Photoplay 1934-07 Vol. 46, No. 2
The text was read from the page scans by machine (OCR), so it has mistakes and its columns may run together. See the pages · About this title · At the Internet Archive
Page 1
5 oe de o% if Vv) a
Page 2
eS fe BRING “HERSECE 1) VERE tee, he knew it was coming. She knew it the moment he suggested they sit out the dance. There was a suggestion of tense- ness about him. A determined look in his eye. It seemed strange that he was a man now; with a man’s seriousness. She remembered how, as early as Grammar School days, he wore an air of perpetual joviality. Even when he played quarter for Central High School and was floored by bone-breaking tackles, he always came up with a laughing manner, suggesting that the matter was a grand joke. He carried that manner through his football days at Michi- gan. But now there was no trace of it. “T can't stand it any longer, Wilma,” he blurted out, “the way you’ve been treating me the last few months... .” “What do you mean—the way I’ve been treating you?” ° *“You know—avoiding me... breaking en- gagements. It has just about floored me, and Wilma, you know Im crazy about you. Have been for ten years. I can’t go on this way any longer. Why don’t you marry me... put me out of my misery?” . He rushed into an excited exposition of how happy they could be together. When it was over she slowly shook her head. “Don't you care for me?” he begged. “You know I do, Ross Temple.” Down in her heart she knew that she was fonder of him than any man she had ever met. And yet... “Then why?” he demanded fiercely. “Do you think Ill make a fool of myself with father’s money?” She shook her head. “You might have done that once —but not now. You're no simpleton, Ross.” She really admired him for the success he had made by his own efforts. She could count on the fingers of one hand, the men in town who were earning what he earned. He leaned toward her, almost pathetically. “Ts there someone else? Is that fellow in New Work. .0 “Don’t be ridiculous!” He turned on her again as if he would shake her. “Then why? Give me some reason. Dont sit there shaking your head. What’s wrong? What have I done? I can stand the truth.” She wanted to tell him. It was only fair that he should know. She wanted to say to him— “Go and rid yourself of the barrier that so re- cently has risen between us, then come back to me.” She even wanted to name that barrier, but she couldn't bring herself to do it. No woman could. The subject was too delicate. cf 7 7 Halitosis (unpleasant breath) is the one un- forgivable social fault. The insidious thing about it is that you your- self never know when you have it And even your best friend won't tell you. It is a matter that can’t be talked about. Are you sure about yourself ? Fewescape halitosis entirely, because every day in normal mouths, condi- tions that cause unpleasant breath may arise or are already present. Its commonest cause is ferment- ing food particles in the mouth. Other com- mon causes are: Decaying or poorly cared for teeth. Excesses of eating, drinking, or smok- ing. Infections of the oral tract, such as catarrh, colds, trench mouth, and pyorrhea. The safe way to put your breath beyond suspicion is to rinse the mouth with full strength Listerine. Every morning. Every night. And between times before meeting others. Why Listerine deodorizes Because of its amazing germicidal power, Listerine halts fermentation and checks infection, both a major cause of odors. Then it destroys the odors themselves. Listerine’s astonishing antiseptic and de- odorizing power has been a matter of record in great hospitals and private practice for half a century. There is no scientific evidence that any antiseptic possesses greater deodorant power than Listerine. Even the onion yields You know yourself that there are few more arrogant odors than onion and fish. Yet Lister- ine makes short work of them. Try it yourself some time. Rub a little onion or fish on your hand. Then apply Listerine and see how quick- ly such odors disappear. Lambert Pharmacal Company, St. Louis, Mo., U. S. A. -_and even the ONION yields to it |
Page 3
What a TEETH, TENDER GUMS... SHE This young woman should look at her teeth in a clear mirror in bright sunlight! Then she would under- stand why the dental profession lays so much stress on massage of the gums. Her teeth are dingy because her gums need attention! Dental science explains that since coarse, raw foods have given place to soft, creamy foods—the gums suffer. They tend to become sluggish, and often so tender that they bleed a little—a condition known as “‘pink tooth brush.” If you want to make certain that your teeth shine out brilliantly, try 5 he GETS A GRAND TA PHOTOPLAY MAGAZINE FOR JULY, 1934 3 4 massaging your gums every time you clean your teeth. Clean your teeth with Ipana Tooth Paste, and each time, massage a little extra Ipana directly into your gums. The ziratol in Ipana, with the massage, aids in rousing circulation through the gums. And as your gums become firmer and healthier, not only do your teeth look brighter, but you are safer from gum dis- orders like gingivitis, pyorrhea, and Vincent’s disease. You need have no worries about “pink tooth brush.” And your teeth themselves are safer. N ... BUT REVEALS DINGY HAS “ Pink Tooth Brush”! ° From az work ie on dental Bleeding of the ee attention at Once.”’ * By 2 directoy “A - vigorous cj o a dentg] clinic rculati : From a dental authority : Brushing of th 1Mportance to h € gums is of e ual rushing the ceca 4 VISIT “A CENTURY OF PROGRESS” SEE IPANA MADE FROM START TO FINISH See the Ipana Electrical Man. General Ex- hibits Group Building No. 4—Chicago, June—October, 1934 Hi THE IPANA TROUBADOURS, WED. EVENINGS — WEAF AND ASSOCIATED N. B. C. STATIONS IPANA TOOTH PASTE | ~~ TUNE IN THE ‘‘HOUR OF SMILES” AND HEAR
Page 4
Consult this pic- ture shopping guide and save your time, money and disposition Briel Reviews of Current « Pictures * Indicates photoplay was named as one of the best upon its month of review ABOVE THE CLOUDS—Columbia.—Thrilling, with lots of air action. Several shots of actual news topics. Richard Cromwell, a newsreel cameraman; Robert Armstrong, his superior; and Dorothy Wilson. (March) ADVICE TO THE LOVELORN—20th Century- United Artists.—As punishment for neglect of his job as reporter, Lee Tracy is made ‘‘Miss Lonelyhearts”’ editor of the newspaper. Sally Blane, Isabel Jewell, Sterling Holloway, C. Henry Gordon lend able support. Fair. (feb.) ALICE IN WONDERLAND—Paramount.— Lewis Carroll's fairy tale filmed for the amuse- ment of both young and old. Charlotte Henry is charming as Alice. Atechnicalachievement. (Feb.) ALL MEN ARE ENEMIES—Fox.—A very British, appealing tale about Hugh Williams’ search for Helen Twelvetrees, after the war. Un- successful, he marries Mona Barrie, but later the lovers are reunited. Excellent cast includes Herbert Mundin, Una O'Connor, Henry Stephenson. (June) ALL OF ME—Paramount.—Miriam Hopkins is fearful that marriage might kill her love for Fredric March. But ex-convict George Raft and Helen Mack, about to become a mother, make Miriam realize that life cannot be all joy. Good drama. (March) ARIANE—Pathe-Cinema Prod.—The star of “Catherine the Great,’’ Elizabeth Bergner, does ex- cellent work opposite Percy Marmont in this foreign made film with English dialogue. (June) AS HUSBANDS GO—Fox.—When wife Helen Vinson is followed home from Europe by admirer G. P. Huntley, Jr., husband Warner Baxter takes him ounine, and straightens things out. Mediocre. eb.) AS THE EARTH TURNS—Warners.—Gladys Hasty Carroll's story of farm life, beautifully por- trayed by Jean Muir, David Landau, Donald Woods and a fine supporting cast of young players. (April) BEDSIDE—First National.—This tale about War- ren William attaining success as an M.D. by the use of another’s name and diploma is a jumbled affair, indeed. Jean Muir. (May) BEFORE DAW N—RKO-Radio.—Dorothy Wilson, a spiritualist, tries to help detective Stuart Erwin solve a murder mystery—in a haunted house! Not for the kiddies. (Jan.) BEFORE MIDNIGHT—Columbia.—A flashback of a famous murder case with Ralph Bellamy as the ace detective who solves the mystery. June Collyer supplies the feminine allure. Passable. (April) BEGGARS IN ERMINE—Monogram.—Unusual plot idea and good direction make this splendid dramatic entertainment. Lionel Atwill superb as maimed and beggared steel magnet. Betty Furness, James Bush, H. B. Walthall. (May) BELOVED—Universal.—The story of a com- poser’s life. His poverty, his disappointment in a worthless son, his scorn of grandson’s modern musical triumphs, his great love for his wife, and his belated success. John Boles, Gloria Stuart. (Feb.) BIG SHAKEDOWN, THE—First National.— Ricardo Cortez forces Charles Farrell into cut-rate drug racket but when a fake drug kills Charlie’s and Bette Davis’ baby, then Charlie retaliates. A poor film. (Feb.) BIG TIME OR BUST—Tower Prod.—Regis Toomey and Walter Byron try hard, but to no avail. However, the good singing voice in the film may make you forget the old plot. (Feb.) BLOOD MONEY—20th Century-United Artists. —Underworld bail bondsman George Bancroft falls in love with pretty Frances Dee and deserts his ipo friends who made him. Good suspense. an.) BOLERO—Paramount.—You will find George Raft and Carole Lombard an engaging team as And Sally * they dance to Ravel's haunting “‘ Bolero.” Rand's fan dance is exquisite. (April) BOMBAY MAIL—Universal.—Murder aboard the Bombay Mail train. Inspector Edmund Lowe solves the mystery. The large cast includes Shirley Grey and Onslow Stevens. Goodsuspense. (Feb.) BORN TO BE BAD—20th Century-United Artists.—Having been taught only “bad” by Loretta Young, little Jackie Kelk proves quite a problem when wealthy Cary Grant takes him in hand. Un- usually fine performances by entire cast. (June) BOTTOMS UP — Fox. — A grand musical, boasting two song hits, clever lines, direction, story, Hollywood locale. Spencer Tracy, Pat Pater- son, Herbert Mundin, fine support. (May) Gold Medal Balloting for the best picture released during 1933 is an avalanche! Because of the remarkable nation-wide interest, the voting time has been extended. Watch the August issue of PHOTOPLAY for further announcement. BY CANDLELIGHT—Universal.—A well-direct- ed piece about butler Paul Lukas and ladies’ maid Elissa Landi who aspire to have an affair with royalty. They meet, each masquerading, only to learn the truth later. Nils Asther. (Feb.) CAROLINA—Fox.—Janet Gaynor’s devotees will be charmed by her performance in this story of the traditions and aristocracy of the South. Lionel Barrymore, Henrietta Crosman, Robert Young and good support. (April) CAT AND THE FIDDLE, THE—M-G-M.— Pleasant entertainment is this film with Jeanette MacDonald vocalizing gloriously and Ramon Novarro as her lover. Frank Morgan, Charles Butterworth. (April) CATHERINE THE GREAT—London Films- United Artists.—Title réle is expertly portrayed by Elizabeth Bergner. Effective, too, is Douglas Fair- banks, Jr., as the mad Grand Duke Peter. An im- pressive production. (April) CHARMING DECEIVER, THE—Maijestic Pic- tures——One of those mistaken identity films, with Constance Cummings as a London mannequin im- personating a movie star. Frank Lawton is her lover. Acceptable. (March) CHRISTOPHER BEAN (Also released as “Her Sweetheart’’)— M-G-M. — Marie Dressler, Doc Lionel Barrymore’s maid, gives you plenty of laughs when she helps daughter Helen Mack elope with Russell Hardie, much to the annoyance of Beulah Bondi, doctor’s wife. See it. (Jan.) CITY LIMITS—Monogram.—Assisted by rail- road magnet Frank Craven's daughter Sally Blane, newshound Ray Walker gets big scoop. As tramps, James Burke and James Conlin are amusing. (June) _ COLLEGE COACH—Warners.—Football as it is played and won by coach Pat O’Brien who buys talent to win at all costs, while Ann Dvorak, his neglected wife, finds romance with Lyle Talbot, . football hero. Fast moving. (Jan.) COME ON MARINES—Paramount.—Be assured of a howling good time with carefree Marines Richard Arlen, Roscoe Karns. Grace Bradley’s dance is a wow. IdaLupino. (May) COMING OUT PARTY—Fox.—So poor Gene Raymond may go on European concert tour, Frances Dee keeps from him news of coming blessed event and goes through with her society début. Old plot, but fine cast. (April) * CONVENTION CITY—First National.—The scene is Atlantic City; the incident, another sales convention. Gay and eventful as always. Joan Blondell, Adolphe Menjou, Dick Powell, Mary Astor, Guy Kibbee, Frank McHugh and Patricia Ellis. (Feb.) COUNSELLOR-AT-LAW— Universal.—John Barrymore, in a splendid portrayal of the lawyer who rose from the Ghetto to position of New York’s foremost legal adviser. Bebe Daniels, as his secretary, is excellent. Each member of the large cast does fine work. Never a dull moment. (Feb.) COUNTESS OF MONTE CRISTO — Universal. —Novel tale of extra Fay Wray driving off in studio car, registering at hotel as Countess, and being credited with capture of crook Paul Lukas. Excellent cast. (May) CRADLE SONG—Paramount.—Just as charm- ing is Dorothea Wieck in this her first American picture as she was in ‘‘Maedchen in Uniform.” The beautiful story of a nun who showers mother- love on a foundling. (Jan.) CRIME DOCTOR, THE—RKO-Radio.—As a detective who plans the perfect crime, in- criminating his wife’s lover, Otto Kruger does a splendid job. Karen Morley, Nils Asther score, too. Holds interest every minute. (May) CRIMINAL AT LARGE—Helber Pictures.— Edgar Wallace's exciting mystery. All about strange happenings at the old castle of the Lebanon family. (March) CROSS COUNTRY CRUISE — Universal. — Another transcontinental bus trip, the passengers this time being Lew Ayres, June Knight, Arthur Vinton, Alan Dinehart, Minna Gombell and Alice White. Good comedy. (March) CROSS STREETS—Chesterfield.—The old, sad story of a doctor (Johnny Mack Brown) who throws away his career when his sweetheart (Claire Windsor) jilts him. Anita Louise. (June) DANCE, GIRL, DANCE—Invincible.—Dancer Evalyn Knapp can’t get along with vaudeville partner-husband Edward Nugent. But when she clicks in a night club, they make up. Entertaining. (Jan.) DANCING LADY—M-G-M.—A backstage musical with gorgeous settings, lovely girls, novel dance routines, some good song numbers, a real plot and a cast of winners, including Joan Craw- ford, Clark Gable, Franchot Tone, Fred Astaire. (Feb.) [ PLEASE TURN TO PAGE 13 ]
Page 5
KAY FRANCIS Only a super-woman could have lived this story... Only a super-star could | bring it to the screen! You'll marvel as you watch the supreme artistry of Kay Francis sweep triumphantly through a role only the greatest dared to play! R.MONIC You'll thrill as four great personalities from Warner Bros. famed star ranks re-create the story critics warned could not be screened! You'll applaud it as the finest dramatic achievement of the present year! JEAN MUIR * WARREN WILLIAM « VERREE TEASDALI Directed by William Keighley. A First National Picture
Page 6
The /Audience lalks Back THE $25 LETTER I have noticed an elderly, aristocratic woman attending the theater almost as regularly as I, and that is every time the picture changes. She enters the theater grimly, almost sneer- ingly. During the cartoons she wears the per- petual expression of one scandalized. During the newsreel she relaxes somewhat to the normalcy of outrage slightly appeased. Then the “main picture.” As the drama un- folds she becomes but a woman—human— living every moment with the heroine. Her shell of dignity and poise is forgotten. Tears are unchecked. Her hands are tense and rest- less. And then it is over. Her hour of life is done. She realizes she is in a public theater. In confusion she banishes all trace of such “wanton expressions of emotion,” rises from her seat once more the austere, severe critic. She has had her hour of reprieve. MiLprep W. Furcus, Wilmington, N. C. THE $10 LETTER “Last half of the ninth inning, folks. With two men on base, two out and the score is tied. Let’s see who’s coming up to bat. The Babe! Looks likea homerun. Itisahomerun! And the game is over.” It might have been Ted Husing himself giving a newsreel announcement of a World Series baseball game, but it was only a twelve- year-old boy astride a huge electric sign, watch- ing two high school teams. The girl standing just below might have been a Hollywood star. Hair becomingly set, a swagger suit worn with all the style of Kay Francis, and a carriage that was suggestive of Norma Shearer. Watching the boy and this high school sopho- more, I realized what it is that gives the youngsters of today such poise and sophistica- tion. Through films they have become in- timately acquainted with fascinating people who have charm and personality to such a marked degree that we eagerly pay for the privilege of being hypnotized by it. CARRIE HickMAN, Brunswick, Ga. THE $5 LETTER Just think what a wave of good manners would sweep over the country if some producer should make a series of shorts called ‘‘ Etiquette of the Table,” ‘‘Etiquette of the Dance,” “Etiquette of the Wedding.” And one on “Etiquette of the Theater” wouldn’t be a bad idea. I, for one, would see every picture in such a series. And don’t you think some of Sylvia’s articles would make good shorts? Many of us listen better with our eyes and ears working together. R. M. Grace, Halifax, N. S. e HEAR YE, THEATER MANAGERS Tam “hard of hearing,” and until the talkies came in, movies were my greatest pleasure. 3ut the talkies changed that, as I could not hear all the dialogue. Then a local theater came to the rescue with an ear phone reserved section. What a blessing! Mrs. Jutta Ronnge, Seattle, Wash. 8 Study of Richard Barthelmess by Ricardo. One reader, referring to article in June issue, says “Dick is more like Napoleon than any of the men who have been considered for the part’ S the Garbo-Hepburn battle over, or has it really just be- gun? The referees decline toname a winner. Rather, they would set each on high to be wor- shipped as “champion” of her special style. Is there, then, room for two thrones in the Kingdom of Make-Believe? Look back at illustrations on “‘Napoleon’s Ghost Walks Out on Warners,” in June issue. Compare Barthelmess’ features with the emperor’s. Do you, too, see a resemblance? And what of Dick’s ability? But perhaps you’ve another can- didate in mind. Loud cheers continue to re- sound from all sides for “It Happened One Night.” When the audience speaks the stars and producers listen. We offer three prizes for the best letters of the month—$25, $10 and $5. Literary ability doesn’t count. But candid opinions and constructive sugges- tions do. We must reserve the right to cut letters to fit space limitations. Address The Editor, PHOTOPLAY, 221 W. 57th St., New York City. GARBO AND HEPBURN What could be more beautiful than the pic- ture of Garbo with the luscious grapes poised above her lips—or what could be more heavenly than Hepburn’s voice? We do not say that the petal of the rose is more wonderful than the song of the lark. From now on, let’s say “Garbo and Hep- burn” instead of Garbo vs. Hepburn. L. M. Davis, Boston, Mass. Do we compare the glorious sun to the pale, enchanting moon? Then why the scintillating Hepburn to the mystic Garbo? Both possess their allotted places in the film firmament; both shine therefrom with individual brilliance and power. Each inimitable star will continue to shine forth from her particular stellar eminence— undimmed by “odious comparisons.” Mrs. FRANK Kons, E] Paso, Texas How futile is the argument over Garbo and Hepburn, yet how interesting and self-reveal- ing. One cannot compare them. Both are great. Both have the ability of touching the divine spark of creative power so completely that the audience forgets the personality of the actress and is “one” with the character por- trayed. : Garbo is the well-seasoned actress in full pos- session of her powers. Hepburn is not as well- seasoned yet, but just as much of a genius. Our personal likings are what make us say we like one more than the other. Emeror C. Stacy, Portland, Ore. GOOD TEAM-WORK I have always thought George Raft just a clever gangster type—Carole Lombard a glori- fied, gaspy doll, but after seeing them in “Bolero,” I humbly acknowledge my mistake. They had the power to make me forget they were acting. Maybe it’s the savage lurking in most of us—possibly those drums—sobbing, throbbing. While on the stage the most beautiful dance ever screened held me en- chanted. Jane B. Crapp, Los Angeles, Calif. A REAL SERVICE It was consoling indeed to this pessimist to see the effect a picture like “It Happened One Night” had upon an average audience. Every girl pictured herself as the charming, young heiress (Claudette Colbert) in love with that lovable scamp of a newspaper man (Clark Gable) in whose shoes every man would liked to have been. What a relief! Whew! Itseems to me that if a movie can put so many people in a good [ PLEASE TURN TO PAGE 10 ]
Page 7
PHOTOPLAY MAGAZINE FOR JULY, 1934 Whom do you think is the best dressed woman on the Screen? ...'........... o Jeo . ¢: Does she wear any costume you are simply ADA OWL RE Oe OE TE Se WV I nine chances out of ei eer ae you can get ine twin ae Firat WEI costume in BAMBERGER’S CINEMA SHOP @ and nowhere else in New Jer- sey. For Bamberger’s Cinem. Shop (barely a year old) has al- ready become a mecca for smart photoplay-goers. They find there the newest clothes worn in the newest pictures by the fash- ion-leaders of the screen. Ap- proved by Photoplay’s Fashion Editor, they find each enchant- ing garment tagged with the name of the star and the picture in which she wears the original. And they find them the very week that the picture opens on Broadway! The Cinema Shop is on Bamberger’s third floor. Photoplay cordially urges you to visit it early and often. L. BAMBERGER & CO.—One of America’s Great Stores—Newark, New Jersey
Page 8
If You Have a Boost or a Knock, Register It Here [ CONTINUED FROM PAGE 8 | Wealthy Claudette Colbert and reporter Clark Gable have certainly got tongues wagging over their work in “It Happened One Night!” mood, it has been of service in promoting a new optimistic outlook among American people. LENORE M. Tostas, New York, N. Y. I OFFER YOU Congratulations Claudette Colbert and Clark Gable. “It Happened One Night” brings my whole-hearted applause. It happened one Saturday afternoon for me, however. I came out of the theater singing the praises of the new Clark Gable and ‘“‘The Man on the Flying Trapeze.” I advised everyone I met to see the picture and have never seen more beaming countenances or heard more pleasing impressions carried away from a picture play. The entire company was splen- did and, of course, that goes for the director and author, too. LoutsEe L. Loomts, Indianapolis, Ind. CLAPPING FOR CLARK This afternoon I saw Clark Gable and Claudette Colbert in “It Happened One Night.” This time I went to blame, but I have come away loudly praising. There’s a new Clark Gable! A sincere, funny, friendly, human per- son—the sort we like to meet and know. Why, he didn’t even appear to mind having his hair mussed up! Please—won’t the producers give us more of this new Clark Gable? We like our movie heroes handsome, but we like ’em human, too. Mary C. Brown, Birmingham, Ala. WELL DONE I find that the Athenians miss the old Westerns, but enjoy the other films almost as well. Of course, the audience does not hh understand the talking. But seems to enjoy the show just as much. Which proves that the superb acting in our films is sufficient to bring out every thought without words. Basit G. SHRoPuLOs, Athens, Greece. A TRANSFORMATION The shades are carefully pulled down, and the door is locked. She is ready for bed, but sleep is impossible. From beneath her pillow, she pulls a copy of PHotoptay. As she glances through the pages, an idea comes to her. Sleep is forgotten as she sits before her mirror and applies the make-up with care. Now for the hair. She refers to the beauty pages many times. There! It is fixed just like her favorite star’s. Can this be the same woman who was so weary an hour ago? ANN OsBorNE, Wrangell, Alaska MADE—A NEW FRIEND Iam a junior high school student. Recently I was asked to lead a Girl Reserve meeting on the subject of movies. It would take too long to review all our topics, but the last one we discussed was movie magazines. At this point one of the teachers said, “I had never read a movie magazine until I was preparing for this meeting. Then I decided that instead of just blindly condemn- ing them I would see what they were really like. I did—and now I want to say that I think movie magazines have a real value as a guide to current pictures. “T have always believed in movies as an edu- cational medium and the best way to choose the good from the bad is to take the authority of a reliable magazine.” PHOTOPLAY was voted the “best.” Loutse GERHART, Houston, Texas JOAN AND FRANCHOT So, Joan Crawford’s latest picture is “Sadie McKee,” with Franchot Tone. I anticipate a splendid acting job and know this team will come through with flying colors. HELEN O’BrIEN, Kansas City, Mo. For once, adjectives fail me. The reason for my enthusiasm is that delightful actor, Franchot Tone. His performance in “Moulin Rouge” is something to stand up and cheer about. Franchot is a true sophisticate, with a great deal of charm, poise. His splendid speaking voice is one of his most valuable assets. Morret Marks, New York, N. Y. Everyone’s anxious to get a look in at Crawford’s “Sadie McKee,” Franchot Tone’s being teamed with Joan makes things about perfect
Page 9
YES, PRONTO! Something must be done about the ravishing Constance Bennett! She really is fascinating. In ‘‘ Moulin Rouge” Connie had a chance to show her great acting ability. Let’s have more of her excellent work! Pronto! Dorortuy Scort, Sayre, Okla. A “CALL TO ARMS” Hear ye! Hedda Hopper devotees! Let’s get together and do our durndest for Hedda! Hedda is one of the few “old timers” who has really ‘‘weathered the storm of time,” and is still a favorite. She is commended highly whether her réle is big or small. WENDELL GULDIN, Ft. Wayne, Ind. THE POWER BEHIND THE FILM As a welfare worker, I often come in contact with prison matrons and attendants. An at- tendant told me recently that on the day fol- lowing the weekly movie at one of our state prisons, the attitude of the whole convict family was changed. They were easier to control, better satisfied with conditions and happier at their work. Let’s give all shut-ins more movies. Whole- some pictures of life, with humor, hope and encouragement. I say, “‘On with the movies!” ELEANOR BERNARD, Raleigh, N. C. BETTER HURRY! Five miles out of this city, there is the Car- penters’ Home—a magnificent miniature city in itself. Men come from all over the United States to spend their reclining days. They are treated royally, given every entertainment. I believe they enjoy most the Tuesday night “talkie.” And who do you think is their favorite? Did you say Mae West? Right! Something must be done about it, and I sug- gest that you send West East, before these Easterners all go West. M. Louise Gopparp, Lakeland, Fla. [ PLEASE TURN TO PAGE 12 | Once a handsome hero favorite of silent pictures, Conway Tearle has turned to character réles. He is featured in “‘Stingaree”’ IM BORED AND LONESOME. LETS SEE WHATS IN THE PAPER TONIGHT HERES THE HEART PROBLEM COLUMN...LETTER FROM A GIRL SIGNED LONESOME.NO FRIENDS, NO DATES, WONDERS WHY, MY EXPERIENCE EXACTLY! JUST WHAT THE LIFEBUOY ADS, HAVE BEEN SAYING.HAVE | BEEN FOOLING MYSELF BY DISREGARDING THEM?1D BETTER GET LIFEBUOY AND PLAY SAFE Lopularity comes WHEN B.0.GOES LOVE TO GO, TOM, BUT MAKE IT WEXT WEEK I'M ALL DATED UP THIS WEEK! YOU RE GETTING SO POPULAR A FELLOW HAS TO STAND IN LINE TO GET A DATE PHOTOPLAY MAGAZINE FOR JULY, 1934 II ANOTHER LIFEBUOY AD.| ALWAYS READ THEM, BUT | CANT BELIEVE NICE PEOPLE HAVE “B.0”’ WHAT! THE EDITOR ASKS HER IF SHES CAREFUL ENOUGH ABOUT “B.O!’,..EASY TO OFFEND... FOLLY TO TAKE CHANCES «ee A DAILY HABIT NOW WHAT A GRAND BATH! OCEANS OF LATHER AND HOW FRESH AND CLEAN LIFEBUOY ALWAYS MAKES ME FEEL HE SAID NICE THINGS ABOUT MY COMPLEXION TONIGHT. | _— THAT'S ANOTHER WAY LIFEBUOY’S HELPED ME! es benefits upon its users. f It gives quantities of rich, creamy lather whether the water is hot or cold, hard or soft. It guards daintiness— protects against “B.O.” (body odor) —aids the complexion. Gently washes away pore- clogging impurities—brings new radiance. | ig EBUOY fairly showers Danger months here Hot days make us perspire more freely. Others are quick to notice the merest WR bint jof 7B. Os: Play sfe— buthe| S| regularly with Lifebuoy. Its fresh, clean, quickly-vanish- ing scent tells you its refreshing lather gives extra protection. Abproved by Good Housekeeping Bureau
Page 10
Folks have naught but praise for young Tom Brown. And their plea is that the boy be given his rightful place in the movie sun —a spot truly worthy of his unusual talent HEAR THAT, TOM? Isn’t it about time that the superlative talents of young Tom Brown be accorded greater recognition ? This boy has given an outstanding perform- ance in every picture in which he has appeared. In my‘opinion, he is one of the finest artists on the screen today, for his work is consistently good. Emity Ricuarps, Los Angeles, Calif. ACTION WITH THE WORDS The miracle of the talking screen was aptly demonstrated in the case of a friend, recently immigrated from Poland. Six months ago his efforts to master English caused me to take a few helpful steps. I secured an English text book, and a child’s primer, but soon found that words of more than one syllable taxed his power to enunciate. Accidentally, we stumbled across a sol- ution. Emerging from his first ‘‘talkie,” my friend spoke correctly several three and four syllable words which had been used by the characters on the screen. To me it was a revelation. The drama enacted before his eyes had given those words unforgettable depth and meaning. GERALD J. LANE, Indianapolis, Ind. , IO Biicbbats and Bouquets [ CONTINUED FROM PAGE 11 | *“SNAPOLEON’S GHOST”’’ I am greatly interested in Winifred Ayde- lotte’s article in your June issue, titled “Napoleon’s Ghost Walks Out on Warners.” Why Richard Barthelmess has been over- looked as a possibility for the réle of Napoleon, is beyond me. Certainly in stature and appear- ance Dick is more like the famous emperor than any of the men who have been considered for the part. And I feel sure he would give an outstanding performance. So I registera plea that his studio give Richard Barthelmess the break he deserves. He will not fail! May Marsnatt, Baltimore, Md. In spite of Edward G. Robinson’s anxiety to play Napoleon, which prompted him to read extensively on the life of the Little Corporal, and his being just the right height, a certain vital something is lacking. And this entirely aside from the fact that Hollywood experts have had so much difficulty in making him up for Napoleonic screen tests. Of the men mentioned in your June PHoTo- PLAY article, my vote goes to either Charlie Chaplin or Richard Barthelmess. RoBERtT Frecpston, Portland, Me. GARBO, TRIUMPHANT The Beaux Arts Ball held at the Royal York Hotel, Toronto, was a brilliant event—gay costumes formed a kaleidoscope against a back- ground of silver. Ermine and pearls, purple and gold brought no prize to the feet of lovely Marie Antoin- ette, Victoria the Good, or Queen Elizabeth. But Queen Christina, disguised as a Swedish peasant youth in a black velvet suit with stiff white collar, was crowned winner. When the mysterious one took her bow we cheered, our admiration overwhelming our envy. Miles away from the great cinema center Garbo had scored again! Moyna Kane, Goderich, Ont., Canada EXCELLENT IDEA You make it easy for your readers to un- fasten the staples that bind PHoTopLay, slip out the pages of the absorbing new serial, “I Want a Baby,” and grip them in a spring binder, so that they may have the completed story for their bookcases. For several years I have been saving all the portraits that appear in your popular mag- azine. And now I have two big books of beautiful treasured portraits of the stars. V. BeELGaRBO, Chicago, Ill. A GRAND OLD LADY Bring me wagons, trucks and baggage cars. I long to fill them with the earth’s most aromatic blossoms to pile in admiration at the feet of Henrietta Crosman. To no one would I contribute my posies with a less beatific feeling. Could there be more? Oh, yes! Last night I saw Miss Crosman as the lovable, attractive matchmaker in “3 On a Honeymoon”’ over- shadow the younger stars and—oh, steadily do her glories mount. Ruspye M. Cuapman, Montgomery, Ala. With only “Melody in Spring’’ to his film credit, handsome Lanny Ross of radio fame is already monarch of many feminine hearts. That is, if “Bouquets” from our readers tell any tale KING OF HEARTS I have just seen that magnificent musical production, “‘ Melody in Spring,” with Lanny Ross. He is one of the most handsome men on the screen. Besides, his voice seems to send a thrill through your whole body, and his personality is overwhelming. KATHERINE Forp, Chicago, Ill. DUST OFF THE OLD REELS The other evening I had a very pleasant sur- prise. Besides the feature picture at our local theater, there was shown a film of 1915 vintage. It was an old silent, and regardless of jerky sequences I enjoyed it one hundred per cent. The characters’ emotions, their clothes, the plot—all tickled my fancy. And I wasn’t alone in my amusement. If producers would resurrect those old “silents” and dish them out to us as present day shorts, how much better they would be than the so-called comedies offered now. We might not know the stars of 715, but we would enjoy their efforts. Maeve Lle E. Warts, Miami, Fla. [ PLEASE TURN TO PAGE 16]
Page 11
Brief Reviews of Current Pictures [ CONTINUED FROM PAGE 6 | DARK HAZARD—First National.—Fascinated by a greyhound named Durk Hazard and by the racing fever, Eddie Robinson loses wife Genevieve Tobin through neglect. Grand night scenes at the dogtrack. (Feb.) * DAVID HARUM — Fox. — Same old Will Rogers, this time as a small town banker who goes in for horse trading on the side. Some of the trades will have you in stitches. Evelyn Venable and Kent Taylor. (May) DAWN TO DAWN—Cameron Macpherson Prod. —With little dialogue, this film of the plains depends entirely upon the dramatic interpretation of its char- acters—Julie Haydon, Frank Eklof, Ole M. Ness— for its success. (March) DEATH TAKES A HOLIDAY—Paramount. —As Death, who mingles with guests at a house party, and finds love with Evelyn Venable, Fredric March is superb. Grand supporting cast. (April) DER SOHN DER WEISSEN BERGE (THE _ SON OF THE WHITE MOUNTAINS)—Itala Film.—Luis Trenker, skiing hero, and cast do good work. But the gorgeous Alpine views run away with this German-made film. (Jaz.) DESIGN FOR LIVING—Paramount.—Nocel Coward's unconventional stage play of a triangle, involving two men (Fredric March and Gary Cooper) and a woman (Miriam Hopkins). Excellent. Sophisticated. (Jan.) DEVIL TIGER—Fox.—tThrilling experiences of Harry Woods, Kane Richmond and Marion Burns in the Malay jungle, as they set about capturing the man-eating Devil Tiger. (April) DUCK SOUP—Paramount.—The Four Marx Brothers get mixed up in a revolution in a mythical country—and boy, how they get mixed up! Ariot of fun. (Jan.) EAST OF FIFTH AVENUE—Columbia.—Melo- drama centering around the lives of ten people who live in a cheap New York rooming house. Dorothy Tree, Mary Carlisle, Walter Connolly and Wallace Ford. Justfair. (Feb.) EASY MILLIONS—Freuler Film.—A fine mix-up when “Skeets’’ Gallagher finds himself engaged to three girls at the same time. Johnny Arthur is his professorish roommate. Good supporting cast. (Feb.) EASY TO LOVE—Warners.—Light entertain- ment with Adolphe Menjou, Genevieve Tobin, Mary Astor and Edward Everett Horton in an amusing marital mix-up. (April) EAT ’EM ALIVE—Real Life Pictures.—A nature drama about snakes and gila monsters. Perhaps a bit too gruesome for women and children. (Feb.) EIGHT GIRLS IN A BOAT—Paramount.— Dorothy Wilson, as the academy student facing motherhood, and Douglass Montgomery, as the boy, do nice work in this rather odd tale. Walter Con- nolly, Kay Johnson. (March) EVER SINCE EVE—Fox.—Gold digger Mary Brian causes all sorts of complications for mine owners George O’Brien and Herbert Mundin. Lots of laughs. (April) FAREWELL TO LOVE—Associated Sound Film. —Especially for those who enjoy Italian opera airs. Jan Kiepura, tenor, and Heather Angel do the best possible with their réles. (Feb.) * FASHIONS OF 1934—First National.— Scheming the foremost designers out of ex- clusive models, William Powell, with the aid of Bette Davis, and Frank McHugh, comes through with as clever a presentation as you have yet seen. (March) FEMALE—First National—Ruth Chatterton, who toys with men in her own motor company, melts before George Brent. Chatterton fine. (Jan.) FEROCIOUS PAL—Principal Pictures.—Pretty amateurish work by entire cast, except Kazan, a German shepherd dog, who is an actor. (May) FINISHING SCHOOL—RKO-Radio.—Sick of society’s snobbery, wealthy Frances Dee leaves the fashionable school and takes poor interne Bruce Cabot for better or for worse. Enjoyable. (June) FLYING DOWN TO RIO—RKO-Radio.— A decided change is this musical in which Gene | Raymond pursues Dolores Del Rio to Rio de Janeiro by plane. Fred Astaire and Ginger Rogers contribute some grand comedy and dancing. (March) FOG—Columbia.—Three murders take place on a fog-enveloped ocean liner. Donald Cook is the detec- tive in love with Mary Brian. Reginald Denny, also in love with her, is the chief suspect. Just so-so. (March) PHOTOPLAY MAGAZINE FOR JULY, 1934 Are youan “ingenue?” Are youa “‘char- acter type?” Are you a “juvenile?” Would you like a free Screen Test —a free Hollywood Casting Report? Would you like to get into the movies? Holly- wood is looking for new stars—through snapshots! The Agfa Test for Holly- wood is your real opportunity for motion picture fame! This Test, sponsored by the makers of America’s finest film—Agfa Plenachrome—offers a guaranteed job in the movies. Hollywood wants to see your pictures. Send in your snapshots without delay! A GUARANTEED MOVIE GONTRAGI The winner of the Agfa Test for Hollywood will receive a guaran- teed movie contract in a feature production of Monogram Pictures and will appear with famous movie stars. Other winners will get free Hollywood Tours, will meet prom- inent Directors for sound and screen study. Regional Screen Tests and among the other awards. And Movie Cameras are every entrant willreceive a personal Hollywood Casting Report. Men, women, boys, girls, babies —anyone may win. Characters, “types” are wanted as well as beauty. Hollywood Directors want to see good snapshots. Agfa Film catches “‘personality.” This sen- sitive, high-speed, “all-weather” film insures good pictures — guar- antees “Pictures that satisfy or a new roll free!” "anaes HOLLYWOOD AWARDS 3. A GUARANTEED contract in the movies. Five Hollywood tours: all expenses paid; screen tests; meet Directors and famous stars. Twenty-five expense-paid regional screen tests for Hollywood. Twenty-five Ansco Movie Cameras for photographic excellence—all subjects. Your snapshots made avail- able to Hollywood Directors looking for new talent. Personal Casting Report for every entrant in Agfa Test. Gotoyour Agfa film dealer today for free copy of Official Rules. For better pictures use Agfa Plena- chrome Film—comes in all popular sizes. Have snap- shots taken and mail them at once to Agfa, 6331 Holly wood Boulevard, Hollywood, California. , R FOR FURTHER INFORMATION—SEE YOUR AGFA DEALER GET FREE CONTEST BULLETIN ae Made in America by Agfa Ans::o Corporation, Binghamton, New York WE D0 oum PART Ask for Guarantee Bond packed with every roll © 1934, Agfa Ansco Corp- Film &* TF GUARANTEED: ‘’Pictures that satisfy or a new roll FREE’’ a
Page 12
