my words, friend””—and he wagged an emphatic finger under his com- panion’s nose—“that bird won’t last a year.” HERE was nothing left for that bird to do but gather up the shreds of his self-esteem and sidle out of the shop to avoid the severe gaze of his brother’s admirer. Among the applicants for the 1923 Chevalier revue was a shy little dancer, with magnificent dark eyes, named Yvonne Vallée. She had begun dancing at the age of eight, not with the idea of making it her profession, but because she had been a frail child and the doctor had told her mother it would do her good. But her talent had been so apparent that she had been encouraged to study for the stage—with happy results. Not only was she engaged for Che- valier’s show, but her dancing pleased him so well that he chose her as his partner for an important number. The choice proved a popular one—she was so tiny beside his height and so demure that she gave the effect of a small charming bird fluttering about him—and she danced like a fairy and she had a sense of comedy that sup- plemented his own. The following season she became his official dancing partner, and the comradeship between them developed into something warmer. They might have married long before they were, except that they had a feeling against combin- ing the personal with the professional, and Yvonne wasn’t ready to give up her work. For two more seasons they danced and played to- gether, and then Chevalier’s dancing partner disappeared to make way for Chevalier’s wife. Her charm, quieter than his, is equally un- mistakable. She combines a woman’s gra- ciousness with a child’s appeal, and her fine PHOTOPLAY MAGAZINE FOR AucusT, 1930 eyes look out on the world with a cnild’s friendliness, eager and reserved at the same time. Beneath the gravity of her expression, as she talks to a stranger, lurks a hint of that spar- kling vitality that is characteristically French, and every now and then one corner of her mouth quirks upward in an enchanting smile. She apologizes for her English and promises earnestly that she will soon improve. She thinks America is a wonderland and gasps in dismay at the thought of what she would have missed if she hadn’t come here. She would like to dance on the stage again if a favorable opportunity offered—since, she hastens to add, Maurice has no objection—but that’s a matter that will have to take care of itself. Her husband’s career interests her far more than her own, and she is his unofficial but respected adviser in all things that concern him. Except for the demands of his work, all their time is spent together and it is only neces- sary to see them, unobtrusively but serenely happy in each other’s company, to understand why their marriage has been called one of the most successful in the theatrical world. WHEN Mary Pickford and Douglas Fair- banks made theirfirst trip to Paris together, they went to see Chevalier’s show, and were so impressed that they made it their business to meet the star and urge upon him the advis- ability of a visit to the United States. They took to each other at once, and became, as Chevalier says, such “‘big friends” that when he and his wife took their first trip to Holly- wood, their natural stopping place was Pick- fair. On their return from France, Fairbanks told Charles Dillingham, the producer, what he thought of Chevalier, with the result that Dillingham sent an agent to Paris to sign him up, sight unseen. Chevalier, still timid, but encouraged by his friends’ enthusiasm, signed a contract to appear in New York the following fall in Dédé—his current revue that had then been running in Paris for two years. That summer he went to New York for a three weeks’ visit. He attended American revues, listened to American songs, watched American singers, and each day his heart sank lower. Each day he grew more and more firmly convinced that Paris couldn’t compete with New York, and that Maurice Chevalier wasn’t good enough to cut any real figure among the outstanding Broadway favorites. He thought their songs were catchier, he knew their voices were better, he even, by some strange reasoning, came to the conclusion that their humor was funnier than his. Having signed a contract, he’d have to go through with it, but he could already taste on his tongue the bitterness of defeat. Returning to Paris to wind up his season there, he was stricken with appendicitis and in- testinal trouble, and the run of Dédé had to be brought to an abrupt close. He came success- fully through his operation, but whatever fighting spirit he had managed to hang on to up to then was left behind in the hospital. He makes no bones about it—he was plainly and simply frightened—far too frightened to face even the thought of a New York appearance and the possible disaster in which it might end. He asked Mr. Dillingham to release him, and he has never forgotten the prompt generosity of Mr. Dillingham’s response. “If you won’t be happy,” he cabled, “don’t come.” i fed April of this year Chevalier played a phenomenally successful New York engage- ment under Dillingham’s management in partial fulfilment of that old contract, and he has made the statement that Dillingham will always have the first call on his services for any future appearances, not only because he was the first producer to invite him to this country, but because he is the kind of gentleman with whom business relations are a pleasure. The following year Mary Pickford asked him to play the male lead in one of her pictures—an invitation he was obliged regretfully to decline Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed.

Page 131

because of his French contracts. He was now emerging as France’s bright particular star, and mounting steadily to a pinnacle occupied by no one before him. It isn’t enough to say that he was the pop- ular favorite—the people loved him, highbrow and lowbrow alike. He had his own show, and so long as he was in it, it didn’t much matter what was left out. He had his own theater, the Casino de Paris—or at least people called it his, because to them its only reason for existence was Maurice Chevalier—and it became the Mecca for natives and foreigners in search of the most piquant and ingratiating dish the French stage had to offer. He was doing the thing he had been born to do, and in creating pleasure for others, he was creating the maxi- mum amount for himself. “Tf by some impossible chance,” said one of his friends, “it should happen that Maurice couldn’t make money doing his stuff, he'd probably pay everything he has to be allowed to do it. Else life wouldn’t be worth living.” And so things might have continued indefi- nitely if the talkies hadn’t come to change the whole face of the motion picture industry, and sent its leaders scurrying through Europe in search of new material for the new art. That was how it happened that after the perform- ance one night a callboy knocked at Chevalier’s dressing-room door to announce Mr. and Mrs. Irving Thalberg of Hollywood! (In Part III, to appear in the Sep- tember issue of PHOTOPLAY, Miss Zeitlin tells of Chevalier’s conquest of the new world, and his swift climb to the height he now occupies in the interest and affection of America.) How About Mary and Doug? [ CONTINUED FROM PAGE 43 | of “It has been wonderful, it has been beauti- ful, it has been rich in happiness—but there is still so much to do, and so little time to do it in!” And you may ask your psychologist about that, too! Ten years of close companionship—blessed with wealth, friends, adulation and eternal sun- shine. Is that enough, lovely as it is? Or is there so much more to do, and so little of vigorous time left to doit in? I tell you, we do not know what battles of the spirit may have been fought out at Pickfair! Or have other personalities come into the picture that is still unfinished? Time only will tell us that. Ten happy and fairly fruitful years have passed for Doug and Mary. It was just ten years ago that the couple came out from under the passing cloud of their marriage into the sunshine of full public favor again. Mary’s millions of fans had been more than a little shocked by her Nevada divorce from Owen Moore, and opinion had rather veered to the first Mrs. Fairbanks. But ten years ago, this very month, in the pages of PHOTOPLAY, appeared a story saying that fans everywhere had decided to smile on the happy couple—to wish them joy, and a warm welcome back to pictures and their ad- mirers’ hearts. Ten years have passed, and again there seem to be clouds in the Pickford-Fairbanks sky. And yet, surely they have their reward. Still holding a place in the hearts of the people— those millions who have paid nightly to see them on the screen, and to whom they have brought so much of romance and beauty and laughter. Their every word reported and quoted—their welfare still wished by so many unknown friends. Whatever happens, it seems to me that Doug and Mary have won! PuHoTopLay MaGazINE FoR Aucust, 1930 “mei offers 1000" Pseauroo | f peor FOR BEST RESULTS You will be delighted to see how easily and beav- tifully youcanshampooand finger-wave your own hair with these famous prepara- tions. Jo-cur Shampoo Concen- trate—lathers luxuriously, brings out the hidden gold in your hair, and leaves it soft, silky and easy to finger-wave. It should be your first thought in’ hair dressing. Jo-cur Waveset — sets natural - looking waves quickly and is beneficial to hair and scalp. Its use is simplicity itself. Millions of women recognize Jo-cur Woveset as the one ideal finger-waving liquid. OTHER JO-CUR BEAUTY AIDS Jo-cur Hot Oil Treatment corrects scalp disorders. Jo-cur Brilliantine —adds the finishing touch to the coiffure. Simple directions for shampooing and finger- waving the hair come with each of the Jo-cur Beauty Aids. If you wish to use Jo-cur Shampoo Concen- trate and Jo-cur Waveset in this contest, you will find trial sizes at most 5-and-10 cent stores—regulcr sizes at your drug store. AY ) For Beautiful Hair! FIRST PRIZE $250.00 and a portrait of the winner by Charles B. Ross, famous painter of beautiful women SECOND PRIZE $100.00 2 Prizes $50.00 each 10 Prizes $10.00 each 4 Prizes 25.00 each 70 Prizes 5.00 each A you proud of your lovely hair—ils beautiful finger- wave—its becoming arrangement? Of course you are! And the beauty of your hair may mean real money to you in the Jo-cur Hair Beauty Contest. Think of it! You may win the money for a whole new outfit—a trip—or some other luxury you have always wanted. One thousond dollars in prizes will be given in this search for beautiful hair. Will you be one of the fortunate winners? Why not? Your chance is as good as anyone's. Read the simple rules that follow—then enter the contest. CONDITIONS OF THE CONTEST Ali you need do to enter is shampoo and finger-wave your hair attractively. Then send a photograph showing your hair, to Miss Jo-cur, Curran Laboratories, Inc., New York City. With the photograph, send a brief note telling whether you used Jo-cur Shampoo and Jo-cur Waveset, the original finger-waving liquid, in dressing your hair. That's all there is to it. Judges will consider only the beauty of your hair as shown in the photograph. In award- ing prizes, equal consideration will be given all contestants regardless of the preparations used in dressing the hair. But, don't think you must submit an expensive photograph. A good, clear snapshot is all that is necessary. Photographs cannot be returned and the right is reserved to publish any photograph submitted. The contest closes September 30th. HERE ARE THE JUDGES These experts in feminine hair beauty will pick the lucky winners in this contest. Their names guarantee that the judgment will be fair andimpartial. Alice White, First National Star, whose beautiful, wavy hair is the envy of millions. > = Hazel Kozlay, Editor of American Hair- dresser Magazine,an authority on beautiful hair. Charles B. Ross, = famous painter f of lovely women. If your nearest 5-and-l0 or drug store is out of Jo-cur Beauty Aids, we will mail you trial sizes of all four products upon receipt of 50cin stamps. Remember the contest closes at midnight September 30, 1930. Be among the first to enter your photograph in this nation-wide search for beautiful hair. CURRAN LABORATORIES, Inc. 483 East 133rd Street, New York, N.Y. When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Page 132

132 This Part Of Skin With Large Pores Full of Black- heads, Pimples, Freckles and Other Blemishes Peeled Right Off. Left Skin Clear and Beautiful READ ste. FREE OFFER oSNs Now you can have a new skin if you wish it, on any part of face, neck, arms, hands or body, and a beautiful, clear, youth-like com- plexion, if you simply do as this expert instructs you to do, at home. Surprise your friends who called you “pimples,” “freckles,” and other ugly names behind your back. Make them envy you. This new discovery actually peels them off harmlessly, and they’re gone, not covered up as with paint and powder. It’s the most amazing, yet simple, way of removing skin blemishes and making yourself look years younger you ever read of, and all explained in a new treatise called “BEAUTIFUL NEW SKIN IN 3 DAYS” which is being mailed to readers of this magazine ABSOLUTELY FREE. Send no money, just name and address and you will receive it by re- turn mail, in plain wrapper. If pleased, simply tell your friends who may wish a clear, new, spotless skin and youth-like complexion. Ad- dress the author, William Witol, Dept. P-31, No. 1700 Broadway, New York, N. Y. Don't delay; write now. "An Address of Dis! ti Greater Value i. ies Licnt, airy and spacious rooms, luxuriously appointed ... tempting foods. Over- looking the quiet shores of Lake Michigan ... quickly accessible to vacation pleasures and business ac- tivities. Value-for-your- money in every detail of service. Rates begin at $5 a day. Permanent Suites at Special Discounts. THE yy, DRAKE J HOTEL, CHICAGO Of Under Blackstone Management LEARN pracrican NURSING AT HOME IN 12 WEEKS Marvelous calling. Earn $20 to $30 weekly caring for Invalid in your vicinity WHILE LEARNING. We help secure positions. Write me today. MISS C. TULL, 6208 Winthrop, CHICAGO, ILL, Nae) SS PHOTOPLAY MAGAZINE For AucustT, 1930 Questions and Answers [ CONTINUED FROM PAGE 94 | R. A. N., Co~tp Sprinc, Mrxxn.—Ten bucks is a lot of money for a young lady to gamble with, and what a heartbreak when you have to kiss it goodbye. Al Jolson was born in Kovno, Russia, a small town near St. Petersburg. He spent his boyhood in Washington, D. C. Al is not of the dark race. That’s just a black make- up he uses. In his next picture, “Big Boy,” he will be a dusky hero all through the picture. W. T. Jones, Jx—Here’s hoping I make 100 per cent on the exam. Mae Murray ap- peared in the leading role in both the silent and talkie versions of ‘Peacock Alley.”’ The lead- ing players in “‘The Golden Bed” were Lillian Rich, Rod LaRocque, Vera Reynolds and Theodore Kosloff. ‘*The Crowded Hour” was the name of the war picture Bebe Daniels appeared in several years ago. The “punch in the jaw” you described was a Richard Dix picture titled ‘The Sock Punch.”’ Anita Page and Laura La Plante both have hair of the “preferred” shade, while Loretta Young’s is of a light brown hue. KATHERINE Farrpanks, Frttmore, CAtir. —Just to show you what a good scout I am, I got the low-down on Perry Askam for you. To begin with, Perry was born in Seattle, Wash., August 31. (Ill get the year later.) He is 6 feet, 2 inches tall; weighs 185 pounds and has brown hair and hazel eyes. In college he was a gridiron star and attained distinction in tennis and swimming as well as taking part in the campus theater. After trying various occupa- tions, among them ranching and prospecting for gold in Alaska, he turned his attention to singing and before long was trying out for a musical show. His first réle was in ‘“* The Pass- ing Show of 1921,” which was followed by “Blossom Time,” “ Castles in the Air,” “Music Box Revue,” and as star in ** The Desert Song” and “The New Moon.” He will make his movie début in ‘Sweet Kitty Bellairs.” Preccy McDermort, VANCOUVER, CANADA. —As a newcomer I hand you the * Key to the City.” Charles Bickford is a native of Cam- bridge, Mass., and speaks with a typical Boston accent. Gavin Gordon is Greta Garbo’s leading man in “Romance.” In other words the four ‘‘G’s” will be featured. Get it? Leila Hyams was born in New York City, May 1, 1905. She is 5 feet, 5; weighs 118 and has blonde hair and gray eyes. Phil. J. Berg is her husband. Ramon Novarro, christened Ramon Samaniegos, first saw light February 6, 1899, in Durango, Mexico. He is 5 feet, 10; weighs 160 and has dark brown hair and brown eyes. He is still a bachelor. E. M. Price, Freeport, N. Y.—Roland Young is a native of London, England, and is married. His latest release is “Her Private Life.” Jackie Coogan is coming back to the talking screen in ‘Tom Sawyer.’’ Dorothy Mackaill heroined in “Shore Leave.” A. R. C., Orrawa, CAnapa.—Anita Louise was born in New York City about 15 years ago and was christened Anita Louise Fremault. She has blonde hair and blue eyes. Both her parents were born in Alsace-Lorraine. Her grandparents on her mother’s side are still living there. Anita is a gifted pianist and has been awarded five cups for her playing. She is adept at tennis, fencing and riding and speaks several languages, including French, German and Spanish. Tiffany Productions has just signed this talented young lady to a five-year contract. Her first picture under their banner will be “Just Like Heaven.” Mrs. James Scuurtz, Lita, O.— After hold- ing a consultation with my color chart, I find that Tony, Tom Mix’s horse, is sorrell. Whether you believe it or not, Tony is over 20 years old. Dimetes, ALBION, NEB.—It was the hand- some “Bool” Montana who sang ‘‘ You Were Meant for Me,” with Winnie Lightner in the “Show of Shows.” The other little fellow you refer to was Sid Silvers. Lon Chaney, whose original tag is Alonzo Chaney, is married and has one son. H. B. Warner is 53 years old and is not related to the Warners of Warner Bros. Corporation. Epita, G. A.—For a long time, Bob Mont- gomery just wouldn’t come across with the truth. Now he tells us that he has been married to Elizabeth Allen for two years. William Janney played the part of George O’Brien’s younger brother in “Salute.” Mary Pickford was born April 8, 1893. An INTERESTED PHOTOPLAY READER, Pacrerc, Mo.—Mona Maris, your latest favor- ite, is 5 feet, 5 inches tall; weighs 118 and has black hair and brown eyes. Cliff Edwards is the name of the little chap you keep raving about. Ramon Novarro is a native of Durango, Mexico, where he was born February 6, 1899, He is 5 feet, 10; weighs 160 and is still single. Thanx for including a bouquet for me. I’m flattered. LEONARD BANGE, BALTIMORE, Mp.—Cheer up, Len, Mary Brian will be working herself into a starring contract one of these days. Mary began life as Louise Dantzler, 22 years ago in Corsicana, Texas. She is 5 feet, 2 inches tall; weighs 109 and has brown hair and blue eyes. BarsBara C.—Among the female stars reach- ing the altitude of 5 feet, 7 inches, we have: Alice Joyce, Gwen Lee, Anna Q. Nilsson, Alma Rubens and Lilyan Tashman. Gary Cooper is 29 years old and celebrates the event every May 7th. ; A. M. G., LAuret Sprincs, N. J.—As far back as 1911, Ruth Roland was appearing on the silent screen in serials. After deserting the films for a time, she came back and made her talking début in “Reno.” John Mack Brown is married and has one small daughter. Corbin, Kentucky, was the birthplace of Arthur Lake, about 25 years ago. Jack Oakie’s next offering will be ‘““The Sap from Syracuse,” but why pick on Syracuse? Rutu LEFFINGWELL, CLAREMONT, CALIF.— In “The Man from Blankley’s” Loretta Young rendered a piano selection called “Just an Hour of Love.” Jean L. Vanrer, VAtors, CANADA.—I am busy, Jean, but never too busy to write to all my friends. Huntley Gordon is a countryman of yours. He was born in Montreal. You will see him in “The Fox Movietone Follies of 1930.” Wallace Reid died just seven years ago last January, the 18th to be exact. C. S., New York Citry.—J will try to make amends by telling you all I know about Ruth Chatterton. To begin with, Ruth was born in New York, December 24, 1893. She is 5 feet, 414 inches tall; weighs 112 and has brown hair and grey eyes. She is the daughter of Walter and Lillian Chatterton and is married to Ralph Forbes. Ruth made her first stage appearance in Washington, D. C., in 1909. She is very fond of music, riding, swimming and all out- door sports. John Loder is one of London’s gifts to the talking screen. He was born March 1, 1898, is 6 feet, 3 inches tall; weighs Every advertisement In PILIOTOPLAY MAGAZINE Is guaranteed.