STOPS PAIN— REMOVES CORN anew and better CORN PLASTER @ Here's the latest—and the best—corn plaster, with exclusive features that increase its com- fort and efficiency. Drybak, made by Johnson & Johnson, was professionally designed to fit snugly without bulging; to stay put; to stop pain and remove a corn effectively. @ Drybak is streamlined—it has no square cor- ners, no overlapping edges, no excessive bulk. It is more quickly and accurately applied. It does not creep. Drybak is waterproof. You can bathe without changing plasters. Its sun-tan color is less conspicuous — does not soil. @ Drybak’s smooth surface will not chafe or stick to the stocking. Costs less than old-fashioned, creepy, bulky plasters. In boxes of 12, with 8 individual medicated centers, 25c. Buy Drybak Corn Plasters at your druggist’s. ALSO NEW- DRYBAK WATERPROOF BUNION AND CALLOUS PLASTERS DRYBAK CORN PLASTERS ‘ ( MEW BRUNSWICK, Mod { CHICAGO, 1K t PHoTopLAy MAGAZINE FOR JULY, 1934 FOUND ALIVE—Ideal Pictures—A dull yarn which has for its locale the jungles of the Rio Grande, where divorcee Barbara Bedford hides out with her son. Good animal shots. (May) FOUR FRIGHTENED PEOPLE—Paramount.— The experiences of Claudette Colbert, Herbert Mar- shall, William Gargan and Mary Boland, lost in the Malay jungle. Leo Carrillo is their guide. Unusual. (March) FRONTIER MARSHAL—Fox.—George O’Brien as a ‘‘dude’’ marshal in a Western town. Ruth Gillette does a Mae West impersonation. Well worth your time. (Feb.) FUGITIVE LOVERS—M-G-M.—Escaped con- vict Robert Montgomery falls in love with Madge Evans when he boards a transcontinental bus and ac- companies her on the trip. Nat Pendleton, C. Henry Gordon, Ted Healy. Fair. (March) GALLANT LADY—20th Century-United Artists.—As the gallant lady in distress, Ann Harding does such fine work that even Clive Brook's exceptional characterization as a social outcast can- not overshadow her performance. Tullio Carminati, Otto Kruger, Dickie Moore, Betty Lawford. (Feb.) GAMBLING LADY—Warners.—Barbara Stan- wyck gambles her way into the heart of Society, Joel McCrea. She's on the level, but finds that Claire ames Joel's old flame, is not. Pat O’Brien. Fair. May GEORGE WHITE’S SCANDALS—Fox.—A gay, lively, singing, dancing show with Rudy Vallee and Alice Faye as ‘‘Scandals”’ stars. Adrienne are Cliff Edwards, Jimmy Durante do nice work. May GHOUL, THE—Gaumont-British.—Not nearly up to the standard of former Boris Karloff chillers. | Audiences are apt to be amused when action is in- tended to be most terrifying. (April) GIRL IN THE CASE, THE—Screen Art Prod.— Dr. Eugen Frenke’s (husband of Anna Sten) initial ' American production is pretty dull fare. Jimmy Savo and Dorothy Darling. (April) GIRL WITHOUT A ROOM—Paramount.— | Charles Farrell, Marguerite Churchill and Charlie Ruggles in a picture that kids the pseudo-art racket in Paris. Light entertainment. (Jeb.) * GLAMOUR—Universal.—This well-directed Edna Ferber story will have great appeal. | Constance Cummings, chorine who becomes a star, Paul Lukas, her composer husband, and Phillip Reed, her leading man, all add to the film’s merit. (June) | GOING HOLLYWOOD — M-G-M. — In which Bing Crosby displays real acting ability, and sings some grand songs. Marion Davies was never better. Stuart Erwin, Fifi Dorsay. Colorful en- sembles, gorgeous clothes. Well done. (March) GOOD DAME—Paramount.—The romance of | good little Sylvia Sidney and carnival wise-guy Fredric March is a hectic affair. Photography, dia- logue and cast fine. (April) GUN JUSTICE — Universal. (Reviewed under the title “‘Rider of Justice."")—Ken Maynard shows up in the nick of time to save the pretty girl’s ranch in Arizona. Thesameold hokum. (Jan.) HAROLD TEEN—Warners.—Screen translation of Carl Ed’s famous high school comic strip. Hal LeRoy as Harold, and Rochelle Hudson as Lillums are perfect. Patricia Ellis. (May) Photo your evening s entertainment. Page Affairs of Cellini, The—20th Century- United Artists 56 Black Cat, The—Universal Cheaters—Liberty Constant Nymph, The—Fox-Gaumont- Fog Over Frisco—First National Half a Sinner—Universal Handy Andy—Fox I Hate Women—Goldsmith Prod. Just Smith—Gaumont-British Little Miss Marker—Paramount Loud Speaker, The—Monogram Manhattan Melodrama—M-G-M Many Happy Returns—Paramount.... Monte Carlo Nights—Monogram Now Ill Tell—Fox * HAVANA WIDOWS—First National—Joan Blondell, Glenda Farrell and Guy Kibbee in a rollicking comedy. A climax that will tickle your risibilities. Good fun. (Jan.) HEAT LIGHTNING — Warners. — Comedy- drama—comedy supplied by Glenda Farrell, Frank McHugh, Ruth Donnelly; drama by Aline Mac- ee Ann Dvorak, Preston Foster, Lyle Talbot. ay HE COULDN’T TAKE IT—Monogram.—Pals Ray Walker and George E. Stone get mixed up with gangsters in a highly amusing comedy concoction. Virginia Cherrill. (Feb.) HELL AND HIGH WATER—Paramount.—Dick Arlen, owner of a garbage scow, falls heir to a baby and a girl (Judith Allen) at the same time. Dick _ fine; story poor. (Jan.) HER SPLENDID FOLLY—Hollywood Pictures. —Generally speaking, this is pretty poor. Lilian Bond plays the réle of double for a movie star. Alexander Carrisa producer. (Feb.) HI, NELLIE!—Warners.—Paul Muni splendid as Managing Editor demoted to Heart Throb Depart- ment for muffing story. Fast action, suspense, humor make this a movie headliner. Glenda Farrell, Ned Sparks. (April) HIPS, HIPS, HOORAY—RKO-Radio.—Money disappears and two fakers, Wheeler and Woolsey, in partnership with Thelma Todd and Dorothy Lee, leave town by way of a cross country auto race. Good music and dancing. (March) HIRED WIFE—Pinnacle Prod.—Poor direction and dialogue keep this picture about the wife (Greta Nissen) hired for one year by Weldon Heyburn far below par. Cast tries hard, but no go. (June) HIS DOUBLE LIFE—Paramount.—Through a mistake in identity it is believed that artist Roland Young died when his valet passes away. Whereupon Young marries the valet’s mail-order fiancée, Lillian Gish. An amusing satire. (March) HOLD THAT GIRL—Fox.—Plenty of excite- ment in the lives of detective James Dunn and tabloid reporter Claire Trevor. Romance, humor, and a gangster chase provides thrilling climax. (June) HOLD THE PRESS—Columbia.—This time Tim McCoy is a newspaper man. He has exciting times trying to expose a group of racketeers, and in the end he does. Good suspense. (Feb.) * HOLLYWOOD PARTY—M-G-M.—Jimmy Durante’s super-special party for Jack Pearl brings about all the hilarity. Lupe Velez, Laurel and Hardy, Polly Moran, Charles Butterworth, Ted Healy and others add their bit of nonsense. (June) HONOR OF THE WEST—Universal.—A novel Western, with Ken Maynard in a dual réle, and thrill- ing us as he rides after Fred Kohler, on his horse Tarzan. Cecilia Parker. (May) HOOPLA—Fox.—Clara Bow as a carnival dancer. Love interest, Richard Cromwell, whom Clara is paid to vamp—and does she like it? Story so-so. (Jan.) HORSE PLAY—Universal.—Cowboys Slim Sum- merville and Andy Devine go to England with a million dollars, just in time to save pretty Leila Hyams from jewel thieves. Just so-so. (Feb.) lays Reviewed in the Shadow Stage This Issue Save this magazine—vrefer to the criticisms before you pick out Make this your reference list. Private Scandal—Paramount Sadie McKee—M-G-M Scarlet Empress—Paramount Sisters Under the Skin—Columbia Smarty—Warners Smoking Guns—Universal Springtime for Henry—Fox Stingaree—RKO-Radio Strictly Dynamite—RKO-Radio Such Women Are Dangerous—Fox Tarzan and His Mate—M-G-M Thirty Day Princess—Paramount 20th Century—Columbia Uncertain Lady—Universal Unknown Blonde—Majestic We’re Not Dressing—Paramount Where Sinners Meet—RKO-Radio Whirlpool—Columbia Wild Gold—Fox
Page 13
HOUSE OF ROTHSCHILD, THE — 20th Century-United Artists——The impressive, his- toric tale of five brothers who become money powers of Europe. George Arliss at his best as leader. Loretta Young and Robert Young play a tender Jewish-Gentile romance obligato. (May) HOUSE ON 56TH STREET, THE—Warn- ers.—After twenty years’ unjust imprison- ment, Kay Francis’ life means little to her. Then it is her lot to save daughter Margaret Lindsay from a aa fate. Ricardo Cortez and Gene Raymond. (Jan. IAM SUZANNE!—Fox.—Lilian Harvey at her best opposite Gene Raymond, a puppeteer, in a brand-new type of entertainment. You'll enjoy watching the performance of the marionettes in this charming romance. (March) I BELIEVED IN YOU—Fox.—Rosemary Ames’ film début in story of girl who learns what fakers artist friends Victor Jory, Leslie Fenton, George Meeker are, through John Boles. (May) IF I WERE FREE—RKO-Radio.—Irene Dunne and Clive Brook, both unhappily married, turn to each other for a bit of happiness. Familiar plot, but sophisticated, clever dialogue. Nils Asther, Laura Hope Crews. (Feb.) I LIKE IT THAT WAY—Universal.—Forever on the lookout for young sister Marian Marsh, Roger Pryor is quite surprised when she unmasks his good girl fiancée Gloria Stuart as a gambling club enter- tainer. Fair. (March) V’LL TELL THE WORLD—Universal.—Lots of action as reporters Lee Tracy and Roger Pryor hop about the globe trying to beat each other to the big story of the hour. Gloria Stuart lovely. (June) INTRUDER, THE—Allied.—Murder at sea, and suspects shipwrecked on desert island inhabited bya crazy Robinson Crusoe. Monte Blue, Lila Lee, Arthur Housman try hard. (May) INVISIBLE MAN, THE—Universal.—Shivery, this H. G. Wells tale, in which newcomer Claude Rains makes himself invisible—and then loses his reason. A creepy, but compelling picture. (Jamn.) IT HAPPENED ONE NIGHT—Columbia.— Claudette Colbert and Clark Gable, who strike up acquaintance on bus from Miami to New York, have an adventurous trip, indeed. A gay, well directed film. (April) I’VE GOT YOUR NUMBER—Warners.—Tele- phone repair men Pat O’Brien and Allen Jenkins, hello girl Joan Blondell keep things moving along. Glenda Farrell, Eugene Pallette. (April) I WAS A SPY—Fox-Gaumont British.—Allies Herbert Marshall and Madeleine Carroll, as nurse and doctor in enemy hospital, do nice work in good spy story. Conrad Veidt. (April) JIMMY AND SALLY—Fox.—With the aid of secretary Claire Trevor, publicity director Jimmy Dunn manages to find his way out of all sorts of scrapes that result from his fantastic schemes. Lya Lys, Harvey Stephens. (Feb.) JIMMY THE GENT—(Reviewed under title “Always a Gent’’)—Warners.—His followers will like Jimmy Cagney as a legal sharpshooter engaged in the “lost heir racket." Bette Davis, Allen Jenkins, Alice White. (May) JOURNAL OF A CRIME—Warners.—A splen- did psychological study of a woman who has killed her rival, Claire Dodd, in order to hold husband, Adolphe Menjou. Drama with strong feminine appeal. (May) KADETTEN (Cadets)—Reichsligafilm Prod.— An unwilling student at military school (Franz Fiedler) dedicates many musical compositions to his young stepmother, Trude von Molo. German, with English titles. (March) KEEP ’EM ROLLING—RKO-Radio.—A man, his horse and the bond existant between them. Walter Huston’s devotion to Rodney through war and peace. Frances Dee, Minna Gombell. (April) KING FOR A NIGHT—Universal.—Chester Morris, a swell-headed, though likable prize-fighter, stands the consequences for something sister Helen Twelvetrees has done. Exciting. (Jan.) LADY KILLER—Warners.—When ex-girl friend Mae Clarke becomes a nuisance, Jimmy Cagney tries the new stunt of dragging her about by the hair. Margaret Lindsay, Leslie Fenton. Fast comedy, but unconvincing story. (Feb.) LAST ROUND-UP, THE—Paramount.—Monte Blue, Fred Kohler and Fuzzy Knight in a Western that boasts plenty of action and good suspense. Randolph Scott and Barbara Fritchie provide the tromance. (March) LAZY RIVER—M-G-M.—Old-fashioned melo- drama, but pleasing just the same. Robert Young plans to rob Jean Parker, but falls in love with her instead. Locale, Louisiana bayous. (May) [ PLEASE TURN TO PAGE 116 | PHOTOPLAY MAGAZINE FOR JULY, 1934 15 Ps = rete MR, because ’ a #- ITS OUT ODAY, ZIPis the only Epilator available for E PILATOR actually destroying hair growths. So simple. So quick. It leaves no trace of hair. It is ideal for face, crms, legs and underarms. Pleasant to use, and delightfully fragrant, ZIP acts immediately and brings lasting results. Why delay? Use ZIP, which permanently destroys hair Instead of being obliged to come to my Salon for a ZIP treatment, you can now get a complete Kit at your fa- vorite toilet goods counter, ‘with the identical prepara- tions I use at my Salon, all for $1.00. In addition you receive an instruction book- let. A few years ago this same Kit would have cost ycu $6.35 ... now only $1.00. SPECIALIST And if you prefer a cream depilatory ..... use ye) | DY This is by far the most popular depilatory cream today. It | is as delightful as your choicest cold cream. Simply spread PERFUMED on and rinse off. If you have been using less improved DEPILATORY CREAM methods you will marvel at this white, delightfully per- fumed cream. It instantly removes every vestige of hair; eliminates all fear of stimulated growths. Giant tube, twice the size at half the price —50c. PRL LI IF eS SO eee ZIP Setey Deodotaril The quickest and easiest way to apply liquid de- odorant. New formula. Beautiful atomizer boftle. ZiP Spray Deodorant checks perspiration, 50c. =i (xem Leodounl At last, a physician's prescription for eliminating odors. This delightful cream, applied with finger si tips, acts immediately. Fascinating carved wood See PENDING Eonkainer, 35c, vas All good stores or by mail. Se eee SOR Re RR = cs POA AA 5A Madame Berthé, Specialist 562 FIFTH AVENUE NEW YORK CITY TE Enclosed find $_______ Please send itams checked. ($1.00 ZIP Epilator Kit 50c ZiP Depilatory Cream [)50c ZiP Spray Deodorant ~ L)35c or 50c ZiP Cream Deodorant
Page 14
The Audience Talks Back THE WELCOME MAT IS OUT After what seems an eternity, Janet Gaynor and Charlie Farrell, our wish has been granted. You are teamed once again. Why such an inspiring, romantic pair was ever separated on the screen has remained a mystery. Certainly neither of you has enjoyed the success of co-starring days. But then, I suppose even Hollywood must live and learn. We welcome you back Janet and Charlie in “Change of Heart.” Your loyal followers have eagerly awaited this day of happy reunion. BeRTHA Rexrorp, Washington, D. C. BET YOU CAUGHT THE GERM, TOO I invented a new game yesterday. Shortly before two o’clock I watched the crowd going into our local theater. Happening to pass the theater around five, I waited to see if I could catch any of the same faces coming out. So many of the in-goers had shown fatigue, and I was curious to see if I could observe any change. And there was! It was uncanny. I saw at least a dozen that I remembered. And their faces were still alight with the merriment of the glorious picture thay had witnessed. T. Morris LoNGstretH, Ottawa, Canada RAH FOR WESTERNS! A man beset by worries all day and in need of relaxation chooses a Western in preference to heavy drama. Open air life, astonishing athletic feats, superb horsemanship all have an exhilarating attraction for the average movie-goer who dwells in an apartment the year around. Plots are simplicity itself, wherein hero and villain are unmistakably defined. Dialogue is comprehensible, action predominates, scenic beauty is inspiring. W. L. Krrnc, Hoopeston, Ill. 712 [ CONTINUED FROM PAGE 12 | Everyone is eager to see Janet Gaynor and © Charlie Farrell in “Change of Heart,”’ their first new co-star- ring film. It’s easy to tell from the volume of mailthatthere has been no “change of heart” on the part of their devotees ‘Let’s have more of her excellent work,” cries go up in the Constance Bennett camp. ‘‘Pronto!’’ And, as though in answer, “Affairs of Cellini,’’ her next with Fredric March and Frank Morgan, the latter as Duke of Florence, is announced LET ARTISTRY RULE I wonder how many of us give a moment’s thought to those unsung performers who really make the picture—the supporting players. Critics may rave over the Barrymores, the Dresslers, the Garbos, and the Hepburns, but what about the long list of players whose names never appear in electric lights? Year after year they continue giving artistic and satisfying performances, each lending his bit to the pictures. The star system seems to be on the wane and rightly so. Let more attention be paid to turning out an artistic pro- duction and less to providing a vehicle in which an individual star can shine. KENNETH WRIGHT, Hastings, Neb. CHILDREN’S MATINEE Every Saturday afternoon a children’s movie . program is presented in our suburban theater. It is an innovation which I believe should be used over the entire country. What a thrill for a child to be told he can go to see his very own entertainment! This keeps the child’s mind bright and happy, and provides a wholesomeness which is his birthright. And because we can’t keep the children away from the movies, selected pro- grams would solve a great problem for the nation’s mothers. J. B. B., Cincinnati, Ohio WE HOPE IT WON’T I am a school teacher and am sponsoring a club for girls of adolescent age. A feature of our weekly programs is a discussion of current films, analyzing them in every department— production, story, cast, cinematography. Realizing that it is virtually impossible to forbid certain pictures to youngsters, teachers are now trying to educate the tastes and raise the standards of children to a point where they themselves will discriminate in favor of the better productions. Of course, it is impossible for me to see all the pictures seen by seventy-five girls, and yet I must be ready for questions on every picture introduced. Therefore, I do the next best thing—I buy PHoropiay every month, study “The Shadow Stage,’”’ and base my decisions on the reviews. This method has never failed me. Gyerrrup Smit, Hollywood, Calif.
Page 15
he Dow's LIE AWAKE and toss. Relief for that dull head . . . relaxation for those taut nerves ... restful, refreshing sleep ,.. are no farther away than your medi- cine cabinet. Just take Bromo-Seltzer—drink it as it fizzes in the glass. You get the benefits almost immediately. As Bromo-Seltzer dissolves, it effer- vesces. This is one of the reasons why it relieves gas on the stomach so promptly. Then it quickly relieves headache, too. At the same time your nerves are soothed .. . you are gently steadied and relaxed. And all the while needed alkali is supplied through citric salts which con- tribute to alkalinity. Your head clears ... worry and nervousness disappear . . . and you drift pleasantly into normal sleep before you know it! EMERSON’S Ww next time a hea ae PHOTOPLAY MAGAZINE FOR JULY, 1934 \ Bromo-Seltzer — the multi-purpose remedy Only a balanced preparation like Bromo- Seltzer could work so effectively. No mere pain-killer could do it. Not just one, but five separate ingredients are combined in Bromo-Seltzer—each with a special pur- pose. Consequently, you get five needed benefits. And Bromo-Seltzer works faster because you take it as a liquid. Bromo-Seltzer is so pleasant to take —and so dependable, too. Contains no narcotics andit never upsets the stomach. Indeed, it has been a standby for over forty years. Keep the large, economical family- size bottle on hand. Ready at a moment’s notice to banish head- ache, neuralgia or other pain of nerve origin. You can also get Bromo- iche won't let you sleep Seltzer by the dose at any soda fountain. But make certain of the one and only Bromo-Seltzer. Look for the full name *“Emerson’s Bromo-Seltzer’’ on the label and blown into the famous blue bottle. Imitations are not the same balanced . are not made under the same careful laboratory control. Sold by preparation . . druggists everywhere. Emerson Drug Company, Baltimore. NOTE: In cases of persistent headaches, where the cause might be some organic trouble, you should of course consult your physician. Pleasant Reliable
Page 16
18 Famed New York milliner Lilly Daché created this~sport hat worn by BETTY DOUGLAS. Dress from Youthful Fashion. choose your | tooth paste or 4 beauty | results “For those soft high lights... to S give my teeth the freshness and sparkle so important in photography .-- 1 prefer Listerine Tooth Paste to any other,” says Miss Lillian Kenton, popular New York model. Miss Kenton confirms what millions of other women have learned about Listerine Tooth Paste. Here at only 25¢ a tube is a formula which for thor- ough cleansing, for the high polish it gives enamel, is liked better than brands costing twice as much! No wonder this modern dentifrice numbers among its users thousands of women who can pay any amount for clothes—who enjoy the most expen- PHOTOPLAY MacazINE For JuLy, 1934 2 LARGE TUBE AS sive luxuries of every kind. It does clean better! Film and stains disap- pear with a minimum of brushing. And there is that wonderfully fresh, clean feeling of the mouth after its use—the effect you associate with Listerine itself. Now—in addition to the money- saving 25¢ tube, you can buy Listerine Tooth Paste in the new Double Size, , 5G NEW DOUBLE SIZE 40¢ BABS LEE is always in de- mand for fashions. Her mush- room leghorn hat is from Saly- mil-Milgrim, New York. ...as they . LISTERINE TOOTH PASTE : pAMBER?. PHARMACAL COMPANY do! RMS MAO s 4 40¢. This new size contains twice as much—saves 20% more! Lambert Pharmacal Company, St. Louis, Mo. Protect yourself from loose bristles! PRO-PHY-LAC-TIC TOOTH BRUSH with PERMA-GRIP (U. S. PAT. No. 1472165)
Page 17
Scotty Welbourne ane deserting Broadway for Hollywood two years ago, Verree Teasdale has made rapid strides to movie fame. Her most difficult problem has been trying to get her name spelled correctly. And Miss Teasdale is changing that any day now, to Mrs. Adolphe Menjou. She is gowned in pearls and ruffles for her rdle in “Madame Du Barry” ee = ae ee ee ee ee
Page 18
CULDUGGERY in the offing! And it must be bad if it scares a pirate! Jim Hawkins (Jackie Cooper), young hero off; Treasure Island,” offers his assistance to Billie Bones (Lionel Barrymefe). Billie, in modern lingo, is “on the spot!” Robert Louis Stevenson’s much loved adventure story of a search for treasure is being:.filmed by MGM
Page 19
Gene Kornman HIS smiling gentleman has faced cameras thousands of times, but for the child it is a rare experience. It’s Harold Lloyd with his youngster, Harold Junior. The Lloyds have been extremely careful to guard their children against publicity, and very few photographs of them have been printed. You'll see Harold Senior soon in “The Cat’s-Paw”
Page 20
Elmer Fryer ROMINENT on Broadway for over thirty years, Helen Lowell has started now on a movie career. This portrait of Miss Lowell, gowned in white chiffon for her réle in “Midnight Alibi,” proves that beauty need not be identified exclusively with youth. One of her best stage rdles was Miss Hazy in “Mrs. Wiggs of the Cabbage Patch”
Page 21
x Summer days! Smooth white beaches. . . pleasant motor journeys . . rose gardens . . meals al fresco... your body absorbs the sunshine, but...The invisible fingers of the wind rob your skin of its natural beauty Jip oils; the otherwise-gracious rays of the sun 4 etch tiny wrinkles and lines. There’s no ¢ ? v) Gx U1 \WK escape for your face—but there is Jots of assistance—and Coty here offers you some ( f of the best! For instance: Coty Liquefying Cleansing Cream — penetrating, quick- melting — it ““coaxes-out’’ deeply imbed- ded soil. Generous jar—$1l. Coty Tissue Cream—very rich—it truly compensates your skin for the lubricating natural oils stolen by sun and wind. $1.50. And—the final, irresistible finish —famous Coty Face Powder— precisely blended. A dozen tints, to give your complexion its own perfect tone. Three new powder boxes, match- ing boxes on Coty perfumes, help you instantly find your favorite Powder odeur! Ask any good department or drug store! eee ye ey ee oe WS: 4, Ys ORs the perfect prelude to your use of Coty Face Powder, Coty Lipstick.
Page 22
le Kornman NA MERKEL may look like a lady of leisure, but actually she is one of the hardest workers in all Hollywood, The little M-G-M player has made over thirty pictures in the last four years. One of her most recent movies is “Bulldog Drummond Strikes Back,” with Una providing the comedy relief in 20th Century’s mystery-romance
Page 23
Close-Ups and Long-Shots By Kathryn Dougherty the year I was moved by the comment of those about me during the intermission. “J just love her in this,” remarked one woman back of me, while her companion added, “I think he is grand.’ Of course, they were referring to the two leading players. Similarly favorable were other words that came to my } ears. A man going up the aisle had this to say: “That director is a wonder.” And I got to thinking—audiences heap praise upon the actresses and the actors, on the directors and the authors, but how many think of the “men back of the scenes” —the heads of the producing companies? And I wished that audiences could have the opportunity of meeting and knowing these officials as I do. A T a recent first showing of one of the impressive productions of VERY time I meet Louis B. Mayer, vice-president of M-G-M in charge of production, I am re-impressed with his honesty as a producer and his sincerity asaman. To his indefatigable energy, his high ideals and his just and fair dealings with his associates, his players, his subordinates and, lastly, his picture public, may be attributed, in large measure, the phenomenal success and prestige that the l} M-G-M Studios enjoy. Froth is not infrequently spun by studio publicity departments and blown every- where on the gale of ballyhoo, to create or to maintain false reputations. Mr. | Mayer’s fame needs no such factitious aid. To know him is to admire and respect him. UN over in your mind the pictures with whose names you associate these great | artists: Helen Hayes, Greta Garbo, Lionel and John Barrymore, Norma | ) Shearer, Wallace Beery, Marie Dressler, Joan Crawford, Frank Morgan, Otto Kruger. What a range they represent of great emotional drama! Not one picture you identify with these players is tawdry or “sexy.” Each one is a definite, pur- poseful story; nearly every one measures up to the ideals of the ancient Greeks that the purpose of drama is to purify the emotions. What could be more moving than “The Sin of Madelon Claudet,”’ more thrilling than “Viva Villa,” as touching as “Smilin’ Through”? And stored in your memory Vy forever are “Min and Bill,” “Queen Christina,” “Grand Hotel,” “Dinner at Eight” and “The White Sister,” among many others. Honest, sincere, artistic productions. And directly, or indirectly, Louis B. Mayer fathered them all. It is with that same honesty he greets you. He is outspoken, very much in earnest, and, withal, understanding and kind. I believe that Mr. Mayer would equally comprehend the nobility of a saint and the complexities of a pickpocket. 26
Page 24
LARC FFFTRLLFLVFLFLFFFTLFFLFFFLLEF HE other day I had the pleasure of meeting Jack Holt’s son, Tim, a manly, upstanding, incredibly big lad of fourteen. Dressed in a polo outfit, he, with one or two others, joined his father and me at lunch at Jack’s charming home. His alert eyes reflected his attention to the table talk in which he took no part. Two things about the lad impressed me profoundly. When we sat down he unostentatiously said grace. When he rose and departed, he kissed his father on the cheek. A hard-riding devil of a polo player, he is not ashamed of his religious training or his affection for his father. HE greatest menace to pictures today is the two-for-one theaters. It is a penny-wise, pound-foolish policy for the producing companies. The depression brought it in; with the upturn in business, it is high time this suicidal policy was abandoned. Two pictures for the price of one was undoubtedly considered a smart business move to stimulate motion picture theater attendance, when the depression was hammering us so hard. It was never particularly successful in achieving its purpose. First of all, the double feature program tires audiences. Four hours of the best pictures in the world is a little too much. Second, this policy tended to cheapen pictures in the eyes of the public. It is human nature not to appreciate an over- generous bargain. ‘Third, the theaters themselves have suffered, not only because they surfeited the public’s appetite, but because they could give but one perform- ance in the time they formerly gave two. ND as for the producing companies, they felt all the disadvantages that theater managers experienced, plus some of their own. When the depression cast its blight upon the nation, studios found themselves doing business in the same inflated manner as the rest of us. Selling two-for-one to second and third run houses didn’t aid the situation. It only intensified losses of producing companies. Competition, however, forced their hands. At least they thought so. As a matter of fact, if the studios had united and solemnly agreed not to go in for this cut-rate business, there would have been less red in their books. The pernicious policy still prevails in many quarters. The quicker it is entirely abolished the quicker all the studios will resume their places in the sun of prosperity. O see “Queen Christina” for twenty cents is indeed a treat, but it seems incred- ible that this magnificent film should so soon be on the bargain counter. Yet it is showing now at that price. Greta Garbo, whose screen throne is unassailabl >—who is regarded by many as the greatest of all feminine stars—to think one can see the greatest of all her pictures for a paltry twenty cents! Never shall I forget the look in her eyes as she stands on the ship, her lover dead, her hair and her dress blown by the sharp sea breeze, as she holds resolutely on her course, come weal, come woe, like a Viking warrior of old. Twenty cents! That glimpse alone of Garbo is worth two dollars! ETTING into pictures still remains a feat completely without rule or formula. You would think that a studio’s efforts to train talent for the screen would be the surest and most fruitful. However—last year Universal inaugurated a “Junior Stock Company” to groom promising young actors and actresses. There were three thousand, six hundred applicants. Seventy were selected. Five graduated from the dramatic school. Two were given short contracts—Lois January and Dean Duncan. TFFTFTFFEFFFFFEFFFFFFFFTF FREE CRRLRRRLLLRLX 26
Page 25
“Lwas the Night of the Banquet Pairs—occasional and “steady” — at the M. P. T.O. A. gala festivities An occasional meeting, but a steady friendship. Jean Harlow is congrat- ulating Leo Carrillo on his fine work in ‘Viva Villa.’ It won Leo an M-G-M contract John Boles is happily married, but he enjoys a dance with a new friend, Delphine Meyer, daughter of one of the visiting motion picture theater owners They have been “steady” for a long time. Now Joan Crawford isn’t sure an actress should marry. But could any woman resist Franchot Tone’s gaze? By rumor, it becomes steadier all the time! Carole Lombard was es- corted to the banquet by Russ Columbo. They are seen together lots these nights Phillip Photos Marlene Dietrich and Director Josef Von Sternberg Who said they quarreled? Well, anyhow, if the recently spent weeks of steady work together on rumors were true, Isabel Jewell and Lee Tracy, “Scarlet Empress.’”? With the picture finished, they steadiest of Hollywood steadies, were reconciled greeted the M.P.T.O.A. delegation for the banquet at the Ambassador Hotel 27
Page 26
THE REAL FIRST HE First Lady of the Screen—there can be only one—who is she? Her name is not Greta Garbo, or Katharine Hepburn; not Joan Crawford, Ruth Chatterton, Janet Gaynor or Ann Harding. It’s Norma Shearer. You may have your favorite actress, your most glamor- ous screen personality, your box-office queen, or your sex-appeal sensation of the moment. You may have your super-thespian, your exotic orchid, your sweetheart of the world. But Norma Shearer is the real First Lady. Her amazing, triumphant return and her sensational, world-wide reception in “ Rip- tide’ prove her exclusive right to that enviable title—a title to which she as- cended by virtue of what Norma Shearer is and what Norma Shearer has done— continues to do. Already indignant protests are probably bursting upon these printed words. Garbophile mutters ‘‘Insanity!”—a Hepburnite cries ‘“‘Libel!”—a Craw- ford convert screams ‘“‘Lese majestel”’ But just settle back and relax. Greta Garbo came to Hollywood, kept to herself and started a Jegend which turned into a grand business asset— mystery. She still has it. But she isn’t a social person. Katharine Hepburn swooped down on the town, perpetrated tomboyish pranks, and revealed enough dramatic genius in her first year to win the Academy award. Brilliant, certainly, but too erratic and capricious. Joan Crawford danced her way to hot- cha fame and then went Pauline Fred- erick. Joan is a good sport, excellent Norma Shearer’s popu- larity survived a year- and-a-half retirement from the screen. The Off the set, Norma is always known lady with the patrician as Mrs. Thalberg. At home her life profile is back again in with her husband and Irving, Jr. is “Riptide” quiet and well-ordered. She is the kind of woman that other women want to resemble 29
Page 27
For what she is and what she has done, the title ascends to Norma Shearer By Basil Lee trouper, but never has contested for the “First Lady” title. Ann Harding has been through a domestic upset. Dietrich has her trou- sers to live down. Gaynor inherited Mary Pickford’s girlish ‘America’s Sweetheart” badge, which means she must be sweet but not mature. Not one of them ever successfully, consistently, progressively, artfully por- trayed sophisticated ladies of the upper strata of society as Norma Shearer can. None can imbue a daring character with such unmistakable refinement. Can you imagine Garbo as Mrs. Cheney, or Crawford as Lady Rexford in “Riptide”? Neither could get away with it. Ruth Chatterton alone, some- times publicized as “‘the first lady of the stage and screen,” could possibly have rivaled Norma for her position, but Ruth Chatterton has not in- variably justified her stage prestige on the screen, and she has run against bumps in her domestic life. Norma when an infant, in her mother’s arms. There is evidence of good breeding in all the things she has done One Hollywood couple the gos- sipsletalone! The Thalbergs photographed after their mar- Tiage in 1924 She even gives that ladylike quaiity to her shadier roles. Here she is in “A Free Soul,’’ in Clark Gable’s em- brace As a fashion model in New York, Norma kept her charm and dignity, as she always has, under any con- ditions Think how cheap and unattrac- tive the characters created by Norma Shearer in her list of suc- cessful pictures would have been, if they had been portrayed by an actress lacking that manner which she possesses. Most of them were women who slipped morally. Some of them slipped more than once. But Norma can slip a bit on the screen and still be a lady. When her characters err, they err on a silken, ladylike scale. Mrs. Cheney didn’t enjoy a spotless reputation. In ‘The Divorcee” Norma defied convention; she moved smartly and boldly in “‘Let Us Be Gay”’; “Strangers May Kiss” showed her as a young business woman with ideas of her own; she even loved a gangster in “‘A Free Soul”; and there were important indiscretions in both “ Private Lives” and “Strange Interlude.” Yet these were the films—these and “Smilin’ Through,” a ladylike réle and a pure one—upon which her tremendous popularity has been built. It is a popularity which survived a retirement of a year-and-a-half from the screen, and paved the way for a return triumph which, [ PLEASE TURN TO PAGE 96 | 29
Page 28
Hysterical Honeymoons O Hollywood $ OR some reason beyond me, engagements, wed- dings and honeymoons in Hollywood are like nothing that exists on the earth beneath, the heavens above, or you name the place. And why it is, no one can explain or even draw the pictures of it. In normal, everyday places, for instance, two people get en- gaged and in due time (or a London wasamazed at seeing a blonde leaning from a cab screaming for her husband. Going the . other way, a chap little before, maybe) get married. yelled for his wife. Then, amid considerable healthy Eventually Cary rice throwing, they go off to 204 Virginia got to- a gether again Niagara Falls to see the water rush over the precipice, or what- ever it is, and come home and settle down to a nice, quiet existence. And there you are. And there they are. And there is everybody. But in Hollywood! Tck, tck, tck. No less than fifteen of the oddest people (former wives and things) get in- volved in the engagements, and sometime as high as fifty or sixty strangers get all mixed up in the wedding itself, which is a busy combination of the Midnight Ride of Paul Revere, a six day bicycle race and a trip with Stanley through Darkest Africa. And the only rice that’s ever thrown has already been baked in a pudding. Take the blonde Jean Harlow. At midnight Jean and Hal Rosson decided marriage, and not another hamburger, was what they wanted (of course they’ve changed their minds now; Jean is going to get a divorce. But there must be a honey- moon before there can be a divorce, you know) so they hop a plane, fly to Yuma and, getting out of the plane, Jean hears a slow zzzip and, looking down, discovers runs in both stockings. So, pulling them off and holding them in her hand, they make for a judge. Any judge, justice, or what-not. Finally getting one out of bed, they get married, with Jean still holding the torn hose. Some brides, of course, carry lilies-of-the-valley and some roses with maiden-blush fern, but we Hollywoodians, ho, we carry stockings. With runs. And when Jean repeated the “T dos” and the “I wills” throughout the ceremony, she gave the stockings, all unconscious of their existence, of At midnight, deciding marriage was what they wanted, course, a decided and sassy little flip that nearly knocked the they got the justice out of bed. Some brides carry spectacles of the presiding judge from his presiding LIE lilies. But Jean held a pair of chiffon hose If you’ve never seen a dream walking with stockings ~ 30
Page 29
liveryone laughs but the new- lyweds. For what bride can be happy without a kiss? What eroom content without a bride? By Sara Hamilton ILLUSTRATED BY FRANK DOBIAS atmosphere around them senses the fact that here’s Hollywood messing around, and things pop that never before popped in that locale. : For instance, Cary Grant and Virginia Cherrill were married in England and England will never be the same, let the Prince of Wales knit while he may. The wedding was all set. And then Virginia didn’t have her divorce papers and by the time the papers arrived from the States, Cary was in the hospital, and by the time Cary was out of the hospital, Virginia was in the British movies and the newspapers were in a British dither wondering who was jilting whom and who shot Cock Robin. At last, on the very day they were to leave for Hollywood, they man- aged to rush to the registry office to be married and found a goodly mob was there, bent [ PLEASE TURN TO PAGE 101 | Half-way down the road the honey- moon coach sunk knee-deep in mud! Joel groaned and Frances wept. The : : cat had kittens. At clenched tightly in her dawn the McCreas “patty cakes,’ Yuma were still there has. For Jean, still holding them tightly in her hand, turned to greet her groom after the cere- mony and found him so scared and confused he’d dashed out the front door leaving Jean alone, at last, with the judge. Like a shot, the bride was after him, missing the top step and landing “boom” on a dumfounded Yuma sidewalk at four-thirty in the morning and what did I tell you? Can you name, just offhand, say, any other three-minute bride you ever heard of who sat on a Yuma sidewalk at four-thirty in the morning? Go on, just name one. Anyhow, by this time the groom got over his fright sufficiently to know where, but not altogether why, he was, and, gathering up his bride, the happy hus- band took her to an all night “‘jernt” for the wedding breakfast. Thus are the weddings of Hollywood’s famous ones, my little magpies. At six-thirty they were home fighting their way through newspaper reporters and what not, where questions were fired at them for hours. Finally, at two-thirty in the afternoon, Jean (sure, she still had the stockings in her hand) went to bed to get some rest and the groom went to work. It was two days later, with the confusion still at fever heat, that the groom let out a loud scream. “Good gosh,” he yelled, “I haven’t yet kissed the bride.” Thus are honeymoons in Hollywood, my little daffy-down-dillies. So stay where you are. Even when the famous ones of movies go clear out of the Golden West of “Callyforny” to be married, it’s still no better. Even so, things happen that never happen to another living Johnny didn’t say “I do” fast enough. Lupe pinched him. Tarzan’s yowl blasted the judge onto the chan- soul. Couldn’t, as a matter of fact. But somehow the very delier. The witnesses hid under the couch 31