Page 133

PuHOTOPLAY MAGAZINE FoR Aucust, 1930 168 and has brown hair and hazel eyes. ~ Poropay ran three articles on Ruth Chatter- ton. They appeared in May, 1929, February and July, 1930. An article on Clive Brook ap- peared in March, 1928. You can get back issues by writing to Photoplay Magazine, 919 No. Michigan Avenue, Chicago, enclosing 25c for each copy. “Hol’wood She Cookoo” [ CONTINUED FROM PAGE 34 government, which controls the Kenya colony, assigned one P. H. Rifkin, British agent at Nairobi, toaccompany them. Rifkin has been acting as their interpreter, business agent, ad- viser and guardian. The first trouble that entered the lives of the two blacks was the matter of clothing. “Too much. Feel much ashamed,” they complained when they had to don enough clothes to satisfy their fellow-travellers’ sense of the proprieties. They landed in New York. It was snowing. “White things fall on us. New York too much devils,” they complained. They were convinced that New York is a good place to get away from. Those high buildings, they were certain, would fall down on them any minute. They breathed great sighs of relief when they started West. Trains were not new to them. They'd seen them and ridden in them in Africa. ND then Hollywood! Everything they had learned, they had to unlearn. “We go in house and we are outside again,” they complained. They meant the movie sets. Now, even when they go downtown in Los Angeles, they occasionally stop and punch a wall or stamp on a floor to see whether they’re in a house or not. It was on one of their first days at the M-G-M lot that Mutia pulled the crack which set all Hollywood agiggle. He and Riano were shown a Greta Garbo picture. When it was over Mutia was asked what he thought of the great Garbo. “Uh,” grunted Mutia, “stomach too thin.” At least, that’s how Rifkin translated it liter- ally. ‘Husband does not feed her enough,” elaborated Mutia, five minutes later. They talk that way. Long pauses between observa- tions. “What do you think of Hollywood’s women?” Mutia was asked, months later. “Make too much boss over man,” he de- cided. “Have on too many clothes. Stomach too thin.” The Swahili vocabulary is very limited. There are only about two hundred words in it. That’s why Mutia and Riano are so blunt. They haven’t the wealth of words wherewith we English-speakers commit euphemisms and disguise our thoughts. -G-M wanted the two to be happy. They were sent to the wardrobe room to choose their own clothes. Everybody expected them to choose some- thing like Jack Gilbert would wear. Instead, they returned wearing heavy shoes, no hosiery, shorts instead of trousers, flannel shirts and turbans. “Why didn’t you choose clothes like the stars wear?” Rifkin asked them in Swahili and sign-talk. “Too hot. Too much. Cannot move arms. Make feel ashamed to wear so much clothes,” they criticized. Rifkin has been taking Mutia and Riano out to show them Hollywood. At the Brown Derby café, they punched the wall because they thoughtit was a movie set. They thought Grauman’s Chinese Theater was the finest building they had ever seen because it had so many colors and things. Inside, they heard Lawrence Tibbett in ‘“‘ The Rogue Song.” Now Tibbett is, in their minds, Hollywood’s most wonderful actor. “He makes fine b'g noise,” they explained. “He opens mouth and waves arms and makes good sound.” When they first heard talkies, they didn’t believe it. os AN in back making sound with cananda,” they insisted. ‘*Cananda” is the native term for gramophone. Then they took Mutia into the projection room and showed him some rushes in which one of his wives appeared. She wiggled a native dance, and then opened her mouth and talked. Mutia’s hands flew to his mouth. He clap- ped his palm over his lips and grunted—‘‘ Uh! Uh! Uh!” Then he went to the cabin he lives in and moped the rest of the day. Homesick, he confessed. Mutia and Riano, both, have long since ceased to be impressed with any of moviedom’s wonders. Surprise ceased after the first few days. They saw too much for their limited mentalities to grasp. Now they’ll believe any- thing. But when they go back to Africa, they won’t dare to tell anything of what they’ve seen. “Our friends will not believe us. They will think we are kufanu. They will think white men’s devils have stolen our minds.’’ And so they will not tell their tribespeople of what they have seen. The biggest laugh they got was over Leo, the famous M-G-M lion. “Fur no good. Belly too fat. Too old. No good teeth. In Africa, he would die of hunger,” was how they dismissed old Leo. Mutia and Riano are lonely. They don’t mingle with the Los Angeles negro colony. Not even with the negro extras who are work- ing in “Trader Horn” with them. Mutia and Riano call them “shenzi.” That’s Swahili again, and Rifkin refused to translate it. IANO, however, makes an occasional con- cession. He has struck up a passing ac quaintance with one of the colored bootblacks at the studio. Sometimes he sits there for two hours at astretch, letting the boy shine his shoes. The boy gets paid for it, plenty. In return, he takes Riano downtown to Central Avenue once in a while, and introduces him to some of the girls. Of course, they’d rather meet Stepin Fetchit, but Stepin is temperamental and im- portant, and anyway, Riano 7s a movie star in a way, even if he can’t talk much English. But Rifkin sees to it that Riano gets no gin. Riano likes it, but Rifkin isn’t taking any chances. One day, back in the compound in Africa, Riano got a load of gin. He decided that he wanted the compound to himself. So he cleaned it out. The casualties were terrific. Rifkin can’t make Riano understand that similar tactics aren’t allowed in Los Angeles, so he just keeps Riano and gin apart. But even with these occasional expeditions, Riano is lonely. Mutia is even more so, be- cause he doesn’t play. He just stays in the shack they occupy on the lot, sewing. Some- times, when they get very homesick, they wander around the African set on the M-G-M lot and try to imagine the tame alligators are real crocodiles. Or they visit the monkey farm down the road a way from the studio. They’d rather watch the monkeys than Chaney or Gilbert or Garbo or Crawford. And they wish Director Van Dyke would hurry up and finish ‘Trader Horn.” Because Hollywood makes them feel natchaka. And “natchaka” means tired. +33 Whar hind shall \ take 2? “T’ve just read the most astonishing booklet ... about baths! Imagine a book about baths being so interesting, and so helpful! “But when I think of all the sleepy, ‘no- account’ mornings I have had; the evenings spoiled by being inexcusably tired; and the nights I've been too excited or nervous to sleep! And then to learn (among lots of other things) that the right kind of baths probably would have saved many of those precious hours or walt A can’t tell you how sorry I am this little book wasn’t published a long time ago. “You'll feel the same way about it, I am sure, when you get your free copy of ‘The Book About Baths’.” Sousethe coupon. CLEANLINESS INSTITUTE Established to promote public welfare by teaching the value of cleanliness CLEANLINESS INSTITUTE, Dept. P-3 45 East 17th Street, New York, N. Y. Please send me free "The Book About Baths.” It sounds interesting. Important: Perhaps you also would be interested in “A Cleaner House by 12 O'Clock”, or "The Thirty Day Loveliness Test”. These, too, are free...a part of the wide service of Cleanli- ness Institute. When you write to advertisers please mentlon PHOTOPLAY MAGAZINE.

Page 134

PHOTOPLAY MAGAZINE FOR AucustT, 1930 Fe ek] e S Ten Years Ago Stillman’: ZO Cream bleaches them out arels you sleep. Leaves the skin soft and white—the complexion fresh, clear and natural. For 37 years thousands of users have endorsed it. So easy to use. The first jar proves its magic worth, If you use Bleach Cream you need no other product than Stillman’s Freckle Cream. The most wonderful Bleach ely can produce, At all drug stores. - $tillman’s 50% Freckle Cream REMOVES 4, WHITENS FRECKLES THE SKIN STILLMAN COMPANY, Aurora, IIl., U.S. A. | 32 Beauty Dept. Send free booklet—Tells why you have freckles—how to remove them. FULL OZ. JAR Name Address City "The TRUTH about VOICE Obligati: Sent FREE—%? 2tication State that may save lars to overs? man or woman rich voles for seeking either si r epeaki ELATIC figiyg or sogaing "A for 30 moan FREE pending. chen ‘df you keep it, send only ither= nile just return it— ota 7 or . FEUCHTIN 1 110 Wilson respent casacHcans Have Shapely Limbs . .36.75 | thousands. seven—reports or Slender Ankles.... 5.00 per pair | age swelling or varicose veins and reduce your limbs with Dr. WALTER'S famous medi- cated (flesh colored) gum rubber hose, Wornnext totheskintheyfitlikeaglove and you can see the improvement at once. For over 25 years they have helped thousands of people, andare worn all over the world. Sendankleand calf measure. Pay by check or money order— (no cash)—or pay postman. Dr. JEANNE P.H.WALTER 389 Fifth Ave., New York Near 36th St., Suite 605 CAN _BE AVOIDED — Millions use Lucky Tiger for falling hair—a ~~ proven germicide. A single ap- plication stops that miserable itching. World's largest seller at 6, Barbers and Druggists. <a LUCKY TIGER Every advertise love story had just come to the screen, and we reviewed it in PHoTopLay. It was called “‘ Romance’”’—the love story of a young clergyman and a great opera star. As a play, it had caught the fancy of countless It had run something like three years in London, after a great “New York triumph. “Romance” furnished another proof that audiences could never get enough of true love through many years. The screen version starred the lady who created the part of the opera singer and played it in the theater for years—Doris Keane. Her leading man was Basil Sidney, then her hus- band, and now married to the beautiful Mary Ellis. The late Norman Trevor also appeared in it. This might not be worth going into at such length if we were not, in 1930, intensely inter- ested in a new ‘“‘Romance,”’ one fusing the arts of the theater and the silent screen. This time the star réle will be played by a Swedish girl named Greta Garbo. Tivve’ years ago a rich and heart-tugging LORIA SWANSON breaks into the news this midsummer of 1920. As if she always weren’t worth some paragraphs! But right now she is off the screen, as Mrs. Herbert K. Somborn. Paramount claims to have her under contractual lock and key until 1923. Husband Somborn replies that the document expires late in 1920. So the dispute Tages. Gloria says nothing. But with the reticence | of the quaint, old-fashioned days of a decade ago, Cal York—then a mere stripling of sixty- that she “is in private life awaiting a most interesting domestic event.” And that didn’t mean renting a new house, either! Wit ROGERS has just finished what Burns Mantle calls his best picture. It is “‘Jes’ Call Me Jim,” and who should be his leading woman but Irene Rich—thus proving that what was grand in 1920 is even better in 1930. . . . Dorothy Dalton appears in ‘‘The Dark Mirror” this month, and Wally Reid offers his fans ““The Dancin’ Fool,”’ with Bebe Daniels as his feminine lead, and Raymond Hatton and Tully Marshall helping with the supporting chores. ... / \ lad named Harold Lloyd crashes through with a comedy called “An Eastern Westerner.”? And is he good! To quote our review—‘‘If the only Charles Chaplin does not hurry back to the job, he is likely to find that the only Harold Lloyd has replaced him in the affections of his vast public.” And again—“As Chaplin’s successor, this bespectacled youth is striding forward in seven-league boots.”? How about it, Charlie? ROBE *RTSON-COLE is running a Lew Cody Love Letter Contest. You may remember that in 1920 Lew was in his hey-hey-day as “The Beloved Cheater” in the picture of that name. First prize—$150—is won by Maude H. Bell, of Greeley, Colo., and if she is still a reader of PHororLay she must remember THAT thrill. And, oh, my mercy me! The title of Lew’s next in his brief but gala career as a he-vamp was to be “The Butterfly Man”! MiBkton DAVIES is about to crash out in “The Restless Sex,” a picturization of the then famous R. W. Chambers novel. Priscilla Dean, Mildred Davis, Madge Ken- nedy, Alice Joyce, Renee Adoree, Bert Lytell, Doris May and Mary Miles Minter smile from the rotogravure pages this month. Stories on Helene Chadwick and Anne Luther are prominent in this month’s issue. And a very big piece about Louise Huff, in 1920 an outstanding picture beauty. ment in PHOTOPLAY MAGAZINE Is guarante One of our extra-special stories is one on little Lila Lee. She has, in 1920, just recovered from a bad case of too much forcing and over-adver- tising which hurt her career as a young player. The title of our story is ‘‘ Happy Endings.” STORY about three-year-old Bobby Kelso, a cunning kid who # fi ed in King Vidor’s famous picture of simple folk, ‘The Jack Knife Man.” They had to feed Bob jelly beans (his This is the way Irene Rich looked in 1920 when she was Will Rogers’ lead- ing woman. She’s playing opposite Will as this is written! favorite dissipation) to get him to act on order. . Norma Talmadge’s third fashion article appears this month. It is called ‘Wear America First,” and is an ardent plea for American styles as against the long domination of Paris. P. S.—THAT battle seems to be over now. At least Hollywood thinks so. IDSUMMER report on what the favorites are up to, according to the Answer Man: Antonio Moreno is writing his memoirs. Elsie Ferguson is going to Japan. Sylvia Breamer is playing in ‘“‘Athalie.” June Elvidge has the lead in “The Law of the Yukon.” Colleen Moore plays a Hindu girl in Devil’s Claim.” Pauline Starke in “The C O’Doone.” Bryant Washburn and Wanda Hawley in “Mrs. Temple’s Telegram.” Leatrice Joy in ‘‘Just a Wife.” Buck Jones and Winifred Westover in “‘ bidden Trails.” “The Courage of Marge For- AMES HALLOCK REID, better known as Hal, father of Wally, has just died at his home in New Jersey. The elder Reid was a prolific playwright, and had appeared with his son in Wallace’s earliest film attempts for old Vita- graph. Norma Talmadge is getting ready to make Smilin’ Through.”” She can’t start the pic- ture just yet because Jane Cowl is still coining money from it on the stage. Dick Barthelmess and Mary Hay deny they are engaged. At any rate, Mary is going to play the ingénue réle in Griffith’s filming of “Way Down East.” The late Clarine Sey- mour was to have had the part. ed, 3 in PHOTOPLAY

Page 135

PHOTOPLAY MAGAZINE FOR AuGuST, 1930 The Prince Comes to Cinderella _ | CONTINUED FROM PAGE 46 | The uniformed doorman bowed as though to royalty and hurried to open the door of her car. As Joan sunk into the rich upholstery, she was delightedly aware that several people had turned to stare at her. N the days that followed, several enthusi- astic fans were won over to Radia Benson. “Tsn’t she perfectly sweet?’’ said the girls at the costumer’s when Joan had stood for hours, without complaint, while expensive satins and brocades were draped and pinned and cut. She was pleased with everything, which delighted the designer, who had been warned that Radia Benson was likely to throw a temperamental fit and tear a gown to pieces if she didn’t like it. “She’s a knockout,” enthused a bellhop to whom Joan had generously promised an auto- graphed picture. “Nothing upstage about that dame.” “Can you imagine it?” said one excited flapper to another. “I saw her just as she was getting out of her car and actually she smiled at me when I snapped a picture. Wasn’t that darling of her?” Each day gave Joan new confidence in her ability to impersonate Miss Benson. She began to crave a wider field for her talents. “People are awfully gullible,” she had con- cluded. “Nobody even suspects that I’m not Radia Benson. I'll bet I could even go to a party where friends of Miss Benson were present and get away with it.” But the efficient secretary saw to it that Joan had no such opportunity. She selected the gowns for her to wear each day and checked her in and out of the hotel. She answered all the telephone calls, explaining that Miss Benson was shopping, or resting, or in her bath. To the numerous invitations which came by mail she sent carefully worded regrets. “Miss Benson was so sorry, but there were so many demands upon her time. . . . ” “If only she’d give me a break and let me go to one of those parties,” thought Joan, “anything might happen.” And on Saturday, just when hope was wear- ing thin, something did happen. The secretary received a message that her sister who lived in Brooklyn was ill. “T hate to leave you here alone,”’ she told Joan in a worried voice, “but I don’t know what else todo. I’m sure Miss Benson would want me to go if she knew.” “Of course she would,” insisted Joan. “I can answer the phone and take any messages. T’ve listened to you and know just the things to say.” The secretary was skeptical of this. “I think it would be better for me to leave word at the desk that Miss Benson does not wish to be disturbed and ask them to cut off all telephone calls until tomorrow. Then there won’t be any danger of complications.” EN the secretary had Joan breathed a sigh of relief. “What a swell opportunity for Cinderella to have an evening out,” was her thought. “Dinner—and then the theater—and dancing afterward. Let me see—what shall I wear? That lovely little Rhapsody in Blue or that red chiffon? Marie—” She gestured to an imaginary maid. “Will you lay out the blue evening frock—the one that just matches my eyes—and the ermine evening wrap.” “Vou wouldn’t dare face an evening-clad world in one of Miss Benson’s gowns,” an inner voice challenged. “Well, it won’t do any harm just to look at them,” she argued back. “I’ve got to do something to amuse myself.” gone, £35 A New Discovery That Not Only Removes Hair Instantly, But Delays Its Reappearance Remarkably NEW way of removing arm and leg A hair has been found that not only removes every vestige of hair in- stantly, but that banishes the stimulated hair growth thousands of women are charging to less modern ways. A way that not only removes hair but delays its reap- pearance remarkably! It is changing previous conceptions of cos- meticians about hair removing. Women are flocking to its use. The discovery of R. C. Lawry, noted beauty scientist, it is different from any other hair remover known. By a total lack of stubble you can feel the difference between this and old ways. WHAT IT IS It is an exquisite toilet creme, resembling a superior beauty clay in texture. You sim- ply spread it on where hair is to be re- moved. Then rinse off with water. That is all. Every vestige of hair is gone; so completely that even by run- ning your hand across the skin not WIN Irrisistible and alluring perfumes were first used by the great Cleopatra in captivating her lovers, She knew their power and magic charm. Now you have the same opportunity—for vith LOVE CHARM you can fasci- nate, and win the affections of the man you love. To prove to you the superiority of LOVE CHARM Perfume, we willsend you a generous sample of this costly French formula free for the cost of mailing. Just send 10c today to cover cost of packing and postage. LOVE CHARM COMPANY, 1814 Franklin Avenue, St. Louis, Mo., Dept. 108-H. To Remove Arm and Leg Hair Without Fostering Bristly Re-Growth There is true feminine allure in satin-smooth arms, hair-free as a child's. the slightest trace of stubble can be felt. And—the reappearance of that hair is delayed surprisingly! When re-growth finally does come, it is utterly unlike the re-growth following old ways. You can feel the difference. No sharp stubble. No coarsened growth. The skin, too, is left soft as a child’s. No skin roughness, no enlarged pores. You feel freer than probably ever before in your life of annoying hair growth. WHERE TO OBTAIN It is called NEET—a preparation long on the market, but recently changed in com- pounding to embody the new Lawry dis- covery. It is on sale at practically all drug and department stores and in beauty parlors. In both $1 and 60c sizes. The $1 size con- tains 3 times the quantity of the 60c size. Neet Cream Hair Remover SUBSCRIBE FOR PHOTOPLAY Subscription rates will be found on page 124. Use the convenient coupon. When you write to advertisers please mention PHOTOPLAY MAG AZINE.

Page 136

136 PuoropLay MacazinE For Aucust, 1930 No Hotel in the World offers Such Varied Attractions as the ‘S AMBASSADOR LOS ANGELES “The Great Hotel that Seems Like Home” ONTINUOUS program of outdoor and indoor diversion. 27-acre park, playgrounds, o open air plunges, tennis courts, 18-hole miniature golf course, archery and fencing, flowered pergola walks, cac- tus gardens, ping pong tables, all-talking motion picture theatre, world-famous Cocoanut Grove for dancing parties, riding, hunting, and all sports. Beau- tifully redecorated lobby. 35 smart shops. Ambassador convention auditorium seats 7000. Guests have privilege of championship 18-hole Rancho Golf Club. bs hee fi mS iby ar aoe 4 ei. A | ~*~ Most Attractive Summer and Fall Rates OUTSIDE ROOMS with BATH as low as* 5 per day Write for Chef’s Booklet of California Recipes and Information» THE AMBASSADOR HOTELS SYSTEM THE AMBASSADOR, NEW YORK THE AMBASSADOR, PALM BEACH THE AMBASSADOR, ATLANTIC CITY THE AMBASSADOR, LOS ANGELES | “I’ve been awfully busy.’ Rid your face, neck, arms and body of all unsightly mole ‘sand warts with “*ANTIMOLE'' One application doesit. Safe—easy to use —painless—leaves no scar. Used success- fully by physicians, skin specialists and beauty experts for 28 years, Write for FRE booklet on treating all kinds of moles and warts, MILLER MFG. COMPANY 2409 South Street Lincoln, Nebr.| 200 Dept. 70H, ENGEL MFG. co. 4711 N. Clark St., Chicago PHOTOPLAY MAGAZINE Dept. 8-P, 919 No. Michigan Ave., CHICAGO Subscribe for PHOTOPLAY RATES Yeariy Sunscription: $2.50 in the United States, its dependencies, Mexico and Cuba; $3.00 Canada; $3.50 to for- eign countries, Remittances should be made by check, or postal or express money order. USE THIS COUPON CAUTION: Do not subscribe through persons unknown to you, Gentlemen: I enclose herewith $2.50 [Canada $3.00, Foreign $3.50] for which kindly enter my sub- seription for PHOTOPLAY MAGAZINE, for one year, effective with next issue, Send to She turned the knob of the closet door. her eagerness to hurry to her sister, the tary had forgotten to lock it. For a mom Joan’s beauty-loving eyes feasted on exquisite frocks dangling from their sache' scented hangers. Her fingers caressed th tenderly, sliding the hangers across the rod which they hung. Flame, orchid, sea-gr peach, silver—a veritable rainbow of enchan’ ing color. Did she dare to try one of the on? There couldn’t really be any harm in it, if she was careful. ft With true feminine instinct she selected one with a Paris label. “‘T’ll just try this little old satin rag—” On the hanger it seemed simpl and girlish—but on Joan it became a provoca: tive, eye-teasing creation which embraced h body with an insidious softness, as though tw perfections had met and blended into one. “Tt would certainly be a dumb girl wh couldn’t get her man in an outfit like this,” thought Joan as she stared at her reflection fascinated. SHE had just started to pantomime a imaginary scene when the telephone rang. She stopped guiltily. Had the secretary for- gotten to leave the order at the desk? Ha frightened, and wondering whether she ought to answer it or not, she took the receiver off the hook and said hello. “Hello,” answered a nice masculine voice. “Ts that really you, Miss Benson?” Perhaps it was because she could still see her reflection in the mirror. Anyhow, the word “Yes” slipped out before she could stop it. “What luck!” continued the voice. “This is Duke Doran talking. Heard you were in town and I’ve been trying for days to reach you on the ’phone, but that secretary certainly keeps you well policed.” “You don’t know the half of it, dearie,” Joan said to herself. Aloud, she replied: “I hope you haven’t ta your prom- ise.” “My promise?” she asked uneasily, wonder- ing just where this telephone game was leading her. “Don’t you remember that night at Del Monte?” “Oh, of course,” she lied glibly. x “You promised to let me see you when you came to New York.” “Did I—really?” “You certainly did. And I’m giving a party tonight—just a buffet supper. I know it’s outrageous to ask you at this late date, but please won’t you come—if it’s only for a few minutes.” He might have added that one hundred dollars was bet against him that she wouldn’t. “Will there be a crowd?” she asked shrewdly. — “Just a few couples. Nobody you know— but they’d all love to know you.” ” OAN had not the slightest idea who Duke © Doran was, but she liked his voice. A chance — like this might never come again! “T’d love to,’ she said in her best Radia — Benson manner, hoping she did not sound too : eager. “What time?” “Any time after nine. May I call for you?” She hedged at this. “I think you had better just give me the address. I might be a little late.” ““Anything you say.” With excited fingers she wrote the address” of an apartment house in the East Sixties. It was not until she had hung up the receiver that she had an attack of cold feet. “Can I possibly get away with it?” she asked her mirrored reflection. “Can a duck swim?” the mirror seemed to — answer. With her usual I’ll-try-anything-once philos- ophy she tossed all possible consequences aside. Her week of synthetic glory would soon be over. Accident had made it her evening. Why not make the most of these last hours? Why not find out, first-hand, how the other Every advertivrement in PHOTOPLAY MAGAZINE ts guaranteed.