Page 30
Madeleine has been presented to Britain’s king and queen. ADELEINE CARROLL, although she has been the screen and stage sweetheart of the British for the past six years, is practically unknown in America— unless you saw and remember her in “I Was a Spy,” a British-produced picture released here, in which she played opposite Herbert Marshall. In England, however, crowds fight to get into a theater where she is playing. Not only is she that popular over there, but she is socially prominent, to the point of having been pre- sented at the Court of St. James. Her jewels are worth a 2D Herself a queen—of the screen—she is over here to make ‘‘The World Moves On.” Raul Roulien appears with her Here Is Kneland’s ~ Favorite Charmer Madeleine Carroll, * who packs ” em in overseas, is to be seen in her first Hollywood picture By Iris Foster king’s ransom. Her frocks and gowns are ex- clusively from Paris. Her husband is one of England’s very wealthy men, and he has a family tree that high—. He was, during the late war, on the staff of the Prince of Wales. He is Captain Philip Astley, and was in Holly- wood with Miss Carroll while she made ‘The World Moves On,” with Franchot Tone and Raul Roulien, for Fox. Madeleine is the first British player in the new reciprocal “charm exchange” between British and American studios. In her case, Warner Baxter is scheduled to go to Gaumont as the Fox representative under the agreement— Baxter being somewhat of a charmer from the feminine viewpoint. So, Madeleine, in her first made-in-America picture, not only will bring her talents to the notice of American movie-goers, but she will be a test of the “charm exchange” plan. Knowing Madeleine and her work as I do, it is my pre- diction it will be a highly successful test for her. You see, despite her stage and screen popularity and her high social background, there is no hoity-toity false pride, no too, too ‘‘naice”’ Englishness about this Carroll girl from Lon- don town. There is not an ounce of falsity in her one hundred and twenty-two pounds, not a tendril of it in her ash-blonde hair nor a flicker of it in her deep blue eyes. Even though her stay in Hollywood for her one picture was short, she did not cash in on her overseas glory. That is not her way. Nor is she uppish before a camera. For instance, in ““I Was a Spy” (the story by Martha [ PLEASE TURN TO PAGE 112 |
Page 31
Actresses Clamor for THIS MAN! OU never heard such a clamor— Why? There are plenty of more handsome leading men than Herbert Marshall. Any number who are better known to the American public. So why did Norma Shearer want him, far above any of the others, for her first very important pic- ture, “Riptide,” after her year- and-a-half absence from the screen? Why is Constance Bennett in- sistent on having him to play op- posite in “The Green Hat,” her first picture under the new M-G-M contract? Why does Gloria Swanson de- mand him for ‘Three Weeks’’? Why, oh why? Taken at face value, he has none of the obvious attributes that are popularly supposed to make up your favorite “great lovers.” No dynamics, no flashing black eyes, no bold assurance. And yet, this is what Norma Shearer says of him as a lover— “The first time I ever saw Mr. Marshall on the screen was in a picture with Claudette Colbert. I thought I had never seen a lady so thoroughly and convincingly loved! “He is both manly and wistful. He wins the sympathy of women because his face expresses tender- ness and silent suffering.” There. That’s one secret out. Herbert Marshall has the gorgeous leading ladies scrambling for his gracious support By Ruth Rankin Feminine stars are all aflutter over the adroit, convincing screen love of the gentlemanly Marshall, after such a siege of hard-boiled, slangy boy friends Frivolous or se- date, girls go for suave, substantial Herbert Mar- shall. Is he your ideal type for hus- band and father? Baby Marilyn Spinnert surely is content in his arms One clear explana- tion for that devas- tating charm that has every lovely star pleading fervently in her prayers: “... and oh, please let me have Herbert Marshall for just one picture, and I’ll bea good girl forever after!” Norma added this about the character- istics that distin- guish him from so many of the other leading men: “He has a charm that is always part of him. It is not just put on for spe- cial occasions. Also, he has that great faculty of making you feel he never takes himself too seriously!” And the secret of that charm, Norma explains, “‘is his gal- lant and courteous attitude toward women — whether movie star, secre- tary or somebody’s cook—which, I suppose, is pretty much the same thing, anyway.” But Norma does not consider Marshall a versatile actor. Sensing our surprise at this, she went on immediately to amplify this opinion. “He is not a versatile actor because he could never convince an audi- ence he is anything but a gentleman.”” [ PLEASE TURN TO PAGE 94 | 33
Page 32
A Good Pal Is orth Three Dollars And not many Englishmen can get enduring affection from an Irishman for that price By Carl Bosworth Leslie Howard, who lent Gargan three dollars and found it a very good investment oe R. HOW- ARD—” A very appealing but very broke young Trish actor touched the sleeve of the pro- ducer-boss who had snatched him out of the sheriff’s clutches by giving him just a small part in his play. “*Mr. Howard, you don’t suppose you could lend me five bucks?” And a cool, sophisti- cated, dignified Englishman, who had all Leslie Howard and New York at his wife, Ruth. She hicheet mith his is a friend of Patricia : Gargan’s and the performance in two families are “Berkeley quite inseparable S Gwe. rie 7° turned to stare into the pleading, blue Irish eyes. Then his own lighted up with an amused twinkle of understanding. “T’ve only got three,” said Leslie How- ard to Bill Gargan, turning his pockets inside out, “but they’re yours.” That was five years ago, when Bill Gargan was just an unknown actor be- hind in his rent, and Leslie Howard, the sensation of Broadway, was rehearsing his cast for “Out of a Blue Sky,” which he was co-producing with Gilbert Miller. But it was the beginning of one of Holly- wood’s most enduring friendships — the Leslie Howard-Bill Gargan entente, which no one knowing both the shy, reserved Englishman and the boisterous, impulsive Irishman can quite figure out yet. Because if you searched the world over, you’d have a hard time finding two people who would seem to have less in common than the ebullient Bill and the serene Leslie. But they’re inseparable; Bill and Leslie, Ruth Howard and Patricia Gargan—yes, and the children, Leslie and Ronald Howard and Barrie and Leslie Howard Gargan, too. The latter is named in honor of Bill’s friend. And if you have any- thing to say against the Howards to Bill Gargan, better smile when you say it. That goes both ways. Of course, Hollywood remains a little puzzled about it — but Holly- wood doesn’t know the story of how this friend- ship started and grew. How this understanding, which you couldn’t help but feel if you saw Bill and Leslie together in “Animal Kingdom,” de- veloped from stage lines to real life. Leslie’s venture at producing on Broadway ended in two weeks, and with it Bill’s job. Bull Howard, his son Ronald and daughter Leslie are wandering on the beach at Malibu. Looking for the Gargans, maybe
Page 33
was debtor for the three dollars, and for plenty of dramatic instruction and advice from Leslie. Two years rolled around, during which Leslie had become a tremendous success in England, while Bill—well, he was just keeping in cigarettes and clean shirts. Then one day he read where Leslie How- ard had arrived in New York to direct and star in ‘Animal Kingdom.” Bill read Red Regan’s part. He wanted it, but— “T felt kind of backward about getting in touch with him,” says Bill. “He was a big man now, bigger than before, and I was still hunting a job.” A touch? Not today! Meeting on the set, Gargan and Howard stop to chat. They’ll bein “British Agent,” their first picture together since the “Animal Kingdom” Photographed with Papa Bill Gargan at a very tender age, young Leslie Howard Gargan, who was named after his dad’s closest friend, scowls at the pho- tographer Bill Gargan, who borrowed three But that three dollar debt worried Bill. It ought to be paid. So he walked down to the Lyceum Theater, in onto the stage, and once more touched Leslie Howard’s sleeve. “Here’s that three bucks I owe you, Mr. Howard,” said Bill. And then, his honor cleansed, his courage rose. “And I'd like to play Red Regan,” he said. Howard regarded him coldly. “Sorry,” he re- plied, “but I don’t picture you as the type.” Then he met that anxious, half-funny, half-sad map of Ireland, and the frown dis- solved into a smile. Bill grinned back. “Okay,” said Leslie How- ard “we'll try it out today.” And when rehearsal was over in the evening, he said, dollars from Leslie Howard, “Bill, you’re good for my remembered to pay it back, money. The part’s yours.” and thereby found a real friend, During all the four weeks that Bill Gargan rehearsed The Gargans, in their desert home: Bill, Patricia and little Barrie. The baby, now ten-months-old, has already been put to bed “Animal Kingdom” with Leslie Howard, he never could quite make up his mind whether the Englishman liked him. “An Englishman can like you a lot, and still look like he doesn’t even know you,” Bill explains. But on the play’s opening night in Pittsburgh, something happened which cinched his own mind about one thing. The opening was what every actor dreams about all his life. Riotous applause, [ PLEASE TURN TO PAGE 105 |
Page 34
Thrills and Romance Aplenty on an Indoor Island! NE of the most lavish sets created in re- cent years was this one built in the RKO- Radio studios for ‘‘ Down to Their Last Yacht” —a comedy of adventure, with music. The scene occupies two entire sound stages and represents a South Sea island and a palatial 2, VV The yacht which has run up on a sandbar. ship’s deck can accommodate three hundred persons and a thousand can be landed on the beach. Sunken tanks were installed for the ocean. Coconut palms, banana trees and various sorts of tropical foliage were planted here and there. The island—need we add?— is uncharted, but is known to the ‘‘Polynesian” natives as “Malakamokalu.” It is a refuge for fugitives from justice, so when the party from the grounded yacht goes ashore, there’s plenty of excitement. Glance over the startled
Page 35
Charles Rhodes Yacht, Land and Ocean Were Set Up in the Studio! crowd and you can pick out Polly Moran, in a white officer’s outfit with braid draped over her shoulder, facing the native farthest left. At Polly’s left is Maurice Black. Eyes right —skip the one gentleman in the white monkey jacket, and you have Sidney Blackmer in a dress suit, holding petite Sidney Fox in his arms. Bring your gaze forward a few steps— the blonde in spangles and feathers is Hazel Forbes, one-time show girl who inherited a lot of money from her late husband. Protecting her is Tom Kennedy. At the extreme lower right, with the pipe, is Paul Sloane, the director (the set is so immense Paul had to use a loud- speaker system to direct cast and crew). Standing next to him, wearing a hat and cigar, is Eddie Killey, his assistant. Stupendous, colossal, and just loads of fun, eh what? :
Page 36
Hitting Hollywood’s High Spots Meet Mitzi Cummings (Notes on an intimate letter writer) Mitzi is voung—peppy. She came to Hollywood about ten years ago and is a graduate of Hollywood High School. At a studio one day, Ramon Novarro asked her to be his leading lady. She couldn't, because she had to finish school. But Novarro became her favorite movie star that instant. Since her meeting with Novarro she has become the close friend of some of the best known men and women stars of the screen—she goes everywhere and sees every- thing. The people you read about in Mitzi’s Hollywood letter Mitzi DEAREST JOAN: ELL, lambie, I’ve just finished making nine copies of a chain letter. Now, don’t hoot at this display of super- stition. After all, if it’s good enough for the Bennetts and their friends, I guess I can attach my name to so quaint a custom, too. First of all, it started out with society. Mrs. Alfred Dupont. After a while, through a devious course including barons, authors, theatrical lawyers (John Wildberg who recently married Ursula Parrot—she wrote ‘‘Ex-Wife’’), etc., it got to Mama Bennett (known to the theater as Adrienne Morrison). With a true display of maternal interest she sent it on to daugh- ter Barbara (dark-haired wife of singer Morton Downey). Barbara, sisterly to the core, shipped it on to Joan. Joan stopped this family business by skipping Constance, and Spencer Tracy got it next. Well, after one person and another, it got to Ann Pennington; Vivienne Segal, Ralph Bellamy and the new Warner girl, Bar- bara (Snooney) Blair. Then to me. And from me to you, baby. So pretty soon now you will be chortling with delight at the names of the mighty. _ Until you have to make nine copies. HE luscious Claudette Colbert is, as you probably know, making “Cleopatra.” Well, little one, there’s only this to say. I don’t know how you feel about it, but if you’re the type of lady who likes her hips and tummy as svelte as svelte, don’t look at Colbert. Gives you an inferiority complex. Such a figger! And in that costume! One which I saw (they were shooting a scene on her balcony and she was vamping Antony for all she was worth) was cloth of gold with drapes fore and aft. How it clung! The hair, too, will interest you. Long, below the shoulders, and perfectly straight with just a very slight curl-up on the ends. Straight bangs. Completely dramatic looking, and for days now I’ve been harboring the desire to have a head-dress like it. But you know me. As usual, I’m simply defeating my own purpose. Curls and more curls. Oh well, I couldn’t look like Colbert anyway. A little weak from an excess of self-criticism, I next took 200 9») are all people she knows intimately, and about whom she will write every month. myself to the set where my favorite Southern girl, Miriam Hopkins, and your favorite radio pal, Bing- Crosby, were making ‘‘She Loves Me Not.”? A cun- ning story, Joan. She’s a night club girl who’s hiding from the police in a boy’s dormitory. (Something’s going to happen to the morale of Joe College when that’s released!) Just outside the stage I met Eddie Nugent, who plays Crosby’s pal, and he said: “Hurry in if you want to see Miss Hopkins in her undies.” Joan, I thought of you. I said to myself, ‘‘A description of the indescribably lovely Hopkins, clad in French lingerie of a most desirable nature, will sweeten my Joanie’s memories for- ever and ever.”’ So I rushed in. But lamb, neither the lovely lady nor the lingerie were in sight. All I saw was a blond boy in athletic underwear, who had, strangely enough, a sweet, breathless kind of a voice. I watched Bing Crosby take the lad’s hands in his and scrutinize them. “Off with the polish—and clip the nails,” he said sternly. I gasped. Then: ““And no powder on the nose, either.”’ “But I look perfectly awful with a shiny nose,” said the blond boy in the athletic underwear with a plaintive voice. Two little minds are better than one, Joan. I turned to my companion with a quizzical face. “Miriam Hopkins!” he explained. I nearly swooned. Well, all I can say is, that despite the popular delusion that girls look like the very devil in men’s unmentionables, Miriam Hopkins looks adorable. Gay and adorable and infinitely desirable. To the four winds with French lingerie! I HAD a very special night last week. First, dinner at the Beverly Hills Derby. Then to the fights; on to zee Cocoa- nut Grove and finally to the new Marathon. Just a little evening. Being methodical by nature, I shall report all goings- on in their proper sequence. But briefly, since I have lots of news, my pet, and writer’s cramp is slowly but very surely coming into my left pinkie. In the Derby we saw Charlie Farrell, Virginia Valli’s devoted spouse (with wife) and an odd dozen directors. Also Stuart Erwin with the beautiful June Collyer, who is Mrs. Erwin, as you know. They finished dinner and started to leave jvst as we came in, but they were still leaving when we finished. Everyone in the place kept calling [ PLEASE TURN TO PAGE 104]
Page 37
Has Mae West Gone High Hat? The gossips say money and success have changed her. Well, here’s Mae’s answer Peek-a-boo! Mae insists she stiil sees old friencs, despite her tall feathers By Kirtley Baskette AKE it from Mae herself—West is still West. It has only been a matter of months since Mae tossed some mean curves and busted up more repressions than the NRA —only a few months since the undulating Siren of Sex and Sensation became the bad girl friend of the world—the secret passion Mae, the farmer lass! Ritzy? No, but this is a rare photograph of the early West. She got patriotic during the war and planted this corn. How many gallons per stalk, Mae? for the banker, the baker and the kiddie-car maker. Mae was Mae. Unlimited. With the cards laid right out on the table and the curves laid right out on the davenport. You came, you saw and you were conquered—no matter who you were—no matter from where you came—from Pea Ridge, Arkansas, or Park Avenue, New York. “T ain’t ice!”” said Mae—and you didn’t have to be an iceman to understand her—although being an iceman didn’t cramp your style. She belonged to everybody. That was a few months ago. Even Hollywood, waiving professional jealousy, thrilled to this new kind of woman, this new world sensation, who boosted picture stock wherever she played. It capitulated—then cooled. Today you hear everywhere that Mae West is a changed woman. She has gone high hat. Money has changed her. Success has gone to her head. She imagines herself a great actress. She’ll have nothing to do with any- one; she won’t even see people who want to write about her. She’s out-Garboing Garbo. She’s ashamed of her curves, so she’s dieting, getting thinner. She’s slipping at the box-office and she | knows it—so she’s hysterically socking her money. ) She’s going back on her old friends; keeping them Mae wasn’t trying to be ritzy when she heard Joe Ritchie, A : ex-pug, sing prize-ring ditties in the studio and wrote a part away with armed guards. Closing her set to every- for him in “It Ain’t No Sin” body—taking it big. [ PLEASE TURN TO PAGE 110 ] 39
Page 38
The HUSBANDS In- Gloria’s Career Wallace Berry, No. 1. She an extra, he an important actor when they first met Herbert K. Somborn, No. 2. He was a mil- lionaire, and connect- ed with pictures LORIA SWAN- SON has never done anything half- way. Throughout her career when she has made a change in her pro- fessional life, there has usu- ally followed an upheaval in her domestic affairs. Or perhaps we had better say the two changes have been simultaneous and parallel. And once again to Gloria Swanson has come such a situation. This time it is a split with fourth husband Michael Farmer, and, with the split, Gloria has signed with M-G-M under the guidance of Irving Thalberg in a new screen career. Throughout her four matrimonial ventures, the charming individualist that is Gloria appears to have maintained one axiom, and only one —‘‘My career, first, last and always.” Perhaps Gloria feels that only a lone hand, played hard, fast, without quarter or sentiment, can attain the goal she has set herself to conquer. Only she knows. The facts are that Wallace Beery, and the late Herbert K. Somborn, divorced Gloria on grounds of desertion. Her eldest child, Gloria the Second, was of the Somborn union. As to her last divorce—from James Henri, Marquis de la Falaise de la Coudray —Gloria herself secured it on grounds of desertion. And, from instructions given to her attorney, she is evidently about to obtain a divorce from Michael Farmer. The cameraman muffed his shot when Gloria at- tended a Broadway night club with Herbert Mar- shall, who is only partly shown—in the rear, at her right thr : | Miss Swanson’s spouses seem like mile-stones in measuring her progress By Mildred Mastin In the case of Michael, when he stated in Paris that he and Gloria were definitely separated, Gloria appeared distressed. “Tf we are separated, why doesn’t Mike let me know? I hear it from others. If it is so, why doesn’t he tell me? I had no idea we were separating for good when he went abroad,” cried Gloria. But the following day, Gloria instructed her attorney ta file papers for a divorce. While this situation was evolving, Gloria was negotiating with Irving Thalberg of M- G-M. She said she be- lieved Thalberg to be the greatest producer in Holly- wood. Some say that to know Gloria is to believe she was much in love with each of the four men she married. That each time, she ex- pected her marriage to last. Others say that each man she married filled her ~ definite need at that time. It was at the Essanay [ PLEASE TURN TO PAGE 94 ] Michael Farmer, No. 4. Just what inspired this union? Read this article and judge! Marquis de la Falaise de la Coudray, No. 3. Romance prevailed in film fashions
Page 39
T seems only yesterday that Aileen Pringle and Conrad Nagel electrified the world in Elinor Glyn’s “Three Weeks.” Gloria Swanson will make the same story for M-G™M after completing her run of personal appearances in New York. The incomparable Gloria here gives us some exotic poses, including one on a tigerskin similar to that famous one used in the silent version of “Three Weeks,” ten years ago. After nineteen years, Swanson’s star shines as brightly as ever. Good luck, Gloria Clarence Sinclair Bull
Page 40
Fred Hendrickson VERYBODY loves a costume! Irene Dunne dons several in “Stingaree.” Looking as lovely as she does, Irene -will 5 P, probably set a style for bustles and long, yellow braids. She employs several sophis- ticated hair styles in this picture—worth a rave, too. And there’s Richard Dix with a romantic gleam in his eye. And Miss Dunne by his side. It’s a musical drama, with a good das entiment. The cos tumes are lovely, copied mostly after the very elaborate fashions of the seventies Er nest A. Bachrach
Page 41
Ay \X Vi ty a AX " y a. ¥ - . RX - ¢ ~ F ¥v. Be. John Miehle WAY from the set, the lovely Ann Harding spends her leisure hours in her pleasant Hollywood home. Outdoors, the garden and the swimming pool are ; two of her chief interests. Indoors, Ann enjoys read- ing or playing “travel” — tracing on the globe the places she plans to visit abroad. Probably it will be some time before Ann has leisure for travel. She is scheduled for several pictures now, the next one to be “The Life of Vergie Win- ters.” Exquisitely lovely, a beauty as natural as Miss Harding’s is very rare — on or off the silver screen
Page 42
Eugene Robert Richee WEN WILLIAM sheds the suave manners of the drawing-room and dons the purple toga of the noblest Roman of them all, the imperious Caesar. It is for the Cecil B. De Mille epic “Cleopatra,” the lady who made vipers quite a style ENRY WILCOXON takes the part of Mark Antony in “Cleopatra.” It was Mark who succumbed to the beauty’s charms to the extent he lost an empire F the smile of the original Cleo- patra could make or break na- tions, what would the smile of Claudette Colbert, who plays the famous queen’s part, have done?
Page 43
Braw a EB” RUSSELL’S first name stands for “‘rebel.’’ And . there are but three things at which he hasn’t bucked. 2 They are his selection for a place on the 1930 All- American football team, to the presidency of his ; senior class at Northwestern and his job as a Western picture 2 r: star. But he started rebelling early, as soon as he learned he had been tagged for life with the fancy handle of Lafayette. Later on, he rebelled at ranch life and took himself off to college, where he did |some high and fancy rebelling against teams aiming to cross the Northwestern goal line. Newspapers printed such things as “Lafayette, here he comes,” and “La- _ fayette, there he goes,” for Reb could pack a football places. __ At one time, he rebelled successfully against being crippled for life—his back was broken. Then he opposed offers to sell _ insurance and coach football at Northwestern. He yearned for “a place where I can squall,’’ as he said. Reb first came to Hollywood when Universal picked him for a part in “The All-American.” He stayed to make a serial and _ play in some Tom Mix Westerns. He was all set to take the place at Tiffany vacated by Ken Maynard, but financial diffi- _ culties engulfed the company. Reb went back to football—pro- _ fessional—with the New York Giants. ___ But he’s again in Hollywood, scheduled to star in Harold Bell Wright’s ““When a Man’s a Man,” under Sol Lesser as pro- ducer. A series of eighteen hard ridin’ horse operas are to follow, in which Reb will use a snow white pony from his Okla- homa ranch. The pony’s name, by the way, is Rebel. » 4 P 4 - ~ a Brains RVING PICHEL, one of the more distinguished character actors, considers acting but a minor side of his career. He says he has a puritanical streak which doesn’t permit him to quite approve of actors! He prefers to direct, of which he has done considerable. In fact he turned down a director- ship in the Theater Guild to do a Greeley and go West. And he enjoys teaching—the Aesthetics of the Theater—on which he has lectured for ten summers at Stanford and U. C. L. A. His interest in dramatics began when he enrolled at Harvard for an M. D. and found studying medicine did not permit of an outside job, a necessity. So he changed courses. One of his new subjects was labeled “‘47.” It was a course in the drama under Professor Baker. While at Harvard, Pichel edited the monthly magazine and wrote dramatic criticisms for a Boston newspaper. He has also been identified closely with the Little Theater movement, having established theaters in Boston, St. Louis, St. Paul and Santa Barbara. And he’s still in it, even now directing his wife, Violette Wilson, in “Saint Joan” at the Pasadena Community theater, while he is in De Mille’s “Cleopatra” at Paramount. Among other things, he’s been a stage manager for the Shuberts. But above all, Pichel would have preferred being a symphonic orchestra conductor. He goes off on music and poetry sprees. He’ll read Milton aloud, for hours! At his home in the hills of La Canada, he is a heart-and-soul gardener. His wife is the first girl he fell in love with. His German-Viennese-Bohemian ancestry shows in his enormous vitality. 45 ‘ul
Page 44
The Monthl CAL one nnouncing Broadcast 7 A flowery wedding for Raquel Torres and Stephen Ames, aboard the S.S. Lurline. The walls were covered with gardenias. The bride and groom and all the guests wore leis—in true Hawaiian style Carver, who used to sign her name “Mrs. Adolphe Menjou.” S Dick Powell casting his dancing eyes to- ward the altar path? Dick’s contract at Warners has a clause stipulating he can’t marry for a year. Dick now asks to have the con- tract crossed out. What do you make of it? Colleen Moore, in a satin, jewel- trimmed suit, makes merry with a noble Roman’s toga. The Roman is Roy Brooks. The pantalooned lady trying to make Colleen behave is Mrs. Harold Lloyd (Mildred Davis). It happened at the costume party given by the Lloyds HE diplomatic relations of Joan Crawford and Jean Harlow have never been of the bosom friend variety—but they’ve been strained even more than usual recently—be- cause of Franchot Tone. It is no secret that Joan wasn’t wild to have Franchot cast in the small part with Jean in “‘The Blonde Bomb- shell,” but she managed to keep her composure. Now Franchot has been chosen as Jean’s leading man in her next picture, working under the title “100% Pure,” but which may be released as ‘‘Eadie Was a Lady.’”’ And—so the gossips whisper—La Crawford is seething. OMANCE of “ex’s”— They’re off. Bing is watching the horses, but Mrs. Crosby watches Bing. George Brent, Ruth Chatterton’s recent The Crosbys spent their vacation at Agua Caliente. And judging from the “ex,” is being seen in the company of Kathryn expression on Bing’s face, he has picked a winner 6
Page 45
Hollywood Goings-On! The heart interests in Dick’s life in the past several months have been Margaret Lindsay, Maxine Doyle, Mary Brian and Ginger Rogers + —but everyone who knows says Mary Brian hit hardest. But Warners are making Dick stick to his agreement. Cheer up, girls! It’s only a few months off! ATHARINE HEPBURN’S quick action for a divorce from Ludlow Ogden Smith topped a month of rough weather on the Hollywood marital seas. One misalliance after another was dashed against the rocks, among the more prominent being those of Gloria Swanson and Michael Farmer; the Richard Bennetts and Corinne Griffith and Producer Walter Mitchell Morosco, Jr. Vague rumors were also beginning to arise that all was not so well between Gary Cooper and Sandra Shaw, his bride of only a few months, while the gossips were anticipating a final legal split between George Raft and his wife, from whom he had been so long separated. Some people believed Raft and Virginia Pine would wed, re- gardless of what had been said about his lack of such an intention. Another big nuptial bombshell—and a blonde one—brought the Jean Harlow-Hal Rosson split into the news. They’ll be divorced. dians goes to see the clowns. It is ||| Charlie Chaplin {| with his two sons, Charles, Jr. and Sidney, taking in the circus. Like most Hollywood parents, Chaplin strives to protect the boys from pub- | licity. Thus, pic- tures of them are rare The king of come- | ||| | Alice White and | Neil Hamilton came only half-way out of the water for the cameraman. When they swim, they swim! (Beach poses not includ- ed.) Alice was a guest at the home of the Hamiltons, helping initiate the swimming pool re- cently built on their place T was on the “Treasure Is- “Tt’s all right, honey,” he tried to reassure land” set on the M-G-M lot, her. ‘‘Daddy’s all right.” and Wally Beery was hobbhing But it wasn’t until Wally unstrapped the leg about on his wooden leg for the and walked about on his own two feet, that the role of Long John Silver. A car look of bewildered anguish passed from the drove up and little Carol Ann, little girl’s face. Wally’s daughter, rushed out to greet her daddy. Suddenly she RS. WALLACE BEERY, foster mother of A screen queen of silent pictures and a spied the leg and stopped. Pain little Carol Ann, remains at this time in a famous comedian are wed: Norma Tal- passed over her little face. critical condition with heart trouble. madge and her brand-new husband, George “Oh, my poor daddy,” she The Beerys have been ideally happy. They Jessel. They were married nine days after d said, her blue eyes full of tears have the sympathy of all Hollywood and her divorce from Joseph Schenck and her delicate chin quivering. wishes for a speedy recovery. Af
Page 46
One of moviedom’s proudest fathers is John Barrymore. Little John, Jr., pictured with him, is his and Dolores’ youngest child. He is two-years-old. Sister Ethel Mae is all of four years now IQ Romantic rumor: Marian Nixon and William Seiter, director, are seen together almost constantly these days. Here they are at the Cocoa- nut Grove, at a table for two. Seiter was divorced just recently by pretty Laura La Plante OROTHY MARTIN, first ex- wife of Eddie Hillman, organized a party to cruise out to Eddie’s and go swimming, but then thought it might be a good idea to telephone first. The baffled butler hemmed and hawed and finally broke down with, ‘“Maybe you had better make it another day, Mrs. Hillman, be- cause Miss Nixon is out here with a party now!” (P.S.—Marian Nixon is the second ex-Mrs. Hillman!) ONNIE BENNETT’S selection for the, réle in “The Green Hat,” with Herbert Marshall opposite, hasn’t set so well with several people in Hollywood—and it isn’t pro- fessional jealousy either. PERT little blonde with a come-hither look in her eye is being talked about in Hollywood. Adolphe Menjou openly displays a signed portrait of her on his dressing-table. And the little blonde is getting away with it— in fact, she is receiving a great deal of en- couragement. Her name is Shirley Temple, that cute little armful of five years. A smiash, a wow, a knockout, in ‘Stand Up and Cheer,” Shirley has been assigned to “Baby Take a Bow.” "TWENTY Nubian slaves (from Central Avenue) drawing a litter upon which reposed Claudette (Cleo- patra) Colbert and four leopards. In the midst of the scene, one of the. leopards suddenly sprang from the litter. Twenty Nubians went howl- ing off the set and out the front gate, clad only in loin cloths. Everyone on the street thought they’d gone nudist. eo MUIR is just beyond the Warners’ un- derstanding. Or nearly so. A splendid actress, the studio is anxious that Jean be seen Adrienne Ames and Bruce Cabot are enjoying cowboy thrills at the annual rodeo given by Hoot Gibson at his California ranch. Adrienne may- not know much about bull-dogging, but she cer- tainly seems to be well-entertained by Hoot’s round-up of bronco-busters and steer riders
Page 47
places in smart attire. At a rather swanky opening, the studio insisted that Jean at- tend. The photographers, they told her, would be there and she should look as lovely as possible. That night, right behind the elegantly groomed Norma Shearer and Joan Crawford, in came Jean—in an old tweed coat, a pair of slacks, no make-up—nothing that any other actress in Hollywood, except Garbo, considers necessary to advancement. And wearing flat-heeled sport oxfords. Openings are not mentioned any more to Jean. HOeLLYwoop’s colossal ribber, Vince Barnett, was handed a speed ticket by the same traffic cop three times in one week. Positive it was a gag concocted by one of his victims out for revenge, Vince, each time, ignored the ticket. Even when he found himself sum- moned to court, he still thought it a gag and trustingly confided his be- lief to the judge who sternly looked him over. “Mr. Barnett,” the judge said, ‘Gust to finally convince you this is no rib, you can give this court the sum of one hundred dollars or go to jail for fifteen days.” And so a thousand of Vince’s vic- tims are avenged. HAT Adrienne Ames missed— A new, dazzling $15,000 Rolls-Royce and a grand mansion in Beverly Hills—espe- cially built. Ex-hubby, millionaire Stephen Ames came through with these love tokens for Raquel Torres, his new wife. But then, Adrienne has Bruce Cabot. [ PLEASE TURN TO PAGE 92 | Col. Victor McLaglen leads a parade of the California Light Horse. A veteran of real and theatrical wars, he organized the company himself. Not for war— just for exercise Alice Faye attends Hoot’s rodeo with a gentleman who Jean Harlow is shown at the Del Monte polo knows his ropes, Bill Hart. For many years the hero games just before her recent split with Hal of Westerns, Bill sits in the grandstand and looks as if Rosson. The most strenuous thing Jean did he might leap into the arena and show the youngsters was to present the gold cup at the Steeple- a thing or two. With that hat, we bet he’d have a chance! chase Meet
Page 48
$500.00 tn Prizes Movie Fill- GAIN PuHotopray Magazine presents to its vast reader audience a new, thrilling, exciting contest which will not only provide many hours of entertainment, but bring $500.00 in cash prizes to the lucky con- testants. “Movie Fill-ins” will prove to be the most fascinating con- test ever presented by any magazine. If you know the motion picture players, their backgrounds, their doings and character- istics, you will find the “ Movie Fill-in” contest a test of your knowledge. Absorbing Chatter with worcs missing constitutes this con- test. Ample clues are given to enabi2 you to complete the Chatter, forming news in the same manner as is done by PHOTOPLAY Magazine’s staff of experienced writers and interviewers. When completed, the list of words and names used to make the Chatter interesting news should be copied in the solution ballot provided for that purpose. That will constitute the solution. Blank spaces in the Chatter are numbered. The clues are correspondingly numbered for reference. There will be three installments of this puzzle. Here is the way to go about solving it: Each single dash represents a single letter and the total number of dashes gives, in each instance, the total number of letters in the name of a plaver, the place he or she was born, a qualifying word or words. in Contest An American star of Spanish and Scotch ancestry came into world-wide fame playing opposite = in some short comedies called “ Saas 4 es a ee Oe is now married to a screen player whose name is _ _‘_ _. CLUES ANSWERS 1. Was very often the name of early Saxon and Viking kings—also the title of a Bulwer-Lytton novel Harold 2. The first half of the last name of a British war- time Premier Lloyd (Lioyd-George) 3. A solitary state Lonesome 4. One of the Apostles Luke 5. The first two letters mean to exist: the second two letters also, fo exist Bebe 6. Who was delivered from a den ofavild beasts? Plural of the name Daniels 7. His name suggests one of the animals in the den Lyon But not all the Chatter is as easy to fill-in as the foregoing example. Remember, be guided by sounds of words as well as actual spelling when following the Clues to detect the hidden Read the Chatter first. Then study the Clues. The following example explains the fill-in process: Carefully observe the blank spaces. names, titles, and so on. Now you are ready to go ahead with the puzzle and try for one of the many cash prizes. Rules of the Contest 1 Thirty-nine cash prizes will bg paid by * PHoToPLAY Magazine as follows: Minsibrizes- . | 455.5 ee eee $125.00 Second Prize. . : 75.00 Dihird Prize: 353507 a 50.00 Rourth Prize). -- ee 25.00 Ten Prizes of $10 each... . 100.00 Twenty-five Prizes of $5 each... 125.00 2 In three issues (the July, August and * September numbers) PHotopiay Maga- zine is publishing “Movie Fill-ins.”” Chatter with words and names of well-known motion picture actors and actresses missing will appear in each issue, and the list of missing words will constitute the correct solution of the “Fill-in” for that month. 3 Correct solution of the ‘‘Fill-in” pre- * sented in each issue consists of a com- plete list of the missing words, correctly spelled, inserted in their proper place in the solution ballot provided for each month of the contest. For example— 1. Harold 2. Lloyd 3. Lonesome 50 $500.00 in prizes, as specified in Rule * No. 1, will be paid to the persons who send in the most nearly correct and most neatly prepared solutions of the three “ Fill- ins” presented during the contest. Do not submit any solutions or answers until after the third ‘‘Fill-in” has appeared in the September issue. Solutions must be submitted in complete sets of three ‘*Fill-ins,” asstatedabove. Allsolutions should be sent to PuzzLE Contest EpitTors, PHOTO- PLAY Magazine, 919 N. Michigan Ave., Chi- cago, Ill. Besure that your full name and com- plete address are written on your entry and that it carries sufiicient postage. 6 Aside from accuracy in listing the miss- * ing words in the three sets of “‘ Fill-ins” in their proper solution ballots, neatness and simplicity in contestants’ method of submitt- ing solutions will be considered in awarding prizes. Elaborate presentations of entries are not desired. a You need not be a subscriber or reader * of PHotoptay Magazine to compete. You may copy the solution ballots from the ° originals in PHoTtopray Magazine. Copies of PHotopLay Magazine may be examined for this purpose at the New York and Chicago offices of the publication, or at public libraries, free. 8 The judges will be a committee of * members selected by PHOTOPLAyY. Their decision will be final. No relatives or members of the household of anyone con- nected with this publication may submit so- lutions. Otherwise, the contest is open to everyone, everywhere. 9 In the case of ties for any one of the * prizes offered the full amount of the prize tied for will be given to each tying contestant. 10 The contest wil! close at midnight on * September 20th. All solutions should be in by that time. No responsibility for mail delays or losses will rest with PHOTOPLAY Magazine. It will be impossible to return any of the entries. The complete list of prize winners will be announced in the January, 1935, issue of PHOTOPLAY.