Page 137

PHOTOPLAY MAGAZINE FOR AucusT, 1930 half of the world lived? It couldn’t help but be a lark—and no matter what happened on the morrow, Cinderella would have her bou- quet of memories. When the elevator shot her to a pent-house, atop a smart apartment building, and she had pressed the door button, a sudden imput!se to retreat rushed over her. How could she have been such a fool as to think— But already the door had opened and a tall, dark-haired man of about thirty was smiling down at her. He was good-looking enough to have been the leading man in a Radia Benson picture. “Miss Benson!’ he was saying delightedly, “How awfully nice of you to come.” “Well, at least I know which one my host is,” was Joan’s thought as she acknowledged his greeting and followed a colored maid who directed her to a green and gold dressing room across the hall. ORD had quickly passed about that Radia Benson had arrived. When Joan entered Duke Doran’s modernistic drawing room, everyone turned to look. The introductions sounded to Joan like a page from the social register. She felt giddy, as though she had accidentally stumbled into fairyland. Some- one offered her a cocktail. She swallowed it hastily, hoping it would give her courage. She was self-consciously aware that all of the eyes in the room had focused on her. Those who had expected the glamorous Benson of the screen were disappointed. The lioness did not roar. She did not affect any of her well known screen tricks. In the flesh, she was just a pretty, unaffected girl who acknowledged introductions almost shyly. “These screen stars are awfully over-rated, don’t you think?” asked a bored, ash-blonde of hercompanion, “They’re usually just gaga when you meet them in person.” It was soon apparent, however, that the blonde’s opinion was not shared by the men of the party. In a few moments a quartette of admiring males had gone into a huddle around Joan. Four lighters clicked simul- taneously to furnish a flame for her cigarette. Four pairs of eyes chorused their unanimous verdict that she was the prettiest girl in the room. Joan heard their flattery as though in a dream. It was not until supper was an- nounced that she found herself alone with Duke Doran. “This is just a pick-up supper, folks,” he said jovially. “Just a snack from the old ice- box. Choose your own partners.” A servant had distributed small lacquered tables for two about the spacious drawing room. Duke led Joan to a divan in a dimly lighted corner. “At last,” he said intimately, “I can have a few moments alone with you—if some fresh somebody doesn’t cut in.’’ “And this,” thought Joan, “is going to be the well known acid test.” “Comfortable?” he asked as he placed a velvet cushion at her feet and adjusted pillows at her back. Be nodded, not quite daring to meet his eyes. Just how well was she supposed to know this Duke Doran, she wondered. He was so unlike the men she knew. She waited for him to direct the conversation, breathing a prayer that she would be able to follow it successfully. “You certainly look sweet tonight,” he said with a boyish smile. “Tt’s sweet of you to say so,” she parried. “But do you know,” he looked at her puz- zled, ‘‘you’ve changed a lot since that night I met you in Del Monte.” “In what way?” she asked daringly. To herself she was saying: ‘Watch your step, Joanie. The coach may turn into a pumpkin shell any minute now.” “Well, it’s sort of hard to explain.” He studied her thoughtfully and Joan could feel a flush creeping into her cheeks. “Of course I was a bit cock-eyed after that polo game,” ’ he continued, “and maybe my eyes fooled me, but I sort of had the idea that you were a little upstage. I’ll have to confess I was almost afraid of you. And when you walked out on the dance you promised me, I didn’t have the nerve to remind you of it.” “TT HEN how did you happen to have nerve enough to ask me to your party?” He reddened. ‘You won’t get sore if I tell you?” She shook her head. “T guess I was bragging about knowing you,” he confessed with embarrassment, “and a couple of the fellows bet me a hundred that I didn’t have nerve enough to ask you to my party.” Joan made no reply. “You're different tonight,” he went on. “You’re not the Radia Benson I met at Del Monte. You're like a sweet, shy little girl at her first party.” Joan felt uncomfortably warm. If only he knew how close he had come to guessing the truth. sonesgue to say, but couldn’t. “T like you better—this way,” he said in a low voice, and something about the way he looked at her made Joan feel giddy. “That cheers me up a lot,” she said with a nervous laugh. It was, of course, the typical Joan Gordon comeback. She realized it as soon as the words had slipped out, but it was too late then to retract them. “‘Let’s dance,” she said suddenly. “That music is gorgeous.” Someone had turned on the radio and a dance orchestra was playing a haunting waltz rhythm. Joan melted into Duke Doran’s arms as though she belonged there. The dance number ended. Breathless, partly from the exercise and partly from the electricity of two closely contacted young bodies, they stepped out on the narrow roof balcony which sur- rounded Duke’s fashionable pent-house. For a moment neither of them spoke. “Tt’s like being on top of the world, isn’t it?” said Duke. “Tt’s—heaven,” Joan sighed rapturously, closing her eyes to give the camera of memory a chance to photograph indelibly that enchant- ing moment. She felt Duke’s arms about her, compelling her shoulders against him. Some inner voice warned her to draw away, but, Joan-like, she refused to listen. ERE was the very nicest man she had ever met or was ever likely to meet. His lips met hers, hesitatingly at first, then lingered in a kiss so breath-taking, so intoxicating that Joan forgot that it was Radia Benson he thought he was kissing; forgot that she was cheating, taking things which did not belong to her, and giving lavishly, whole-heartedly, that which was not hers to give. The striking of a clock on an illuminated tower a few blocks away brought her back to earth with a sudden jolt. Its deep-toned gong seemed to say: “Step on it, Cinderella— before your satin gown turns into a much- pressed blue serge suit—before your fancy limousine fades into a clicking typewriter—” “T must go,” she said in a little breathless voice, knowing full well that there would be days and nights when she would walk past that address, when she would look up at the stars and try to imagine that she was standing on that little balcony once again with a dark, good-looking man whom she would never quite succeed in forgetting. Her hand reached for the door. “But darling—you can’t go now.” His hand caught hers and held it. “Now that I’ve found you—do you think I can let you go so quickly?” Joan had the feeling of a swimmer, breasting the waves a long way out, knowing the danger, and yet unable to turn back. Radia Benson had everything—and she had so little. “Please,” he was pleading softly “just one more kiss—so I’ll know I haven’t dreamed this.” Joan hesitated, and like that other Cinder- She tried to think of something Ben- | ¥37 ““Mello-glo stays on longer,’ says beautiful Miss Wynn Terry, musical comedy star, 25 W. 55th Street, New York. No more shiny noses with this new French process Face Powder.” ‘This new wonderful face powder will not enlarge the pores,”’ says lovely Miss Doris Maye, Ziegfeld beauty, of 39-49 soth Street, Woodside, L. I. “It never causes that pasty, flaky look.’” © 1930, M.-G. Co. Women, Famed for Beauty, Tell of Wonderful Powder Marvelous New French Process Produces MELLO-GLO Face Powder MELLO-GLO Facial Tone powder comes co you as the last word in fine face powders. Beautiful women everywhere praise its smoothness and purity. Made by a new French process, it stays on longer and will not enlarge the pores. MELLO-GLO banishes shiny noses, and protects the skin from chat rough, aged look. Its colors have passed che rigid tests of che United States government. MELLO-GLO is sifted and sifted through a fine silk mesh— mixed and remixed until ic presents perfect uniformity. The special shade blends with your complexion and renews the cine of youth. Your skin will never have that pasty, flaky look with MELLO-GLO. Ie is the smooth- est, purest powder made, and will not irritate or smart che skin. To look younger—use MELLO-GLO. Ic has no substicures. Only MELLO-GLO has the secret formula. One dollar ac all scores. Liberal trial size of this new wonderful face powder will be sent upon receipt of 25c. Ad- MELLO-GLO, Dept. 19, Statler Building, Boston. dress When you write to advertisers please mentlon PHOTOPLAY MAGAZINE.

Page 138

Stop Smarting at the soothing touch of Resinol Ointment To prevent blisters—perhaps scars —and ease the pain, apply Resi- nol at once toa burn or scald. It heals quickly. Use Resinol also for chafing, rashes, sunburn, insect stings and itching. You will be amazed at the quick relief. At all druggists SAMPLE FREE Enough for convincing trial. Write Dept. 6-H, Resinol, Baltimore, Md. “Keeps Blonde Hair from darkening” —says Jean Harlow Wee people ask me how I keep my hair so bright and silky I tell them ‘Blondex’,” says Jean Harlow, lovely star of ‘‘ Hell’s Angels”. “It not only prevents darkening, but brings back true golden color to faded light hair. You know what that means to a movie star—those Kleig lights just seem to burn out all the color.” Blondex leaves hair soft and silky, gleaming with golden lights. Over a million blondes have found it fine for scalp. Try Blondex today. At all leading drug and department stores, Particulars of Dr. Esenwein’s famous Forty lesson course in writing and | of the Short-Story and sample copy of THE WRITER'S MONTHLY free. Write today. THE HOME CORRESPONDENCE SCHOOL Dept. 9s. Springtield, Mass, Every advertisement in PHOLOPLAY MAGAZINE Is guaranteed. PxHotopLay MacazInE For Aucust, 1930 ella, was lost. When they entered the drawing room some minutes later, Duke’s whispered “T love you” was singing in her ears. Sweet music it was, even though deep in her heart she knew that it had not been meant for her. But the music of his words was all too quickly drowned out by a sound which struck Joan cold as a stone and sent her heart nose-diving toward her stomach. s I ‘HE radio was still turned on but no one was dancing. They were all listening with rapt attention to the voice of the announcer. “‘What’s up, folks?” asked Duke. Someone gestured for him to keep quiet. “The terrific gale which has been lashing the Jersey coast for the past few hours sent Ronald Loring’s yacht Firefly on the rocks early this evening.” It was at this moment that Joan and Duke had entered the room. “Mr. Loring and Radia Benson, the cele- brated screen star, who was his companion, were rescued and taken ashore by fishermen,” continued the announcer. “Radia Benson!” exclaimed one of the men. “Why, that’s peculiar—” They all turned toward Joan whose face had suddenly paled to the whiteness of her gown. “Ves, isn’t it odd?” said the ash-blonde in a tone sweetly cutting. “Wouldn’t it be funny if Ronnie Loring was out with Miss Benson’s double,” suggested one of the men. “Or, funnier still, if her double’ The blonde paused and looked toward Joan with a meaning that was unmistakable. For a moment the room was still, as they all stared with sudden suspicion at the guilty girl. “Only an act of God can save me now,” thought Joan, mentally measuring the distance from where she stood to the exit door. “Of course,” the blonde added with a shrug, “one never really knows who is crashing the gates these days.” [THs remark could scarcely have been called an “act of God,” but it served as a lash to revive what Joan often termed her “laugh- clown-laugh complex.”” Tears of humiliation were pressing against her eyes but she fought them back and faced the blonde defiantly. “That’s because you’re a crowd of celebrity chasers,” she said a little shrilly. ‘You hang out the welcome sign for anything from a prize fighter to a tenor, so long as he’s famous. You even lay bets as to whether you can get him to come or not. But just let him lose his crown—just let the electric lights that spell his name dim out—and you shrug your aristo- cratic shoulders and say he crashed the gate. Bologney! But for that radio announcer you’d have gone home bragging because you had met a picture celebrity. Now, you don’t know whether to brag or not.” Small red patches like twin flags burned in Joan’s cheeks as she turned to rush out of the Milwaukee, Wis. I am a nurse in a sanatorium for tubercular patients, and I wonder if the movie folks have any conception of the joy they give us. They take us right out of our world of tragedy and pain, to that other world of romance and adventure. We have pictures room. Duke reached out a hand to detain he but she jerked away, not even daring to loo at him. There was just one thought in he mind: To get her wrap and get out of that hous before she burst into tears. She pressed the button for the elevator an then impulsively decided not to wait for it Blindly, she ran down the stairs, flight after flight—and straight into the arms of Duke Doran, who had caught the elevator, and wa waiting for her when she reached the bottom “It’s customary to say good-night to your host,” he said. The Joan of a few minutes before would have lifted her chin and said: “Thanks for the society set-up. I was just rehearsing a scene for my next picture. Watch for it at your neighborhood theater.” But the Joan who had stumbled into hi arms could only murmur: “It was swell while it lasted. Goodbye.” “But it isn’t goodbye,” he insisted. going with you.” “yp BY this time they were at the curb and the doorman had whistled for a taxi. Suddenl Joan’s mind leaped ahead to the fact that he doubtless intended to expose her to the real Radia Benson. “Please,” she pleaded, “don’t give me away. [’ll tell you the truth—honestly I will. That blonde was right. I’m just Miss Benson’s double. Oh, I know it was crazy for me to go to your party, but I didn’t mean any harm. I just wanted a little fun—and I was fool enough to think I could get away with it—” “My dear, you could get away with murde —and with his dying breath the victim would probably give you a vote of thanks.” For the first time she looked up at him. What she read in his eyes cheered her up considerably. “Of course, I know it wasn’t honest for me to let you kiss me like that—I mean it wasn’t fair to Miss Benson.” She said with some embarrassment. “And was it fair to let me kiss you and then run away without even telling me your name?” “I didn’t think that made any difference since it was Miss Benson you thought you were kissing—not me.” “I was kissing the sweetest girl in the world—and in less than two seconds I’m going to kiss her again.” AXP before she could argue about it he did, much to the disgust of the taxi driver who had just twisted his neck to see what they were waiting for. “By the way,” said Duke when they finally stepped into the cab, “what is your name?” “Cinderella,” she whispered softly. “1930 edition.” “It’s my favorite book-of-the-month,” he replied and proceeded to autograph it with another kiss. twice weekly. Even those of us that haven’t been up and around for weeks beg to be wheeled out so they can see their favorites, even though they may feel it is for the last time. Those that are too ill to attend the shows get a world of comfort from reading PHOTOPLAY MAGAZINE. Lee Reed

Page 139

—— PHOTOPLAY MAGAZINE FOR AUGUST, A great director takes time out! Ernst Lubitsch, one of the real old masters who has not only survived but has forged ahead, getting a smoke and a sunning at the massive gateway to a Paramount sound stage. Look at the thickness of those triple walls! Lubitsch has just called a halt on one of the scenes for ‘Monte Carlo” When you write to advertisers please mention PHOTOPLAY 1930 139 If women talk at all about Feminine Hygiene Some say THIS Some say THAT Sas women prefer to listen during discus- sions about Intimate matters. Perhaps from delicacy. More often from fear of leading others their own way when they themselves are not sure. Women certainly should know more about feminine hygiene. Too many different opinions are held and expressed. In their desire for surgical cleanliness many of them use—and advise others to use—caustic and poisonous antiseptics that their doctors will not condone. They mean well. But they do nor know the dangers accompanying bichloride of mercury and compounds of carbolic acid. Zonite is safe to use regularly Today these old-fashioned antiseptics are no longer necessary. They are replaced by Zonite. There can be no areas of scar tissue when Zonite is the germicide. No interference with normal secretions. No mercurial poisoning. Zonite is as safe as pure water and far more powerful than any dilution of carbolic acid that may be allowed on the body. Actual facts in this booklet Mail coupon and get this booklet. The whole subject is covered in frank, honest words that will not confuse anybody. It will tell you what you want to know. In the meantime, buy a bottle of Zonite at any drug store. Full direc- tions come with it. Zonite Products Corporation, Chrysler Building, New York, N. Y. Use Zonit or skin irr greaseless cream form. Large tube 50c. Ointment for burns, abrasion tons. Also as an effe ad In bottles: Both in U.S. A. 30c, 60c, $1 i and Canada ZONITE PRODUCTS CORPORATION PH-08 Chrysler Building, New York, N. Y Please send me free copy of the Zonite booklet or booklets checked below F}'The NewertBnowledgrok Reminine Eoniene L) Use of Anriseptics in the Home Name. (I'lease print name) Address City’. si. . (In Canada: 165 Dufferir MAGAZINI