Page 49
CHATTER FOR JULY ae ee was bornin S : ee ” co-featured with a now prominent male star. On the same motion picture lot is a charming brunette, ee oe 2 who scomes from, = 9. —., —__—1°___. After a very short period in American films cupeaetiaged "opposite ~§=5 422 2 2.2 ein & 13 14 ” To give you a little gossip: 16 a beautiful girl star, — _15_ , has been seen a great deal in the company of ss ___18 _ since securing a divorce. Speaking of advanced surgery, the doctor who operated on = a = fore appendicitis did not leave a scar. She made her screen debut over seven years ago in a silent picture, “Tor the Love of Mike,” as a leading woman ir wee ae ae OnexOipe = = 2 ett ’s favorite occupations when off duty is to wander off into the wilds of the Rockies to shoot mountain lions. He was co-starred with _ _25 26 in “_27__ ___?8 _.” Both he and she possess what is known as sex menace. When it comes to hero worship, _ _ _??. _ Sig oe has an autographed picture of i 2 which hangs in the place of honor in his den. The latter is his hero, not only as an actor but asan aviator. To mention still another actor-aviator, 2 _ 4 ______ considers a flight from Los Angeles to Central America and back just a mere hop. A player prominent in the silent days is now coming into his own again in the talkies. _ aes ees ’s most mecent preture is: 3% 38 — 39_” and you will find him playing opposite _____ *” =i a Here’s a hard one: 42 43 one of our most popular players, a a 2 1 eS orm rin 2 A picture that added greatly to his popularity was ‘“‘ = CLUES FOR JULY 1. The first two letters—German for yes, the remaining three letters—to snare. 2. The first three letters—the act of making merry, the last three letters—a correlative of neither. 3. A Quaker city in the ‘‘ Keystone State.” 4. The first four letters—the name of a great Quaker leader of Colonial days, the remaining eight letters—a forest. 5. A number from one to ten. 6. A habitation of happiness. 7. A small flowering shrub, loved by Scots. (Scotland.) 8. Referred to in the Bible as both good and bad. 9. A city abroad after which a great university is called. 10. A country in Europe. 11. The first syllable has the sound of a word meaning not so much, the last three letters—to prevaricate. 12. The first three letters—in what manner, the remaining three letters—a Cockney pronunciation of the opposite of soft. 13. An early colonial governor of Virginia. 14. To be honest. 15. A French heroine. 16. The first four letters—an organ of fowls, the last four letters—to cross a stream on foot. 17. The first five letters—a French coin, the last three letters—a degree of heal. 18. A character of sound. 19. The first syllable—a talon, the second syllable—that which we owe. (Be guided by sound in each instance.) 20. The first syllable has the sound of a fuel, the last four letters—the first name of a famous silent picture star. 21. The same as the second name of a widely selling alarm clock. 22. Suggestive of a member of a feline tribe. 23. English pronunciation of a word applied to a person who waits on customers in a store or shop. 24. Triangular part of an exterior wall of a house or building between the top of the side walls and the slope of the roof. 25. One leg of a pair of pants. 26. The first four letters—the barb from a large feather as of a peacock, the last two letters—sound a word meaning to be indebied for. 27. A fiery color. 28. The bane of a housewife’s existence. 29. This is also the name of the most often used trained lion in pictures. 30. A craftsman who makes tubs and casks. 31. The last name of the author of ‘‘ Ben Hur.” 32 To become loggy with a certain intoxicating liquid. 33. To know. 34. The first three letters—one of the twelve months, the remaining four letters—an aromatic plant. 35. His first name is the last name of a male star. 36. His last name the same as a daring female star of serial fame. 37. A definite article. 38. A female. 39. To inspect secretly. 40. The first three letters—to commil lo memory, the final six letters—a mode of standing. 41. The first three letters—a masculine name, the remaining four letters or last syllable reveals an instrument for fishing. 42. The first two letters—a popular contraction of a man’s name, the last four letters—to fend off a blow. 43. The first five letters—a species of bird, the remaining three letters—a male child. 44. A country in Europe—the first three letters has the sound of a three letter word which means to regret, the last five letters—a form of insanity. 45. An acute stinging sensation. 46. Currency. July Movie “Fill-in” Contest Solution 0) ) Na) A} A Bl) S2°S°E?HE2E? HE? S$? 51
Page 50
t the Well-Dressed Costumes from Mrs. Alexander Pantages’ Wee Wear Shop Just to prove that there’s nothing sissy about wearing a seersucker play suit, young Mr. Le- Roy goes into a big action pose for the camera. The ships embroidered in blue outline-stitch with a sail motif are just the right sort of nautical touch for any fellow’s active sportswear A suede windbreaker, pint-size, is as popular with the younger mas- culine set in Holly- wood as it is with the older. Baby LeRoy wears his for sporting activities. The knitted cap has a visor and pompon. The white jersey suit has a neat crew neckline 2 Er—a little undressed but quite the proper togs for Malibu if a fellow wants to get any suntan at all. Perhaps : aa you will recognize the ! : ee ee Neither Toby nor Baby LeRoy is quite shorts — a slightly ab- . certain about this outfit, but when they breviated version of learn that it is copied from very col- the costume above, but legiate overalls, things will brighten up! with the addition of a Washable white corduroy overalls and knitted beret striped silk blouse sanacenetsraseamanasoetcice Reset ST Ee al ne
Page 51
= ~ S a Young Man W1 “Hollywood career demands sartorial perfection,” says lively Baby LeRoy Photos by William Walling, Jr. A little or the dressy side but not too dandified. It has Master Le- Roy’s approval — or maybe the grin is for the rabbit. Anyway, a dotted Swiss blouse joined to brown linen trousers is the right answer for parties and such. The “trou” stripes are very jaunty! A last look finds our hero all set for a motoring trip. A blue flannel coat is correctly man-tai- lored with double- breasted closing and white flannel lining, lapels and cuffs. Nearly all of Baby LeRoy’s clothes, as you can | see, are copies of Jee adult masculine at- tire in detail 53 i : l} A businesslike suit to wear to the studio in a practical navy blue and white knit. The cardigan buttons down the front, a white pull-on and a pair of matching shorts com- plete that well-tailored look
Page 52
"he STARS! NOW YOU SEE They scoot out and. vanish in thin air every time a studio wants some acting done. It’s uncanny! By Kirtley Baskette LL the stars are vanishing out in Hollywood. Every day, right into thin air they melt. Presto, chango!—now you see them, now you don’t—and nothing up the sleeves. If it keeps on, who knows what will happen to the poor bewildered studios? How can you make movies with a flock of slippery stars who would make the late Harry Houdini look like a piker? If it does keep on, they’ll have to outfit casting directors with handy pocket spy-glasses and sign all term contracts with the Bertillon system ‘of finger- prints. At the cry, ‘‘Turn out the guard—a star’s A dream who started the fad of walking out on the studios, and fading from the view of wakeful, frenzied searchers. Margaret Sullavan she is, and she loves raw carrots! Aimlessly, happily Warren William drifted, becalmed, in the blue Pacific. When rescued by harbor po- lice, he stewed at in- dignities cast at his seamanship at se/ o4 The whole country was covered in the search for Myrna Loy. Every clue followed, every hide-a-way checked. Nobody thought of looking for Myrna at her home loose!”’ they’ll have to shriek the sirens and put detective false whiskers on all the prop boys. It’s terrible—and Margaret Sullavan is the girl who started it all—started every- one slipping out of sight for days and weeks and months at a time. For no good reason whatsoever. Walk-outs for more money are everyday items in Hollywood news. Every- one from Jimmy Cagney to Jean Harlow has taken turns running out on a too-reduced pay- check. It has always been considered a neat piece of business for an actor to romp off in the middle of a picture, and stay until a producer tires of holding up a half-million dollar
Page 53
M—Now YOU DON’T! It’s positively uncanny. Margaret vanished on the very day she was sup- posed to arrive to make “‘Only Yesterday,” leaving a group of baffled Universal executives, loaded down with flowers and welcome speeches, to huddle at the airport and speculate whether ‘Only Yesterday” would turn into “ Maybe Tomorrow.” Again, half-way through the picture, she casually strolled off the set after a mild tiff with Director John Stahl. Only some quick detective work, which included checking up on her bank and finding she had drawn out every cent, resulted in her capture as she stepped on a plane that night bound for New York. She was persuaded to return to work. When the final “‘cut”’ came on ‘“‘Only Yesterday,” Margaret vanished once more, and inside of a few hours was on her way to New York. For four mcnths, half the studio thought she was doing a play on Broadway and the other half thoug.it she was in Europe. But nobody was certain where she was all the time nor how to get in touch with her, although her contract said she was an employee of Universal studios. very now and then fragmentary reports of her whereabouts drifted Hollywoodwards, and finally Universal got word to her [| PLEASE TURN TO PAGE 106 | A lover of scenery and solitude, Ann Harding pulled a slick disappearing act when she left her car on the edge of the desert to walk a bit, and wasn’t seen or heard from for two weeks investment and writes a new contract. Jack Oakie did, for such business reasons—and Ann Dvorak breezed for a more personal cause—to go on a four-months-delayed honeymoon with Leslie Fenton. But since the advent of the in- creasingly enigmatic Miss Sul- lavan, neither rhyme, reason nor routine enters into things at all. Stars step off the sets and the earth swallows them up. Wh-s-s-s-t!—and they’re gone, like one of Thurs- ton’s magic houris. And nobody, nobody — not even their closest friends, relatives, managers, or fairy godmothers—can even get “warm” in the new Eollywood game of hide-and- go-seek, Lyle Talbot spent a destination-unknown vacation blissfully, never realizing what his fade-out was going to cost him! Lyle will listen in on KFWB next time Ginger Rogers blended into the scenery of Arizona, and it took the Bureau of Missing Persons, a sheriff and her mother’s plea over the radio to get her home again 1555)
Page 54
Select Your Pictures - and You Wouwe ‘ ke TARZAN AND HIS MATE—M-G-M HRILL after thrill for squealing audiences. There is a spirit in this picture that was never before caught in any Tarzan opus. Here is a world of make-believe where realism and fantasy so skilfully blend that you will find yourself rubbing your incredulous eyes. Ju-ju drums, trumpeting elephants, gunfire, chattering apes and Johnny Weissmuller’s lung power make a tremen- dous uproar. And when the jungle takes vengeance on men who attempt to rob the elephant graveyard of ivory, your breath stops. Delightful Maureen O’Sullivan and Neil Hamilton, both of the first Weissmuller-Tarzan picture, are in the cast. Cedric Gibbons’ direction is expert. Possibly a bit sanguine for very young children. ke MANHATTAN MELODRAMA—M-G-M GRIPPING story of the deep friendship between two men and the melodramatic climax of that friendship. As boys, Clark Gable and William Powell find themselves alone in the world. Gable is a born gambler. Powell, a studious lad determined to get on. He becomes district attorney; Gable, a gambling house proprietor. The combat between the two, the unflinching integrity of Powell and the devotion of Gable and his respect for his friend’s ideals, present an unusual situation. In order to squelch a scandal against Powell, who is run- ning for Governor, Gable kills a man and it is the duty of Powell, his friend, to send him to death. Myrna Loy, as the girl who once loved Gable and marries Powell, turns in a beautiful performance. Fine support. 56 The Shadow Stage A Review of the New Pictures THE AFFAIRS OF CELLINI— 20th Century-United Artists ERE, at last, is a costume picture out of Hollywood (by Darryl Zanuck) as good as any ever conceived in Europe. It is frothy, naughty, colorful, opulent. The characters are never once obviously aware that they are dressed in the extravagant costume of by-gone Italy. And the picture is lifted to heights with a performance by Frank Morgan as the Duke of Florence, that is so full of wit, of Machiavellian insight and cleverness, that it overshadows the performance of Constance Bennett and even of Fredric March. In 16th century Florence lives Benvenuto Cellini (March), artist and goldsmith, lover and fighter par excellence. His love-life, a date he has to be hanged, and the Duchess’s golden service plates, get all tangled up. Cellini’s “command” conquest of the Duchess (Constance Bennett) is complicated by the Duke’s sudden passion for Angela, a gloriously dumb dame, played beautifully by Fay Wray, whom Benny Cellini is trying to save for himself. Follows the hilarious attempts of the Duke and Duchess to conceal their amorous escapades from each other. It is all one of those rip-roaring, swashbuckling, slightly bawdy numbers, reminiscent of ‘‘ The Jest,’’ and gorgeously mounted with costume and background. You will have a lot of fun at this one! Not for children.
Page 55
Have to Complain About the Bad Ones The Best Pictures of the Month 20TH CENTURY MANHATTAN MELODRAMA SADIE McKEE WHERE SINNERS MEET SUCH WOMEN ARE DANGEROUS THE AFFAIRS OF CELLINI TARZAN AND HIS MATE HANDY ANDY LITTLE MISS MARKER DOUBLE DOOR “NT The Best Performances of the Month Frank Morgan in “The Affairs of Cellini” John Barrymore in “20th Century”’ Carole Lombard in “20th Century” William Powell in “Manhattan Melodrama” Clark Gable in “Manhattan Melodrama” Will Rogers in “Handy Andy” Joan Crawford in ‘Sadie McKee” Edward Arnold in “Sadie McKee” Adolphe Menjou in “Little Miss Marker” Shirley Temple in “Little Miss Marker” Reginald Owen in “Where Sinners Meet” Mary Morris in ‘Double Door” Marlene Dietrich in ‘Scarlet Empress’ Casts of all photoplays reviewed will be found on page 120 Ke 20TH CENTURY—Columbia HIS extravagantly funny film is a worthy adaptation of the play that so amused Broadway the season before last. Charles MacArthur and Ben Hecht, authors of the stage ‘‘Twentieth Century,” also wrote the picture. John Barrymore’s endless versatility, Carole Lombard’s fiery talent which few suspected she had, and Walter Con- nolly’s customarily good performance pack the laughs into the film. It is broad farce with a veneer of satire, moving at a dizzy pace. Barrymore as Oscar Jaffe, theatrical producer with all the idiosyncrasies and poses of his trade, molds a shop girl into a star. This Lily Garland (Miss Lombard) becomes as frantically temperamental as Jaffe, quits him for Hollywood, and his producing fortunes fade. So he goes after Li/y with a bagful of cunning schemes. She repulses him with all the egotism of her show-shop personality. This mad war of wits extends cross-country on the Twentieth Century, with Jaffe determined she shall sign a new contract with him before the train reaches New York. Connolly contributes to the hilarity as Jaffe’s sorely tried right hand man. Roscoe Karns is an effective press agent. Howard Hawks has done an excellent job of directing. The dialogue has been purged of anything that children shouldn’t hear, but retains a sophisticated sparkle. re HANDY ANDY—Fox ILL ROGERS at his very best makes this standard formula picture a real knockout hit. It’s all Will— but that happens to be plenty. As usual, Willis an uncouth husband—an apothecary this time—of an ambitious wife. She badgers him into selling the store for social relaxation, grooms their daughter for a wealthy marriage, forces Will into golf and finally a social excursion to the Mardi Gras, all against his wishes. But it’s funny how Will manages to win out with his passive resist- ance. Will is seconded by good situations, clever comedy lines and believable burlesque. Supporting cast with Peggy Wood, Frank Melton and Mary Carlisle splendid. Sophisti- cate or softie, sixteen or sixty, you’ll love this. he SADIE McKEE—M-G-M CANNY bit of film production—Joan Crawford in her real dramatic metier, a semi-tragic Cinderella réle. Running away from a servant’s place in the household of Franchot Tone, Joan tastes her first love tragedy when Gene Raymond deserts her to team with a blues-singer, Esther Ralston. When drunken millionaire Edward Arnold picks her out of a night club and marries her, she first incurs the disgust of his friend, Tone, and then wins his respect by saving her husband from a drunkard’s end. But her love for Gene won’t die, so she asks for freedom, comforting him be- fore he passesaway. Then Franchot brings Joan happiness. It may sound heavy, but comedy characterizations of Jean Dixon and Zelda Sears, and brilliant scenes of Arnold keep away too many tears. Not recommended for children. 57
Page 56
The National Guide to Motion Pictures (REG. U.S. PAT OFF) os LITTLE MISS MARKER— Paramount HE story is built around Adolphe Menjou but that new find of the film world, delightful little Shirley Temple, creates a sensation—a superb little mimic that overshadows her elders. Menjou, into whose lap the tot is dropped as security for a debt, shares this responsibility with his gambling friends. Charles Bickford, Dorothy Dell, Lynne Overman. Don’t miss this picture. WHERE SINNERS MEET— RKO-Radio LIVE BROOK, as an eccentric Englishman who devotes his time to waylaying couples eloping over the Dover Road, and his four romantically and maritally entangled victims, Billie Burke, Diana Wynyard, Reginald Owen and Alan Mowbray all do splendidly. But Owen’s Wodehouseian thick- headed Lord is priceless. Thoroughly paralyzing comedy situa- tions and brilliant dialogue. THIRTY DAY PRINCESS— Paramount YTHICAL-KINGDOM princess, Sylvia Sidney, visits America to raise bond issue—and raises a case of mumps. What to do? Financier swinging the deal finds her ‘“‘double,” a chorus girl (also Sylvia). The masquerade includes vamping of publisher Cary Grant, who begins by being hostile to the cam- paign—and ends, completely subjugated and in love. Grand humorous and satirical touches. A-1 performance. 58 DOUBLE DOOR— Paramount HIS drama about the sister (Mary Morris) who cruelly rules over relics of an ancient family (Kent Taylor, Anne Revere) and concentrates her venom on Evelyn Venable, Kent’s bride, seems a fantasy out of the past. But the mood seizes you and holds you in rapt horror. A pathological, melodramatic plot, timed expertly for suspense, and a pulse-pounding climax make this picture genuinely thrilling. SUCH WOMEN ARE DANGEROUS —Fox GIRL’S mad infatuation for an older man is a dangerous thing, author Warner Baxter discovers when being kind to a young poetess (Rochelle Hudson) results in her suicide. A clever picture, intelligently directed, with its share of suspense, believable characterization and story logic. Baxter is perfectly cast, Rochelle Hudson does her best work. Rosemary Ames, Mona Barrie, Henrietta Crosman. HALF A SINNER— Universal N this film version of ‘‘Alias the Deacon,’ Berton Churchill scores again. He is the benign benefactor, cheating cheaters in sub rosa poker game, winning back mortgage on Alexandra Carlisle’s hotel, presenting it to her, and departing for “other fields.” Joel McCrea and Sallie Blane, also acquainted with the ‘Deacon,’ provide love interest. Young Mickey Rooney does a good comedy job.
Page 57
Saves Your Picture Time and Money THE WITCHING HOUR— Paramount UGUSTUS THOMAS’ famous play seems a bit old- fashioned. However, it probably depends whether you are impressed by the occult. Gambler John Halliday, the possessor of uncanny hunches, unintentionally hypnotizes his prospective son-in-law (Tom Brown) and causes him to com- mit murder. The romance between Judith Allen and Tom Brown is appealing. A good cast makes it plausible drama. STINGAREE —RKO-Radio CTION takes place on Henry Stephenson’s Australian sheep ranch in Jatter part of 18th century. With Richard Dix, swaggering bandit lover, and impresario Conway Tearle both aiding Irene Dunne in attaining fame as concert singer. After triumphing in European capitals, she escapes with Stingaree (Dix). Irene sings beautifully. Mary Boland, Una O’Connor and Andy Devine provide hilarity. NOW ILL TELL— Fox RS. ARNOLD ROTHSTEIN’S story of the life and death of her daring husband. The only thing he recognized as wrong was failure, his only enduring respect was for his wife. He progresses from a small-time gambler to “ King” of gamblers, and to his ultimate downfall. Spencer Tracy gives convincing performance as Rothstein. Helen Twelvetrees plays his wife, and Alice Faye his girl friend. Good support. WE’RE NOT DRESSING— Paramount ITH a dash of comedy that fits like a life preserver, Bing Crosby comes through as a big he-man sailor. When Carole Lombard’s yacht sinks, the party is stranded on an island where George Burns and Gracie Allen, of all people, live. Bing and Carole are the romancers. Ethel Merman makes her screen debut teamed with Leon Errol. Plenty of grand new songs. And, besides, there’s Bing’s huge bear. SCARLET EMPRESS— Paramount IGHLIGHTED with scenes of wondrous beauty, this story of Catherine of Russia is a dull presentation of the life of the German princess (Marlene Dietrich) brought to Russia by the Empress (Louise Dresser) to marry half-wit Grand Duke Peter (Sam Jaffee). Embittered at the horrible termination of her romantic ideals, she favors the army officers who succeed in making her Empress. John Lodge effective. MANY HAPPY RETURNS— Paramount RACIE ALLEN is psychoanalyzed, and drives the analyst crazy, in this uproarious comedy. Gracie, George Burns, Joan Marsh and the rest never make sense once, which is a record in anybody’s language. Resume of plot is no use, be- cause Gracie takes care of that—and you can’t define Gracie. Guy Lombardo’s orchestra, Veloz and Yolanda. [ ADDITIONAL REVIEWS ON PAGE 84 ] 59
Page 58
ACTORS Dont - Grow Old George Arliss tells Elza Schallert those years, and of recent times a leading film Juminary —naturally has observations to make which are illu- minating. And these become doubly impressive because they have been reduced by him to their simplest denominators. Arliss talks in a live, brisk tempo. When he is citing an anecdote or emphasizing a point with humorous inflection, he watches you closely with a sly twinkle in his eyes, to note whether you are catch- ing on. There is a bit of the Peck’s Bad Boy quality about him. Mischievous! Inciden- tally, he has the bluest eyes I’ve ever seen in a man— the color of Dutch blue glazed pottery (he always wears that monocle, too). A first meeting with Ar- liss is something of an aus- tere ceremony. He has never quite lost his native English reserve, despite his many years in America. He does not give spontaneously of himself in the beginning. One feels rather that he holds himself back in order to look over the other fellow with due appraisal. And one also is conscious of being lifted up to a proper The Disraelis or Roths- childs of history, or down- to-earth characters—Ar- liss plays all réles with equal zest. Variety is freshening to his art HERE’S no denying that work takes on something of a thrill when the assignment hap- pens to be an interview with Clark Gable, or Fredric March, or Bob Montgomery, or a dozen other roman- tic heroes of the screen. But I must confess that spending the tea hour with Mr. George Arliss in his home over- realization of who George looking Los Angeles and the Hollywood hills, and listening Arliss is. I don’t think Ar- to him talk about pictures, and the theater, and acting, is an Mr. and Mrs. Arliss are near- liss deliberately tries to es- experience of a rare, rare order, indeed. Like rich old wine. ing their ies ueoune a tablish this mood. It is, And charming, of course. It couldn’t be otherwise. hen ne tom pplaibeee perhaps, merely the result An actor who has spent nearly a half century in the happy wife [ PLEASE TURN TO PAGE 100 ] theater, and almost thirty years of that career on the American stage—and who 1 Winkling his brightest at the age of sixty-six, Arliss riht for Cc wen ut talks of the energize, rejuvenating art 01 j2enme right for over twenty of BO
Page 59
(ih 2 Ls i 9 Jb, Ly Vy) Ne s Yip © U,, LE Wy oa A YY hy > Se Y ty, “ § “Qi x > Lp .f y f Ay 7 by . ‘ Z Y) , / a Le Y i) mea Wy 4 % KY Y 2 ; Nyy 2, @ G Lx Ds Jb A / 1 ID!R Gn yy, \ RA y, ‘ ’ Yj yf V, we O-U FN J by tht, if NL \ Yip hy << yo Ny, UY y yy Ml, P CorrmMahid o HeleuVinter vearran Gel acret— Acanst on
Page 60
Hollywood Tries White Magic HOLLYWOOD CINEMA FASHIONS heresponsoredby PHOTO- PLAY Magazine and worn by famous stars in latest motion pictures, now may be secured for your own wardrobe from leading department and ready-to- wear stores in many locali- ties. . . . Faithful copies | of these smartly styled and moderately-priced gar- ments, of which those shown in this issue of PHOTOPLAY are typical, —s are on display this month =o) in the stores of representa- 4 tive merchants =a __ <p eetae a childish lilt to Mary Car- lisle’s white gob hat with its navy blue streamers, but her reefer coat is nautical sophistication to its last nickel button! Mary has chosen her acces- sories skilfully—she matches the blue braid on her coat with a navy handbag, scarf and lacings in her white pumps. Her white crocheted string gloves are the right detail for this spectator sports costume. You may buy both hat and coat, copied from “Merry Andrew”
Page 61
On Costumes And Accessories LAIDS are clannish this summer! Diana Wynyard, who appears in © Where Sinners Meet,’ wears this charming plaid silk in a romantic scene with Clive Brook. The white silk piqué cuffs are reminiscent of the lines in our new off-the- face hats! Unusual buttons AlL PATRICK adroitly uses a color accent with her all- white costume. Bright tangerine crepe with confetti dots makes the scarf worn like a vestee, also the pocket handkerchief and wrist ties. Gail’s next will be “Murder at the Vanities’’ [HERE a perfect formula for beach dress—a pair of blue and white checked wool slacks made with all the masculine dash, a white short-sleeved blouse also masculine as to tailoring, white open-toed sandals and a knitted beret. The sponsor — Marian Nixon!
Page 62
From A\ Picture : Setting lo 4 Your Own : Summer One bale He oop an we HE cool color of water, Aqua blue, for this summer silk frock which Claire Trevor wears in “Wild Gold.” White mousseline de soie Frills at collar and sleeves add a crisp detail. Fabric buttons around the neckline are used all the way down the front to provide an effective opening HE title of the picture is “Call It Luck,” and that is just how fortunate you will feel to be able to buy this simple wash frock worn by Pat Paterson. Coolest white cotton with a tucked bodice and great flaring cape-like collar of blue and white eyelet embroidered linen with bow
Page 63
Shag iianeng. ws ; VENING frocks are a sheer delight this season. Marian | Nixon, in Embarrassing Moments, wears this gaily printed : sheer cotton, above. The bodice has a primness about its turn- : ’ over collar which the myriad ruffles below quite belie. Velvet ribbons further add to the old-fashioned charm of the dress A MORE conservative brim than the huge cartwheels everyone is wearing about Hollywood, is the one which shades Marian Nixon's eyes in this picture at right. All white except for a small twist of bright ribbon in front. The brim has an alluring irregularity, dipping smartly over the eyes
Page 64
"\W/e're Not Dressing!” A _ Ls ‘ies hats worn by Chinese coolies have inspired beach hat designs this summer. Fay Wray wears a modified version in the picture above. The brim is medium, sloping down from a peak and flaring out slightly, thus giving sun protection. Fay’ s is ribbon trimmed Witeie NIXON’S hatbox yields so many attractive bonnets this sum- merthatthisonecan tbeleft out as a possibility for all of you! Every line of that irregular brim has been copied carefully. It is the perfect small sports hat, being in a ribbed fabric with shallow crown, not too wide brim, and having an arrangement of two ribbons that will go with any costume color scheme Ce per Se does the title of Carole Lom- bard's picture fit this beach pajama which she wears in an important scene, that the title was lifted to fit this page! Navy blue jer- sey is the fabric, enormous plate-like white buttons are the trimming. And that’s about all there is to describe this simple sport- ing outfit. Fussy beach clothes can never hope to equal its practical chic
Page 65
William A. Fraker IME out, on the set, for a lesson on how to stab your rival. Oh, just in fun, of course. Joseph Schildkraut, standing, tells Frank Morgan and Elissa Landi how to handle a fencing foil, while Director David Burton tries to get the trio's attention back to the script. They were supposed to be rehearsing lines for ‘Sisters Under the Skin’
Page 66
Mack Elliott HE stakes must be high, for Mr. Dunn is taking the game seriously ! And Miss Gaynor considers carefully before she puts the card down. The spectator is Director John Blystone. Janet and Jimmy 3 played rummy between shots on the “Change of Heart’ set. Charlie
Page 67
The director of her film hits says it is up to Kate to over- come the anguish. of Broadway’s snub By Kenneth Baker FTER the most amazingly contradictory first season career any screen actress ever experienced, Kath- arine Hepburn is facing the second episode of her melodramatic climb to movie greatness. The first chapter has ended, leav- ing a bitter-sweet taste in her mouth. She has, in the short space of a few months, sampled the nectar of a world-acclaimed triumph and the wormwood of a dismal frustra- tion of a personal ambition. And she has broken with her first hus- band. Her freckled, artistic faceis turned toward a future blurred and con- fused by what would seem to be a chaos of conflicting desires. Her career and her prestige waver in the balance, buoyed on one side by the unparalleled excellence of her record in “Morning Glory” and “Little Women’’; and weighed down on the other by her dis- appointment in ‘‘Spitfire’” and the failure of her meant-to-be Broad- way stage triumph in “The Lake.” She is in the strange position of holding the highest honor screen- dom can give—the Academy award for the best acting of last year— and the worst affront Broadway can offer—the closing of her play after only a few weeks’ run. What's Ahead f Monkey business! Even her staunch- est admirers so describe some of Katie’s capricious actions. In Holly- wood now, Hepburn may fail. Or rise to still greater fame if— In the play, “The Lake,” with Colin Clive, Hepburn went through the torture of defeat. Some think her failure will affect her movie career It’s an uncomfortable, tortur- ing spot for any actress to stew on. Doubly uncomfortable and twice as torturing for an actress of Katharine Hepburn’s extreme sensitivity, ambition and pride. That her position is one which brought her anguish seems to be proved by the fact that im- mediately following the closing of the ill-fated “The Lake,” she fled from herself, her friends and her public on a vague, pur- poseless trip abroad, and ner- vously returned in a few days. Even her bosom friend, Laura Harding, did not accompany her. Then she hopped down to Yucatan and started proceed- ings for a Mexican divorce from Ogden Ludlow Smith, financial advisor toa New York company. Laura Harding did go with her on this jaunt. And when Katharine returned she appeared in more gleeful spirits, even mak- ing herself accessible to the press. But when she was asked if she in- tended to marry Leland Hay- ward, her manager, she said she had no intention of wedding anyone. Hayward’s wife, inci- dentally, also sued for a Mexican divorce. Poor Katie Hepburn! A public idol—not fallen yet by any means. But super-sensi- tive and self-willed, creating ob- [PLEASE TURN TO PAGE 114] 69
Page 68
You mustn’t squint like that! as big as some of the other stars’, and, if you are going places and see things—and be seen—you’d better listen to Sylvia EAR JEAN: You certainly didn’t bother about climbing that ladder to success that so many people talk about, did you? all in one leap and landed on top as a star. More power to you! A little over a year ago, when you played Your eyes aren’t You just took it Let the The title may be a pun on the chair’s announcement, “The ayes have it”; but seriously, Jean— on the stage in “Saint Wench” with Helen Menken, I saw you many times from the audience. But the night we were introduced, we were all in such a hurry that I didn’t have a chance to chat with you. That’s why I’m writing to younow. And I’m glad I waited, because I have much more to discuss with you than I would have had then. see, your responsibility is much greater now. To become a movie star is one thing. To remain a movie star isanother. I’ve seen them come and go. Some last six months, a year or two, and then slowly they are pushed aside until they are forgotten. Others continue year after year having greater and greater success. Why? Be- cause they are intelligent enough to realize that to keep the in- terest of the public they must give the best they have—and that doesn’t mean in acting alone. The next most important job for any actress is keeping physically fit and attractive, staying mentally alert and alive. Some actresses sit back and WAG) You You see, Jean, when you smile, that mouth of yours is a joy to behold! That’s why Sylvia, with the friendliest intentions, offers these facial exercises that will protect you, and other girls, against drooping lips Don’t let that nice mouth droop at the comers, as it is prone to, Jean; and reduce your bust. So says Sylvia, after seeing our Jean Muir with Richard Barthelmess in “‘A Modern Hero.” And Sylvia offers the remedies say, “I’m a great movie star.”” They stop right there, thinking that the public is awed by the very words, “movie star.” Well, believe me, dar- ling, the American public is pretty smart. They demand perfection from their idols, and competition is so great that if they don’t find that perfection in one star, they watch for another. Some of our movie stars who have been making personal appearances, now realize that just showing them- selves is not enough, particularly when they’ve allowed themselves to get fat. Stars must be slim and lithe— not bumpy and bulgy. They must walk correctly and gracefully. The distance across a movie theater stage
Page 69
Kiyes Have “It,” Sylvia Advises Jean Muir is considerably longer than that across a Hollywood set, and in the theater the public has a chance to get a good eyeful of every waddle and bump. I know, Jean, you are smart enough to realize that what I’m telling you is not idle talk. It is frank, yes, and outspoken—that’s my way. But I’m most sincere when I tell you that I want you to be one of our lasting stars. I want you to be one of the great artists of the industry. If my humble advice and help can be of any value, you’re welcome to it at any time. Some girls in Hollywood can’t takeit. But, Jean, for goodness’ sake, don’t you ever get that way. Re- member, darling, when anyone gets the fantastic idea that she can’t improve herself, it’s the begin- ning of the end. The way up is glorious. The way down is heartbreaking. And that goes for anyone in any walk of life. So remember that what I’m telling you is Jean had to be a for your own good. SS em as REY Y: rural girl, as here Ss as the shown with Dorothy Earth Turns, and Appleby, in “As the with Dick Barthelmess Earth Turns.” But in “A Modern Hero.” Sylvia warns her . against carrying Fine performances, this slumping off both of them. But the set here are some of the things I noticed. Your eyes aren’t as large as some of the stars’ eyes. But that doesn’t matter, they’re expres- sive. Norma Shearer’s eyes aren’t large, either, and look what she has done with them with proper make-up. But you, Jean, further handicap yourself by squinting in some of your scenes. Yes, I know—those lights un- der which you work are terrible. That’s why you must have good, [ PLEASE TURN TO PAGE 80 | On page 80 Sylvia solves the beauty problems of many who have written to her Sylvia nv 1
Page 70
Can’t Get London Off Her Mind HEN Mona Barrie was ten years old, she left London, her birthplace, behind. Many times since, she started out to see London once more, but something always interfered. Not so very long ago, she thought the time had come when she was going to make it. Mona had finished well up in fame on the Australian stage, particularly from her work in “Autumn Crocus” and ‘‘ Bitter Sweet.” Mona booked passage to London, by way of the United States. She arrived on the West Coast from Australia, but gave not one thought to visiting Hollywood. It was her first trip, too. No, she was headed for home this time, no stop-offs. So, New York was reached. Home was now only five days away. Then it happened. She was riding on top of a double-deck Fifth Avenue bus when a Fox executive, who was a fellow passenger, saw her. He tracked her to her hotel, learned who she was and arranged for her to take a screen test. Right then and there her trip home was indefinitely postponed again. Fox liked the test; gave her a contract. Her first picture was ‘‘Sleepers East.’’ ‘‘Carolina’’ followed. Next came ‘All Men Are Enemies” and ‘Such Women Are Dangerous.” Mona was then loaned to Columbia for a featured part in the Grace Moore picture, ‘‘One Night of Love.” But, in Hollywood, Mona keeps pretty much to herself. She has very few friends, lives alone in the Hollywood hills, and there buries herself in books. Not that she couldn’t be popular if she wanted to—people around the studio are fond of this smartly gowned, gracious girl. But she even rides and swims alone. And she just can’t get London off her mind. MOD a Moral: Don’t Be Too Anxious ““F’M too busy,” countered the irritated young man, who was born Ralph Zink and changed his name to Donald Woods. ““Can’t you see I haven’t time to make a picture test?” It took twenty minutes to revive the picture scout from War- ner Brothers’ Hollywood studio. The news spread, and two other major studios entered the game. A lively bidding fol- lowed for this talented stock leading man, who displayed such indifference toward pictures. He knew about Hollywood—went to high school there, in fact—and two good stock jobs were in hand. His psychology worked perfectly on the movie men. Forty-eight hours after he arrived in Hollywood with the persevering scout, Donald had settled his wife and two-year- old son, “Splinter,” in a house, signed a seven-year-contract with the Warners at a very healthy salary—and gone to work in his first picture, an important lead in ‘‘As the Earth Turns.” He is good in it. Why not? In seven years Donald played two hundred and twenty-three parts with stock companies, and two good réles on Broadway. At twenty-eight, he is a veteran actor. He was born in Winnipeg, Manitoba, and brought to California when a baby. He isa naturalized Ameri- can, played football at the University of California. Broke his nose and says the doctor who fixed it improved his profile. In college, he met Josephine van der Horck, who would be a baroness if nobility were still in vogue in Germany. They have _ been married six years. Donald prefers light comedy, but his nearest approach to it in Hollywood was being ‘‘dunked”’ several times in a cold ocean for ‘Fog Over ’Frisco.”’ And that wasn’t so funny at the time. He has been loaned to Fox for “Charlie Chan’s Courage.”