Page 140

140 Corner of main lobby Introducing the moderate rate into modern hotel luxury Appreciation is complete when you learn the extremely moderate rates at the Hotel Lexington. The luxury of its ap- pointments, the perfection of its French cuisine, the convenience of its location leave nothing else to be desired. 801 Rooms—each with a private bath (tub and shower), circulating ice water, mirror door. 341 with double beds. 1 person $4, two_----- $5 229 with twin beds. Either 1 or 2 persons_-_-$6 231 with twin beds. Either 1 or 2 persons___-$7 Hotel Lexington Lexington Avenue at 48th Street, New York City Frank Gregson, Mgr. Phone MURray Hill 7400 Direction of American Hotels Corporation ie J. Leslie Kincaid, President * AZTECCACTUS BLOSSOM flatinforers/P ERE UME RARE! Different! ¥ Languorous! ¥ Passionate! Exotie, Alluring, Mysterious fragrance! Never before available in the United States + + A few drops last for days. The exquisite, weird, haunting odor of the beautiful, orchid-like blossoms of Tropical Cactusw like nothing else in the world! A number Y of fullsize, extrastrength 82.50 bottles, to introduce, foronly $1.00(81.27C0.D] H. U. RHODIUS fascerc2 Sis Srna reves \ wien ‘eeDrama-Dance Musical Comedy, Stage and Concert Dancing, Talkin« Stock Pictures, Elocution, Personal Development. Theatre Training apoearnnces while learning Pupils, Mary Pickford, Lee Tracy, Fred and Adele Astaire, eto. Catalog 16. Irwin, Alviene University, 16 W. 85th St., New York Money for You! See page 60 of this issue for Photoplay’s $5,000 Cut Puzzle Contest “BACK PAY"—First NatioNaL.—From the story by Fannie Hurst. Adapted by Francis Edward Faragoh. Directed by William Seiter. The cast: Hester Bevins, Corinne Griffith; Gerald Smith, Grant Withers; Charles Wheeler, Montagu Love; Al Bloom, Hallam Cooley; Killy, Vivian Oakland; Babe, Geneva Mitchell; Ed, William Bailey; Wheeler's Secretary, Virginia Sale; Aggie Simms, Dee Loretta; Judge, James Marcus; Masseuse, Louise Carver; Hester's Maid, Louise Beavers. “BAD MAN, THE”—First NatioNaL.—From the play by Porter Emerson Brown. Adapted by How- ard Estabrook. Directed by Clarence Badger. The cast: Lopes—The Bad Man, Walter Huston; Ruth Pell, Dorothy Revier; Morgan Pell, Sidney Black- mer; Gilbert Jones, James Rennie; Henry Smith, O. P. Heggic; Angela Hardy, Marion Byron; Red Giddings, Guinn Williams; Pedro, Arthur Stone; . ley, Edward Lynch; Jose, Harry Semels; e Anderson. “BIG HOUSE, THE”—M-G-M.—From the story by Frances Marion. Directed by George Hill. The cast: Morgan, Chester Morris; Butch, Wallace Beery; Warden, Lewis Stone; Kent, Robert Montgomery; Anne, Leila Hyams; Pop, George F. Marion; Mr. Marlowe, J. C. Nugent; Olsen, Karl Dane; Wallace, DeWitt Jennings; Gopher, Mathew Betz; Mrs. Marlowe, Claire McDowell; Donlin, Robert Emmett O'Connor; Uncle Jed, Tom Kennedy; Sandy, Tom Wilson; Dopey, Eddie Foyer; Putnam, Roscoe Ates; Oliver, Fletcher Norton. “BORDER ROMANCE” — Tirrany_Propuc- tIONS.—From the story by John Francis Natteford. Directed by Richard Thorpe. The cast: Conchita Cortez, Armida; Bob Hamlin, Don Terry; Vic Hamlin, Wesley Barry; Nina, Marjorie Kane; Slim, Victor Potel; Gloria, Nita Martan; Buck Adams, J. Frank Glendon; Capt. of Rurales, Harry von Meter; Lieut. of Rurales, William Costello. “BRIDE OF THE REGIMENT"—First Na- YIONAL.—From the operetta “The Lady in Ermine” by Rudolph Schanzer and Ernest Welisch. Screen play by Humphrey Pearson and Ray Harris. Directed by John Francis Dillon. The cast: Countess Anna- Marie, Vivienne Segal; Count Adrian Beltrami, Allan Prior; Colonel Vuliow, Walter Pidgeon; Teresa, the Maid, Louise Fazenda; Sophie, Myrna Loy; Sprott, Ballet Master, Lupino Lane; Tangy, Silhouetle-cutter, Ford Sterling; Sg. Dostal, Harry Cording; Capt. Siogan, Claude Fleming; The Prince, Herbert Clark. “BRIGHT LIGHTS”—First NatrionaL.—From the story by Humphrey Pearson. Adapted by Humphrey Pearson and Henry McCarty. Directed by Michael Curtiz. The cast: Louanne, Dorothy Mackaill; Wally Dean, Frank Fay; Miguel Parada, Noah Beery; ‘ Windy” Jones, Eddie Nugent; Peggy North, Inez Courtney; Mame Avery, Daphne Pollard; Tom Avery, Tom Dugan; Connie Lamont, James Murray; Viole! Van Dam, Jean Bary; Harris, Edmund Breese. “DIXIANA”—Rapio Pictures.—From the story by Anne Caldwell. Adapted by Luther Reed. Directed by Luther Reed. The cast: Dixiana, Bebe Daniels; Carl Van Horn, Everett Marshall; Peewee, Bert Wheeler; Ginger, Robert Woolsey; Cornelius Van Horn, Joseph Cawthorn; Mrs. Van Horn, Jobyna Howland; Poppy, Dorothy Lee; Royal Montague, Ralf Harolde; Blondell, Edward Chandler; The Con- lorlionist, George Herman; Cayelano, Raymond Maurel; Colonel Porter, Bruce Covington; Specialty Dancer, Bill Robinson; Cupid, Eugene Jackson. “DUMBBELLS IN ERMINE” — Warners. — From the play ‘Weak Sisters” by Lynn Starling. ,Sereen play by Harvey Thew. Directed by John Adolf. The cast: Jerry Malone, Robert Armstrong; Faith Corey, Barbara Kent; Grandma Corey, Beryl Mercer; Mike, James Gleason; Uncle Roger, Claude Gillingwater; Mrs. Corey, Julia Swayne Gordon; Siegfried Strong, Arthur Hoyt; Mrs. Strong, Mary Foy; Camilla, Charlotte Merriam. “GIRL OF THE GOLDEN NATIONAL.—From the play by David Belasco. Adapted by Waldemar Young. Directed by John Francis Dillon. The cast: Minnie, Ann Harding; Dick Johnson, James Rennie; Jack Rance, Harry Zannister; Handsome Charlie, Ben Hendricks, Jr.; Sonora Slim, J. Farrell MacDonald; Trinidad Joe, George Cooper; ick, Johnny Walker; Joe Castro, Arthur Stone; Sidney Duck, Arthur Housman; Happy Holliday, Norman McNeil; Jake Wallace, WEST"'—First | Fred Warren; Ashby, Joe Girard; Pony Express Rider, Newton House; Wowkle, Lou-Cha-Enya Billy Jackrabbit, Chief Yowlache; Bucking Billy, Bert Roach, ° “GOOD INTENTIONS"—Fox.—From the story by William K. Howard. Adapted by George Manker Watters. Directed by William K. Howard. The cast: David Cresson, Edmund Lowe; Helen Rankin, Marguerite Churchill; Richard Holt, Regis Toomev; “Flash” Norton, Earle Foxe; Liberty Red, “Eddie Gribbon; Cyrus Holt, Robert McWade; Miss Hunting- ton, Georgia Caine; Bud Finney, Owen Davis, Jr.; Babe Gray, Pat Somerset; Charlie Hatrick, J. Carrol Naish; Butler, Henry Kolker; Franklin Graham, Hale Hamilton, “GOOD NEWS”—M-G-M.—From the play by Lawrence Schwab, Lew Brown, Frank Mandel, B. G. DeSylva and Ray Henderson. Scenario by Frances Marion. Directed by Nick G and Edgar J. McGregor. The cast: Connie, Mary Lawlor; Jom, PuHotTopLay MacazInE For AucusT, 1930 Casts of Current Photoplays Complete for every picture reviewed in this issue Stanley Smith; Babe, Bessie Love; Kearney, Cliff Edwards; Robbie, Gus Shy; Bat, Lola Lane; Coach, Thomas Jackson; Beef, Delmer Daves; Freshman, Billy Taft; Professor Kenyon, Frank McGlynn; Flo, Dorothy McNulty; Girls, Helyn Virgil, Vera Marsh and Abe Lyman and his band. “GRUMPY"—ParAMOUNT.—From the story by Horace Hodges and Thomas Wigney Percyval. Adapted by Doris Anderson. Directed by George Cukor and Cyril Gardner. The cast: “Grumpy” Bullivant, Cyril Maude; Ernest Heron, Phillips Holmes; Jarvis, Paul Cavanagh; Virginia, Frances Dade; Ruddock, Halliwell Hobbes; Susan, Doris Luray; Keble, Olaf Hytten; Berci, Paul Lukas; Merridew, Robert Bolder; Dawson, Colin Kenny. “HELL'S ANGELS"—Cappo PropuctTions.— From the story by Marshall Neilan and Joseph Mon- cure March. “Adapted by Howard Estabrook and Harry Behn. Directed by Howard Hughes. The cast: Monte Rutledge, Ben Lyon; Roy Rutledge, James Hall; Helen, Jean Harlow; Karl Arnstedt, John Darrow; Baron Von Kranz, Lucien Prival; Lieut. Von Bruen, Frank Clarke; Baldy, Roy Wilson; Captain Redfield, Douglas Gilmore; Baroness Von Kranz, Jane Winton; Lady Randolph, Evelyn Hall; Stag’ Major, William B. Davidson; Squadron Commander R. F. C., Wyndham Standing; Zeppelin Commander, Carl Von Haartman; First Officer of Zeppelin, F. Schumann- Heink; Elliott, Stephen Carr; Marryat, Pat Somerset; Von Richter, William Von Brinken; Von Schlieben, Hans Joby. “HOLIDAY "—Patue.—From the play by Philip Barry. Adapted by Horace Jackson. Directed by Edward H. Griffith. The cast: Linda, Ann Harding; Julia, Mary Astor; Nick Potter, Edward Everett Horton; Johnny Case, Robert Ames; Susan Poller, Hedda Hopper; Ned, Monroe Owsley; Edward Seton, William Holden; Lara, Elizabeth Forrester; Mary Jessup, Mabel Forrest; Pete Hedges, Creighton Hale; Seton Cram, Hallam Cooley. “HOT CURVES"—TIFFANy From the story by Frank Mortimer. Earle Snell. Directed by Norman Taurog. The cast: Benny Goldberg, Benny Rubin; Jim Dolan, Rex Lease; Elaine McGrew, Alice Day; Cookie, Pert Kelton; Manager McGrew, John Ince; Grandma Dolan, Mary Carr; Scoul, Mike Donlin; Mazie, Natalie Moorehead; Slug, Paul Hurst. “LADIES IN LOVE”—Hottywoop PIcTURESe Inc.—Based on the story by Charles Beahan. Directed by Edgar Lev The cast: Brenda Las- celles, Alice Day; Harry King, Johnny Walker; Al Pine, James Burtis; Mary Wood, Eleanor Flynn; Patsy Green, Dorothy Gould; Ward Hampton, Freman Wood; Mrs. Wood, Mary Carr. “LET US BE GAY"—M-G-M.—From the play by Rachel Crothers. Continuity by Frances Marion. Directed by Robert Z. Leonard. The cast: Killy Brown, Norma Shearer; Bob Brown, Rod La Rocque; Mrs. Bouccicaul!, Marie Dressler; Townley, Gilbert Emery; Madge Livingston, Hedda Hopper; Bruce, Raymond Hackett; Diane, Sally Eilers; Wallace, Tyrrell Davis; Whitman, Wilfred Noy; Siruthers, William O'Brien; Perkins, Sybil Grove. “MAN FROM WYOMING, THE" — Para- MOUNT.—Story by Joseph Monture March and Lew Lipton. Continuity and dialogue by John V. A. Weaver and Albert Shelby LeVino. Directed by Rowland V. Lee. Photography by Harry Dishbeck. The cast: Jim Baker, Gary Cooper; Patricia Hunter, June Collyer; Jersey, Regis Toomey; General Hunter, E. H. Calvert; Major in Nice, William B. Davidson; Inspector, Mary Foy; Sergeant, Ed Derring; Lieulenan!, Dick Lee, Morgan Farley; French Mayor, Emil Chautard; Orderly, Ben Hall; Captain in Dugout, Parker McDonnell. “MIDNIGHT MYSTERY"’—Rapio Pictures. —From the play ‘Hawk Island" by Howard Irving Young. Adapted by Beulah Marie Dix. Directed by George B. Seitz. The cast: Sally Wayne, Betty Compson; Gregory Sloane, Hugh Trevor; Tom Austen, Lowell Sherman; Madeline Austen, Rita La Roy; Mischa Kawelin, Ivan Lebedeff; Paul Cooper, Ray- mond Hatton; Harriet Cooper, Marcelle Corday; Louise Hollister, June Clyde; Barker, Sidney D'Al- brook; Rogers, William Presley Burt. “NIGHT WORK"—Patue.—From the story by Walter DeLeon. Directed by Russell Mack. The cast: Willie, Eddie Quillan; Mary, Sally Starr; Aggie, Frances Upton; Calloway, John T. Murray; Harvey Vanderman, George Duryea; Pinkie, Ben Bard; Phil Reisman, Robert McWade; Oscar, Douglas Scott; Trixie, Addie McPhail; Squint, Kit Guard; Mrs. Ten Eyck, Georgia Caine; Buster, George Billings; Mr. Vanderman, Charl Clary; Johnny Harris, Tom Dugan; George ing, Arthur Hoyt; Miss Brown, Billie Bennett; Flora, Tempe Pigott; Miss Allenby, Ruth Lyons; Arlene Ogalihorpe, Nora Lane; Cabaret Singer, Babe Kane; Biff Miller, Jack Mack; Effemi- nate. Man, Arthur Lovejoy; Mrs. Morgan, Marian Ballou; Mrs. McEvoy, Martha Mattox; Mr. McEvoy, James Donlin; Cab Driver, Harry Bowen; Violet Harris, Ruth Hiatt; Head Waiter, Vincent Barnett. “NUMBERED MEN”—First NaTIONAL.—From the play “Jailbreak” by Dwight Taylor. Adapted by Al Cohn. Directed by Mervyn LeRoy. The cast: Berlie Gray, Conrad Nagel; Mary Dane, Bernice Claire; Bud Leonard, Raymond Hackett; King Callahan, Ralph Ince; Lemuel Barnes, Tully Mar- shall; Lou Rinaldo, Maurice Black; Warden Lansing, PRODUCTIONS.— Screen play by [very advertisement In PHOTOPLAY M AGAZINE Is guaranteed. -

Page 141

PuotopLAy MacazinE For Aucust, 1930 William Holding; Happy Howard, George Cooper; Mrs. Miller, Blanche Friderici; Pollack, lvan Linow. “OTHER TOMORROW, THE"—First Na- TIONAL.—From the story by Octavus Roy Cohen. Sereen version by Fred Myton, Directed by Lloyd Bacon. The cast: Edith Larrison, Billie Dove; Jim Carter, Grant Withers; Nort Larrison, Kenneth Thom- son; Dave Weaver, Frank Sheridan; Ted Journet, Otto Hoffman; Drum Edge, William Grainger; Ed Conover, Seott Seaton. “QUEEN HIGH "—Paramount.—From the play “A Pair of Sixes’’ by Edward Peple. Adapted from the musical comedy by Lawrence Schwab, Lewis Gensler and B. G. DeSylva. Directed by Fred Newmeyer. The cast: Boggs Johns, Charles Ruggles; Mr. Neiileton, Frank Morgan; Polly Rock- well, Ginger Rogers; Dick Johns, Stanley Smith; Mrs. Neltleton, Helen Carrington; Cyrus Vanderholt, Rudy Cameron; Florence Cole, Betty Garde; Mrs. Rockwell, Theresa Maxwell Conover; Coddles, Nina Olivette; Jimmy, Tom Brown. “RECAPTURED LOVE" — Warners. — From the play “‘Misdeal"' by Basil Woon. Adapted by Charles Kenyon. Directed by John Adolfi. The cast: Helen Parr, Belle Bennett; Brentwood Par Halliday; Pegey Price, Dorothy Burgess; Rat Richard Tu r; Henry Parr, Junior Durkin; George Bickel; Pat, Brooks Benedict; Sisters “‘G,’ Sisters “G." “RIGHT OF WAY, THE”’—First Natronar.— From the novel by Sir Gilbert Parker. Adapted by Francis Edward I 1g0oh. Directed by Frank Lloyd. The cast: Charles “ Beauty” Steele, Conrad Nagel; Rosalie Evantural, Loretta Young; Joseph Portugas, Fred Kohler; Billy Wantage, William Janney; Cure, George Pearce; The Judge, Emmett King; Kathleen, Olive Tell; Gosslin, Harry Cording; Crown Allorney, Brandon Hurst; The Siegneur, Halliwell Hobbes; Suzon, Yola D’Avril; Louis Trudel, Snitz Edwards. “ROMANCE"—M-G-M.—From the play by Edward Sheldon. Continuity by Bess Meredyth and Edwin Justus Mayer. Directed by Clarence Brown. The cast: Rila Cavallini, Greta Garbo; Cornelius Van Tuyl, Lewis Stone; Tom Armstrong, Gavin Gordon; iott Nugent; Susan Van Tuyl, Florence s Armstrong, Clara Blandick; Beppo, Henry ‘annucci, Mathilde Comont; Nina, Count- uoro. “SEA BAT, THE"—M-G-M.—From the story by Dorothy Yost. Continuity by Bess Meredyth and John Howard Lawson. Directed by Wesley Ruggles. The cast: Nina, Raquel Torres; Reverend Sims, Charles Bickford; Carl, Nils Asther; Antone, George F. Marion; Juan, John Miljan; Corsican, Boris Kar- loff; Limey, Gibson Gowland; Maddocks, Edmund “SHE'S MY WEAKNESS”"—Raptio PicturEs.— From the play “Tommy y Howard Lindsay and Bertrand Robinson. Ad&@pted by J. Walter Ruben. Directed by Melville Brown. The cast: Tommy Mills, Arthur Lake; Marie Thurber, Sue Carol; Warren Thurber, Lucien Littlefield; David Tutile, William Collier, Sr.; Mrs. Thurber, Helen Ware; Bernard Norton, Alan Bunce; Mrs. Oberlander, Emily Fitzroy; Wilson, Walter Gilbert. “SOLDIERS AND WOMEN’'—Corvumera.— From the play by Paul Hervey Fox and George Tilton. Continuity by Dorothy Howell. Directed by Edward Sloman. The cast: Brenda, Aileen Pringle; Clive Branch, Grant Withers; Helen, Helen Johnson; Captain Arnold, Walter McGrail; General Mitchell, Emmett Corrigan; Martha, Blanche Fride- rici; Sergeant Conlon, Wade Boteler; Colonel Ritchie, Ray Largay; Doctor, William Colvin; Private Dele- hanty, Sam Nelson. “SO THIS IS LONDON "—Fox.—From the play by Arthur Goodrich. Adapted by Owen Davis, Sr. Directed by John Blystone. The cast: Hiram Draper, Will Rogers; Mrs. Hiram Draper, Irene Rich; Junior Draper, Frank Albertson; Elinor Worthing, Maureen O'Sullivan; Lord Percy Worthing, Lumsden Hare; Lady Worthing, Mary Forbes; Alfred Honey ull, Bramwell Fletcher; Lady Amy Ducksworth, Dorothy Christy; Martha, Martha Lee Sparks; A Nurse, Ellen Woodston. “THREE FACES EAST"—Warners.—From the play by Anthony Paul Kelly. Adapted by Oliver H. P. Garrett. Directed by Roy Del Ruth. The cast: Frances Hawiree, Constance Bennett; Valdar, Eric Von Stroheim; Arthur Chamberlain, Anthony Bushell; Mr. Yates, William Courtenay; General Hewlett, Crauford Kent; Lady Chamberlain, Charlotte Walker; Sir Winston Chamberlain, William Holden. “TOAST OF THE LEGION, THE" — First NATIONAL.—From the operetta ‘‘ Mlle. Modiste" by Victor Herbert. Paul Perez. Directed by William A. Seiter. cast: Mlle. Fifi, Bernice Claire; Paul de St. Cyr, Walter Pidgeon; Rene, Edward Everett Horton; Count de St. Cyr, Claude Gillingwater; Francois, Frank McHugh; Mme. Cecile, Judith Vosselli; Marie, June Collyer; General de Villafrance, Albert Gran; Specially Dancers, Sisters ‘‘G."' The “TOP SPEED"—First NatIoNAL.—Musical comedy by Harry Ruby, Bert Kalmar and Guy Bolton. Adaptation and dialogue by Humphrey Pearson and Henry McCarty. Directed by Mervyn LeRoy. Photography by Sid Hickox. The cast: Elmer Peters, Joe E. Brown; Vireinia Rollins, Bernice Claire; Gerald Brooks, Jack Whiting; Tad Jordan, Frank McHugh; Babs Green, Laura Lee; Datsy, Rita Flynn; Spencer Colgate, Edmund Breese; The Sheriff, Wade Boteler; Vincent Colgate, Cyril King; J. W. Rollins, Edwin Maxwell. “TRIGGER TRICKS"—UnrversaLt.—From the story by Reaves Eason. Directed by Reaves Eason. The cast: Tim Brennon, Hoot Gibson; Betty Dawley, Sally Eilers; Thomas Kingsion, Robert Homans; Joe Dixon, Jack Richardson; Nick Dalgus, Monty Mon- tague; Sheriff, Neal Hart; Jke, Walter Perry; Mike, Max Asher. “UNHOLY THREE, THE"—M-G-M.—From the story by Clarence Aaron Robbins. Continuity by ugent and Elliott Nugent. Directed by Jack ay. The cast: Echo, Lon Chaney; Rosie, Lila Lee; Hector, Elliott Nugent; Midget, Harry Earles; Prosecuting Allorney, John Miljan; Hercules, Ivan Linow; Regan, Clarence Burton; Defense Attorney, Crauford Kent. “WAY OUT WEST"”—M-G-M.—From the story by Byron Morgan and Alfred Block. Directed by Fred Niblo. Thecast: Bill, William Haines; Molly, Leila Hyams; Pansy, Polly Moran; Trilby, Cliff Edwards; Steve, Francis X. Bushman, Jr.; La Bella Rosa, Vera Marsh; Buck, Charles Middleton; Jim, Jack Pennick; Tex, Buddy Roosevelt; Hank, Jay Willsey. “WILD COMPANY’'—Fox.—Story by John Stone and Bradley King. Adaptation and dialogue by Bradley King. Directed by Leo McCarey. Photography by Al W. O'Connell. The cast: Larry Grayson, Frank Albertson; Henry Grayson, H. B. Warner; Dolly, Sharon Lynn; Mrs. Grayson, Claire McDowell; Anita, Joyce Compton; Cora, Frances McCoy; Dick, Richard Keene; Joe Hardy, Kenneth Thomson; Natalie, Mildred Van Dorn; Felix Brown, Bela Lugosi; Eddie, Bobby Callahan. These, children Little America. mander had to burn his clothes. are killer whales, poking their snouts through the fissures in the Ross Ice Shelf in Commander Byrd’s front yard at his Antarctic base, Once when he went too near they spouted and the com- After that he called them “Sea Skunks” Adapted by Julian Josephson and | I41 h “Mais oui, Madame, Amolin is the safe deodorant. It can’t seal pores.” Vorta! There’s safety in this powder deodor- ant. Soft! Smooth! Luxurious! Amolin is a deodorant that is a sheer de- light to use! It is a powder—fine, soft, snow- white. And the beauty of it is—Amolin is a safe deodorant. It can’t seal delicate pores. Amolin neutralizes perspiration in a health- /ful way. Just dust it on without fuss or muss and instantly it takes effect. No fear of irri- tation, No risk of Amolin’s eating away cloth- ing. Safely it prevents body odors and keeps lyou fresh all day. Body odors are tricky! We never know when we may have them. Yet there is a safe | way to avoid embarrassment now—use | Amolin freely. Under the arms. Over the | body. Sprinkle it on the sanitary napkin, too. It’s a wonderful solution to this distressing | problem. | On sale everywhere, 35c—60c. Special offer—send 10c for generous trial container Write to The Norwich Pharmacal Company, Dept. AR-8, Norwich, N. Y. In Canada, 193 Spadina Avenue, Toronto. Makers of Unguentine Amolin The dainty powder deodorant When you write to advertisers please mention PHOTOPLAY MAGAZINE,

Page 142

PHOTOPLAY MAGAZINE For AucustT, 1930 Pin Money For Our Readers ow at ena UREN HOTOPLAY now offers its readers the opportunity to convert their spare time into real money by becoming its subscription repre- sentatives in the town or community in which they live. You, as a reader of PHUTOPLAY, will be quick to realize the money-making possibil- ities this offer affords you. Your friends—your neighbors —in fact, all the homes in your com- munity—are prospective subscribers for PHOTO- PLAY. Who, today, is not interested in moving pictures—the chief rec- reation of the American public? Be the first in your community to take ad- vantage of this offer, and get started at once. The coupon or a post card will bring further de- tails. PHOTOPLAY MAGAZINE, Dept. RE-8-30, 919 No. Michigan Ave., Chicago, III. I am interested in your A a pe of- fer to your readers, Send me the details at once. Name While Bernice Claire and Jack Whiting are busy facing the still camera, the extra boys and girls in the background seize the moment for a little innocent canoodling—as we called love-making in our neck of the woods. And it’s a studio forest, too. A scene from “Top Speed.” Bernice has been in great demand since her smashing success in First National’s “No, No, Nanette” Every advertisement In PHOTOPLAY MAGAZINE Is guaranteed.

Page 143

PHOTOPLAY MaGazINnE For Aucust, 1930 Brief Reviews of Current Pictures | CONTINUED FROM PAGE 13 | LAUGHING LADY, THE—Paramount.— Chatterton and Brook, now and forever! What ateam! A vital, brilliantly directed story with superb work by the aforementioned pair. (March) LET’S GO NATIVE—Paramount.— Wonderful nonsense in this burlesque of the old shipwreck-on-a- desert-island theme. Jeanette MacDonald and Jack Oakie. (Judy) LET’S GO PLACES—Fox.—Our old friend, Mis- taken Identity Plot. Funny as the dickens, and at least two songs will keep you humming. (May) LIGHT OF WESTERN STARS, THE— Paramount.—Horse opera, but dressed up in snappy dialogue and played convincingly by Dick Arlen, Mary Brian, Harry Green, Regis Toomey and Fred Kohler, You'll like it. (May) LILIES OF THE FIELD—fFirst National.— Corinne (Orchid) Griffith in tights and doing a tap dance! Her sprightliest film since ‘‘ Classified.” Comedy, pathos and some good modern music. (Feb.) LITTLE JOHNNY JONES—First National.— Eddie Buzzell, musical comedy star, and George M. Cohan music redeem this. Otherwise just another racetrack yarn. (April) LOCKED DOOR, THE—United Artists.—An ex- citing melodrama ruined by weak dialogue. Note- worthy only because it brings Barbara Stanwyck to the talking screen. (Feb) LOOSE ANKLES—First National.—So farcical that it goes a little lame. Loretta Young and Doug Fairbanks, Jr., are the principals, but the comics run away with the hcnors. (May) LORD BYRON OF BROADWAY—M-G-M.— Light, but you'll like it. Another song-writer story, with Technicolor review scenes, theme songs and wise- cracks. (April) LOST ZEPPELIN, THE—Tiffany-Stahl.—This ~ has lots of good points, but plot isn’t one of them. Some fascinating scenic effects. -Conway Tearle, Ricardo Cortez and Virginia Valli line up in the old triangle formation. (Feb.) LOVE COMES ALONG—Radio Pictures.—Too bad to hand Bebe this after ‘Rio Rita."’ Life on the Mexican water front, made more endurable by that Daniels girl's thrilling VOICGy «(Feb.) LOVIN’ THE LADIES—Radio Pictures.—Clap- trap farce, but it's nice to see Richard Dix and Leis Wilson together again as screen billers-and-cooers. (May) LUMMOX—United Artists.—Winifred West- over is superb in this Fanny Hurst tale. She holds up a somewhat jerky, maudlin film. (April) MAID TO ORDER —Jessie Weil Prod.—Come out, Julian Eltinge, we knew you all the time! The famous female impersonator grown matronly, in a badly put together production. (March) MAMBA—Tiffany Prod.—Advertised as the first all-Technicolor drama. War between British and German troops, and an East African native revolt. Jean Hersholt does brilliant work. (May) MAMMY—Warners.—Al Jolson rises above his story and makes an entertaining movie. A minstrel piece, with Lois Moran, Lowell Sherman and Louise Dresser. Irving Berlin tunes. (June) MAN FROM BLANKLEY’S, THE—Warners.— The Barrymore profile in slapstick! He's a good Sarceur in this ridiculous story of an English lord who attended the wrong dinner party. Loretta Young provides love interest. (June) MAN HUNTER, THE—Warners.—A_beach- combing melodrama, that totters to a feeble end. Rin-Tin-Tin is the star. (June) MATCH PLAY—Sennett-Educational.—Giggles for golfers. Walter Hagen, British ““champeen,”’ and Leo Diegel, American ‘‘champeen,"’ are featured. They're not actors, but no one expects that. (April) MATRIMONIAL BED, THE — Warners. — A good cast, wasted on a poor picture. (July) MELODY MAN, THE—Columbia.—Pleasantly sentimental story about the conflict of youth and old age. William Collier, Jr., Alice Day, and a good per- formance by John Sainpolis. (May) * MEN WITHOUT WOMEN—Fox.—Dealing with the horrible death of a group of men trapped in a submarine. Gruesome, but stunningly realistic. Ace performances by Kenneth McKenna and Frank Albertson. (March) MEXICALI ROSE—Columbia.—Barbara Stan- wyck’'s second film appearance. Mexican border mel- odrama, and pretty good entertainment. (A pril) >. ¢ MONTANA MOON—M-G-M.—Joan Craw- ford, still untamed, on a ranch. And what a tango she does with Ricardo Cortez! Johnny Mack Brown, the boy. Frolicsome. (April) MOUNTAIN JUSTICE—Universal.—(Reviewed under the title “Kettle Creek."") That Ken Maynard can ride! The rest is negligible. (May) MOUNTED STRANGER, THE—Universal.— Hoot Gibson, the Riding Kid, avenges a murder and meets romance. (April) MURDER ON THE ROOF—Columbia.—A well- cast thriller, Crime high up among the pent-houses. (April) MURDER WILL OUT—First National.—Thrills and mystery against high society background. Good acting. Elaborate settings. Jack Mulhall, Lila Lee and Noah Beery. (May) NIGHT RIDE—Universal.—Varn about a hard- boiled gangster and a harder-boiled reporter, with Joseph Schildkraut and Edward Robinson leering at one another for dear life. (March) NO, NO, NANETTE—First National.—A good girl-and-music picture with fine Techni- color trimmings, but notable chiefly for its rapid fire succession of laughs. Alexander Gray and Bernice Claire sing the leads. (March) NOT DAMAGED, FOX.—Sounds like melo- drama, but it’s supposed to be comedy. (July) NOTORIOUS AFFAIR, A—First National.— Tired of players who burst into song? Then you may like this. Billie Dove in gorgeous clothes. Basil Rathbone the faithless husband, and Kay Francis a vamp. (Jumte) OFFICER O’BRIEN—Pathe.—Glorifying the American cop as impersonated by William Boyd. Mildly exciting entertainment. (Feb.) OLD AND NEW—Sovkino.—Powerful, Com- munism propaganda film, co-directed by Eisenstein of “Potemkin” fame. Silent. (July) ONCE A GENTLEMAN—Sono Art—James Cruze. —High comedy, with a touch of pathos. Eddie Horton is elegant. (July) * ONE ROMANTIC NIGHT—United Artists. —Lillian Gish in her first. phonoplay, ably aided by O. P. Heggie and Marie Dressler. The love story of a young princess and her tutor. (June) * ONLY THE_BRAVE—Paramount.—Mary Brian is Gary Cooper's reward for valor. Civil War setting. Good acting, much romance, pretty costumes. (April) ON THE BORDER—Warters.—Armida sings. Rin-Tin-Tin acts with intelligence. Smuggling Chi- nese across the Mexican border. Forget it. (April) ON THE LEVEL—Fox.—Gusty, lusty melo- drama, with laughs and thrills. Victor McLaglen fine in usual he-man réle. Lilyan Tashman a gorgeous lady-crook. (May) PAINTED ANGEL, THE—First National.— Hoopla! Billie the dove in tights, singing and dancing. Billie plays the Queen of the Night Clubs and Eddie Lowe drops his Quirt manners to be her sweetheart. (March) PAINTED FACES—Tiffany-Stahl.—Good news for the fans who've been crying for something differ- ent. A tense, refreshingly original story with a jury- room locale, and that grand comic, Joe E. Brown. (Feb.) PANDORA'S BOX—Nero.—In case you've been wondering what happened to Louise Brooks, here she is, big as life and twice as naughty, in what was prob- ably a good German picture before the censors oper- ated on it. Silent. (Feb.) PARADE OF THE WEST, THE—Universal.— The riding scenes in this Ken Maynard picture will make your hair stand on end. So will the story, but for a different reason. Not so good as Ken's last. (March) PARAMOUNT ON PARADE—Paramount.— Paramount goes revue, using its best talent. Technicolor, stirring music, lovely voices, satire, burlesque,‘romance! Chevalier, Chatterton, Oakie, and lots more. Take the family. (May) PARTY GIRL—Tiffany-Stahl.—A would-be sen- sational story with a moral ending obviously thrown in as a sop to the censors. Some good acting, how- ever, by the junior Fairbanks and Jeanette Loff, (March) PEACOCK ALLEY—Tiffany Productions, Inc.— Mae Murray in talking version of her once glorious silent film. She shouldn't have done it But she dances well. (April) PHANTOM IN THE HOUSE, THE—Continen- tal.—This murder story fails to provide an alibi for existing. (Marci) 143 Will PATTER Brings Beauty to Your Complexion Beauty experts the world over consist- ently advise, “‘Pat-pat-pat.” Patting works the cleansing creams in and out of the pores, gently removing all traces of harmful accumulations with- out distorting or abusing delicate skin tissues. The electrically operated ‘‘fingers”’ of the Velvetskin Patter impart a gen- tle patting that is scientifically correct, doing thoroughly, rapidly and pleas- antly what with human fingers would be a tiresome task. Remove the telltale tracings of creeping age. Prevent the lines of neg- lect. Bring back the pink of health and beauty. Pat away that tired look. A few minutes every day with the Velvet- skin Patter will make you feel and look years younger and keep your skin in wonderful condition. And the price is within the reach of all—$5.00. The Velvetskin Patter will be on sale at leading Department Stores, Beauty Shops, Drug Stores and Electrical Stores. If not, mail the cou- pon for the Beauty Book or enclose $5.00 and we will send you a Velvetskin Patter. If you are not delighted with it during a 30 day trial, return it and your money will be refunded. Connecticut Telephone and Electric Corporation (Division of Commercial Instrument Corp.) Meriden, Connecticut a a | Connecticut Telephone and I Electric Corporation, I 60 Britannia St., Meriden, Conn. § ® Gentlemen: Ienclose $5.00. Please send Velvetskin # I Patter with privilege of return for refund within 30 § I days. 1 ; 1 Pare ee So. } I Address - ! } Dealer's Name “- | I want: © Jade Green; © Orchid; OPrimrose I Ce | When you write to advertisers please mention PHOTOPLAY MAGAZINE,