Page 71
PHOTOPLAY’S Conducted By Carolyn Weasni Wey-eck All the beauty tricks of all the stars brought to you each month UMMER ought to mean the happiest season for us all. A season of gaiety, being yourself and doing things. Bright skies, inviting waters, golf, tennis, vaca- tions, cunning sports clothes and slithery chiffons. All the things that girls like. But, like all good things, there’s a darker side. And it’s spelled in three words—sunburn, freckles and tan! Think for a moment of the dollars, time and distress spent in correcting this harvest of summer. Instead of correcting this year, prevent. The whole moral of my story is that a few Curls go coronet in this original coiffure from Minna Gombell in ‘Hell Cat.’? In place of the usual braids, flat curls circle the crown of the head and the smooth back ends in a double roll low at the nape of the neck. The slightly exposed ears invite earrings. The perfect coiffure for your summer chiffons minutes for prevention will save hours of correction. And to prevent, you will need perhaps just one or two of the following preventives: reliable protective oil or cream, foundation in any form, plenty of powder, and a good bleach and nourishing cream to be used after exposure. As a matter of fact, you can draw upon mother’s pantry closet for several good preventives, but since we’ve all been educated to lovely containers, sweet smells and a certain sense 13
Page 72
for our sunburn, freckle and tan exhibits A to K, because of the great variety in skin tone and texture. These eleven girls were brought to the Coast by Earl Carroll, and the additional ones in the cast chosen from the Paramount studio. California was the perfect place for our test, because in addi- tion to its brilliant skies and sparkling waters, California can’t be beat for a dry, sunburning climate. We start with Beryl Wallace, a dusky brunette with black hair and eyes and a dead white skin. That’s a matchless com- bination for beauty if you can keep that skin white. Once it is darkened, you’re just another brunette. And in spite of the beach and tennis, Beryl is still white by a clever little idea. Before any exposure she covers her face and neck with a dark shade of liquid powder, and over this base puts on her make-up. The sun makes no inroads on her white skin. The Jiquid powder is, in itself, very protective, but over that, you see, you lay an additional veil of powder, perhaps a little cream rouge. The combination makes you doubly safe from the sun. You can work the same magic on arms, shoulders, back and legs. But as perfect as this precaution was for Beryl, it won’t work with all. Anya Taranda and Evelyn Kelly are the fairest of blondes, with delicate, pink complexions. They tried Beryl’s way, and freckles were generously sprinkled over their respective noses after each outdoor venture. Anya discovered that by applying a strong bleach to her nose and cheeks as soon as she finished swimming or tennis, the freckles dis- appeared or became light enough to cover with powder. Evelyn followed this method also. After each bleaching treatment both girls used generous applications of nourish- ing cream to counteract any dryness that might be caused by sun, wind and bleach. If you, reader, are blonde, inclined to freckle, you must employ the examples of Beryl, Anya and Evelyn. The trick being to prevent all you can and cor- rect a little as you go along. For your type of skin is “duck soup” to sun and wind. And if you wait until September or Octo- Linda Parker is wisely planning her campaign for a per- fect tan. Plenty of protective oil on shoulders, back and legs is the secret of her sun- A few sprays of special hair fragrance is one of Helen Vin- tan success son’s pet nocturnal tricks. This essence blends perfectly with all scents of luxury in our toilet preparations, the tempta- Skin lotion applied tion to go out and buy something nice in a bottle well be ie ne mer ; Ton oe prevents discolore os jar is very strong. And I’m with you there. circles and'V?s Goal Your cup of olive oil and vinegar, half in half, is wind sanded a great aid to a nice tan, but I’d rather have a Phyllis Barry sug- sweet-smelling fluid in a smart bottle any day. gests this for all And so would most of you. summer girls In looking about Hollywood, I chose eleven girls from the cast of ‘‘ Murder at the Vanities,” 74
Page 73
in the Sun ber for your bleaching, you'll have a long, hard job on your hands—or face, rather. Leda Nacova, Russian, brown-haired, brown-eyed, found that California dried her skin. And California isn’t the only place that has this neat little way of ruining your skin. It hap- pens everywhere. Leda immediately gave up a soap-and-water facial for the time and resorted to a liquefying cleansing cream. Then she used a nourishing oil on her skin before retiring, and over her entire body before taking a bath. The pores, opened by the warmth of the bath, absorbed the oil. There are some delightful oils and creams made expressly for this pre- bath treatment, and they leave your body as smooth and fine as a baby’s. Ernestine Anderson found another treatment for the pre- vailing ailment of feminine skins in the West-dryness. Ernestine has fair skin and red hair, which at once puts her into that class Sidney Fox believes in the good old home remedy of equal parts of olive oil and vinegar sponged on skin to pro- tect against wind and sun while at the beach. Apply this before and after exposure If you’re blonde like Mary Carlisle, you’ll find that your legs will burn as painfully as face or neck. Mary rubs a protective oil over thighs and legs. It’s a wise self-defense A thorough application of liquid powder before make-up is one perfect method of dodging pain- ful burn and many freckles, says which shies away from summer as it would a dis- ease. Powder wouldn’t stay on Ernestine’s face and her nose peeled. So, in addition to the use of cleansing and nourishing cream, she used a founda- tion cream that left her skin moist, and over this applied make-up. It was the moist quality of the cream that saved Ernestine further skin worry. If your skin is fine and fair, this type of foundation is perfect, for it not only protects but enhances your appearance. It gives you that fresh, dewey look. Ernestine used it on both face and neck. Wanda Perry, with brown hair and eyes, had only roughened lips to worry about. After applying her powder, she touched her lips with cold cream, and over the oily base applied lipstick. The result was ravishing. This gives that screen-mouth effect, about which so many of you write me. It givesa tempting gloss, almost, to the lips. Marion Callahan and Constance Jordon are both ash blondes and their secrets are synonymous. To ward off freckles and burn, both girls used plenty of vanishing cream and powder, and a nightly treat- ment that comprised steaming the face slightly to open the pores and then applying muscle oil mixed with nour- ishing cream. That, by the way, is a great night treat- ment for summer skin. It softens, lubricates and does wonders toward eradicating wrinkles and lines, espe- cially about the eyes. For necks, too, that age pre- maturely, there’s nothing like it. First, scrub lightly with a soft brush to remove any dead skin and arouse circulation, then spread on the muscle oil-nourishing cream mixture. Sleep with it on. It works on the younger and older neckalike. Sidney Fox
Page 74
Four episodes in the story of the day and night life of a coiffure are told by Gail Patrick. Hair off the face, a few shadow waves and small, tight roll curls brought for- ward over the cheeks tell the youthful, distinctive day story. An enduring good style for many Laurie Shevlin, a tiny brunette from Scot- land, used a bleaching recipe handed down to her from her grand- mother. She mixed equal parts of almond meal and water to a thick paste, and applied it to her cream-cleansed face and neck. When the paste was thor- oughly dry, it was re- moved with warm water, and plenty of nourishing cream was then applied to the skin. This treatment keeps the Shevlin skin camellia-like, even in Hollywood. Ruth Hilliard, a gray-eyed brunette, scrubbed her face daily with soap and water, but used an oily foun- dation beneath her make-up. Soap and water is usually the skin salvation of the oily type. The pantry shelf came to the aid of the blue-eyed brunette, Dorothy Dawes. After a week-end of tennis and golf, Gail retains similar face hair-lines for her evening coiffure but banks the back hair in a senorita manner. A highly romantic, Carioca effect to top your summer dance frock and particularly charming on the dark- haired girl. A hair- dresser is necessary for this style Dorothy found unmistakable signs of suntan. She hur- riedly applied the beaten white of an egg to her cream- cleansed face. It’s Dorothy’s way of combatting too much 76 inclined to dryness. tan. Since the egg white is also very astringent, Dorothy ap- plied plenty of nourishing cream later on. This egg-white treatment, by the way, is a splendid pick-me- up after a tiring day when you have a big evening before It is especially helpful for the face that is coarse- pored and inclined to droop, because the tightening effect seems virtually to lift the face and refine the skin. If you use this before going out, let the white dry, rinse off in cold water and use a foundation. That night, use a nourishing cream if your skin is If it is oily, don’t, because you will then need the general drying effect of Now you know the summer secrets of eleven of the ““Murder at the Vanities” cast. Be guided by the type that you are, and the tricks will probably work as well for you as for Earl Carroll’s eyefuls of beauty. And when you see the picture, you can smile to yourself and think, “I know how this one and that and the other one do it.” - In casting my eye around Hollywood for other typical summer ideas, I came across Helen Vinson, golden haired, brown-eyed, with a deep peach skin. Helen also resorts to Sidney Fox’s trick of olive oil and vinegar to induce a nice tan and to avoid too much. Helen also passes on another little intimate summer secret. She has a perfect figure, but believing in the virtues of the right girdle to make you stand, sit and walk correctly, Helen wears a light, solid gum-rubber girdle from which she removes the garters, so there can [ PLEASE TURN TO PAGE 90}
Page 75
Copyright, 1934, R. J. Reynolds Tobacco Company CAMELS ARE MADE FROM FINER, MORE EXPENSIVE TOBACCOS THAN ANY OTHER POPULAR BRAND = Miss Anne Gould spent much of her early girlhood in the Hawaiian Islands. Her adventurous spirit not only made her an expert surf rider, but she went to the bottom of the ocean herself to secure certain rare shells and corals for her col- lection, the finest private collection in America. She studied in Paris under two famous French masters and her paintings are exceptionally fine. She is a proficient horsewoman and loves the open country. She always smokes Camel cigarettes. Why Miss Anne Gould, daughter of Mr.and Mes. Jay Gould, prefers Camels “Why do I smoke Camels? Be- cause I honestly like their taste better than any of the other ciga- rettes,” says Miss Gould. “Like most of the girls I know, I prefer a mild cigarette—that’s another reason I am devoted to Camels. Besides, I see no reason for let- ting cigarettes make you nervous —Camels never make me edgy or jumpy. And I really believe you could smoke Camels forever and ever and not get tired of their fine, smooth flavor.” ls codtlion tobacces pee ore
Page 76
with ROGER PRYOR, John Mack Brown, Duke Ellington & Band * Directed by Leo McCarey lf it's a PARAMOUNT PICTURE it’s the best show in. town! [nS SESS BERR Rees aoe ii a a ico ic Sites
Page 77
A\sk The /\nswer Man THEL MERMAN—she’s got. rhythm and she’s got everyone asking about her. Her performance in “We’re Not Dress- ing” has the picture-goers saying that when “better torch songs are sung, Ethel will sing 2em.”’ Neighbors heard her first lusty try-out when she entered this merry old world on January 16, 1909. The place was Astoria, Long Island, just across the river from the Great White Way. As a youngster she was always called upon to entertain at parties. Won prizes when she sang in contests in neighborhood theaters. When she graduated from Bryant High School she secured a secretarial position, but spent her evenings singing in local night clubs. An introduction to Archie Mayo, motion picture director, resulted in a six months’ movie contract. However, no suitable réles were available at that time, so she joined Clayton, Jackson and Durante. Engage- ments at New York and Florida night clubs followed and a vaudeville tour which cul- minated at the Palace Theater. Next came motion picture shorts at the Astoria Studio and engagements at the New York and Brook- lyn Paramount Theaters. Ethel’s first real recognition came when, on the opening night of ‘Girl Crazy” she stopped the show with her blazing torch sing- ing. Then she appeared in George White’s “Scandals” and “Take a Chance.” Her real name is Ethel Agnes Zimmerman. For professional purposes she dropped the “Jim” and thus got the name you know her by. She is 5 feet, 614 inches tall, weighs 118 and has brown hair and brown eyes. Is of Scotch-German descent, the Scotch having the upper hand. Her favorite color is red, and her greatest ambition is to be a dramatic actress. ARDINE ANDERSON, OAKLAND, CAL.—The twin girls who appeared with Will Rogers in “Mr. Skitch” were Cleora Joan and Glorea Jean Robb. A SAGINAWIAN, SActnaw, Micu.—The pic- ~ ture “Court Martial” was produced by Colum- bia in 1928. The cast included Jack Holt, Betty Compson, Pat Harmon, Doris Hill, Frank Lackteen, Frank Austin, George Cowl and Zack Williams. Pobert Armstrong was born in your home town. His latest picture is “Manhattan Love Song” in which he ap- pears with Dixie Lee. Bob is fancy free at this writing. CHARLOTTE BRINSTEIN, NEw BRUNSWICK, N. J—Margaret Sullavan was divorced from her husband, Henry Fonda, last year. Her new picture is “Little Man, What Now?”. JosrpH KIkER, BRECKENRIDGE, TEx. — Buster Crabbe is a native of Oakland, Calif. He was married to Adah Virginia Held, April 13, 1933. His latest picture is “‘ You’re Telling Me.” Witi1am FisHer, New Yorr City.—The last three pictures of that grand character Ethel Merman, the pretty blues singer, whose work in ‘‘We’re Not Dressing”? won her many new ad- mirers. She gained fame sing- ing in night clubs, vaudeville, musical comedy and radio Read This Before Asking Questions Avoid questions that call for unduly long an- swers, such as synopses of plays. Do not inquire concerning religion, scenario writing, or studio em- ployment. Write on only one side of the paper. Sign your full name and address. Jor a personal reply, enclose a stamped, seli-addressed envelope. Casts and Addresses _ As these take up much space, we treat such sub- jects in a different way from other questions. For this kind of information, a stamped, self-addressed envelope must always besent. Address all inquiries to Questions and Answers, PHOTOPLAY MaGazINE, 221 W. 57th St., New York City. actor, Noble Johnson, are ‘King Kong,” “White Woman,” and ‘Son of Kong.” I am sorry but I have no address for him at this time. Davricr Hoyt, WeEpsport, N. Y.—Don’t waste your time arguing, just send your ques- tions in and [ will be glad to settle them for you. Spencer Tracy has been celebrating birthdays since April 5, 1900. Ropert H. McRar, San PEepRo, Cat.— The lad who played Bradicy, Jr., in “ Dancing Lady” was Maynard Holmes. He will be seen next in ‘‘ Madame DuBarry” the new Dolores Del Rio picture. THREE BLONDES, OMAHA, NEBR.—Wouldn’t Eddie Tamblyn, pint-sized collegian, be pleased to hear that you girls like his acting so much. Well, here’s the low-down on Eddie. He was born in Yonkers, N. Y., January 5, 1912. Stands just 5 feet, 51% inches high (he failed to tell whether that is with or without shoes), weighs 120 and has light brown hair and blue eyes. He is an expert horseman—he says so himself; plays golf and likes fishing and hunt- ing. He originally intended to be an electrical engineer, but drifted into show business through winning a Charleston contest. Brartrice E. Hicctns.—Lovely Kay John- son was born in Mount Vernon, New York. She is 5 feet, 4 inches tall and has blonde hair and blue eyes. She ‘appeared on the stage prior to making her talkie début in “‘Dynamite.” In private life she is Mrs. John Cromwell. Kay’s latest pictures are “Eight Girls in a Boat” and “This Man Is Mine.” HELEN BorrmMan, MINNEAPOLIS, MInn.— After a vacation in Europe, New York and Miami, Gene Raymond has settled down to work again. He is appearing with Joan Craw- _ ford in ‘‘Sadie McKee.” Ertc Messryver, York, Enc.—If you will give me further details on just what informa- tion you want on American pictures and stars, I will be pleased to advise you what to do about it. If you are interested in any par- ticular stars and desire to keep in touch with their activities in the studios, you can do so by joining some of the Fan Clubs and corre- sponding with the officers of the clubs. I'll be waiting to hear from you. 79
Page 78
Let the Eyes Have “It,” Sylvia Advises Jean Muir strong eyes to stand up under those lights. And, first of all, I want you to have my won- derful eye exercise to make you keep your eyes wide open, even when you’re doing a great emotional scene. The rest of you girls can listen in, too, so that when you go to the beach this summer you won’t squint under the glare of the sun—so you’ll look attractive at all times. This exercise is also good for tired eyes. Here goes. Shut your eyes for the flash of a second. Now look at the object farthest away, preferably something green. Next, look at a closer object and a closer one and still closer, until you’re looking at your own lap. Why, your eyes seem rested already. They’re not tense and tired any more, are they? Do that just before you begin a scene. HERE'S another eye exercise. This will strengthen the eye muscles and, therefore, keep away those tiny little lines that cluster about so many otherwise attractive orbs. Sit quiet. Without moving your head, look as far as possible out of the corner of your eyes over your left shoulder. Slowly move the eyes, without moving the head, until you’re looking over your right shoulder. Then look up as far as youcan. Then slowly, slowly bring the eyes down, and look down as far as you can. But never move your head. That’s a marvelous exercise for you, Jean, and for every person who wants strong, bright eyes. Do that once a day, at least. When the eyes are tired close them and very gently, in a rotary movement, roll two fingers of each hand over the lids. Then, with the thumbs, press right under the eyebrows on that bone. Next, with the palms of the hands press on the temples just as hard as you can. Hard, darling, press plenty hard. That’s right. Now, with the palms of the hands, press the forehead as hard as you can. When you’ve finished all that, rest for a little while, placing two pads of cotton soaked in witch-hazel over your eyelids. Just try that—all of you girls— fora month. You’ll be amazed at how strong your eyes will become and how they will snap and sparkle. Just one more thing about your face. You know, darling, you have lovely hair, a beauti- ful neck and a wonderful smile. I want you to [ CONTINUED FROM PAGE 71 | smile more often because, at times, your mouth has a tendency to droop at the corners. Well, we’ve just got to get those corners up, because it makes you look older when you pull them down, and you’re really so young. Put your thumbs right under your cheek bones and work around until you find the muscles that control the corners of your mouth. When you’re on the right spot you can feel those drooping corners lifting. Now, with the thumbs, press and move them in a slight rotary movement—just on those muscles. Relax and do it again. Do that any time you think of it. The more the better. The rest of you girls do that when you’re sitting at your office desks or when you are reading a book at home. It will give you a much more cheerful expression. And, Jean, smile—smile a lot. You’re beau- tiful when you do. Now, darling, I want to give you a wonderful exercise for your bust. Even in those country woman costumes you have worn in your most recent pictures—particularly in “‘As the Earth Turns” and “A Modern Hero,” I could see that your bust was too large and also, because you’re tall (and tallness is an advantage, not a defect) you are inclined to slump. Well, don’t do it, for that makes your bust look as if it sags. Recently, I reduced a woman’s bust thirteen inches. You don’t need that much of a reduction, but you still have a problem. With your two hands, squeeze and dig into the flesh and muscles of your back, just over the shoulder-blades. (I don’t need to tell you that you mustn’t touch the bust. I’m sure you have sense enough not to do that.) Those back muscles support the bust. You must make those muscles hard and firm so that they will support the bust properly. And this pinch- ing and squeezing stimulates the glands so that the busts are pulled up where they belong. Here’s another grand bust exercise. This will reduce the bust and the upper arms, too. You must have someone to help you, and if your maid is shorter than you are, have her stand on a chair. In your stocking feet, stand with your face flat to a wall and reach up with your hands as far as you can. Then have your helper grab you around the arms just below the elbows and hold you up against the wall. While she’s trying to hold you up, you try to pull down until your heels touch the floor. Gosh! You can feel every muscle in your body pulling and stretching. Sure it hurts, but after you’ve done it, it’s a wonderful feeling and particularly will you feel your bust lifting. Your upper arms will become thinner, too. In working on the bust you mustn’t expect miracles. You’ve got to have unlimited per- sistence, and don’t forget to wear a good brassiére as a support. I want you to eat plenty of red and white cabbage, and raw grated apples with lemon juice. I could give you my famous buttermilk diet for bust reducing, but since you don’t need to take an ounce of flesh off your lower hips—in fact you need a couple of pounds there—I’d rather you would try the other methods I’ve given you first. And, to develop your lower hips, at the back, and also your legs, here’s a grand thing for you to do. At the beach float in that wonderful Cali- fornia salt water and—keeping your arms and the upper part of your body perfectly quiet— paddle vigorously with your legs. In that way you can enjoy the water and, at the same time, build up the lower part of your body. A few tap dancing lessons wouldn’t do any harzi asa hip builder, either. JE darling, I’m not going to say anything about your walk—except one thing. I know you affected that droop of your shoulders for the character you played. Your director tells you what to do and I don’t claim to be a di- rector. [’ll stick to my own job—that of telling you girls in Hollywood and all over the world how to be as beautiful as possible. But there’s just one thing I want to warn you about—since you are playing so many character rdles—be careful not to get into the habit of slumping off-screen as the character demands that you do on. A walk like that can so easily become a habit. Don’t take your screen personality into your private life. There, darling, go to it. I hope not only you but all the other girls and women who read this letter find help in it. ; I send you my best wishes for a successful and glamorous career. Sincerely, SYLVIA Dear Sylvia: I am very anxious to follow your reducing system. I assure you that I will do exactly as you say. There is just one question I want to ask. Should the exercises be taken night or morning? Mrs. R. J., Pittsburgh, Penna. That’s the spirit! It thrills me to hear some- body say she will follow my advice exactly. Just keep up that spunk and courage, and T assure you that you will be amply rewarded. You can use your own judgment about when to take the exercises. I think a person has more pep in the morning and, therefore, does them more vigorously, but if you’re too busy in the morning to do them thoroughly, then SO Answers by Sylvia Y, how the troubles come in— but how I like to see them! I know, you see, how I can make them disappear—so you’ll understand why Aunt Sylvia says, the more the better. If you have a problem, I’Il be glad to help if you’ll just write, addressing your letrer to Sylvia, care of PHOTO- PLAY Magazine, 221 West 57th Street, New York City. For a direct answer, enclose a self-addressed stamped envelope; otherwise watch these columns. No obligations what- ever, of course—I’m only too glad to help. SYLVIA take the time at night. A lot of the exercises are so simple that they can be taken during the day when you have a few minutes to spare. Makeevery moment count. You won’t regret it. My dear Sylvia: Will you please tell me how to reduce my cheeks? B. D.N., Riverside, Calif. You don’t tell me in what places you want the cheeks reduced, and you know that certain muscles control other muscles; but, as I have said so many times and now repeat, you can model your own face exactly as a sculptor models moist clay. However, you must be just as careful—if not more so—with your face as an artist is with his masterpiece. Very, very [ PLEASE TURN TO PAGE 99 ]
Page 79
says. Aellgnioed says Det bust lo back, TRUST TO LUX “Lux is marvelous, too, and lovely without fading the color, PHOTOPLAY MAGAZINE FOR JULY, 1934 “I Love Su “And how it cuts down stocking r for keeping lingerie fresh ““ EAY WRAY : mmer Kalloch, Columbia stylist ; ted Fay Wray, Specified in all the big Hollywood st “It’s so easy to keep them fresh and smart with LUX” “With such exciting new cottons and gorgeous washable silks nowadays, summer clothes have loads of smartness. But, of course, they must be absolutely fresh to look their best. “That’s why Luxable clothes are so heavenly. Just a whisk through a froth of lukewarm Lux suds, and they look grand as new. My maid al- ways tests the color first in clear water—then we know if it’s safe in water alone, it can be trusted to gentle Lux.’’ Why don’t YOU try this Hollywood care for your own summer things? Lux will keep them fresh and un- faded. But don’t risk cake-soap rubbing or using ordinary soaps containing harmful alkali. These things are often disastrous to color and fabrics. Lux has no harmful alkali —keeps lovely frocks new looking all summer long. 41; 7 dise USsses costum . lovely young) staris €s and color with f Columbia’s “BLACK MOON.“ udios .., Clothes” 81
Page 80
82 PHOTOPLAY MAGAZINE FoR JULY, 1934 Even “first timers” |A (]dresses of the Stars get good snapshots Hollywood, Calif. Culver City, Calif. 2 m Paramount Studios Hal Roach Studios Brian Aherne Ida Lupino Don Barclay Stan Laurel with Verich rome. Ndinenneeaines Helen Mack Billy Bletcher Billy Nelson Richard Arlen Fred MacMurray Charley Chase Our Gang George Barbier Julian Madison Billy Gilbert Thelma Todd Wares lYAe Ee Sein Oliver Hardy Douglas Wakefield e Mary Boland Joan Mars Pp. S This adaptable ere kee, evan oe ee ey ar. risson Adolphe Wlenjou = Burns and Allen Ethel Merman Metro-Goldwyn-Mayer Studios Kitty Carlisle Gertrude Michael Katherine Alexander Jean Hersholt Claudette Colbert Raymond Milland Tad Alexander Irene Hervey fil | Gary Cooper | Joe Morrison Elizabeth Allan Jean Howard ium to erates Larry ‘‘Buster’’ Crabbe — Jack Oakie John Barrymore Otto Kruger Eddie Craven Gail Patrick Lionel Barrymore Myrna Loy Bing Crosby George Raft _ Wallace Beery Jeanette MacDonald Alfred Delcambre Lyda Roberti Alice Brady Ruth Matteson Dorothy Dell | Lanny Ross Charles Butterworth Florine McKinney exposu re erro rs AAC Marlene Dietrich Jean Rouverol Mrs. Patrick Campbell Una Merkel Jessica Dragonette Charlie Ruggles Mary Carlisle Robert Montgomery Frances Drake Randolph Scott Leo Carrillo Polly Moran W. Cc. Fields Clara Lou Sheridan Ruth Channing Frank Morgan William Frawley Sylvia Sidney Maurice Chevalier Karen Morley ou | | ef ood Barbara ritchie Alison Skipworth Mae Clarke Ramon Novarro y g g Frances Fuller Sir Guy Standing Jackie Cooper Maureen O'Sullivan Gwenllian Gill Dorothy Stickney Joan Crawford Jean Parker Julia Graham Colin Tapley Marion Davies Nat Pendleton Cary Grant Kent Taylor Marie Dressler Esther Ralston Cy Jack Haley Eldred Tidbury Jimmy Durante Donald Reed pictu res even W en Charlotte Henry Evelyn Venable Nelson Eddy May Robson Jay Henry — Mae West Stuart Erwin Shirley Ross Miriam Hopkins Henry Wilcoxon Madge Evans Norma Shearer Roscoe Karns Dorothy Wilson Muriel Evans Martha Sleeper ° e e Charles Laughton Howard Wilson Louise Fazenda Mona Smith the ti ming is not Baby LeRoy Toby Wing Betty Furncss Lewis Stone Carole Lombard Elizabeth Young Clark Gable Gloria Swanson jee oa. Pian Tone j teta Garbo upe Velez : F Fox Studios, 1401 N. Western Ave. Coneacnden Heney Wadewone ust ri hit Rosemary Ames Harry Green Russell Hardie Johnny Weissmuller i ® Heather Angel Lilian Harvey Jean Harlow Diana Wynyard Lew Ayres Rochelle Hudson Helen Hayes Robert Young Jane Barnes Roger Imhof Ted Healy Mona Barrie Miriam Jordan SS Warner Baxter Victor Jory . : * John Boles Suzanne Kaaren Universal City, Caht Clara Bow Howard Lally : . Charles Boyer Frank Melton Universal Studios Nigel Bruce Conchita Montenegro Henry Armetta June Knight Madeleine Carroll Herbert Mundin Lew Ayres Paul Lukas Joe Cook Pat Paterson Vince Barnett Ken Maynard Henrietta Crosman Will Rogers Dean Benton Chester Morris James Dunn Raul Roulien Russ Brown Neysa Nourse Jack Durant Wini Shaw Russ Columbo Edna May Oliver Charles Farrell Sid Silvers Ann Darling ZaSu Pitts Alice Faye Shirley Temple Andy Devine Roger Pryor Peggy Fears Spencer Tracy Sally Eilers Claude Rains Stepin Fetchit Claire Trevor Hugh Enfield Ellalee Ruby Accept nothing butthe Norman Foster Helen Twelvetrees Francesca Gall James Scott ae Ketti Gallian Blanca Vischer Sterling Holloway Onslow Stevens familiar yellow —. Henry Garat June Vlasek Edward Everett Horton Gloria Stuart box with the - 4 ? Janet Gaynor Hugh Williams Leila Hyams Margaret Sullavan : James Gleason Lois January Slim Summerville checkered Buck Jones Alice White ipe. : : Boris Karloff Jane Wyatt stripe RKO-Radio Pictures, 780 Gower St. Uetpre RNGatGn Fred Astaire Wynne Gibson ee Nils Asther Ann Harding : Ralph Bellamy eS ase Hebi Burbank, Calif. oan Bennett orothy Jordan ; ‘. 3 is Brendel Pert eae Warners-First National Studios June Brewster Edgar Kennedy Loretta Andrews Ruby Keeler Clive Brook Francis Lederer Mary Astor Guy Kibbee Tom Brown Dorothy Lee Robert Barrat Esmond Knight Bruce Cabot Eric Linden Joan Blondell Lorena Layson Mowita Castanada Joel McCrea George Brent Hal LeRoy Ada Cavell Colleen Moore Joe E. Brown Margaret Lindsay Chie Chandler Ginger Rogers Lynn Browning Emily Lowry | Alden Chase Robert Shayne James Cagney Marjorie Lytell Z Jean cone eee Mommas Enrico Caruso, Jr. Aline eee Frances Dee nelma_1o Hobart Cavanaugh Frank McHugh HOW VERICHROME | Steffi Duna Nydia Westman Ricardo Cortez Jean Muir DIFFERS FROM ORDINARY FILM Irene Dunne Bet SS Bette Davis Paul Muni Aah Skeets Gallagher ielma lite Del Ri Theodore Newton Double-coated. Two layers of sensitive William: Garean Robert weolsey eho eae o thee silver. Ruth Donnelly Henry One Highly color-sensitive. | United Artists Studios, 1041 N. Formosa pameacenes | ae Halation ‘'fuzz’’ prevented by special | Ave. John Eldredge Phillip Reed backing on film. Eddie Cantor Mary Pickford Ae at SD Ree Bee Finer details in both high lights and Chane Crarin ks span SHEE Philip Faversham Barbara Rogers shadows. Done lsear oaks Kay Francis Kathe eee : Pauline Garon Barbara Stanwyck Bramelvee nt sinstecd) ol Aree ere | 20th Century Studios, 1041 .N. Formosa _—_Geraine Grear Lyle Talbot Made by an exclusive process of | Ave Hugh Herbert Verree Teasdale E Kodak C Rochest N.Y | . Arthur Hohl Genevieve Tobin CSIMAN|NOCAKICO-/ ROCHOSIEN NN | George Arliss Ronald Colman Leslie Howard Gordon Westcott Janet Beecher Fredric March Josephine Hutchinson Renee Whitney Constance Bennett Loretta Young Allen Jenkins Warren William Al Jolson a tee : P ° E: cay’ ona oods Columbia Studios, 1438 Gower St. Bene vi oe KODAK Patricia Caron Grace Moore Lloyd Hughes, 616 Taft Bldg., Hollywood, Calif. Walter Connolly Jessie Ralph Harold Lloyd, 6640 Santa Monica Blvd., Hollywood, Donald Cook Arthur Rankin Calif. ’ ; ; H Richard Cromwell Gene Raymond nee Hamilton, 351 N. Crescent Dr., Beverly Hills, Dick Heming Joseph Schildkraut Calif. Neck Holt Billie Seward rhea Sparks, 1705 No. Sycamore Ave., Hollywood, ez nd Lowe Ann Sothern alif. Fi LM Tin MeCoy Raymond Warburn Alan Dinehart, 2528 Glendower Ave., Hollywood, Geneva Mitchell Fay Wray Calif.
Page 81
PHOTOPLAY MAGAZINE FoR JULY, 1934 83 pote LEELA MAL MDLLLLE Re Opes aapca mn How much more one snapshot tells about the way he looks than a whole letter! One snapshot, and you almost know him. What a fascinating way to make letters clear and interesting. The friends—the places you go—the things you do—slip them into the envelope in the form of snapshots. They really tell the story. Snapshots are more truthful, more expressive than ever, when you use Kodak Verichrome Film. Make your next pictures with Verichrome and see the difference. Eastman Kodak Company, Rochester, N. Y. Don’t just write it — PICTURE IT— with snapshots
Page 82
The Shadow Stage SPRINGTIME FOR HENRY—Fox NICELY naughty whimsey about what happens to a playboy under the influence of Spring and “a good pure woman.” Otto Kruger is a charming Henry, and Nigel Bruce is exactly Johnny, the smug Britisher who feels playful, too. Nancy Carroll is perfectly cast, as is Heather Angel, the “good woman.” Herbert Mundin is the valet. STRICTLY DYNAMITE—RKO- Radio N astonishingly unfunny picture that should have been amusing, at least, but just isn’t. Jimmy Durante and Lupe Velez are a radio team in need of good gags (like the film). William Gargan, an agent, procures poet Norman Foster as gag man. He becomes a sensation, but eventually fails, is deserted by everyone and is finally brought back to success by wife Marian Nixon. Sterling Hollo- way good. SISTERS UNDER THE SKIN— Columbia UDDENLY obsessed with desire to re- capture his lost youth, forty-nine-year-old Frank Morgan takes a last wild fling at romance (in the person of Elissa Landi). Morgan does a convincing characterization and Doris Lloyd, as his society wife, is superb. Composer Joseph Schildkraut plays Elissa’s young sweetheart. Some strong scenes. THE BLACK CAT—Universal ALTHOUGH Boris Karloff manages to look reasonably sinister, this isn’t the chiller it is intended to be. The film takes you through one night and day in the fanatic’s mysterious abode, where Bela Lugosi, who has an all- consuming horror of cats, David Manners and his bride, Jacqueline Wells, stop during a storm. Plot holds little suspense. PRIVATE SCANDAL—Paramount ORE of those comedy-murder mysteries which doesn’t succeed in being either. However, you'll probably overlook the obvious plot when the laughs start rolling. Story centers around real estate operator Lew Cody’s undetermined murder or suicide. Phillips Holmes, fiance of Lew’s daughter, Mary Brian, becomes involved. Ned Sparks, ZaSu Pitts. SMART Y—Warners NOTHER marital mix-up in which Joan Blondell, as the vexatious wife, starts out with Warren William and after a divorce marries Edward Everett Horton. Only to return later to husband Number One. There is a definitely light touch throughout the film, but it attempts to go dramatic in spots that ought to have been entirely devoted to humor. Frank McHugh, Claire Dodd adequate. WILD GOLD—Fox HIS misses being the saga of the old ghost mining towns come back to life by a long shot. There isn’t much excuse for anything that happens and only through efforts of a 84 [ CONTINUED FROM PAGE 59 | good cast does the picture rate notice. John Boles plays a drunken engineer in love with Claire Trevor, cabaret girl. Roger Imhof, as the old desert prospector, is excellent. AFFAIRS OF A GENTLEMAN— Universal A MURDER mystery solved in a unique way. Camera cleverly goes back of scenes and shows you events that the inspector never finds out. And the whole thing never would have happened if Paul Lukas hadn’t used the women in his life as heroines of his novels. Lukas gives a polished performance. Dorothy Burgess handles a perpetual jag well. Sara Haden, Patricia Ellis, Murray Kinnell. WHIRLPOOL—Columbia ees HOLT is excellent in a powerful melo- dramatic yarn. Railroaded on a murder charge, he fakes a death notice while in prison to free his bride Lila Lee from marriage. Years later, now a big-time gambler, his daughter (a reporter) recognizes him. To protect Lila, remarried, “‘Enoch Arden” Holt shoots his way—and himself—out of a jam. Jean Arthur charming as daughter. Donald Cook. I HATE WOMEN—Goldsmith Prod. AY, amusing situations, a cast of capable players and grand dialogue make this news- paper story entirely satisfactory entertain- ment. Professed woman-hater Wallace Ford clears June Clyde, suspected of murdering her husband, and falls in love with her. Fuzzy Knight gives a standout comedy performance. Bradley Page, Barbara Rogers, Alexander Carr do nice work, too. UNCERTAIN LADY—Universal COMEDY of errors with Edward Everett Horton, as usual, making most of the errors. When Horton decides he loves Renee Gadd, wife Genevieve Tobin agrees to a divorce providing he secures another husband for her. And thereby hangs a tale. Paul Cavanagh, a family friend, plots with the wife to help win back her husband. Plot succeeds, but then Genevieve finds she’s in love with Cavanagh. Just fair. FOG OVER FRISCO—First National A MODERATELY exciting mystery-ro- mance. The mystery revolves around a wealthy society girl, Bette Davis, who de- sires excitement and so becomes a “fence” in the stolen security racket. Romance is sup- plied by Margaret Lindsay, as Bette’s younger sister, and Donald Woods, newspaper reporter. Lyle Talbot and Arthur Byron also in cast. THE PARTY’S OVER—Columbia AT might have been a collection of keen characterizations is hereby relegated to the limbo of anything for a laugh. Stuart Erwin wants to paint, but instead juggles figures to support his shiftless family. How- ever, his secretary (Ann Sothern) speeds the break, and then the party is over when Stu gives them the air. Indifferent support. SMOKING GUNS—Universal VV Aso GLY accused of murder, Ken May- nard impersonates the officer who was to bring him in. But he can’t fool the police- man’s sweetheart (Gloria Shea). No suh. A glaring example of why Westerns are prac- tically washed up. But the youngsters may go for it. Then there’s Tarzan, Ken’s horse. CHEATERS—Liberty BLL BOYD, leader of a group of racketeers just released from prison, picks up June Collyer, also just “out.” The gang makes her into a “lady” to capture the heart of wealthy Alan Mowbray. The tables are turned—Bill falls in love with June and makes them all go straight. Dorothy Mackaill is amusingly hard- boiled. William Collier Sr. THE LOUD SPEAKER—Monogram AMUSING tale of a small town lad (Ray Walker) who goes to New York, wins a radio audition and becomes a sensation. He falls in love with Jacqueline Wells, a poor but proud actress, and secures her a radio job. But success finally goes to his head and he hits the skids, only to be brought back by Jac- queline. Interesting and well done. THE CONSTANT NYMPH —Fox-Gaumont-British BAseD en Margaret Kennedy’s popular novel about the children of the mad com- poser, Sanger. As a musician friend of the family, Brian Aherne gives an exquisite por- trayal. All cast members are English, in- cluding Virginia Hopper, the constant nymph in love with Aherne from girlhood to woman- hood. An emotion-stirring drama for in- telligent audiences. MONTE CARLO NIGHTS—Monogram Ar!E® reading the story by E. Phillips Oppenheim, one is apt to expect more than this film offers. The night before his wedding to Mary Brian, playboy John Darrow is ar- rested for murder. He escapes on the way to prison and tracks down the real criminal in Monte Carlo. Excellent photography. UNKNOWN BLONDE—Majestic F it weren’t for the credible work of each player, this film about the divorce racket would be of no account whatever. Having always abided by a strict code of ethics, lawyer Edward Arnold resorts to unethical practice only when he finds his wife (Dorothy Revier) is unfaithful. John Miljan, Barry Norton, Arletta Duncan. Not for children. JUST SMITH—Gaumont-British yes film version of Frederick Lonsdale’s play, “Never Come Back,” is a cheery little farce. It boasts an entirely British cast, headed by Tom Walls, as a slick crook. He plans to rob a society leader, but falls in love with her daughter (Carol Goodner). Action takes place aboard a yacht and in Monte Carlo.
Page 83
34 PHOTOPLAY MAGAZINE FOR JULY, 1934 “45 EVERY SUNDAY AT 10:30 P.M., E.D.S.T., COLUMBIA NETWORK Never a dull moment. . . something doing every minute in this gala Borden parade of movieland! There’s nothing “made-up” about this The stars are going places -..and you’re included! Roam around Hollywood with vivacious Ginger Rogers, RKO star, inter- viewed on this program. 35, We’re going onlocation now. Come on along! Learn how a big film is made, right down to the fadeout.The pic- ture is RKO’s “‘Stingaree”’ with lovely Irene Dunne. show of thrills. It’s fact, not fancy— bringing you the true Hollywood, the glamorous Hollywood! Tune in this Sunday evening on Tonight we dance...strike up the band, Mark Warnow! Hear the hits from the latest pictures played by this spar- kling orchestra. And just try to keep your feet still! Id IDE Se Wl Borden’s “45 Minutes in Hollywood.” Make a note now of this: 10:30 P. M., (OLS OREAANIE oH onule)), Columbia Broadcasting System. <= “4ITTLE MAN.WHAT NOW?” We’ve just finished a pic- ture. Preview it with us! It’s Sylvia Sidney and Cary Grant in their new Para- mount Picture, “Thirty Day Princess ” Presented by the makers of BORDEN’S EVAPORATED MILK - Borden’s Cheeses, and other fine dairy products
Page 84
86 PHOTOPLAY MAGAZINE FOR JULY, 1934 Use all the Cosmetics you wish, but remove them thoroughly Hollywood’s way— guard against unattractive Cosmetic Skin ANY a girl who thinks she cleans her face before she goes to bed does not thor- oughly free the pores, but actu- ally leaves bits of stale daytime make-up to choke them all night long. ‘‘Heavens! What’s wrong with my skin ?”’ Soon, to her dis- may, she discovers the warning signals of unattractive Cosmetic Skin—enlarged pores, dullness, tiny blemishes— blackheads, perhaps. Cosmetics Harmless if removed this way To avoid this modern complex- ion trouble, thousands of women are adopting the Hollywood screen stars’ beauty method. Cosmetics need not harm even delicate skin unless they are allowed to choke the pores. Lux Toilet Soap is made to remove cosmetics thoroughly. Its rich, ACTIVE lather sinks deeply into the pores, carries away every vestige of dust, dirt, stale cosmetics. During the day before you put on fresh make-up, and ALWAYS before you go to bed at night, give your skin this gentle Lux Toilet Soap care. In this simple way you protect your skin—keep it so clear and beautiful!
Page 85
PHOTOPLAY MAGAZINE FOR JULY, 1934 Precious Elements in this Soap. In this soap are precious elements Nature herself puts in skin to keep it soft and youthful. Hollywood stars, whose complexions are literally priceless, have used this pure, fine soap for years. Begin your Lux Toilet Soap beauty care today! OO” Blondel! STAR OF WARNER BROTHERS’ “SMARTY”’ fr F fo sy 4 me Cf eo f; “Po ‘ : a GT fj fe gr ‘or “ ; . & & re Ss iP ~ 4 cad d p 4 é a Ne : e os, Big ee os — | use cosmetics of course! But thanks to LuxToilet Soap, |m not a bit afraid of Cosmetic Skin ji Res
Page 86
You’ll need a deep pan such as Helen Vinson is using to prepare the chicken Southern style Fowl may be fried long before guests arrive, and served cold. Stays crisp and delicious Butfet Supper—Southern Style NTERTAINING Sunday night? And you can’t decide what to serve? Then let charming Helen Vinson, who hails from Houston, Texas, come to the rescue with one of her favorite menus— Peach Cocktail Hot Biscuits Cold Asparagus Tips Egg-nog Float Southern Fried Chicken Shredded Raw Carrots Watermelon Pickle Coffee. Helen’s meal is always carefully planned in advance. And guests are never conscious of any last minute fluttering about on the part of their hostess. All foods are in proper dishes, in refrigerator, ready to be set out at a moment’s notice. Peach Cocktail—Peel and slice peaches and soak one-half hour in brandy, enough to cover. Southern Fried Chicken—Have fowl cut up, roll in flour, sprinkle with salt and pepper, fry in deep, very hot fat. Biscuits—Sift 4 level teaspoons baking powder and 1% tea- spoon salt with 2 cups flour. Mix in with tips of fingers lard size of an egg and 1 teaspoon butter. Work lightly with water and a very little milk until right consistency, and roll on board. Cut with biscuit cutter, and put in pan. Oven is turned on when guests are eating cocktails. Serve hot. &8 Orange Mayonnaise is served with finely shredded raw car- rots. It is prepared as usual, except that orange instead of lemon juice or vinegar is used as flavoring. Vinaigrette Dressing is set out in boats, to be served with cold asparagus tips. Method: Mix well 3 cups vinegar, chopped parsley, 1 chopped hard-boiled egg, dash of paprika, 1 teaspoon onion juice. Watermelon Pickle—This can be bought all ready to serve. But you may prefer the home product. Cut rind into pieces and weigh. One-half melon usually makes about 214 pounds, and this recipe is for that amount. Make syrup of 214 pounds sugar, 114 pints vinegar, 14 ounce cloves, 14 ounce stick cinnamon and let come to boil. Cover fruit with hot water and boil until you can pierce with straw. Then drain off water, put fruit into syrup and let boil up once. Put in stone crock and let stay covered for 3 days. Then pour off syrup and boil. Now pour over fruit in jars. It will keep indefinitely. Egg-nog Float—Whip 2 quarts of cream, mix with 1 cup of sugar, add rye whiskey to taste. Serve in meringue shells. Clever use of liquor as a flavoring is an art in which the Southerner excels. Plug in coffee urn when guests start eating chicken, so coffee is ready with dessert.
Page 87
PHOTOPLAY MAGAZINE FOR JULY, 1934 89 BEAUTIFUL - - - THELMA | TODD @ Tuerma TODDS striking blonde beauty is bright with ani- mation. Her health, she knows, is a priceless possession ... and she plans her diet carefully to provide the energy she needs. That’s where bread proves a friend! Read her letter to Betty Crocker, menu expert. Dear Betty Crocker: In Hollywood we have to keep up our vitality. So much depends on it—our looks, our ability. They tell us to be sure we get enough energy food —-like bread. I eat bread in some form at every meal. SCIENCE REVEALS WHY BREAD [5S OUR OUTSTANDING ENERGY FOOD Proves that Bread: 1 Supplies energy efficiently. Abundantly provided with carbo- hydrates, which furnish endurance energy (largest need of diet). Important in proper combination of foods necessary for a complete diet, De Builds, repairs. Contains also proteins, used for building muscle and helping daily repair of body tissues. Thus bread, and other baked wheat products, used freely for essential energy needs, do not unbalance the diet in respect to proteins as do large amounts of energy foods lacking other essential nutrients. 3 Is one of the most easily digested foods. 96% assimilated. = These three statements have been accepted by the noted authorities on diet and nutrition who comprise the Committee on Foods of the American Medical Association, largest and most important association of medical men in the world. <=) AMERICAN. MEDICAL Sm For full explanation by eminent scientists, read the valuable new free book on bread, “Vitality Demands Energy.” AND THE PICTURE OF HEALTH ™ KNOWS BREAD IS ONE OF HER BEST FRIENDS! The fascinating Thelma Todd adds many delightful high spots of comedy to the new Wheeler and Woolsey laugh riot, ‘“‘Cockeyed Cavaliers”, an RKO- Radio Picture. 109 NEW WAYS TO SERVE BREAD BY BETTY CROCKER, MENU EXPERT Free! This fascinating new book of recipes and menus, “Vitality De- mands Energy (109 Smart New Ways to Serve Bread, Our Out- standing Energy Food).” By Betty Crocker, noted cooking authority. Clever suggestions for combining bread with other foods to make tasty, well balanced meals. Tempt- ing menus for every occasion. In- triguing ideas for sandwiches, ap- petizers, accompaniments for soups, salads. Interesting new uses for the delicious breads, and other baked wheat prod- ucts, supplied you in delightful variety, by your baker. In- clude breads in every meal! Products Control Department of General Mills, Inc., Minneapolis. SEND FOR BETTY CROCKER’S FREE BOOK Offer good only within continental limits of U.S. A. Betty Crocker, Minneapolis, Minn. Please send me your valuable new free book on bread, “ Vitality Demands Energy” in which science states facts about bread, and you suggest 109 delightful new ways to use it. Copyr. 1934, General Mills, Inc. Phop. 7.34 (pvuead. Enrncy ror VWclalily!
Page 88
Ce: ‘ resi treeaeaiisinaicndianae scpacensontn eo seeeonnarteontn <cicschaasoeneocnteneeeeerencecmmre mmr SSRIS SENECA TE OBER Greta Nissen presents an in- teresting theory on hosiery and shoes. Nothing is so flattering to the leg contour as that un- broken line of color. She al- ways matches her tones, tan, beige or bronze [CONTINUED FROM PAGE 76] be no little bulges under the suavest of frocks. Helen’s girdle can be washed every night as easily as a stocking, and is a perfect suggestion for general summer wear, for sports, evening dancing or even the beach under a suit, if you really need it. The rubber should make it mildly reducing, too. You won’t get by this summer without lacquered toes—that is, if your toes ever show. In these pages you will find Betty Furness with matching fingers and toes, and you may be sure they make loveliness—if not music, wherever she goes. Always keep finger and toe tone in harmony. 90 Another idea that came out last summer and of which you will see more this year is that stocking-toned leg make-up, a cream-like affair that you simply smooth over your legs, then slip on your sports shoes or beach sandals, and away you go without a thought of stock- ings. It comes in a variety of shades, is easy to apply, and leaves you feeling so cool and free, and looking well leg-groomed. The younger set simply loves it, and it saves stocking cost and bother. Another summer idea comes to us from the RKO cameramen, who insist that all stars, whether blonde, red, black or brown-haired, use the same colored hairpins in pictures— gray. The camera, it seems, will not pick up gray, whereas black or gold stands out like a beacon light. The point for us is that pins must match your hair. Nothing is more an- noying than to see a lovely blonde head marred by a black hairpin here and there. And of course the gold hairpin is just as much out of place on the brunette. If you will take the trouble to investigate at the notions depart- ment of any store, you will find hairpins as per- fectly styled for your needs as your hat or summer sandals. Ann Harding’s simple madonna coiffure has been the butt of much controversy. Is it or isn’t it right for Ann? I think it is. A while ago I published in this department some pic- tures of Ann nicely curled, just to see what you readers thought. If there is still any doubt in your mind, watch out for ““The Life of Vergie Winters,” Ann’s new picture. Because it covers a period of time from 1910 to 1932, the star will vary her coiffure in keeping with the different times. Watch for the picture and see what you think about Ann’s hair. Virginia Pine has a very homey slant on her beauty methods. Her tastes in both clothes and toilet preparations are very simple. “T wash my face with soap and water and then apply honey,” she said when asked about her pink and white skin. “The honey remains on about twenty minutes and then I sponge it off, adding an ice rub to the treatment.” There are several comfortable ways to use ice. If you prefer it directly on your face, swathe it first in cotton. It’s much easier to handle this way and will not slip. Jean Harlow’s method is to toss several cubes in a basin of cold water and bathe her face in this. At this point, Carolyn is sleuthing about Hollywood trying to find out how the stars manage to look and feel as crisp and cool as a lettuce leaf in August. Watch for Holly- wood’s solution in the next issue. A new edition of our leaflet, ‘Sunburn, Freckles and Tan,” offers some practical solu- tions for your summer skin worries. Leaflets on general skin ailments, hair, lovely eyes and a home manicure are also yours for the usual stamped, self-addressed envelopes. Please send a separate envelope for each leaflet. All information offered is based on the beauty practices of the stars plus our own knowledge of what is right and safe for you. Your letters have our conscientious and prompt attention. Carolyn Van Wyck, PHotopLay Magazine, 221 West 57th Street, New York City. xtremities” In Fashion By Carolyn — Van Wyck Matching nail lacquer for fin- ger and toe adds a fillip to your summer costume, beach, evening or boudoir, thinks Betty Furness. Rich rose tone blends perfectly with her blonde skin
Page 89
PHOTOPLAY MAGAZINE FOR JuLy, 1934 gi Advice to Blondes ty ES, isos ... 4s told to Florence Vondelle FTER all, whatever we do to be beautiful, it is really color that enhances our attraction...so We must choose colors in make-up carefully. Particularly, pastel tones of the blonde require delicate harmony of color. “In Hollywood, Max Factor, gen- ius of make-up, has solved this prob- lem for us. With screen stars as living models, Max Factor created color tones in powder, rouge and lipstick to harmonize together and accent beauty naturally. A make-up secret that really holds fascinating beauty.’ x * «x Whatever your type... blonde, brunette, brownette or redhead... there is a color harmony make-up for you, created by Max Factor. This luxury, originally created for the screen stars, is now available at nominal prices. Max Factor’s Face Powder, one dollar; Max Factor’s Rouge, fifty cents; Max Factor’s Super-Indelible Lipstick, one dollar. Now featured by all leading stores. GENEVIEVE TOBIN AND CARY GRANT In A Paramount Picture pro- duced by B. P. Schulberg Max Factor’s Make-Up Used Exclusively =] =. POWDER... Blonde, with blue eyes and very fair skin, Genevieve Tobin chooses Max Factor’s Flesh Powder. Its lifelike color imparts radiant beauty to the skin, and its smooth texture creates a satin-like * make-up that will cling for hours. - LIPSTICK ... Lips accented in ROUGE ... The color tone to give color harmony with Max Factor’s a youthful flush to the cheeks is Max Super-Indelible Flame Lipstick en- Factor’s Flame Rouge. Delicate in hance the appeal « ies lovely beauty. color, it harmonizes beautifully; and Perfect lip make-up! aiae it is its creamy-smooth texture make it easy m oisture-praof, and pie the color re- to gain perfect naturalness in rouging. mains permanent and uniform. TR i SOCIETY MAKE-UP... Face Powder, Rouge and Lipstick in Color Harmony TEST YOUR COLOR HARMONY IN FACE POWDER AND LIPSTICK Jusr Fitt 1n the coupon for purse-size box of [ComPLEXIONS| EYES =a MAIL THIS COUPON TO MAX FACTOR .. . HOLLYWOOD. aint fa 6 cticle | Very Light——O| Blue-——O BLONDE powder in your color harmony shade and lipstick eee emer | oo mas ute sire x color sampler, four shades. Enclose 10 cents for } Creamy ——-O ENTE NAME ae postage and handling. You will also receive your c 8 Bak a é " ark ab Color Harmony Make-Up Chart anda 48-page ADDRESS Ee y EN Sraeh D| Light__O Da k_-O = ec Too, 5 arrerny ight —_ JI a illustrated book, “The New Art of Society -Sax-Boo ETD Ip Hair is Gray chek Make-Up”. . . Free. 1-7-82 © 1934 Max Factor | OilyO NormalO[ AGE type above and here-O} Cyry STATE
Page 90
Cal York’s Monthly Broadcast For a gag and comfort, Jack Oakie wore a tweed coat with his tuxedo to a Hollywood party. Prefers an apple to caviar, too GEOG JESSEL, after his marriage to Norma Talmadge in Atlantic City, said he has never been happier in his life. “Why— I’ve been waiting nine years,” said George, “and it was worth it.” Norma and George are furnishing a Park Avenue, New York, home. P. McEVOY, the writer, talking to - a visiting writer said, ‘The most marvelous and intriguing thing about Hollywood is, that everything you hear, and everything you make up about Hollywood is true. Or comes true.” LARK GABLE was at the recent Spinsters’ Ball, exclusive social soiree of Los Angeles. At the Spinsters, girls cut in on the men. Five hundred eager debutantes! For Clark, the evening was something like a game of rugby. No sooner would one cooing, little, starry-eyed girl snuggle into his arms than a smack at her elbow would jerk her away and another was in her place. It went on until six the next morning. O news of the Marquis’ homecoming as yet, and Hollywood is beginning to wonder if the separation is a harbinger of anything permanent. Meanwhile, Connie Bennett doesn’t seem to be lonely. She and Gilbert Roland are stepping out to the screen colony’s dining spots. They slipped in late at “The House of Rothschild” premiére to dodge the photographers, but not late enough. EORGE BRENT has moved bag and bag- gage from the Chatterton bungalow, and is now occupying an ordinary dressing-room. His hair turned quite gray. 92 [ CONTINUED FROM PAGE 49 | AX now Lee Tracy is an angel, even if Mae West isn’t. Isabel Jewell was just about the most disappointed little girl in town when M-G-M failed to take up her option. But the reporter who hinted it might be because the studio and the boy friend, Lee Tracy, were at odds, got the dressing-down of his life. “How dare you suggest that ‘Angel’ had anything to do with it,’”’ stormed the faithful little Jewell. ‘And don’t you dare blame him. It was my own fault, not ‘Angel’s.’ ”’ HE had to become a mother to do it. Louise Fazenda is Hollywood’s latest important “discovery”! Louise, who masked her talent for years in slapstick réles, practically went off the screen when the talkies came in. She returned occa- sionally, but never regained the importance she once enjoyed. Now, after becoming a mother, Louise has blossomed forth and attracted the attention of movie-goers and producers alike. Result—an M-G-M term contract—her first since the old silent days. “T OOK at me—I’'m practically naked!” Such a disturbing scream came from from Hollywood Lupe Velez at the Little Club the other night. And the reason was that Lupe was sporting only one diamond ring. All the rest of her famous “ice” was in the safe deposit box at the bank, during the con- fusion of redecorating her home. AX» of course you’ve heard about the Earl Carroll ‘‘Vanities”’ cutie who strolled into a famous Holly- wood book shop and asked the clerk for the book called, ‘Little Man, So What?” LIZABETH BERGNER’S sensation in the British produced picture, “Catherine the Great,” will be followed up by her in person this fall on the New York stage in her current London stage success, ‘‘Escape Me Never.” Charles B. Cochran, London producer, the manager, is due in America to arrange for the opening of “‘ Escape Me Never.” More signifi- cant, he will confer with movie executives, par- ticularly Fox. JD CLORES DEL RIO’S bedroom is upstairs, and her husband’s, Cedric Gibbon’s, is right below hers, downstairs. A ladder and a trapdoor through his closet ceiling leads to Dolores’ room. Pretty romantic, we call it. [ PLEASE TURN TO PAGE 124] “Chu Chin Chow’’ comes to life on the screen. Anna May Wong, who left Hollywood for English pictures, is dressed for the réle of Zharat in British- Gaumont’s movie version of the musical comedy
Page 91
‘ARENT YOU GOING > TOFILLER UP?” HERE'S SOMETHING behind the big grinon this car-owner’s face. It’s the grin that comes from owning a smooth-running car—and knowing the secret of how to keep it that way! He has found out this about modern automobiles. They are fine pieces of machinery. Precision built, with parts that fit like a glove. And because they are such fine mechanisms—the secret of keeping them at their best lies in the oil they Mobiloil With Mobiloil Dealers Everywhere—why take chances with a fine, modern engine? PHOTOPLAY MAGAZINE FOR JULY, 1934 get. Oil that resists high engine heats. Oil that stays tough—even though it’s spread out between parts in a film thin as onion skin. In one word—Mobiloil. Because Mobiloil is specially refined from choicest crudes to have just these properties. Toughness, no matter how thinthe film. Resistance to heat. Surer, longer-lasting lubricating qualities. You’ll find — as this man’ has — that it’s easy to give your car the SOCONY- VACUUM CORPORATION "SURE...AT THAT MOBILOIL DEALERS RIGHT AHEAD!” 93 benefit of this better oil. Mobiloil is the largest-selling motor oil in the world. There are dealers everywhere. And, every dealer sells from a mistake-proof chart that shows which grade your car should have. Stations that show the sign of the Flying Red Horse also sell Mobilgas. This gasoline is Mobiloil’s quality mate. Try them both in your car. CORPORATION AND FOR COMPLETE SMOOTH PERFORMANCE ...MOBILGAS i
Page 92
The Husbade in Gloria’s Career Studios, nineteen years ago that Gloria Swan- son met Wallace Beery. She was an extra. He was the most important man on the lot. She married him. It wasshortly after her marriage that pictures began to move to California. Gloria moved with them. On the coast she got a job as a bathing beauty with Mack Sennett, in one and two- reel comedies. Every day, she walked past the gates of Famous Players-Lasky studios. De Mille was inside. And Gloria shrewdly believed that De Mille was slated to do the big things of the future in pictures. In 1918 came her chance to break from comedies. She was given the lead in a movie drama called “Smoke,” on the Triangle lot. In this, her first feature picture, she was a success. She knew now that she need never return to slapstick. HORTLY after her graduation from short comedy roéles to dramatic leads, the parallel begins. A change in professional status, a change in the matrimonial alliance. Wallace Beery got a divorce from her on grounds of desertion. During her first year in De Mille’s spectacles, Gloria married Herbert K. Somborn, million- aire with movie connections. On the screen, she was placed in glittering settings of magnificence. And in private life, too, her public saw her, a dazzling lady on a golden throne, surrounded by the splendors and luxuries Somborn could easily afford. Four years after their marriage, in 1923, when Gloria was on the crest of her success, Somborn, like Beery, divorced her on a deser- tion charge. About this time came another change in her career. The day of vamps was about to end. A lot of gorgeously gowned ladies with spit curls were about to be lost in the shuffle. Gloria was not to be one of these. The trend of the movies was toward ro- mance and adventure. So Swanson put aside her headdresses and gorgeous gowns and, dressed as a boy, won further laurels in “The [ CONTINUED FROM PAGE 40 ] Humming Bird.” This story of a thieving little Paris urchin and her romance with an American soldier brought thunderous applause from the public and praise from critics. The vogue for romance-adventure grew. Gloria grew with it. Her climactic picture in this era was ‘“‘ Madame Sans Gene.” The volume of feature pictures now pro- duced was rapidly increasing. Gloria kept up with the rapid and ever-changing growth of the movies. In two years, she starred in twelve pictures. There had been little time for her private life, little time for personal romance. Was she, perhaps, losing some of her glamour in the eyes of the movie-going public? Gloria went to France. When she returned she was the bride of the Marquis de la Falaise. They had been married in Paris. Her return to Hollywood was a triumph. If her glory had dimmed a little, its luster was quickly re- stored. For Gloria had a golden crown, a golden crest on her calling-cards and an old-world title a mile long. The following year, 1926, her contract with Paramount expired. Would Gloria sign a new one? Paramount offered her twenty-five thou- sand dollars a week for the fifty-two weeks of the year. Gloria had worked under the Paramount banner for seven years; had made a total of twenty-four pictures under it. She had a horror of becoming a type, set in a mold. She had watched many big stars fall by the way- side when the “type” went out of style. Back in 1919 ranking stars organized a com- pany to produce their own pictures. It was called United Artists. With one grand gesture, therefore, Gloria turned down Paramount’s offer of one million and three hundred thousand dollars a year. She decided to produce her own pictures. She joined the United Artists group —Mary Pickford, Doug Fairbanks, Sr., Charlie Chaplin. Gloria tossed in her money and went to work on ‘The Love of Sunya.” The picture was a terrible flop. There was a reason—the trend toward realism had set in. Gloria recognized the trend and started on another picture. She chose “Rain,” the stage play adapted from Somerset Maugham’s story. The play, she knew, was highly censorable for the movies. She submitted it in story form to Hays office under the title of “Sadie Thomp- son.” Apparently the Hays office saw no con- nection between “Sadie” and “Rain.” The script was approved and work began. ‘“‘Sadie Thompson” was a tremendous box- office success. Once again Swanson was on top of the world. She immediately went to work on ‘Queen Kelly.”” This picture was almost finished when sound hit Hollywood like a tornado. Gloria knew that the silent “Queen Kelly” would be obsolete by the time it was released. She began the tedious job of retakes, dubbing in sound. When she saw the rushes, however, she realized it was hopeless. She simply was not ready to cope with the talkies. The picture was too poor to release. She scrapped it. It had cost her nine hundred thousand dollars and months of exhausting labor. HE problem now was to meet the exacting demands of the talkies on voice and dic- tion. After intensive work, she chose her first talkie, ““The Trespasser.” It was hailed as one of the best talkies up to that time. Gloria had sailed triumphantly forward on the waves of sound. It was that year, 1930, when her success in talkies was assured, that she lost the Marquis. Many believe the cause of their break was due to her absorption in ‘‘Queen Kelly” and “The Trespasser.” New impetus for her movie career—and with it husband Michael Farmer, passes out of Gloria’s marital life, with the latest shift in her screen fortunes. Motion pictures have become works of art. Gloria has made her choice. She believes the band wagon is M-G-M. History has repeated itself, for her—on more than one occasion. Rumor says she may soon find a new marital mate. The parallel still stands. It remains to see whether Gloria will continue the cycle. Actresses Clamor for ‘This Man! And Norma is right. You will probably never see “Bart” playing a gangster. But it doesn’t matter, does it, so long as you can see him as a gentleman? There are so many who can play gangsters. Edmund Goulding, director and writer of “Riptide,” has still another and unique reason to advance for Marshall’s appeal. “Tt is his voice. He has the most seductive voice on the screen,” Goulding says. And how does Claudette Colbert, the lady who was “so thoroughly and convincingly loved,” feel about him? “We has a miraculous quality of sincerity and great sympathy, which he conveys to the person playing with him. He makes every scene so real that at no time did I have the feel- 94 [ CONTINUED FROM PAGE 33 ] ing we were merely acting. It all seemed to be living, and a part of our own very. personal existence. Absolutely no artificial note... “His charm on the screen is doubled off. He kept everyone in a good frame of mind on that hazardous trip we made for ‘Four Frightened People.’ His remarkably good disposition under the most trying circumstances—his even, unruffled temper, stood up infallibly under the test. I think women sense this as soon as they see him, and it adds a permanence and stability to his unmistakable romantic charm.” This from Claudette, who had more oppor- tunity to judge the real Herbert Marshall than any star he has played opposite. There is certainly a very subdued but defi- nite challenge in the Marshall eye. No woman alive could miss it. But he sits back and smiles when a lot of other men would make the mis- take of being busy. He may appear to be remote and detached, but you can bet there isn’t a woman in the room who is not alertly conscious of him in every nerve and fibre! He has an impersonal politeness that never chills. It is warm—the one enjoying it feels favored, yet knows he is exactly the same toward everyone. He has an extraordinary memory for names that has surprised many persons in Hollywood. Days after they meet him casually in a large group, he greets them by name—and is surprised at their surprise! It is typical of the man’s graciousness. Marshall is not a sheik or a lounge-lizard or a gigolo type—nor is he arrogantly a he-man.
Page 93
He is simply a cultured, well-bred, instinctive gentleman. There is a good word that has been sadly misused, which describes him with perfect accuracy. Genteel. Another man tells us that Marshall’s pres- ence always makes him feel a trifle uncouth, but he is never antagonistic toward him for it. Just a little sad. He wishes he had worn a different scarf, and shaved more carefully that morning. That he could erase the Hollywood argot from his conversation. “Tt is the same feeling, I imagine,” this man says, “that women have when watching an in- comparably graceful dancer on the stage. A wistful yearning toward perfection and ease which they know is not for them.” Marshall has established a new standard among leading men. He has successfully conveyed the idea to a number of women that it must be great to be loved by a gentleman. After the push-in-the-face, the “hi yah, baby,” and “scram” attitude that has domi- nated the screen for the past few seasons, they have turned to Herbert with one great universal sigh of relief—and longing. And if he can’t convey more in the way of sex-conflict, urgent desire, and you-name-it, with one long intense look and nary a move—then he’ll do till one comes along who can. Marshall is a real sophisticate. He doesn’t represent the night club, party hound, smart crack, bold business that used to pass for sophistication. He is the type to make any woman, on the screen or off, know she was having an unusual and worldly experience which would set her apart from her sisters and flatter her vanity. His is superb finesse. ABLE has flash, and suggests a latent cruelty. Montgomery is light, airy, gay— the perfect companion for two weeks on the Riviera. Jack Barrymore has a fantastic, Afternoon-of-a-Faun unreality that defies cap- ture. And Marshall is a Rock of Gibraltar—a very suave Rock. He is the combination of romance, stability and dependability that wise women dream about. He would never say extravagant things, he would say only what he meant. They would not be voiced with cal- culated purpose, but with sincerity. After “Riptide,” several women broke down and told us that Herbert Marshall was the nearest to their ideal of the perfect husband of any man on the screen. And yet, when you analyze it, he played rather an ugly part. His was a character bitten raw with jealousy and suspicion, who refused to believe or trust a woman who was being honest with him. There probably was not a woman in the audi- ence who had not had a similar experience. But they did not blame him for doing just what he did. The answer, I presume, is that the female prefers her man that way, no matter how violently she denies it. It gives her a good head start, and keeps the man so busy catching up he has no time to glance off-side. In spite of his fatal fascination and the aura | “sood of romance around him, there is a provider” quality about Marshall which can very nearly take preeminence over the other irresistible attributes. There isn’t a woman who is not alert to it—and there are few men on the screen who have it. Will Rogers is the other most outstanding example. But you wouldn’t say Rogers and Marshall were remotely alike, offhand, would you? A very frivolous girl went to see Marshall and described him this way: “He is the kind of PHOTOPLAY MAGAZINE FOR JULY, 1934 WHAT WAS KAYS _Secvel ? What was there about Kay that warm July night that captivated Jerry, the town’s hard-to-get bachelor? If romance is passing you by, read this true story— Adorable Kay! Sticky heat waves don’t interfere with her popularity —she knows how to keep herself attractive to men. In the summer- time she’s especially careful to take odorless Ivory baths. For she real- izes how quickly the faintest trace of perspiration—or soap perfume —repels a man’s interest. It was her freshness, her feminine dainti- ness that won Jerry—and now she’s engaged! You can’t insist too strongly on having odorless Ivory Soap beside your tub in this hot weather. No perfumed or “medicinal” soaps, please! For their odor may linger for hours. But Ivory leaves your skin fresh as a camellia—with no soapy perfume to conflict with the fragrance of your real perfume. If you want your complexion to have that fine-pored, baby-smooth look, wash your face with Ivory night and morning. Ivory is pure —so pure that doctors advise it even for the super-sensitive skins of tiny babies. It doesn’t dry up the natural oils that keep the skin young. For a few spare pennies you can get a whole summer’s supply of Ivory from your grocer. Don’t risk another unpopular date—start your odorless Ivory beauty treat- ments today! Ivory SOAP 99 47,,,4, PURE - IT FLOATS 95
Page 94
PHOTOPLAY MAGAZINE FOR JULY, 1934 The SHERRY- NETHERLAND Guest-room overlooking the Park Exquisitely decorated bedroom Tower Homes, for Even Brief Visits A five-room tower apartment, lifted high over New York and Central Park ... furnished individually, as a charming private home, occupy- ing the entire floor. Living-room, dining-room, two master bedrooms with boudoir dressing-rooms and baths. Guest-room and bath. Maid’s room and bath. Refrigerated serving pantry. Smart visitors prefer the spacious restfulness of The Sherry-Netherland, for even flying visits. FIFTH AVENUE AT 59TH STREET +» ON CENTRAL PARK - NEW YORK man who would always have bread and beans —and paté de fois gras—in a pantry, and a roof overhead. A roof probably in Beverly Hills. And if he had an affair, his most intimate man friend would never hear about it—from him.” Proving that frivolous women, as well as practical ones, are far from immune to the stable virtues and advantages. And to continue the thought, she imagined him as the perfect, the ideal father. Patient, tolerant and understanding with his children. If a man can convey all this through the medium of the screen, you know what effect he must have on the beautiful ladies who play flesh-and-blood-scenes with him before the camera. Do you wonder that they are all screaming for him? The Real First Lady of Films { CONTINUED FROM PAGE 29 | under the circumstances, should have been extremely doubtful. Norma Shearer is a woman’s idol. Her big- gest following is not among men, but among women. To them she personifies a wistful longing—a lament. She is what every woman thinks she might have been—or would like to be. Her gorgeous, ultra-smart clothes are de- signed and worn for women to admire and crave. Most of her pictures have been con- structed to appeal to the feminine mind. More women would rather be like Norma Shearer than like Garbo, Hepburn, Dietrich, Crawford or Minnie Mouse—you can bet on that. Which is another reason why she quali- fies as the First Lady—professionally. It’s a personal distinction, too. Norma Shearer is one big feminine star about whom Hollywood has nothing to whis- per, has never had anything to whisper. Gos- sip has flown about the heads of every one of her rivals at one time or another. She has maintained in her personal life a patrician dignity—not a remoteness or spec- tacular seclusion—but an aloofness from the town talk of the gossipers, which completely defeats rumors. She has never stepped down from her fresh, assured, smiling ladylike character. She has never beenseen anywhere she should not have been, doing anything she should not have been doing. Her life, like her home, is smoothly ordered and serenely right. And her taste, in the affairs of life, as in her home, is flawless. She has never been guilty of bad taste in handling the wealth and fame which Holly- wood has brought her. Norma Shearer is always “‘Mrs. Thalberg” in her home. She is “ Miss Shearer” only on the set. The Thalbergs entertain frequently, but you don’t read much about it, because the parties are smooth, well-ordered, poised affairs —not spectacles. She doesn’t conduct her home like a movie set, and her quality does not rely on the glamour of motion pictures. How can a woman whose education ended in the first year of high school impress polished people? How can a woman whose formative years were spent battling for a living in theatri- cal New York instead of being devoted to acquiring social graces—how can such a/ woman with such a background ring true as a sophisticate and a lady? What could she possibly have for the sophisticates to admire? Here’s a guess—that back of that patrician
Page 95
profile of Norma Shearer’s lie generations of breeding whose. heritage instinctively causes her to lend good taste to her screen lives as well as her real life. Norma Shearer would be the last person to pretend to aristocracy. Her father was a moneyed man, importantly established in the life of Montreal, her birthplace. Her uncle was a professor at Cambridge University, England—but their father was an emigrant carpenter from the Shetland Islands. Norma’s mother came from a family fairly loaded down with Church of England clergy- men. Not even Norma has traced her lineage very far. There might have been lords and ladies, regents and royalty—who knows? Back somewhere, something gave Norma Shearer the mettle to meet both adversity and opulence and remain a lady, no matter what happened. Life early forced her out of the luxurious sur- roundings into which she was born. From Montreal’s fashionable Westmont Heights section she was plunged into a shabby Man- hattan theatrical boarding-house. She fought hunger, cold, poverty and dis- couragement in New York for four of her teen years, but still held her head up. She deported herself with a lean pocketbook—when she was a fashion and commercial art model—with as much self-respect and assurance as she does today as a successful and wealthy star in Hollywood. Recently, while in New York, Norma and Irving Thalberg strolled from their hotel suite and visited Columbus Circle, where her like- ness smiled for years on the passing crowd, warning them pleasantly that it was “time to retire.” Intrinsically, there was no difference between the successful and glamorous star who recalled memories and the poor little girl who had posed in the red tam o’shanter for that sign. Hundreds of times in those days gone by, she came home from the heartbreaking busi- ness of hunting a job to the little gray, gas-lit room that was home, and worked far into the night brushing and pressing her clothes. Often she was down to her last dollar, but she was never frowzy. She won the admiration and respect of everyone with whom and for whom she worked then, with her pride and self-respect—and her gameness, too. PERHAPS that’s a reason why leisure-class, sophisticated audiences admire Norma Shearer; she represents something which they, with idle lives, are forced to admire. She isa lady who came through in a pinch—who got out and did something against tremendous odds. And still remained a lady. Maybe there are other reasons why. But if there are still lingering doubts as to whether or not Norma Shearer 7s the First Lady of the Screen, consider this: Every studio in Hollywood would have liked to screen “The Barretts of Wimpole Street.” But the central character, Elizabeth Barrett, demanded an actress who looked like a lady, could act like a lady, and actually be a lady, and still be an actress of enough depth to unmistakably imply the emotional unrest of the character. Katharine Cornell, who starred in the part successfully on the stage, wasn’t available for pictures, and only one actress in Hollywood was considered capable of playing the rdle. M-G-M had that actress, so they bought the play. And Norma Shearer is playing Elizabeth Barrett in ‘The Barretts of Wimpole Street.” PHOTOPLAY MAGAZINE FOR JULY, 1934 97 LOUISE OW y e walking becomes a new joy Summer shoes to send you gaily on your way, out where the fun begins... Vitality Health Shoes! When you wear them, you'll find new joy in walking...a new sense of smart vitality in the way you look and feel. Cleverly conforming to your foot, their “vitality principle” gives you grateful, poised support. They are light, too, and splendidly made of fine quality materials by true crafts- men. Note particularly the selection of white shoes featured here and their moderate prices. Don't they urge you to walk in the charmed circle that Vitality Health Shoes place around your feet? VITALITY SHOE CO. * ST. LOUIS Division of International Shoe Co. @ And don’t forget that Vitality Health Shoes are also featured for children and youngsters in their teens. Their long wear and good looks make them popular values. Priced $2.00 to $5.00 according to size. VITALITY) Sy llez4 12S 2 TO 11 y YW D Tons AAAA TO EEE
Page 96
98 HOVY PENT Gales, > Mage A NEW DEODORANT CREAM APPLIED LIKE A LIPSTICK Instantly banishes odor for the day EAUTY advisers to more than 10 million women have poured their praises upon Perstik because it is the dainty new way to rob perspiration of its offensive odor. Your fingers hold the handsome lipstick case—they never come in contact with the cream. PHOTOPLAY MAGAZINE FOR JULY, 1934 Voting Goes On A few quick strokes each morning | gives you unfailing all-day protection against odor. Physicians’ Wives Use Perstik Wives of thousands of physicians are daily users of Perstik because it is just as safe as it is easy to use. Perstik never irritates, even after shaving. Not greasy. Heartily approved by Good Housekeeping. Perstik is as friendly to fabrics as it is to your skin. You can apply Perstik and slip right into your dress. On Sanitary Pads Perstik is just the grand- est thing in the world for sanitary napkins. Two strokes across the pad—and your secret is your own. All the best depart- ment stores and drug- gists supply genuine Perstik at 50¢. Beware of imitations. Doctors say that perspi- ration increases during moments of excitement. To freshen up before your “big moments’’, carry an extra Perstik in your bag PERS Fifth Avenue, New York TIK, THE ORIGINAL “LIPSTICK” DEODORANT For The Best Picture Of 1933 E are giving you more time to cast your ballot for the best motion picture released during 1933. Each week shows a marked in- crease over the preceding week in the number of ballots cast. Because of this deluge of coupons it is hardly possible to set a closing date now, but be sure to watch August PHoto- PLAY for further announcements. As you have been told in previous issues of this magazine, since 1920 when PHOTOPLAY Magazine inaugurated the famous Gold Medal contest, thirteen pictures have been awarded this signal honor by readers of this magazine. This year we add the fourteenth. To recapitu- late what we have said in previous issues: For your convenience, we have listed fifty outstanding pictures of 1933. But you are not limited to these. Any film released up to December 31st is eligible. Pictures reviewed in either our January or February 1934 issue are qualified. There are no rules to follow, no limitations. In making your selection, simply consider acting ability of players, story, photography, direction and the spirit behind the making of the picture. The medal, donated by PuHoroptay, is of solid gold, weighing 12314 pennyweights, and is two and one-half inches in diameter. It is designed by Tiffany and Company, New York. This annual award is the highest honor in the movie world—the Nobel prize of the Cinema. Moreover, it is the only award going direct - from the millions of movie-goers to the makers of motion pictures. On the contents page of this issue you will find a list of previous winners. Make your nomination worthy of stepping into the ranks of these memorable screen dramas. It is not necessary that you be a regular reader of PHoropLay Magazine to vote. We want everyone interested in the betterment of motion pictures to take part in awarding this prize of prizes—to spur the producers on to even greater things for the coming year. By signing the coupon below or sending a letter naming your choice, you will be perform- ing a real service for the industry that gives us all so many pleasant hours. Regardless of the fact that there has been an extension of time, we still urge you to send your ballots early. Because of the tremendous volume of mail, counting the votes will take just that much longer. Sodon’t delay. Mail your ballot now! Fifty Outstanding Pictures Released in 1933 Adorable Another Language Berkeley Square Blonde Bombshell, The Bowery, The Cavalcade College Humor Counsellor-at-Law Dancing Lady Dinner at Eight Double Harness King Kong Hold Your Man I’m No Angel Lady for a Day Little Women Mama Loves Papa Masquerader, The Morning Glory, The Night Flight One Man’s Journey Only Yesterday Prizefighter and the Lady, The Reunion in Vienna Roman Scandals She Done Him Wrong Sign of the Cross State Fair weepings This Day and Age Today We Live Too Much Harmony Farewell to Arms, A Footlight Parade 42nd Street Gabriel Over the White House Gold Diggers of 1933 Paddy, the Next Best Thing Peg o’ My Heart Picture Snatcher Pilgrimage Power and the Glory, The Private Life of Henry VITT, Topaze Tugboat Annie Turn Back the Clock Voltaire When Ladies Meet White Sister, The The NAME OF PICTURE Photoplay Medal of Honor Ballot | Epiror PHotorray MAGAZINE | 221 W. 57th Street, New York City In my opinion the picture named below is the best motion picture production released in 1933. Zoo in Budapest Send
Page 97
each y Answers by Sylvia { CONTINUED FROM PAGE 80 | gently, with the thumb and forefinger of each hand, press away the flesh you want to get rid of. Be sure your face and fingers are both generously smeared with cold cream and work very carefully and gently, but keep at it and the flesh will roll off. Of course, if your face is fat all over, what you need is my reducing diet. Because, nine times out of ten, if you have a fat face, you also have a fat body. Dear Sylvia: I am rather thin, but not too thin, except my waistline. I’m sure that it’s out of propor- tion. - Can you tell me how to enlarge it? D. D. R., Cripple Creek, Colo. Well, for goodness sake! In my long expe- rience teaching women how to be beautiful, this is the first time I ever had anyone ask me how to increase the waistline. Most women beg me on bended knees to get rid of the spare tire around the waist for them. You should be thankful that you have a small waist. Of course, if you’re too thin all over, you need my building-up diet; but you say you’re not—that it’s just the waist you want bigger. Dear Madame Sylvia: Jam underweight but am carefully following your diets and exercises. I noticed that you say it is good to give one’s self a gentle massage to relax the nerves. How is this done? T. K., St. Joseph, Mo. Just rub your body gently but firmly all over with the flat of your hands. Have both your body and your hands smeared with cocoa butter. Don’t rub too hard, but rub all over— with the exception of the bust. Dear Sylvia: I have a job in which I read all day. My eyes have never seemed to feel the strain, but I notice that I now have lines around them. I would like to stop these before they become too pronounced. H. T., New York, N. Y. Well, you’re a smart girl. You remember that old saying about an “ounce of preven- tion,” don’t you? And that’s right, too. I wish a lot more women and girls would nip the be- ginning of a defect in the bud. Read my letter to Jean Muir in this issue, and do for your eyes everything that I have told her to for yours. The way to keep those lines away is to strengthen the muscles around the eyes. Dear Madame Sylvia: Sometimes in my office I feel so nervous that I could scream. Is there anything I can do for immediate relief? S. W., Chicago, Ill. Tight neck muscles, caused by leaning over a desk, will invariably make you feel jumpy. With your two hands, rub and squeeze the back of your neck until those muscles relax. Then take a couple of minutes off and stand with your arms stretched out in front of you and your head bent as far forward as it will go. Move the upper part of your body slowly from side to side. Repeat eight or ten times. Be sure to feel the spine pulling, especially at the back of the neck. PHOTOPLAY MAGAZINE FOR JULY, 1934 MILD MENTHOL Cigarelles. CORK TIPPED MILDLY MENTHOLATED CIGARETTES—CORK-TIPPED When will you, too, sign this declaration of smoking comfort? “Down with cigarettes that dry our throats. We want a2 refreshing smoke. We want Kools’’.... (signed) ‘‘A nation cf contented Kool smokers.”’ KOOLS arementholated, mildly. The smoke is cooler but the fine tobacco flavor is fully preserved. Cork tips prctect lips. Finally, FREE coupons packed with KOOLS bring gilt-edged Con- gress Quality U.S. Playing Cards and other attractive merchan- dise. (Offer goodin U.S. A. only.) Send for illustrated list. Brown & Williamson Tobacco Corp. Louisville, Ky.