Page 144

144 LIQUID WAY IS SAFE FOR ERE is a new and totally different way to remove a corn or a callus. One drop deadens pain. Acts like a local anaesthetic; really amazing. You wear tight shoes, walk, dance. The corn shrivels and loosens. You peel it off with your fingers. No more dangerous cutting. Works alike on any corn or callus, no matter how old or how painful. “GETS-IT”’ World’s Fastest Way Itching Skin Cooling, antiseptic Zemo stops skin itching—soothes summer rashes, insect bites, prickly heat, ivy poisoning, toe-itch, sunburn. First ap- plication instantly relieves, heals—retards infection. Keep Zemo handy for cuts, bruises, after shaving. It’s safe, grease- less, invisible. Any druggist has 20 year famous Zemo. 35¢, 60¢, $1.00. FOR SKIN IRRITA TIONS HOME TRIAL The nose, composed mostly of flesh and car- tilage, can be molded to shi apely lines by wearing the Anita Nose Adjuster, while asleep or during the day. It’s the quick, safe, painless and inexpensive method. Results are lasting! Your age doesn’t matter, Over 78,000 users. Doctors approve it. Small cost. Moneyback GUARANTEE. Send for trial offer and FREE BOOKLET, “‘The Nose and Its Shape.”” Gold Medal Won 1923 ANITA INSTITUTE, 828 Anita Bldg., Newark, N. J. r MAKE MONEY AT HOME! Painting pho' tor and miniatures, No Seer tolent re= quired cinating work, Make $35-$100 a Earn whiio len oh you at home ol artint’s outfit, employment service given, Write for FREE Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed. PHANTOM OF THE OPERA, THE—Universal. —Famous old shocker partly remade with mixture of talk and sound. Lon Chaney still silent, however. Part Talkie. (April) PLAYING AROUND—First National.—Alice White, Billy Bakewell and Chester Morris. Trite story, fair acting, fair entertainment. (June) POINTED HEELS—Paramount.—With Helen Kane, William Powell, Fay Wray, Phillips Holmes, Skeets'Gallagher and Eugene Pallette in the cast, this backstage story is sure-fire. (Feb.) PUTTIN’ ON THE RITZ—United Artists.— Harry Richman warbles well in his first talkie. Harry and Jimmy Gleason play two actors. Joan Bennett at her sweetest. Lilyan Tashman amusing. Good Irving Berlin music. (April) RAMPANT AGE, THE—Trem Carr.—A rumor that the younger generation is jazz-mad seems to have leaked through into film circles. Hackneyed story rendered amusing by lively dialogue and acting. (March) REDEMPTION—M-G-M.—John Gilbert's first talkie, made before ‘His Glorious Night," but shelved and now largely remade. <A tragic story by Tolstoi that proves John can act. (July) RETURN OF DR. FU MANCHU, THE—Para- mount.—Grand melodramatic hokum. Warner Oland is a swell Manchu. (July) THE WORLD, THE— 1.—Louis Mann as the dad of an ungrateful A good cast and happy ending. (July) RICHEST MAN IN M-G-N family. ROADHOUSE NIGHTS—Paramount.—A pippin of a melodrama, seasoned with yell comedy. Helen Morgan sings. Charles Ruggles and Jimmy Durante, Broadway's current night club pet, score enormously. (March) D ROGUE SONG, THE— M-G-M.— Law- rence Tibbett, grand opera star, flashes across the phonoplay horizon, an inimitable and dashing personality. Taken from Lehar's ‘‘Gypsy Love this operetta is roistering, brilliant and dramatic—a feast for the eye and ear. (March) ROMANCE OF THE WEST—Hammond Prod. —Pistols crack, and Jack Perrin rescues the gal from the Mexican joint. And bye and bye it ends. All- action and all-talkie, but why? (May) ROUGH ROMANCE—Fox.—All about the Helen Chandler goes and Antonio Moreno don't (June) goings-on of lumberjacks. Gish. George O'Brien help much. Neither do the chorus routines. ROYAL BOX, THE—Warners.—If you Deutsch sprechen you'll like this. The first full-length talking picture in German, with Alexander Moissi and Ca- milla Horn. (March) ROYAL ROMANCE, and adventure ina mythical kingdom. good performance and Pauline tingly beautiful. (May) A—Columbia.—Romance Buster Collier Starke is PHoTOPLAY MAGAZINE FOR AUGUST, 1930 RUNAWAY BRIDE—Radio Pictures—Murders, thieves, and a string of pearls. Clap-trap melo- drama trying to be light comedy. But Mary Astor ischarming. (June) SACRED FLAME, THE—Warners.—On the stage this was strong and intensely tragic drama, but it has been pretty well watered for the screen. A brilliant cast, headed by Conrad Nagel, Lila Lee, and Pauline Frederick. (Feb.) SAFETY IN NUMBERS—Paramount.—Peaches- an’-cream for Buddy Rogers fans. He sings half a dozen songs and plays an heir to big money whose worldly-wise uncle puts him in care of three “Follies” girls. (June) SALLY—First National.—The glorious, scintillat- ing dancing of Marilyn Miller, lovely Ziegfeld star, saves this from being merely a dull transcript of an out-moded musical comedy. (March) SARAH AND SON—Paramount.—What a characterization by Ruth Chatterton! And what a restrained and dignified performance by Frederic March! A picture you simply can’t miss. (May) SECOND CHOICE—Warners.—You won't even make this third choice. A mediocre phonoplay with Dolores Costello, Chester Morris and Edna Murphy. (March) SECOND FLOOR MYSTERY, THE—Warners. —Novel mystery-comedy, with Loretta Young and Grant Withers. (July) SECOND WIFE—Radio Pictures.—Interesting domestic drama from stage play “All the King's Men." Lila Lee, Conrad el, Hugh Huntley. Little Freddie Burke Frederick is perfect. (April) SETTING SON, THE—Darmour-Radio Pic- tures.—Grandpap, rich and ailing, takes the wrong medicine. The family count chickens before they're hatched. Short comedy. (April) SEVEN DAYS’ LEAVE—Paramount.—Bar- rie's fine play, ‘* The Old Lady Shows Her Med- has been tenderly and effectively transferred to ae Beryl Mercer and Gary Cooper are splen- (Feb.) a tl did. SEVEN KEYS TO BALDPATE—Radio Pic- x tures.—A fine phonoplay version of the old laughter-and-thrill-provoking favorite. Richard Dix again battles the microphone to a knockout finish. (Feb.) SHADOW OF THE LAW—Paramount.—The usual delightful William Powell performance, but the story could be better. (July) SHE COULDN’T SAY NO—Warners.—Winnie Lightner should have said NO when they cast her as a broken-hearted night club hostess. (May) SHIP FROM SHANGHAI, THE—M-G-M.— sychological drammer but it went astray. Dra- matic, but sometimes distasteful. Louis Wolheim, Conrad Nagel, Kay Johnson, the latter splendid. (A pril) So old it’s new again! The Gypsy Turban is smart again this summer, and Fay Wray demonstrates it. This one is orange, brown and yellow. While they are hats, they give the effect of a scarf tied round the head. That makes it more intricate oe ee