Page 98
| oye) NEW 10¢ CLEANER FOR WHITE SHOES IN BIG DEMAND RE All can now clean stains off white shoes easily, quickly with Shinola..and save money A new cleaner called Shinola White was introduced last season. Women tried it. Found it cleaned all kinds of white shoes quicker, easier, better, yet it sold for only 10¢! Delighted, they told friends. Soon, thousands were asking for Shinola. The demand exceeded the supply. This season we promise plenty of Shinola White Cleaner for all. No one shall be disappointed. Stores every- where are now stocked with this mar- velous new cleaner that costs only 10¢! No more worrying about stains on women’s shoes, children’s shoes, men’s shoes. Shinola cleans in a jiffy. Makes shoes white as new. Choice of liquid, tube or cake. Try Shinola. You'll be delighted! PHOTOPLAY MAGAZINE FOR JULY, 1934 Actors Don’t Grow Old [ CONTINUED FROM PAGE 60 ] of his naturally imposing and impressive demeanor. If one wins his approval, there is asecond meeting one day, and on such occasion he is charming and amiable. And then, when the third meeting has come about, he is friendly and warm-hearted, and his manner indicates that one has his confidence. ERTAIN players who have appeared in pictures with him have told me how un- comfortable they felt in his presence the first few days of a production, but that after a while he warmed up, for one reason or another, and then was graciousness and simplicity itself. However, all players in an Arliss cast see to it that they are on their mettle in speaking lines, and in matters of diction. Because the star is very exacting on the point of clear, clean enunciation from actors and actresses in his pictures. Arliss has completed his second picture under his new contract with 20th Century Pictures, called “The Last Gentleman.” (“The House of Rothschild,” of course, was his first.) The story, laid in New England, is one of his popular down-to-earth réles, which he can make so amazingly human and under- standable. After finishing this film he re- turned to England for his usual summer vacation. In the fall he will again come back to Hollywood. Before he left I asked him which kind of réle he prefers playing, the historical character in the setting of splendor, such as his Nathan Rothschild or Disraeli, or the man in the middle stratum of society. He replied roguishly: ‘‘I prefer them both!” And then he continued: “T have no preference for particular réles, because I think it is a mistake for an actor to allow himself to become prejudiced. If he did, he might give a better performance one time than another. His work would soon show un- evenness and, ultimately, he would restrict if not imperil, his interpretative faculties. The danger signal for the actor is similarity of roles. He should constantly seek variety, and he should never be bored by a réle, otherwise he will bore his audience. And that’s dis- astrous! It would appear wise for an actor, also, always to feel that therdle he is playing at the time is his best.” AS to which he thought was the more artis- tically fruitful period of an actor’s career —when he is unknown or when he reaches stardom—Arliss answered: “The best work, I feel, every actor does during his career is when he is unknown,” he replied. ‘“‘Of course, in making that state- ment, I am reminded of the actor who spends many long years in the theater getting ready and who has the advantage of playing a broad repertory and also supporting artists who have already arrived. It is during that period he puts forth the very best and highest effort, hoping in each réle to make his artistic strike, to achieve his goal. However, only a com- paratively few actors are touched by the luck of stardom.” Then I questioned him as to whether he felt an actor lets down after he reaches star- dom, and if it is harder to sustain success than to achieve it. He replied: “After fame comes—and stardom—the best parts, the best lines and the most favorable working conditions are offered the actor. Naturally, the way is made easier for him, in certain respects, yet stardom entails newer and greater responsibilities. Obviously, he cannot lay down. But he adopts a different psychology with stardom, because his paint- ing, so to speak, has been mounted in a more dazzling frame. Despite that, he may never excel.or even approach his work of a less re- nowned day, artistically or from the standpoint of earnest, undying effort.” Arliss recently celebrated his sixty-sixth birthday. His has been a full and active life. He and Mrs. Arliss are as devoted to each other as they were the day they were married, which was long, long ago in England—just about the time an enterprising, young actor named George Arliss was gaining somewhat of a steady foothold in the theater, after many years of hard struggle. Before another decade, the distinguished couple will celebrate their fiftieth wedding anniversary. MBe:: ARLISS often appears in a picture with her husband. It is stipulated in his contract that she is always to play the part of his wife in a production, providing the char- acter is a happily wedded woman. That was a very tender tribute Arlisspaid his wife, when he inscribed his charming autobiography to her with these words: ‘To the Girl with the Nice Arms.” He tells of how he first noticed her pretty arms when she played the piano at a party given by him and a young theatrical manager for a group of their friends, at which they had ‘supper, music and games.” That happened a long while ago, yet Arliss speaks of it as if it occurred yesterday. Certainly he is a remarkable study in energy and alertness. He explains: “Acting is the cause of it all! Because acting preserves one’s youth. It never allows you to grow old, for the reason that you are lifted out of yourself for a definite period each day. “You may go to the theater or a picture studio, as the case may be, feeling very glum over your personal worries. Then for a number of hours you are transported into a different realm—the world of playing another character. His worries become yours, his problems, griefs and joys. By the time the day’s or night’s work is over, you have forgotten your own troubles. This demand of the profession, con- centrating on someone besides yourself, is the grace that keeps actors from aging.” No piece on Arliss would be complete with- out telling about his four to six mile walks every day of his life, and about Jenner, who has been his “man” for more than twenty- five years. It’s quite amazing, this systematic walking. When Arliss is working, he leaves his home early in the morning at a given hour, and then some thirty or forty minutes later the chauffeur and Jenner leave to follow him. They pick him up at a certain point along the road and take him to the studio. Then at sundown, he usually walks again. On the dot at three-thirty each afternoon, Jenner serves his master with two cups of sweetened tea, into which hot milk has been
Page 99
poured. This ritual is as regular and unfailing as Jenner’s own heart-beats. There’s another thing that he does at pre- cisely an hour later each afternoon, when Arliss is working. Jenner takes him off the set, and announces that it is time to finish for the day. No retakes can be made, delaying matters for fifteen minutes. As sure as destiny, Jenner steers Arliss homeward at exactly four-thirty! Devious schemes have been perpetrated on Jenner by the directors and assistants at various times to get rid of him by sending him on wild errands, when it seems necessary to overstay the time limit. N one such occasion, Jenner was diplomat- ically edged off the set, presumably to get something for Arliss, and the entrances to the stage were locked and guarded. It was a sound picture and, of course, absolute silence must reign during the shooting. The scene progressed until a terrific banging on the main stage door, equal only to the roar of cannons, made the director stop. The banging con- tinued louder and longer, until sound experts and assistants gave up in despair. On opening the door, Jenner was discovered in irate mood, red in the face, and with a brick in each hand! The director felt his be- havior had been an outrage and said so, but Arliss turned to him chuckling, and said: “Tt must be apparent to you now why I have to obey Jenner’s orders.” Hysterical Honeymoons [ CONTINUED FROM PAGE 31 ] on seeing them do it. First Cary fought through the mob and lost Virginia, and then Virginia fought through and lost Cary, and then they both fought through and lost the license, and it was terrific. “Now, after the ceremony,” Cary told Virginia, ‘‘in case we get separated, you take that taxi parked right out in front and wait for me. If I get shoved through first, I’ll wait for you.” So after the ceremony Cary, swept along by the mob, got shoved into the wrong taxi, which blithely and gaily went galloping off to the races. Looking behind, he spied Virginia in the other taxi, driving off in the opposite direction, toward Ireland, screaming like mad, ‘“‘I want my husband.” WELL sir, the sight of a brunette young man leaning from a cab yelling, “I want my wife!” and a blonde young lady leaning from another cab going the other way scream- ing, “I want my husband!”’ just about finished the good old “Lunnoners” for all time. Just as the gangplank was being lifted the couple somehow made the boat, but the shock left them weak and jittery the whole trip over. During their two days in New York, Cary insisted Virginia tramp for miles looking at smelly boarding-houses in which he had once lived while getting a foothold on fame, until she practically died from the effects, and no sooner had they walked into their Hollywood home than Archibald, Cary’s pet Sealyham, gave one sniff and walked out the back door. Some- where else. The confusion, the weeping, the advertising that followed, beat anything yet. For five PHOTOPLAY MAGAZINE FOR JULY, 1934 IO! “Aren’t you going to eat your ice-cream, dear?—Polly, I don’t know what ails Tommy—he isn’t a bit like himself. He won’t eat, and he’s lost all his pep!” Alice, I wouldn’t worry about Tommy. Jack was the same way a month ago, and I found all he needed was a laxative. Give him some Fletcher’s Castoria.” “You're just the person I wanted to see, Polly! Tommy’s been out playing all morning. I gave him some Fletcher’s Castoria last night, and it’s certainly wonderful!” @ “Yes, it certainly is, Alice. Fletcher’s Castoria is the ideal laxative for children. It’s pleasant to take, too—because it tastes awfully good. You know, it hasn’t any of the harsh drugs in it that are in some grown-up’s laxatives. Don’t forget that it’s just the thing for colic in little babies, too! The signature Chas. H. Fletcher is always right on the carton.” tibiae CASTORIA The children’s laxative e from babyhood to 11 years e« Mother, whenever your child needs a laxative—for relief of constipation, for colic due IR to gas, for diarrhea due to improper diet, for sour stomach, flatulence, acid stomach, and as the very first treatment for colds—give Chas. H. Fletcher’s Castoria. WH 00 OUR PART
Page 100
102 Now Mays Lips say Kiss ME” GOOD NIGHT-I'LL CALL YOU UP... Oe vee DOESN'T HE TAKE ME IN HIS ARMS AND GIVE MEA LONG KISS 2? IM SO DISCOURAGED - JACK HAS NEVER EVEN TRIED TO REALLY KISS ME... LISTEN-7TRY THE LIP MAKE-UP OF THE MOVIE STARS —THE WONDERFUL NEW KISSPROOF INDELIBLE LIPSTICK — YOUR LIPS DRAW ME LIKE A MAGNET — | CANT SEEM TO RESIST THEM... DONT TRY- THE LIPSTICK ON THEM 1S CALLED KISSPROOF! Try the Stage and Movie Lipstick If you admire the appealing “kissable- ness” of the lips of the movie stars and the girls in the Broadway shows, just try their lip make-up yourself—the new KISSPROOF Indelible Lipstick, Special Theatrical Color...This lipstick discovery is so wonderful it has been placed by the make-up experts in the dressing-rooms of both Hollywood Studios and New York Theatres! The stars could certainly pay anything—yet you can have exactly the same smooth, alluring KISSPROOF they use for a few cents! Have the thrilling new “lip appeal’ it will give you tonight. You can get KISSPROOF LIPSTICK in all shades, including the Special Theatri- cal Color, at all toilet goods counters and at the 10c stores. Kissproof Irdelible WPSTICK PHOTOPLAY MAGAZINE FOR JULY, 1934 nights from midnight till five in the morning the phone rang with strange people screaming, “Hold everything. Think I have Archibald!” Well sir, after the Grants were near prostra- tion what with the lack of sleep from the phone ringing and all, Archibald returned. Just honeymoons in Hollywood, that’s all. Just honeymoons. Of course, there was the wedding and honey- moon of Connie Cummings and Benn Levy over in England, also at the registry’s office (the wedding was; not the honeymoon). After- ward they all repaired to the groom’s mother’s where a large garden party in their honor was in progress, with formal speeches on ‘What Lies Ahead for England?” the little feature of the afternoon. But somehow neither the bride nor the groom cared much about what lay ahead for England. Just couldn’t get steamed up about it, so, slipping off unnoticed, they flew to Paris to pick up Connie’s trousseau which awaited her there. And, after getting the precious new clothes packed in two trunks, they had exactly twenty minutes to catch the train for Venice—only Connie was afraid to trust the trunks to a taxi driver, so what to do? INALLY, it was agreed Connie should ride in one taxi with one of the trunks on top and Benn should ride in another taxi with the other trunk atop. Anda nice little parade of its kind it made, too, what with the bystanders waiting for the band to catch up with the rest of it, and everything. And then Connie heard a sudden thump and looking out, there lay her trunk in the street and yonder drove her husband and his trunk, all unaware of what had happened behind him. Well, here was another of those little Holly- wood touches. Just the way they always happen, no matter where these movie people roam. “T’ll miss my train, I’ll miss my husband, I'll miss my honeymoon!”’ screamed Connie, while the taxi driver, who understood not a word she said, simply stood and looked. First at the trunk and then at Connie jumping wildly up and down, which so incensed the bride she flew at him and practically demolished him on the spot. And all the while her agitated hus- band paced wildly up and down a railway plat- form looking for a bride. theater. At three minutes to twelve she made it while Benn handed the trunk checks to an astonished friend with the instructions to check them on. Naturally the friend thought he meant to Hollywood, and calmly sent the trunks on to California while Connie, hot and tired and no clothes, wept in Venice. OO} you just can’t beat it. It just happens and that’s all there is to it. You know about Lupe and Johnny, or don’t you? Well, never mind, for neither do they. It was all very confusing and mixed up. It was Las Vegas, Nevada, that received the happy pair and once again a judge (there is no life as full of little surprises as a Nevada or an Arizona judge’s) was routed out to perform the cere- mony. But when Lupe felt Johnny was a bit too slow in his answers of “I do” and “I will,” she reached over and gave him an encouraging little pinch, whereupon Johnny let out a Tarzan yell that blasted the judge straight up to the chandelier, where he hung and refused to come down until Johnny promised not to yell any more. And then Johnny forgot his promise when Lupe felt he was much too slow in pro- ducing the ring and, reaching over, gave him another pinch, and again Tarzan’s call rang out over the Great Southwest until even the Indians, miles away, took to the trees and stayed there. They were actually four days coaxing the wedding witnesses out from under the davenport. ND then followed the hectic “Are You Married or Aren’t You?” act back in Hollywood. “Ves, I think we are,” Johnny would tell the reporters on Monday, while on Tuesday Lupe would tell them “no” with variations. Finally Lupe and Johnny got so mixed up themselves they had to send to Las Vegas for the papers (word was also brought back that the Indians were still in the trees) before they were sure just what had gone on. But the honeymoon of the McCreas takes the cocoanut-covered cookies. After Joel had gone to New York to marry Frances Dee and had to fly right back to movies again, he hied himself out to the old McCrea ranch to await the return of the bride. Well, the bride came and so did the rains. It rained and it rained and it rained, and there were the McCreas, shut off from the outside world, with telegrams Mr. and Mrs. Fredric March caught by the camera at the Tingle Tangle That blurred spot on Freddie’s face is a burnside (real hair). And our Mr. March is proud of it!
Page 101
pouring in from the studio to come at once as all kinds of productions were being held up for them. A car couldn’t possibly make it over the dirt road, so finally they got themselves into an old hay wagon, and half-way down the dirt road the nasty old wagon sunk knee-deep in the mud. And the rain poured, the cat in the back of the wagon had kittens, the bride wept and half the hillside just up and poured itself into the groom’s lap. AME the dawn. And with it were the Mc- Creas still in the wagon with the rain busily pouring, the cat still with the five kittens in the back of the wagon, over three-fourths of the hillside cuddling cozily in the front with the bride and groom. Just to cheer them up, a neighbor ploughed through with the news that someone had broken into their Holly- wood home and stolen Frances’ diamond en- gagement ring. Of course, this could just go on forever. There’s no end to the things that happen to happy Hollywood couples. For instance, when English Pat Paterson and French Charles Boyer decided they wanted to get married along about ten o’clock one evening, they just called up the police station and asked them where to go. “‘To Yuma,” the police said, ‘‘and good luck.” So off to poor, tired-out Yuma they drove, while a waiter, in the same all-night stand, calmly took off his apron while the couple finished breakfast and went out to shop for the ring and the license. “Need anything else?” he asked them. “Got plenty of handkerchiefs and underwear?” And with the dollar-and-twenty- five-cents ring the waiter selected, the two were married. And no kidding about this, mind you. These things actually do and did happen. Why, believe it or not, when Adrienne Ames made that famous flight from a Reno divorce court to New Mexico to marry Bruce Cabot, someone called to her to hurry, that the plane was taking off. And with one leg in her slacks and one out, Adrienne raced for the plane. She arrived to meet the groom with one leg still in the slacks and one out and a popcorn ball in her hand. Where the popcorn number came from no one could ever explain. Least of all, Adrienne. But there it was. But, of course, the prize pair of them all were the Coopers. The Gary Coopers, to be exact. Headed for a fast round-up in Arizona, the bride and groom, with the bride’s papa and mama, no sooner arrived than sur- prise, surprise, here came Gary’s papa and mama. What a round-up! HE Balfes (her people) and the Coopers (his people) spent long hours, of course, dis- cussing their respective offsprings and what they broke out with as children. ‘My, yes,” Mrs. Cooper would say, ‘‘Gary had a dreadful time with chicken-pox. It left the funniest strawberry on his hip. Gary, did you show Veronica your strawberry mark?” And when the two would fly to their horses to ride off in the moonlight, there at the end of the trail would be the two papas patiently sitting on a cactus awaiting the happy couple. Well, to be exact, the wedding took place sometime in December, and sometime in May, Gary and Veronica were aware, one day, that something was wrong. After thinking it over Gary suddenly hit on it. “Good heavens, dear,” he yelled, “we're alone at last.” And that, gentle readers, is honeymooning in Hollywood. PHOTOPLAY MAGAZINE FOR JULY, 1934 103 he wll Aes @ Put your money on these smart Phoenix ‘’Doggys” é) 4 eeaneese® They’re winning out in every hosiery fashion race—these Phoenix ““Doggy”’ colors! Collie, a true beige, is way ahead with summer pastel costumes. Also with cool navy or brown prints. Play Setter, a warm beige, for your bright sports things a la Mexicano. It looks well with a lightly sun-kissed skin. For real honest-to-goodness tanners, we recom- mend the darker beige called Spaniel. Very smart with white, with certain pastels, and with all the variants of the red and brown families. Greyhound always shows with the wearers of navy blue and grey-beige. Ask to see “Doggy” colors in Phoenix Everyday sheers, No. 705, $1. Others, 85c to $1.95. @ Sheer and Shadowless— and so-o-o seductive They’ve always been sheer—and seductive— have Phoenix stockings. And now they’re Shadowless_ as well. That’s news! Imagine these exquisite Phoenix stockings, with an absolutely clear and cloudless texture from toe to hem! A new method used in Phoenix knitting banishes hosiery rings forever. Of course, you get all the other famous Phoenix by PHOENIX features in Shadowless Hosiery, too. Phoenix Shadowless Hosiery is priced from $1.25 to $1.95 the pair. Ask for “Fluff,” Phoenix Shadowless Chiffon, No. 779, $1.25 the pair. @ Long-mileage Foot wins in any game Very considerately, the Tipt-toe and the Duo-heel are doubly reenforced where wear is hardest. When you’re clad in this Phoenix stocking with Long-mileage Foot, you can feel secure about no holes cropping up. Ask for Phoenix “Standby” service sheers, No. 772, $1.25 the pair. Phoenix lisle mesh Sportees come in pastel shades, to be worn over Phoenix silk hose. @ For climbing fences— Any knee-action is safe and comfortable if you're wearing Custom-Fit Top! For only Phoenix has this famous Top which stretches both ways (up and down, or round and round), yet fits like the skin, whether you’re tall or short, slim or plump, or just average. Be- cause it fits so smoothly, Phoenix Custom- Fit Top insures perfect grooming. Ask for “Gadabout,” super-sheer Shadowless grena- dine stocking, No. 743, $1.35 the pair. PHOENIX Os TERY with CUSTOM-FIT TOP.
Page 102
104 Here’s That Amazing New Discovery For BLONDES! Brings A Clear Lightness Unknown Before! An almost magical way has been found to increase and intensify the special allure of the Blonde Girl. To enable you to at- tract as never before, if you’re blonde... with the golden shimmer of your hair! Science has found a way to marvelously enhance the beauty and fascination of light hair. Even when it is dull and faded- looking, to bring back its real blonde color and lustre! hy No matter how lovely your hair is now, this discovery will make it lovelier...give it a dazzling gloss and sheen ... make you a golden magnet of feminine appeal. Win and Hold Men It is called Trublond. Try it just once. It is SAFE—not a dye. Simply acts to bring out the natural hidden color, golden light and fluffiness to your hair. And when hair has darkened and become streaked, Trublond quickly brings back its original color and sparkle. You use it like an ordinary shampoo. Get a package of Trublond—for a few cents at any drug or department store or at the 10c stores. Begin using your blonde charm to the utmost! a aa a Se || TRUBLOND BLONDE SHAMPOO ? ly Jo-cur <Mackos hoir shades lighter... Keape blonde and light helt from fading ond dacening . . . Giver a Rich, Natoral Golden Glow. JSischer-Protector i aa Bo Before d AVOID SUBSTITUTES After Thousands owe relief from Painful Bunions and swol- len joints to the Fischer Bunion Reducer. Sold for over 25 years by Shoe Dealers, Druggists and Dept. Stores. Ask your dealer, or write us direct fora Free Trial Offer. Sole owners, manufacturers and Patentees. FISCHER MANUFACTURING COMPANY Milwaukee, Wis. P. O. Box 683, Dept. Kt} PHOTOPLAY MAGAZINE FOR JULY, 1934 Hitting Hollywood’s High Spots them over to their table for a little chat. Evidently a much liked couple. At the fights was that sensational charmer, Mae West. She looked just as elegant and just as morally explosive as you would imagine. Alice White was present, too. And in such a nobby dress. Blue lines running around in circles and ending in a staring white target right in the middle of her back! Adrienne Ames and Bruce Cabot, her husband, and pals Lupe Weissmuller and Johnny were all to- gether. The latter couple (particularly the Mexican half) was in a varying state of either hypnosis or audible hysterics, according to the fisticuffs. It was such fun. But the spirit of carnival really entered in when sudden raucous ‘‘Whoopees!”’ rent the air. The cowboy kind. Looking up, I spied two real Westerners making their way around the arena. To the cheers and cries of the crowd they jovially waved their ten- gallon sombreros. A fantastic sight, Joan, and who do you suppose these gay caballeros were? Richard Bennett was one. And Leo Carrillo the other! A couple of kids, that’s all. To repeat myself, it was a gay night. And just a dollar ten a ticket, my dear. On to the Grove and an impressive ringside table. First little starlet that came into vision was the fresh, lovely Anita Louise, with her best boy friend, Tom Brown. She wore a long, black georgette dress with crisp white organdy collar and cuffs and a little black hat. Such love shone from those azure eyes! Ah, but they’re an adorable couple, Joan. Then I saw that frivolous young article, Toby Wing, sit- ting with a young millionaire (the Sunday night before she had been at the Beverly Wilshire with Junior Laemmle). She was dressed in the same combination as Anita Louise, black with white organdy. Just about this time a faint but detectable fragrance stole into my nostrils. It was exquisite . . . and well it should be, since it was on the person of that superlative beauty (hold your breath), Marlene Dietrich. This was a night! She was dancing with Maurice Chevalier, and she, too, was in black georgette. But not a drop of white anywhere. On her arm were several coruscating (large; glittering) diamond bracelets (I said bracelets . she’s gone feminine, dear). And the same, hypnotic Mona Lisa smile was on her white face. I moaned softly under my breath. It was all such a rhapsody. And I do get so envious. I will dispose of the Marathon quickly. It was mobbed. I was weary, however, and if you will forgive me, I merely bothered to spot Jack LaRue and the cute Mrs. Jolson be- fore giving myself up helplessly to Morpheus. However, there will be more to report at a later date. You know those things. The older they get the better they are. So eventually I will delight your childish heart with a detailed report of all the nobby picture people who will doubtlessly crowd the place for a good laugh. OU’VE written practically nothing about your love-life, little one, so I take it you’ve been curled up in front of the fire with a book these nights. Well, just to brighten your per- spective, let me give a short but eloquent rhapsody on the bed they’re using in “The Merry Widow.” First off, it’s about as large |and massive as the Empire State Building. [ CONTINUED FROM PAGE 38 | Second, it’s in pure, gleaming white satin, and when I peeked at it, in the workroom, there were exactly seven men at work on it. But all this is as nothing. Wait till you see the pure white bedroom. Simply a knockout, and so fragile that you have to cover your boots with big cloth slippers before you can step on the set at all. The lady who will anguish among such snowy splendor is Jeanette Mac- Donald. She came to inspect it when I was there (everyone at the studio had already gone into short swoons), and she shook her head and muttered: “Hardly a place to sleep in!” However! OU know, it’s warm as anything on the desert. Just the place to scatter one’s cold from one’s system. (Don’t ejaculate, we catch colds in California, too.) So I traveled down one day, all loaded with slacks and shorts and suntan lotion. Not Palm Springs this time, but a grand little ranch that Hedda Hopper went into a young rave over, because it had all the advantages of said Palm Springs, but none of the crowd. First, I was met by five big dogs. Oneof them, I was told, belonged to David Manners (who has his own charming adobe house right next door to the ranch). But I didn’t know which pooch was which, so I didn’t bother trying to discriminate. Anyway, David wasn’t there, although I speedily took the trouble to find out that he was liable to come any time at all . . . whenever he could get away from the studio, and that news, of course, was some- thing to cheer about. Dorothea Wieck was one of the guests. She wore jersey slacks (and said material, as you know, necessitates a splendid and flawless figger, which the lady has) and tiny skull caps. Not a hair showed from under. I waited for days to see if it would, and went home quite dis- appointed. Never saw a hair. She is so quiet, Joan. And as tender in manner as a child. Mostly she walked, by herself. The first night she arrived, she requested to be awakened in time to see the desert sun rise. I can imagine how that pure, lovely face glowed with pleasure at the sight. Myself, I take my version of sun rises in the movies, but somehow this apprecia- tion of beauty shamed me. So, the very next morning, I was out for a walk at seven o’clock. All five dogs accompanied me, making me ~ nervous by their ecstatic gambolings. It was just exactly seven-thirty when the noise of a swiftly approaching car rent the quiet desert morn. Immediately one of the police pups went into wild spasms of joy. The next moment a stunning roadster careened around the bend in the road. There was a screech of brakes. The following few minutes were occupied by a confusion of sounds. Man-with-dog sounds . . . which gave me a chance to ogle David Manners to my heart’s content. Such lavish goings-on between the two of them gave a feeling of definite success to the morning’s walk. And I now say that any woman who does not rise with the sun leads a life that is infinitely sad and insipid. Of course, I could scribble on and on, and you’d never be the one to call a halt, but ’m about to get a curvature. So I shall make a statement, slick and simple. This is the end. Yours, Mitzi
Page 103
A Good Pal Is Worth Three Dollars [ CONTINUED FROM PAGE 35 | twenty or more curtain calls. Bill was stand- ing in the wings while Leslie took five calls by himself. Then he ran off stage. “Come on, Bill,” he commanded. ‘They want you, too.” Together, Leslie leading Bill by the hand, they took bows. Then Leslie retired, pushed Bill out alone on the stage, while the audience deafened him with their approval. What a moment for an unknown actor, a sensitive, sentimental Mick! Those blue Irish eyes swam in grateful tears. “T didn’t care whether Leslie Howard really liked me or whether he hated me,” says Bill. “T knew that from then on I was going to like him for the rest of my life.” Next morning when the producers called a conference ‘with author Philip Barry, because of the comparative weakness of Howard’s part, Leslie stood firmly on one thing. “T don’t want one line of Red Regan’s part cut,” he said. Which was just the same as handing Gargan a ticket to fame. He scored a hit during the twenty-three week New York run of ‘Animal Kingdom.” And that eventually led to Hollywood. THOSE weeks on the stage were what really cemented the Gargan-Howard family friendship. Leslie Howard’s dynamic wife, Ruth, met Bill Gargan’s quiet, reserved mate, Patricia, and they became fast friends. Ruth was the only one who could handle tempest- uous little Barrie Gargan. She awed him and made him mind his manners. There were dinners together and pleasant evenings. Once Bill and Leslie went with the play to Cleveland for a week. Leslie put up at the swankiest hotel in town, but Bill still had to watch his nickels, so he registered at a less pre- tentious house on the outskirts of the city. It made it hard for them to get together much except during the play. “Look here,” said Leslie one night, “this won’t do. I’ve an idea. How would you like to be my secretary?” Bill gasped. “Vou see, there’s half-rate here for servants,” Leslie explained, ‘if you don’t mind coming down in the world.” Bill didn’t mind—not so long as it meant a luxurious room and bath adjoining Leslie’s in a ritzy hotel. But if Leslie did bring Bill down in the world one week, he helped boost him up in the world a few weeks later. “Bill came to me one day just about to ex- plode with excitement,’ Howard relates. “Hollywood wanted him to play in ‘Rain’ opposite Joan Crawford, he said, and he was practically all packed to go at the moment. “But look here,’ I told him, ‘you can’t do that, you know. You’vea run of play contract with ‘Animal Kingdom.’ “Well, at that Bill worked himself up into a typical Irish state. I knew from past experi- ence that it was no use refusing that fellow any- thing, and sure enough, before I knew it, I was talking the producer into letting him leave the play.” Bill came to Hollywood, to be followed not long after by Leslie. Hollywood isn’t particularly famous for Co Oe ESS as PHOTOPLAY MAGAZINE FOR JULY, 1934 oy Spend 10¢ and receive attractive Lipstick, 50¢ value to acquaint you with the marvelous LINED BEADS BATH ANY WOMAN would be delighted to have one or more of these attractive, long-lasting, waterproof lipsticks. You have three popular shades to choose from (see coupon below) and you will be amazed at their genuine quality and real value—yet they cost you only 10¢ each. This generous offer is made possible by the makers of LINIT, that well-known Beauty Bath preparation that is used by fastidious women everywhere—to keep the skin as soft and smooth as velvet. You will be fascinated by a LINIT Beauty Bath and its zzstant results in beautifying your skin. Merely send the top from a LINIT package with 10¢ (to cover cost of wrapping and postage) for EACH lipstick desired, using the coupon printed below. LINIT is sold by grocers and department stores. A THIS OFFER good in U.S.A. only and expires Sept. 1, 1934 CORN PRODUCTS REFINING CO., Dept. P-7, P. O. Box 171, Trinity Station. New York City iR. Please send me......... lipstick(s). Shade(s) as checked be- low. Ienclose........... Candee LINIT package tops. D Light DO Medium O Dark
Page 104
106 PHOTOPLAY MAGAZINE FOR JULY, 1934 WELCOME AIDS FOR | cementing friendships, but in this case it has Siluette belt by Hickory—Style 1300 By a patented process Siluette Sanitary Belt by Hickory is per- manently woven to shape on the loom to make it conform per- fectly to the figure. Siluette can- not bind, curl, irritate or slip. You'll find it delightfully soft, lightweight, comfortable and dainty, yet dependably secure. Its easy-stretch, fine quality Lastex wears and wears. Can be boiled, washed and ironed......65c STYLE 1387 (at right) A popular Hickory Shield Button Style —combination satin and boilproof Lastex. 50c. Sp YAR B18 (at left) The Hickory Petite— adjustable — narrow boilproof Lastex; Pyralin clasps, no pins —perfectly secure. 35c. Sanitary Belts by CKORY HI Made in a wide variety of styles, 25c to 75c Hickory Belt you want, send us his name with your remittance. Please state style and desired size: small, medium or large. A. STEIN & COMPANY If your dealer hasn't the 1149 W. Congress St., Chicago Youll Mike HICKORY DRESS SHIELDS, foc LOVELY EYES HOW TO HAVE THEM LORIFY your lashes—give them that long, lustrous look no man can resist. It’s so easy. Just darken them with Winx Mascara (cake or li- quid 75¢). Pure and safe—not a dye. Thousands of smart women have used Winx for years to beautify lashes. Also “dress” the brows with a Winx Pencil (35¢) and use Winx Eye Shadow (75¢) for smart make-up. Buy Winx Eye Beautifiers at all department and drug stores. For the most complete booklet ever written on eye make- up, write for FREE copy of “Lovely Eyes’ to Louise Ross, Dept.D , 243 West 17th Street, New York City. done very well. Neither had very many close friends when he arrived; neither has yet—so they “take it out on each other.” Leslie plays the réle of father-confessor, as he has always played for Bill. And Bill—well, Leslie, himself, says: “You know, that crazy Irishman has a sixth sense about me.” Bill never calls Leslie by his right name, to Howard’s never-ending amusement. It’s always “Charlie,” or ‘‘Joe,”’ or ‘Ralph”—or some new one. They baffle each other in some ways. Leslie can’t understand why Bill is so incurably out- spoken that he continues to get himself in jams. Such as the time when a chance remark about Joan Crawford, greatly amplified by Holly- wood’s gossip system, came back to her so dis- torted that Bill lost a possible lead in ‘‘ Dancing Lady.” ND Bill can’t understand why Leslie is so quiet and abrupt most of the time. The English mannerisms puzzle him. “Like the other evening,” says Bill, “when we were over at the Howards’ for dinner. Afterward we went into the parlor, and sud- denly I looked around to find Leslie gone. A couple of hours later I strolled upstairs—and there he was lying on the bed reading a book! “ve sat with him all night and not more than ten words have passed between us.” A striking example of this difference in volubility occurred when Leslie Howard Gargan arrived. At the time, Leslie was on the Berengaria just out of New York harbor en voyage to | England, and Bill was in Hollywood. Breathless, Bill rushed off a radiogram, com- | plete with all the details—words and words, | costing him upwards of fifty dollars. Came the reply, | “Topping. Regards. Howard.” | Another thing which has Bill Gargan com- pletely licked is Leslie’s ever-present com- posure. “Why, when we were doing the play in New York,” recounts Bill, “the stage manager and myself were almost in a state of nervous col- lapse about Leslie. Howard and I had found a secluded little restaurant where we would usually arrive to eat about seven o’clock. About eight-twenty I'd get nervous. “““Tisten,’ I'd say, ‘that curtain goes up at eight-forty. And we’re fourteen blocks away. Let’s go.’ ““Right!’ he’d say, and then deliberately help himself to some more cheese and coffee. As cool as a cucumber, while I was sweating blood. Somehow we always got there on time.” But there was once when Leslie didn’t ‘‘get | there in time,” and it gave Bill a chance to | repay a long standing favor in its own kind. It was during the bank holiday of last year. Bill had just cashed a five thousand dollar check, on a hunch, and had put the bills in a safe-deposit box. Leslie got the bank closing news too late, and being in the habit of never carrying any money around with him, found himself virtually penniless. So Bill gave Ruth Howard a thousand dollars and Leslie said a hundred would be enough for him. When the banks reopened, Mrs. Howard paid back the thousand, but Leslie forgot all about the hundred—just as Bill, five years ago, had forgotten all about the three. A few weeks later Leslie was called to Eng- land. Bill went with him to the train. There was some business of making change and Leslie handed Bill four dollars and a half. “That makes ninety-five, fifty you owe me,” mused Bill. Howard stared. “You’re going back to England and who knows if I'll ever see you again, or my hundred bucks you borrowed?” said Bill. And for the first time in his life, Bill Gargan thought he saw Leslie Howard blush. Then he burst into a hearty chuckle. “Bill, you’re priceless,” he said. I had forgotten all about it.” Even when he hits him for a debt, Leslie thinks Bill Gargan is funny. As Bill says, “Charlie’s a pushover for laughs.” But Mrs. Howard—and Mrs. Gargan—they don’t laugh quite so easily. In fact, it will probably be a long time before Bill tries any- thing funny on them again. Recently Bill and Mrs. Gargan drove to the location of “Of Human Bondage,” where Leslie Howard Gargan, ten-months-old, is making his screen début with his illustrious namesake. Bill and Leslie decided to ride back together and let the better halves take the other car. On the way, Bill thought it would be lots of fun to pass Ruth and Patricia and cut them cold. So stepping on the gas, the two jokesters whizzed by with their noses tilted skywards in the best ritz manner, looking neither to right nor left. “T swear, THEN, happening to turn around, they noticed the snubbed wives accosting a motor traffic cop. The next moment a siren wailed and the officers waved them over. “YVou’re arrested,” he growled. and crowdin’ a car to the curb. complained. Pull over.” And as Leslie and Bill meekly signed a traffic ticket, Mrs. Howard and Mrs. Gargan, their noses elevated conspicuously, whirled by, shouting, ‘‘See you in jail!” Just one big, happy family—the Howards and the Gargans! “ Speedin’ Those ladies ‘The Stars! Now You See ’Em—Now You Don’t [ CONTINUED FROM PAGE 55 | | that as they were about to start ‘‘Elizabeth and Mary,” in which they were starring her— | if she didn’t mind—they’d like to lure her out to Hollywood for a spell. Margaret took her time coming—twenty-one days on a boat through the Panama Canal— but when she arrived she put joy into the hearts of one and all. She seemed actually anxious to start to work. Vigilance relaxed. And then one day Margaret strolled out of the gates and sniffed the balmy breezes. She was due for a stuffy test—so she went out to the airport and took a flying lesson. Up in the air Margaret shouted to the pilot, “How much gas have we got?” “About enough to get to San Francisco,”