Page 145

|= bf SHOW GIRL IN HOLLYWOOD — First Na- tional.—Alice White's best talkie. Interesting studio scenes. (June) SHOW OF SHOWS—Warners.—Y u'll be too busy enjoying yourself to count all the celebs in this super-revue—but they're there—77 of ‘em. And besides there are stunning stage effects and dance routines, gorgeous Technicolor, and millions of laughs. (Feb.) SILENT ENEMY, THE—Paramount.—Beauti- fully photographed story of the Ojibway Indians’ struggle for food in the far North, played by real Indians. Amazing animal scenes. Sound. (July) SKY HAWK, THE—Fox.—Fine war stuff with a charming love interest. Thrilling shots of a Zeppelin raid over London. John Garrick, a new- comer, and Helen Chandler are delightful as the young lovers. (Feb.) SLIGHTLY SCARLET—Paramount.—Evelyn Brent as society thief on the Riviera. Her best since “Interference."’ Hero, Clive Brook. Eugene Pal- lette a ‘“‘wow."" (April) SOCIAL LION, THE—Paramount.—Jack Oakie, the village braggart who is “taken up” by the country club set. Mary Brian, the girl. Heaps of fun. (July) SO LONG LETTY—Warners.—Two discontented husbands swap wives. Charlotte Greenwood of the long legs and boisterous antics is whole show. (April) SONG OF LOVE, THE—Columbia.—Carbon copy of the yarn used for every vaudevillian who goes talkie—but Belle Baker rises above it. She's good and so is Ralph Graves. The songs aren't. (Feb.) SONG O’ MY HEART—Fox.—John McCor- mack aims right at your heart with his gorgeous voice. Hit pieces, “Little Boy Blue" and “‘I Hear You Calling Me."" Alice Joyce, and a sensational Irish kid, Tommy Clifford. Don't miss John. (April) SONG OF THE FLAME—First National.— Bernice Claire, soprano, and Noah Beery, deep bass, free Russia from the revolutionists via Technicolor operetta. (July) SONG OF THE WEST—Warners.—All-Techni- cclor outdoor operetta. Ambitious, but dull. (May) SON OF THE GODS—First "National.—Richard Barthelmess as Americanized Chinese boy in slow- paced Rex Beach romance. Constance Bennett fine. Weak story. Far from best Barthelmess. (A pril) SO THIS IS PARIS GREEN—Paramount-Chris- tie.—A swell short subject burlesque of love among the apaches with Louise Fazenda as the world-weary queen of the Paris sewers. (March) SPRING IS HERE—First National.—Bernice Claire and Alexander Gray sing well. Ford Sterling and Louise Fazenda are great. Just an average musi- cal comedy story, but they make it good entertain- ment. (June) STREET OF CHA NCE—Paramount.—Here's a punchful racketeer picture that is going to give rival producers jaundice until they get a carbon copy inthe can. Bill Powell's finesse and Kay Fran- cis’ sincere emoting would be high-lights in any pic- ture. “(March) STRICTLY MODERN—First National.—Pretty obvious humor and thin story, but Dorothy Mackaill is fine as a young sophisticate who finds romance where she least expects it. (July) STRICTLY UNCONVENTIONAL—M-G-M.— The original play, ‘The Circle,” was subtle English comedy. The phonoplay misses fire. (May) * SUCH MEN ARE DANGEROUS—Fox.—A famous financier disappeared during a flight ever the North Sea, and gave Elinor Glyn the basis for this brilliantly made talkie. Warner Baxter, Catherine Dale Owen. One of the best. (April) SUGAR PLUM PAPA—Sennett-Educational.—A short feature directed by Mack himself. Daphne Pol- lard and the rest of the hilarious gang. (A pril) SUNNY SKIES—Tiffany Productions.—Another one of those movie versions of college life as it isn't. (June) SWELLHEAD—Tiffany Productions —Just an- other prize-fight story. (July) SWING HIGH—Pathe.—Love and intrigue in an old-time wagon circus. Color, action, peppy songs, Pleasant entertainment. (July) TALK OF HOLLYWOOD, THE—Sono Art- World Wide.—This would be the talk of any town— it'’ssobad. Intended as comedy, it evolves a tragedy. (March) TEMPLE TOWER—Fox.—More Bulldog Drum, mond, with Kenneth McKenna instead of Ronald Colman. Burlesque and good whether intentional ornot. (April) TEXAN, THE—Paramount.—Gary Cooper and Fay Wray in a picturesque O Henry story of the Southwest. (July) Puotopray MacazinE ror Aucust, 1930 THEIR OWN DESIRE—M-G-M.—This picture reminds us of Paris on Bastille Day—everyone in it goes wild. Norma Shearer is miscast. (Feb.) THEY LEARNED ABOUT WOMEN—M-G-M. —But not about acting. “They” being Van and Schenck, vaudeville harmony duo, who sing better than they act. And, believe it or not, Bessie Love i still being noble. (March) TIGER ROSE—Warners.—Lupe Velez plays the tiger, but the picture is no rose. The stage play wa once popular, but no one seems to care any more whether th Northwest Mounted get their man or not. (March) TROOPERS THREE—Tiffany Productions, Inc. —Concerns both kinds of troupers—backstage and army. Slim Summerville is funny. (April) TRUE TO THE NAVY—Paramount.—Clara Bow is the girl who has a boy on every ship. Then the whole fleet comes in! Can y'imagine the fun! (July) UNDER A TEXAS MOON—Warners.—Light satire on old-fashioned Mexican border melodramas. A gay and dashing Technicolor singie, with Frank Fay and Armida. (June) UNDERTOW—Universal.—Misguided psycho- | logical drama of life in a lonely lighthouse. Why didn’t they call it ‘Lighthouse Blues"? Mary Nolan, John Mack Brown and Robert Ellis struggle against odds. (March) UNDER WESTERN SKIES—First National.— Neither beautiful Technicolor scenery nor Lila Lee's fine performance do much for this one. (July) UP THE CONGO—Sono Art—World Wide.— One more expedition into Darkest Africa. If you like them you'll like it. (April) * VAGABOND KING, THE—Paramount.— Flash and clang of sword play. Dennis King, as Francois Villon, sings and acts with operatic abandon. Gorgeous Technicolor. Lilting Friml mnusic. Jeanette MacDonald and Lillian Roth help, and O, P. Heggie is grand. (May) VENGEANCE—Columbia.—Melodrama with a punch. Another African native revolt. Jack Holt and Dorothy Revier. (May) WALL STREET—Columbia.—Even if you've re- covered enough to hear Wall Street mentioned with- Ch frothing at the mouth, you won't like this. eb.) WASTED LOVE—British International.—And wasted footage, except when Anna May Wong's unique personality flashes on the screen. Silent. (March) WEDDING RINGS—First National.—Ernest Pascal's novel, “‘The Dark Swan,” lost its original title and a great deal more. Lois Wilson, Olive Borden and H. B. Warner. (July) WEST OF THE ROCKIES—J. Charles Davis Prod.—Bandits, fast riding heroes, pretty senoritas. Same old Western plot. (April) WHAT A MAN!—Sono Art-World Wide.—(Re- | viewed under the title “His Dark Chapter."’) Reginald Denny's nice voice, and a trifling story about a gentleman-crook who isn't a crook after all, provide a pleasant enough evening. (May) WHITE CARGO—W. P. Film Co.—Banned by Will Hays, but produced in London. Slow, badly recorded. Wasn't worth bootlegging. (May) * WHITE HELL OF PITZ PALU—Universal. —Three people are trapped in the impassable mountain of Palu. A night search party sets out. Wonderful Swiss snow scenes and breath-taking air- plane stunts. Unusual and intensely interesting. Sound. (July) WIDE OPEN—Warners.—Edward Everett Hor- ton and Patsy Ruth Miller play this somewhat vulgar but amusing comedy with a,pace that keeps you roaring. (June) WILD HEART OF AFRICA, THE—Supreme.— A glorified travelogue giving the lowdown on pre- viously unheard-of Sudanese fiends in more or less human form. Silent. (March) WOMEN EVERYWHERE — Fox. — J. Harold Murray's charming singing voice, plus that ooh-la-la Ma'mselle, Fifi Dorsay. (July) YOUNG DESIRE — Universal. — Conventional story of a circus girl who loves a rich boy, but treated unconventionally. Pace, color and thrills, Mary Nolan scores. (June) YOUNG EAGLES—Paramount.—Not another “Wings."" Buddy Rogers the flying hero. Jean Arthur his inspiration. Magnificent air photography, and satisfactory enough story. (May) YOUNG MAN OF MANHATTAN—Paramount. —Two young newspaper writers get married, and then get temperamental. Claudette Colbert and real- life husband, Norman Foster. hilarious comedy touches. (July) Charles Ruggles adds | | same time it takes to powder i S ~~ [ee applied in an instant. It can’t do any harm. You can—and should—use this snowy, soothing cream for every occasion. Mum offers permanent protection from underarm offense, for it is something you can always use. Make the use of this dainty deodorant a daily habit. Morning and evening. Then you're always safe. Never at a disadvantage. No hour of the day or night can ever be ruined by that arch- enemy of charm—body odor. That's the beauty of Mum! The utter simplicity of its use. You need not plan ahead, nor make elaborate preparations for its application. Nor wait for it to dry, or fear its effect on skin, or dainty fabrics. The moment you've used Mum, you're ready to go! And absolutely safeguarded against perspiration odors. Mum is as bland as any face cream and is, in fact, beneficial to skin. Perfectly harmless to fabrics. Its only action is to neutralize those odors caused by the chemistry of the body. Keep your jar of Mum on your dressing table. Use it freely, and be serenely confident of yourself all the time. All toilet-goods counters 35c. Or nearly three times the quantity for 60c. And you use so little each time! There’s no waste. When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Page 146

RE you ready for another fast ramble around the studios? You are? Hold tight to.mother’s hand. And we're in Culver City, and inside the beautiful old Colonial building that is the studio office of Pathé. What’s that music? A barn dance? Lead us to the set! Abe Lyman’s famous band, all togged out in cowboy suits, is furnishing the tunes—and what good old tunes they are. Abe can certainly put plenty of turkeys in the straw! Here comes George Duryea, that coming juvenile, looking like a Wild West Brummel in black and white silk shirt and black chaps. It’s a Western comedy they’re making. Started out asa short picture, but it looked so good in production the bosses decided to make a feature out of it. That’sodd. Most features should be shorts! Who’s that colored boy in the pink hat and yellow shirt? What? Say it again—slowly. Stompin Sellit? The old Stepin Fetchit influence. Well, no harm in stealing Step’s thunder. He doesn’t seem to have much to sell these days, being such a bad boy. Meet Harry Woods, the villain. Harry says he’s played so many Western villains that he leers in his sleep. But after hours he designs gardens for the swells in Beverly Hills! a scene. HEY’RE finishing up “Holiday” out on the back lot. It’s worth a look—just to see Ann Harding, forinstance. What? Ann isn’t working on this set? Well, here’s Mary Astor, and Robert Ames, the leading man. The set’s the front of a swanky New York mansion. (Just out of camera range are some mangy old pillars—all that remains of the great “King of Kings.”’) Bob and Mary drive up in a taxi. Every time the cab stops there is a terrific squalling of brakes that brings us right back to New York. The scene’s done—“‘in the can.” Mary begins fussing with her small movie camera. She’s an amateur movie fan, and has shot hundreds of feet of her pals on the lot. Ames is a golf demon. Watch him practicing putting! Director Griffith says they can also act some when he manages to get them off their hobby-horses. "DYE, BOB. ’Bye, Mary. Let’s shoot over to First National —that open and beautiful lot in Burbank, over the hill fcom Hollywood. Oh, boy, what a room this is! Looks like Aunt Mary’s parlor 146 We stroll on the “Broken Dishes” set at First National and watch Mervyn Le Roy direct Loretta Young and O. P. Heggie in Doesn’t O. P. look domestic in his pretty apron? in Peoria—the one you had to die to get into! It’s all here—what-not, goldfish and family album. That’s Grant Withers sitting over there. Mrs. Withers, Loretta Young that was and yet is, comes over and tickles him. That’s family fun—not in the script. Grant and Loretta are co-starring in this one. “Broken Dishes.” Virginia Sale, Chic’s sister, shows us the dishes. She’s playing in the picture. The dishes—a set of horrible blue atrocities—are in the sink. Glad they’re to be broken in the picture! There’s Mervyn Le Roy, the half-pint kid director, calling the folks on the set. They rehearse a scene where Grant comes to call on Loretta. Natural, eh? Should be, since Grant parked often in front of the old Young manse while he was courting Loretta. But the Sale girl’s getting us laughing. Better bow out silently before we blow up a couple of high- priced microphones! What have we here on the next set? No one but Joe E. Brown, the comic with the cavernous mouth. Hello, Joe! Hardly knew you in the soup and fish! It’s a ritzy hotel set, and Joe is autographing books for a bunch of beauteous extra girls. It’s in the story, called “ Goin’ Wild.” Look at Joe’s shirt front! Ever see a prettier shade of prim- rose yellow? We're used to seeing pink or blue shirts on even the he’est of he-men, but this yellow is a new and dandy shade. Look at Joe blush! It’s called ET’S run over to United Artists and see what they’re doing on Eddie Cantor’s ‘“Whoopee.”’ Well, it’s plenty. They’re shooting a scene in an Indian village—in Technicolor, with a blue backdrop and pink clouds. And the actors are heavily rouged! Looks funny after the flat make-ups for black and white film. ) Here comes Eddie, the first Jewish Indian in American history, probably. Look at the fringed pants and red flannel—yep—it’s an un- dershirt! Hey, Eddie, if Broadway and your pals could see you now! Hungry? All right, let’s go back to town and see if Henry can shake us up some avocado salad with a dash of Dutch cheese. Gee, I’m sorry we missed Ann Harding, aren’t you? Well, the good old Pathé lot is still there!

Page 147

You really should see MWY MmOrmime mail He°?s full of excitins stories from girls about their complexions BEBe sure to read This letter from a ranch in New Mexico is just one of the dozens of warm, friendly let- ters I get every day from girls who read these Camay arti- cles of mine. It’s so especially interesting that I want to read it to all of you. “Tf any one ever had a chance to try Camay out it has been I,” the writer de- clares. “For I was raised in the east where there are few winds and only mild sunshine and an abundance of clear, soft water. ““Six years ago I came out here to live. I found high winds, continued and alkali water to contend with.” sunshine, You can imagine what dif- ficulties this brought to a skin that was, my correspondent tells me, the fragile pink-and- white kind. She tried one soap after the other, “often,” shesays, “pay- ing high prices for them. But not one seemed to agree with my skin. Someone advised me to quit soap and use only cleansing cream. I tried that, but never felt really clean. “T was almost in despair— when a friend gave me a cake of Camay. I tried it and the results were wonderful. Al- most at once my complexion regained its former color and soft ness.” There! letter? And actually what this very charming person discovered for herself about Camay and her own complexion is just what 73 of the most eminent dermatologists in America when they ex- amined a chemical analysis of Camay and made careful, scientific tests of Camay’s effect on all the various types of complexions. Ist that a nice discovered If you remember my earlier Camay articles (and I’m just vain enough to think maybe you will!), you'll recall that these physicians who have specialized in skin care and treatment are most enthusi- astic in their scientific ap- proval of Camay. They said, in effect, ““Camay is gentle and unusually mild. It is the kind of soap we would pre- scribe for even the most deli- cate complexions.” So, if a fragrant Camay cleansing isn’t already the most important item in your daily routine, don’t deprive yourself for another minute of the smoothest, creamiest, gentlest care in the’ whole complexion world, Abibre Oa Face Your World With Loveliness—is a free book- let with advice about skin care from 73 leading American derma- tologists. Write to Helen Chase, Dept. Y V-80, 509 Fifth Avenue, New York City. Camay is 10¢ a cake Camay is a Procter & Gamble Soap—(called Calay In Canada) this letter What is a dermatologist? The title of dermatologist properly belongs only to registered phy- sicians who have been licensed to practice medicine and who have adopted the science of dermatol- ogy (the care of the skin) as their special province, The reputable physician is the only reliable authority for scien- tific advice upon the care and treatment of the skin. I have personally examined the signed comments from 73 leading dermatologists of America who have approved the composition and cleansing action of Camay Soap. I certify not only to the high standing of these physicians, but also to their approval, as stated in this advertisement. (The 73 leading dermatok approved Camay were selected by Dr Pusey who, for 10 years, has been the editor of the official journal of the der- matologists of the United State

Page 148

of SONY and waves of co/or* ee TIBBETT! Never, you're tempt- ed to say, has the screen been turned over to such a superb personality. To such a dy- namic actor. To such a brilliant, roguish, lov- able king of song! In Technicolor, the Tibbeit of opera fame appears before you in one sweeping, indelible surge of reality! From curtain-rise to finale, “The Rogue Song” pul- sates with intrigue, romance, drama—with the sheer resplendence of its two irresistible stars, Tibbett and Technicolor! See it. Marvel at it. Move through it, thrilled by the en- chantment of natural color truly interpreted! SOME OF THE TECHNICOLOR PRODUCTIONS BRIDE OF THE REGIMENT, with Vivienne Segal (First National); DIXIANA, with Bebe Daniels (Radio Pictures); GOLDEN DAWN, with Walter Woolf and Vivienne Segal (Warner Bros.) ; KING OF JAZZ, starring Paul Whiteman (Universal); MLLE. MODISTE, with Bernice Claire, Walter Pidgeon and Edward Everett Horton (First National) ; PARAMOUNT ON PARADE, all-star cast (Paramount) ; SONG OF THE FLAME, with Bernice Claire and Alexander Gray (First National); SONG OF THE WEST, with John Boles and Vivienne Segal (Warner Bros.); THE CUCKOOS, with Bert LAW.REN CE Tt E:B ET Noted Metropolitan Opera star raises the talking screen to new heights in THE ROGUE SONG, Metro-Goldwyn- Wheeler, Robert Woolsey and Dorothy lee (Radio Pictures); THE MARCH OF TIME, all-star cast (Metro-Goldwyn-Mayer), Mayer's magnificent All-Technicolor musical drama i Technicolor Sequences; THE VAGABOND KING, starring Dennis * TECHNICOLOR IS King with Jeanette MacDonald (Paramount). NATURAL COLOR * " ‘technicolor