Page 105
said the aviator. garet. They went. | Well, if there had been a Sullavan reforma- | tion, that one taste of Houdini-ing was too | much for it. From that time on, the Holly- | wood newspapers screamed almost daily— “Where’s Margaret Sullavan?’”’ Nobody knew. She had a telephone, but no information could | be obtained by calling her home. She moved round to new addresses so frequently that folks couldn’t keep up with her. While every production official did a frantic off-to-Buffalo trying to corral the disappearing actress for such necessary things as make-up tests, fitting and script conferences, Margaret tested out all the trans-continental air lines she could discover. Just when they thought they had her, Margaret would skip out from beneath the net and hop a plane East. She did it three times; once flying to Chicago, where she sat for six hours alone in the Chicago Air Terminal, and then caught the | next plane West—just for the ride! | | | “Let’s go!” shouted Mar- | All this merely worked up to the famous six-day Arizona “fishing trip,” which not only had Universal in a state of near collapse, | but also had the newshawks of Los Angeles | papers donning gumshoes in an effort to un- ravel what looked like a sensational story as well as an advanced problem for Philo Vance. Margaret Sullavan’s name has long been romantically and professionally linked with that of the Broadway play producer, Jed Harris. In fact, Harris has been indirectly named by some as being the fly in the Sullavan screen ointment. It is his influence, they say, which makes Margaret want to shake Holly- wood’s dust from her slippers so very fre- quently. That’s why a reporter, who had just seen Margaret at ‘Uncle Carl’ day party at Universal and had then met an incoming plane from which a “Mr. Harris of New York” had alighted, became suspicious and checked with the studio to see if romance was in the air. The studio didn’t know, but Laemmle’s birth- | obligingly telephoned Margaret to find out. | There wasn’t any Margaret. Yes, the landlady admitted, Miss Sullavan | still rented the place, but her maid had been sent home, and she had packed without a word of where or what about it. And when they couldn’t locate Jed Harris | in Hollywood, and a long-distance call to his New York office revealed that he had left for “Florida or California,” things really looked interesting. Jed Harris bad- eloped. And for six days it was just that—a guess. Until the day Margaret nonchalantly showed up at the studio in her inevitable pongee shirt and corduroy slacks, sporting a beautiful “shiner” and a cut on her cheek. She gave one answer to the barrage of questions which descended upon her! “T was fishing in Arizona.” “With anyone?” they wanted to know. “T was fishing in Arizona,”’ she repeated. “How did you get the black eye?” pressed the inquisitors. ISHING in Arizona,” was her story, and like Aimee Semple Mc- pherson, of desert kidnap fame, she stuck to it. Margaret was a good girl for three days after the fishing trip, and then she vanished again into space. n Kansas City nipped this Houdini act in the bud and phoned his discovery to Hollywood. | Little Man, What Now?” | Now, busy with “ The guess was that Margaret and said Margaret. It Only an alert newspaperman in | | | | | | | | not be copied because all three are protected by 4 PHOTOPLAY MAGAZINE FOR JULY, 1934 Gamat of all Kati sae “THE 1934 WONDERSOFT KOTEX 1 sides cushioned in downy cotton to eliminate chafing. 2 holds its shape — no more discomfort from twisting. OTEX scientists, with the help of a Consumers’ Testing Board of 600 women, have created in the 1934 Wondersoft Kotex . . . the perfect sani- tary pad. The sides are cushioned in downy cotton to relieve troublesome chafing, yet the center of the pad is left free to “perform i its important work in- stantly, without hindrance. It holds its shape. There is no discomfort from twisting and turning. And every vital Kotex feature prized by women is re- tained. Third exclusive Kotex patent * Three times in two years Kotex improve- ments earned U. S. Patent protection. Férst —rounded, tapered ends that make protec- tion non-detectable. Second—the famous Equalizer, that controls lengthwise absorp- tion and increases efficiency. Now the third and greatest improvement—the new 1934 Wondersoft Kotex. The Wondersoft pad is exactly the same in width, length, thickness as the old. It has the Equalizer and it has the tapered ends, as before. In addition the sides of Wonder- soft Kotex are skilfully cushioned to give greater comfort than ever. There is no other sanitary pad like this new Wondersoft Kotex. A new package for your protection The Wondersoft Kotex package is mew in shape, color and design. It no longer looks like a box of sanitary napkins. Ask for Wondersoft Kotex in Regular or Super (extra thickness) at your dealer’s today. Both are priced alike—at the new low standard price of 20c. Obtainable in vending cabinets through the West Disinfecting Company. %& 3 exclusive Kotex features that positively can- Rs woe me U. S. Patents. You will be disappointed if you accept something “just as good.”” Illustration and text copr. 1934, Kotex Co,
Page 106
108 Clear Skin WINS LOVE etters like this prove that what Ambrosia has done for others, it can do for you. You feel Ambrosia tingle; you know it is cleansing as nothing has done before. Black- heads, pimples, muddiness disappear. Your skin has the clear, glowing freshness of youth. Ambrosia cleans pore-deep as only a liquid can. Skin dry? Follow every Ambrosia Cleans- ing with Ambrosia Dry-skin Cream. Pene- trates, restores oil, ends dryness, smooths wrinkles. Skin oily? Follow every Ambrosia Cleansing with Ambrosia Tightener. Tight- ener reduces large pores, normalizes oiliness, invigorates circulation. Ask for Ambrosia preparations at drug or department stores. 75¢. Slightly higher in Canada. Also in smaller sizes at 10¢ stores. Hinze Ambrosia, Inc., 114 Fifth Avenue, New York, N. Y. STREAKED This way brings even color Base streaks — dull strands — grayness —all vanish at the touch of this famous clear, water-like liquid. Just comb it on and color comes: black, brown, auburn, blonde. Hair stays soft—easy to curl or wave. En- tirely SAFE. Millions know this time-tested way. Get bottle from your drug- gist or department store on money-back guarantee. Test it FREE ~ Will you try Mary T. Goldman’s on single lock snipped from hair? No risk this way. Wesend complete Free Test. .-- Mail coupon. —=MARY T. GOLDMAN —_; | 2431 Goldman Bldg., St. Paul, Minn. | ] INERT. catod ROD BOOCOODECOOR Sea EpoDoaDSSpdd | I SIS wocchcs Ano ooadceoandgoadonu oDond9nenS I | l | Gityrerteteieielela a) acs 'oiaiel ole 6 State: oric< clommiecie | PHOTOPLAY MAGAZINE FOR JULY, 1934 Margaret says she is cured and that she’ll roll up her magic carpet. But it was too late; she had started some- thing, sure enough! For the minute her sen- sational fade-outs had left the front pages, Ginger Rogers had the combined detective forces of the local Scotland Yard, two major studios, her mother, her press-agents, five radio stations and the press of the nation try- ing to find her and fetch her back from good- ness only knew where! Ginger, who had done nine pictures in a row without a breathing spell, and the last two at the same time, turned a very firm, feminine thumb down on a loan-out offer from Fox for a part in the Janet Gaynor-Charlie Farrell re- teaming picture, “Change of Heart.” Her way of insuring her vacation was to have her manager put her salary so sky-high that Fox wouldn’t dream of paying it. Which he did; and Ginger, leaving a note for her mother, Mrs. Lela Rogers, telling her not to worry (and that was all), immediately evaporated for her well- earned rest. Har was on a Satuday. On Monday, Fox almost gave Ginger’s manager heart failure by agreeing to pay the fabulous salary, and fol- lowed through by putting pressure on RKO- Radio for Ginger’s loan. So RKO offered to tear up Ginger’s contract and double her salary, if she would put off the holiday rest for the one picture. But she had to be back by Thursday morning or the whole thing was off. Picture the frantic manager telephoning Lela Rogers to find out where daughter Ginger was hiding, only to hear a helpless wail, “I don’t know!”’ Then picture the strong arm of John Law and his minions wiring, scouting, in- vestigating, reporting all over the Southwest, to no avail for the red-headed actress who had blended into the scenery. Picture the heads of RKO imploring all the radio stations to help find the little lost girl. They would, said the national stations, if the missing actress was properly registered at | the Bureau of Missing Persons at the sheriff’s office. So “Ginger Rogers, screen actress, five feet, four, etc., etc.”’ was listed officially as lost, strayed or stolen, and the message crackled out over the ether of every important station in California: “To Ginger Rogers, wherever you may be— you are wanted at your home at once. Please communicate with your mother. It is very important.” The message flashed at every station announcement. And away over in Arizona, twenty miles from the nearest telephone line, Ginger tuned in. The next morning her mother received call from a tiny town near Kingman, Arizona. Thursday morning, weary but willing, Gin- ger magically appeared out of the everywhere on the set at Fox—a homecoming Houdini who was glad to be home. However, Lyle Talbot wasn’t such a good radio-tuner-inner and thereby sacrificed a good part in “Gambling Lady” to Joel McCrea, when he put on the vanishing top-coat. Lyle set out, destination unknown and un- suspected by the Brothers Warner, who sign his pay-checks. It was a motor trip, he was going to be gone until further notice—and just try and notify him! The Warner Brothers tried. They tried be- cause they had that good part for Lyle, and production was being rushed. Paging Mr. Talbot! They knew Lyle had a radio in his car and that he played it incessantly while driving. They hoped—ah, vain hope!—that Lyle listened loyally to the programs of KFWB, “the Voice of Hollywood,” the last SYLVIA Says— Every woman can be charming, if she'll let herself be. SYLVIA aided numerous stars in Holly- wood to improve and retain their charm so they would captivate their audiences. In many articles in PHOTOPLAY Maga- zine she told how to be beautiful and has been of immeasurable help to thousands of women. Now SYLVIA presents “NO MORE ALIBIS” a beautifully bound book containing a wealth of fascinating secrets on important physical perfection and personal attractive- ness, never before revealed in articles or over the radio. ‘“‘No More Alibis” covers every phase of physical and beauty culture, including DIET AND EXERCISES FOR GENERAL REDUCING HOW TO GAIN WEIGHT KEEP THAT PERFECT FIGURE ACQUIRE GRACE AND POISE OVERCOME NERVOUSNESS CLOTHES TIPS FOR STRUCTURAL DEFECTS ADVICE FOR THE ADOLESCENT THE WOMAN PAST FORTY PROPER EXERCISES,” ILLUSTRATED HEALTH CHARTS AND MENUS Regardless of how perfect you may think you are in charm and figure, this new book of Sylvia’s will show you some way in which you can improve yourself. Send One Dollar For It Today Use This Coupon PHOTOPLAY MAGAZINE, 919 North Michigan Ave., Chicago, Ill. I am sending One Dollar for which send me, postage prepaid, SYLVIA’S new book, “ ‘No More Alibis.”” r-----------_
Page 107
two call letters of which stand for Warner Brothers (they own the station). But, Lyle on vacation, was reveling in a bit of disloyalty and had another station on the dial. He never heard the message to return, and finished his holiday in ignorant bliss of what his fade out was costing him. Sometimes, however, stars who have applied “vanishing cream” aren’t so blissful about being snapped out of it. [HERE was the spectacular case of Warren William, who was lost from the ken of men for days as he floated aimlessly about the blue Pacific. It was all very much against Warren’s will—but then, so was the rescue. While landlubberly friends, family and studio associates wondered if a sea monster had gulped down Warren and his new boat, the Pegasus, Admiral William was fretting and fuming with a broken-down engine, drifting around in the becalmed briny—unable to make land by sail. Finally, in desperation, the anxious well- wishers called out the Los Angeles harbor police and the Coast Guard for the search, and Warren was towed in in the wake of the coast cops, stewing at the indignity and the asparagus cast at his seamanship! Those two alliterative Houdinis, Hepburn and Harding, have gained sucha reputation for whisking off into unknown space that the studio has seriously questioned whether they use mirrors, or what? Hepburn all last year inspired a hoary crop of gray hair on the RKO lot by her almost weekly impromptu exits into the never-never land. And not only did the impish Katharine cover her trail, but she even planted misleading tracks. Hints dropped pean the studio, which she knew would be carried to ofcialdom: indi- cated Del Monte, when Katie was found for Caliente—and various vice versas. INS long ago Ann Harding was out shoot- ing pictures on the border of the Mojave Desert. Coming in, she asked the driver of her car to stop. “Tf you don’t mind, I think I'll walk from here,” she told him sweetly, stepping right out in the middle of the desert road. No one saw her, heard of her or knew any- thing at all about her for two whole weeks! Just as M-G-M heard nothing of Myrna Loy for longer than that—although they spent every waking hour trying—when, after finish- ing a recent picture, she strolled off the lot remarking that she was “going away for a TESt, The very next day they wanted her for re- takes, for publicity stills, for interviews, for about everything you can think of; and as they thought Myrna was somewhere out of town, they set about to find her. Every clue was followed to the bitter end, every place she had ever been known to go was checked— but investigation yielded nothing. Finally they gave up in despair. A few weeks later, Myrna calmly walked in the studio gates to be greeted by a delegation howling, “Where in the world have you been?” “Why,” said Myrna, blinking her astonish- ment at the confusing reception, ‘“—I’ve beenat home resting. I haven’t budged out of the house for weeks!” Home was the only place they hadn’t thought about calling! Yes, it’s fun to be bamboozled, but it’s even more jolly to know—when the stars are due to vanish—where and why. At least, it’s a lot easier on Hollywood’s nerves. PHOTOPLAY MAGAZINE FOR JULY, 1934 10g CHa ae £3 NATURALLY WAVY HAIR... Gincer Rocers’ hair is always so perfectly groomed—not a hair out of place or out of curl, that nearly everyone thinks she has naturally wavy hair. What’s her beauty se- cret? A Frederics Permanent Wave! “Keeping my hair soft, lustrous, and beautifully waved is no problem. T have a Frederics Permanent Wave.” Says liuget Oe MARY : THATS BECAUSE YoU PATRONIZE SHOPS THAT USE CHEAP = a = ELLEN: YouR HAIR ALWAYS RUTH: LOOKS SO PERFECTLY WONDER- FUL, MARY! 1 WISH MY PERMANENT WAVE WAS AS BEAUTIFU E AND LUSTROUS IT is almost impossible, even for an expert, to tell the differ- ence between a Frederics Permanent Wave and naturally wavy hair. That is why popular screen favorites, like Ginger Rogers, always insist upon Frederics Permanent Waves. Frederics Waves are unsurpassed in comfort and gentleness, unmatched in softness and naturalness. They give to your hair that exquisite loveliness—elusive charm, and youthful radiance that is always the subject of much admiration. If you want a permanent wave as enchanting and alluring as Ginger Rogers, do as she does—Patronize an Authorized Frederics shop. Look for the Frederics Franchise Certificate | \) which guarantees the use of a Frederics machine. all the wrappers used on your hair—make sure no harmful imitations are used. reoerics VITA-TONIC AND VITRON 50 DOL. PERMANENTS SEEM TO MAKE MY HAIR SO HARSH AND ORY, JUST LIKE HARSH PROCESSES. WHY NOT DO ASI DO, 60 TO AN AUTHORIZED FREDERICS SHOP? THE FREDERICS FRANCHISE CERTIFICATE 1S YOUR GUARANTEE OF PERMANENT PERFECTION. LOOK! HERE'S AN AUTHORIZED FREDERICS SHOP WE USE OWLY GENUINE FREDERICS WRAPPERS. THERE IS OUR FREDERICS FRANCHISE CERTIFICATE KM, ——s =}? Examine WERE 1S FREDERICS GIFT RECEIPT MAIL IT IN FOR A FREE BOTTLE OF FREDERICS SHAMPOO E. FREDERICS, Inc., 235-247 East 45th Street, New York, N. Y. Dept. 294 Please send me FREE booklet on Frederics Permanent Wayes — A FREE Frederics Wrapper, and a list of the Authorized Frederics Permanent Wavers in my neighborhood. Ree PAA OESS hy wisgcioia: sdcheKOE eae & atyo Rss TOLGION 0:0. Bac ee AAS ae oS
Page 108
KEED YOUR IN SUMMER roo Ann Sothern, the lovely Columbia a star of “The Party’s Over’”’ y NO HEAT NO COSMETICS NO SKILL REQUIRED How many romances begin with a sum- mer moon, and a pair of coquettish eyes! Kurlash .. . that’s easier to use . . . will give your lashes the provocative upward sweep that makes the eyes so very alluring. Kurlash costs $1, and if your own drug or depart- a new, improved Kurlash ment store doesn’t have it, we’ll send it. THE NEW IMPROVED Linlasp The Kurlasz Company, Rochester, New York The Kurlash rhe Kurlash Company of Canada, at Toronto,.3_ of Canada, at Toronto, 3 Remove Superfluous Hair Velvet Iititten MAR REMOVER "Dt leaves the skin like velvet” 35c, 3 for $1.00 If your dealer does not have Velvet Mittens, order from VELVET MITTEN COMPANY 1037 S. Los Angeles St., Los Angeles, Calif. PHOTOPLAY MAGAZINE FOR JULY, 1934 Has Mae West Gone High | Hat? [ CONTINUED FROM PAGE 39 | That’s what you hear—everywhere—and a lot more. But don’t you believe it—West is still West. Although a whole lot of explanations are in order. In the first place, Mae has been as busy as a one-armed paper hanger with the hives. As she says, “I haven’t had time to change!” By her success in ‘‘She Done Him Wrong,” Mae just stuck her diamond-draped neck out for a whole lot of fast and furious work. To | . . cash in on the great world-wide eagerness for | T y | another Western, “I’m No Angel” was rushed into production. Mae wrote the story, helped with the script, the casting, the whole business, besides playing the starring part. At the same time, all of Hollywood was wanting to pat her back and shake her hand. Vicariously, so was all the world. Parties take time. Interviews take time. Pictures take time. AE didn’t fave the time. But she tried to do the impossible. More words flashed out of Hollywood about “Diamond Lil” than about any other star since Valentino. More curvilinear poses were printed and distributed than any since Della Fox rode to fame in cigarette boxes. Mae, never social, made the effort to get around and join in the life of the movie colony. It was too much. So big Jim Timony, Mae’s manager, put his foot down—unknown to Mae. No more in- terviews until after ‘I’m No Angel” was fin- ished. No more “nothin’’? — Mae was taboo. Imagine the howl! The echoes finally reached Mae, along with too many high hat accusa- tions for her to take smiling. She bounced into the publicity department, thinking they had issued the edict, and wanted to know why. They said Timony said why. Mae said she would say why; she was no shy and wilting violet and she didn’t want to get that reputation. Finally, the studio persuaded her to wait until the picture was over. BY that time there were eighty interviewers dated to see her. She tackled them, one after the other, got through forty without losing her sanity, and then had to give up. The rest were cancelled. And the word got around that Mae had gone high hat. Professional jealousy fanned the rumor. It’s the easiest thing in the world to tag someone with a swelled head—if you supply the neces- sary inflationary matter—hot air. Hollywood could stand just so much of a new West sensa- tion—but when it became a menace, or a supposed one, enter the whispering campaign. Unfortunately for Mae, the turn of events seemed to lend a basis to these rumors. Suddenly circumstances forced her to a com- plete and rigid seclusion. No one could see her—on the set or off. A red paper slip was posted above her call-sheet in the publicity office at Paramount. ‘Under no circumstances will anyone be allowed on the Mae West set.” Instead of walking in the front door of the studio, smiling at the autograph seekers, Mae rolled quickly in a side gate, surrounded by four armed guards. Her apartment house was just as carefully watched. When she went to the fights, her favorite recreation, the cash customers were jostled out of the way by a flying wedge of detectives, with Mae in the middle. It looked — it still looks — like a grand act. But it’s not. Suppose you were in Mae’s shoes. Suppose gangdom had threatened to “get” you, be- cause you had the courage to testify against stick-up men. Suppose you had received threats over the phone and through the mails. Definite threats to “take you for a ride’—to ruin your looks forever with acid. To “put you on the spot.” THATS what Mae faces now. That’s why she carries acid antidotes, and rides in a bullet-proof car. At that, Mae isn’t hiring the protectors. The Los Angeles District Attorney is—and for a selfish reason—because Mae is the star wit- ness against Harry Voiler, indicted in con- nection with Mae’s jewel robbery. The D.A.’s office can’t convict him without Mae. Get it? If Hollywood and success had softened “Diamond Lil’—as some say it has—she wouldn’t have had the abdominal stamina to testify against sinister elements who amply warned her before she ever took the stand that it wouldn’t be healthy. Such threats have sealed the lips of plenty of other much more publicized public-spirited ‘American citizens. But they only made Mae all the more de- termined to do her duty. “I’m easy to get along with,” she says, “but threats can make me nasty! 3 She testified. She sent one gang- ster to the penitentiary—and she’ll have to do it again. Meanwhile, can you blame her—or the police—for not inviting catastrophe? The threats still come. Besides, Paramount is taking no chances with their multi-million dollar attraction. It’s not entirely Mae’s fault that she’s as hard to reach as the dalai-lama of Tibet. At least, it seemed that hard. There was a special pass. But that didn’t mean a thing to the guard who stood outside the sound stage door, with a business-like revolver strapped to his side. It didn’t mean much to Detective Jack Chriss, head of the gangster detail of the District Attorney’s office, who sat inside, his hand within easy reach of the pistol presented to him by Pancho Villa when Chriss was a Texas ranger. He is the best shot on the D.A.’s force. UT, fmally, when the word was relayed to Mae and she said it was okay to “C’m up and see her,” there was a chance to confront her with all these things which the tongues were saying. Now, it is a strange thing about people who suddenly assume the high hat. They don’t mind being told about it. Because, if they’re really consciously wearing an upturned nose, acknowledgment flatters them. They may protest—but, well, Mae West didn’t protest— she was burned up! And hurt! “Nobody ever called me high hat—and they’ve called me lots of things,” she said. There wasn’t a faint flicker of humor on her face; she was dead serious. ‘The public made me what I am today—I hope they’re satisfied.
Page 109
And they ought to know that I’m not wanting to change my style. “T’m not a phony, and I’m not a girl who’s just made good. I’ve had some success be- fore; I’ve had some publicity, and I’ve made some money before I ever came to Hollywood. Whenever I see people putting it on, I know they’re phonies; they aren’t the real goods and they’ve got something to cover up. “T consider myself above changing. I haven’t time to change. I’m not looking back- ward at what I’ve done or what success has come my way. The minute you do that and stand around on what’s already come your way, you’re headed back in the other direc- tion. oT HAVE to do my work, and I’ve got a lot of that to do. You ought to know that it isn’t easy to write and act, too. You can’t call me high hat because I’m busy.” Mae hasn’t gone back on any of her friends. She has had the same maid for six years. A lot of the actors who used to be with her on the stage in New York are working in her picture. She’s giving Katherine De Mille her big break in “Tt Ain’t No Sin.” Just the other day, she discovered a set- worker, Joe Ritchie, an ex-prize-fighter, singing prize-ring ditties. “Ever sing those for pictures?” asked Mae. He said he hadn’t. ‘Well, you’re going to,” said Mae—and sat right down and wrote a big part into the script to give Joe a break. She still lives in a modest Hollywood apart- | Her | ment with her brother Jack West, Jr. only extravagance has been redecorating it in the white and gold Louis XV motif which took her eye on the New Orleans “Sensation House” set in “It Ain’t No Sin.” You could hardly call her desire to buy a ranch an extravagance or an indication of a desire to live high. The ranch is to be for her folks. When Hollywood first found out that Mae | was investing in an insurance annuity of a! hundred thousand dollars, the word went around that she was frantically saving her money—changing from an easy spender to a miserly saver; also, that she knew she was slipping badly at the box-office and was hoard- | ing for the approaching famine. Mes annuity doesn’t hold a candle to the investments of most Hollywood stars. That’s what it is—an investment. ways wanted and security for later years. As for her popularity— “<T’m No Angel’ is doing three times the | business of ‘She Done Him Wrong,’ ” Mae in- | forms. ‘I wasn’t completely satisfied with it, [ll admit—but this one is going to outclass both the others. I’m completely satisfied with it—and I’m my severest critic, don’t forget that!” She hasn’t changed her screen type, either. “T’m a little sweeter character this time,” Mae confessed, “‘but there’s still a bad streak in me. “T’m low enough, all right—but the whole thing’s a little more glamorous and gorgeous— if you know what I mean.” It was worth looking to be sure what Mae did mean. She was gorgeous enough. A Gibson Girl gorgeousness with one of those amazing pom- padours looking like waves of silver taffy She has to | do something with her money—but money | can’t change Mae West, any more than it could | normally change others by making them en- | joy life by acquiring some things they’ve al- | PHOTOPLAY MAGAZINE FOR JULY, 1934 III me tes. Oo Ap sbeomelines Wt a Jantzen THE BRA-LIFT (Left) The modern spirit of “uplift.” In smart- nessand simplicity of design, the Bra-Lift completely meets the demand for na- tural body lines and assures beauty without accentuation. 5.00 to 8.95. THE SHOULDAIRE (Right) Two suits in one—a concealed necklace tie converts a perfect swimming suit into a smartsun suit. The shoulderstraps may be dropped with complete mod- esty for a lovely, even coat of tan. 4.50 to 7.50. JANTZEN KNITTING MILLS Portland, Oregon; Vancouver, Canada; London, England; Sydney, Australia It is hard indeed to tell where a Jantzen leaves off and you begin, so perfect is the fit, so expert the tailoring. It molds your body in slenderizing lines with an amazing degree of figure-control. You'll approve and applaud the Jantzen styles of 1934, individual and distinc- tive. You'll like the new fashion colors, rich and alluring. You’ll be greatly interested in the new Sunsheen fabric of Bemberg and Lastex—exclusively Jantzen. Soft, silky, lustrous, elastic in all directions; the most luxurious fabric ever developed for swimming apparel! ~ JANTZEN KNITTING MILLS, ( Dept.261), Portland, Oregon Please send me style folder in colors featuring new 1934 models. WOMEN'S [_] MEN'S [_] Nome Address
Page 110
Dave REDUCED MY HIPS 9 INCHES with the PERFOLASTIC GIRDLE oe writes Miss Healy oe "It Massacrs like magic”... writes Miss Kay Carroll."'The fat seems to have melted away” — writes Mrs. McSorley. @ Somany of ourcustomers are delighted with the wonderful results obtained with this Perforated Rub- ber Reducing Girdle that we want you to try it for 10 days at our expense! REDUCE your WAIST and HIPS THREE INCHES IN TEN DAYS +e OP you pay nothing! @ Worn next to the body with perfect. safety, the tiny perforations permit the skin to breathe as its gentle massage-like action reduces flabby, disfiguring fat with every movement! This illustration of the Perfolastic Girdle also features the new Perfolastie Uplift Brassiere. SEND FOR TEN DAY FREE TRIAL OFFER! PERFOLASTIC, Inc. Dept. 917, 41 East 42nd Street, New York, N.Y. Without obligation send FREE Booklet, sample of rubber and details of 10-Day FREE Trial Offer! Name. Address. Use Coupon or Send Penny Post-card Reddwe © h@ Pie any if you want the real news of the world of motion pictures HOTOPLAY is made the most in- teresting and readable magazine in its field by features which appeal to motion picture patrons, but it goes much farther. It goes farther than any other magazine of its type. It publishes the NEWS of the great world of motion pictures— live, reliable NEWS. Read Puoropray, compare it with any other magazine in the field and be convinced. Clip and Mail this offer NOW with your check or money order for $2.50 (Canada and Foreign $3.50) for which we will enter your subscription for PHOTOPLAY MAGAZINE, for one year, effective with the next issue. PHOTOPLAY MAGAZINE Dept. P-7-34, 919 No. Michigan Ave. NOW ONLY 5 O for the famous dollar bottle Now that DeWans costs no more than ordinary hair re- movers, women can enjoy the mildness... the skin-kind- ness...the pleasantness of a facial de- pilatory...on their arms, underarms and legs. At all drug and department stores... 50c. Chicago, IIL. REMOVER PHOTOPLAY MAGAZINE FOR JULY, 1934 candy. Plumes and puffs, jewels, gems and golden gew-gaws. Yes—and curves. Plenty of curves—and in the right, the same old places. Which settled another very disturbing rumor —that Mae had succumbed to the lure of a Hollywood figure, was even dieting to achieve a trim slimness! PROBABLY someone just learned her true weight and got excited—for Mae, in spite of those ample hills and dells, isn’t a heavy woman. Once in her life she reached a hundred and thirty-five pounds—but it was when she de- liberately tried to get fat, during the Broad- way ‘‘Diamond Lil” era. Since she came to Hollywood, her weight hasn’t varied by more than five pounds. Right now she’s at a hundred and eighteen, the same poundage at which Mae weighed in for “She Done Him Wrong.” So if there was any change in Mae West, it must be in her technique—that’s about all that was left in doubt. “Stick around,” suggested Mae. Roger Pryor was the victim. The lights glowed. Thecameraleveled. The whistle blew. Action! The temperature rose. The blood pressure zoomed. The collar wilted. It wasn’t the humidity—it was the heat. AN? when Director Leo McCarey weakly gasped “‘Cut!”—there seemed to be only one fair thing for a gent to do— To bust out of that sound stage without further delay—out on the street where they don’t care how loud you shout—and do some shouting like this— ““Stop worrying—she’s the same old Mae— and how!” Here Is England’s Favorite Charmer MacKenna, of a Belgian woman who, while nursing German wounded, acted as an under- cover agent for the Allies), Madeleine wore no screen make-up whatsoever. And she played all her big scenes with her back to the camera! How’s that for a sacrifice to art? And referring to her being practically un- known here, there is an instance which serves to illustrate her innate modesty and charm of manner. The first day she reported at the Fox studio for work in “The World Moves On,” the gateman refused to let her in without a pass from the main office. Her name meant nothing to him. Madeleine patiently waited without any fuss. And her Hollywood one- picture contract called for more money than that of any other British star who ever came here. I have known her since she first began her screen career. I witnessed her signature the day she signed it to a three-picture-a-year contract in England for a fabulous sum. Since then, that sum has probably been doubled. Working that out picture for picture, I think, brings her salary to one of the highest of the players ever in Hollywood. But Madeleine has never stopped to work out that little problem herself. Money actually doesn’t mean as much to her as her public’s reaction to her work. And in her private life, her chief concern is the comfort and well-being of her husband’s many tenants and servants. Both she and he are devoted to the welfare of their people. Should “Mrs. Jones,” a tenant on Captain Astley’s estate, report, during a storm, that her cottage roof is leaking and her “‘ol’ man” is laid up with rheumatics,’”’ Madeleine and Phil- ip will drop everything else to get plasterers and carpenters to work on the roof right away. The same holds true for the caretakers of the villa on Lake Como in Italy. If “Signora Tretlini” is giving birth to about her thirteenth, it is a common sight to see Madeleine by the bedside, administering jellies and sips of brandy to the mother. Not riches, but the entertainment and well- being of others, those are the things that matter to Madeleine Carroll. And there is no “high hat” to it all. At her birthday party on the Fox lot, shortly after her arrival, the guests of honor were the stage crew and the [ CONTINUED FROM PAGE 32 | gatekeeper who did not know her on her first day. And Philip was the life of the party! Regarding “the days when.” If you ask Madeleine how she started out, she will very truthfully tell that after being awarded a Bachelor of Arts degree by Birmingham Uni- versity (with honors in French, thanks to her mother, a Parisienne) she taught school for a year to make some money to go to London— and the stage. Also, she will tell you she took to the stage against the wishes of her father, a stern man, a university professor. HOWEVER, with the help of a loyal youth she had met at the university, and who had become a press-agent in London, Madeleine stormed the barricades to theater and film producers. Within a year of her going to London, she graduated from a traveling com- pany, in which she was a French maid parrot- ing ‘Mais oui, Madame—your bath—it is quite ready,” to an important réle in “Mr. Pickwick” on the London stage, and, to the starring réle in the first important talkie made in England, “The Guns of Loos.” The screen role was won as the result of a contest in which she was chosen ‘the ideal example of British feminine beauty.” From then on, it was one triumph after another—whether it was on the West End London stage playing opposite Charles Laugh- ton in “French Leave,” or whether it was with Carl Brisson in the picture “‘American Prisoner” —wherein Madeleine, in early-Amer- ican period costumes, won all screen-going hearts hands down. After two years of simultaneous stage and screen successes, Madeleine received that neat three-pictures-a-year contract. Itcarried with it, besides that huge sum, choice of her own director, cameraman, supporting cast and story! In addition, in this period, she made pictures in French in Paris, and she made them for Ufa in Berlin. Her fame as the darling of the British screen became established. Then came romance! Madeleine was appearing in a play in an exclusive small theater in London. Nightly she received a corsage of orchids. There was no card. But Madeleine did not go out-of her way to learn the identity of her admirer. Her busy life did not permit of romance.
Page 111
PHOTOPLAY MAGAZINE FOR JULY, 1934 ig Time raced by and it brought Madeleine into another play, “After All.” With this play came an invitation from the Prince of Wales to a supper following the premiére. That was a Royal Command. And that was a supper! The prince danced with her innumerable times, and she was fortunate in her supper partner. He was solicitude itself. He was a young officer, former aide to the prince, a Cap- tain Philip Astley. At dawn, he asked to see Madeleine home. A gleaming silver car with footman and chauffeur awaited them. @* the way to her apartment, the young officer declared undying devotion to Made- leine. It was rather sudden, but Madeleine be- lieved him sincere and honest. He was some- how different. Then it all came out—he was her unknown admirer of the orchids. When the run of “After All” ended, Captain Astley induced his younger sister to invite the charming actress for a stay at the family villa in Italy. Philip, of course, turned up a few days after Madeleine had arrived. And, in the Italian moonlight across the sapphire blue waters of Lake Como, he urged Madeleine to marry him. On a late August day, they were married in a small Italian village, in a tiny lakeside chapel that held but twenty people. As they entered the edifice the village children, in their white Sunday frocks, scat- tered rosebuds before them. Two months later, this Carroll child—now mistress of a gorgeous Italian villa, a manor in a rural English village where her husband is Squire, a palatial Mayfair mansion in London—returned to the stage in a new play, opposite Owen Nares, a matinée idol of London. “Household duties nowadays,” she said then, “are made so easy for the young wife that she doesn’t have to bother with them. And my husband,” she added, “although very wealthy, prefers to work in an office all day for his living. So, why shouldn’t I work, too?” Her husband is her advisor on all her screen and stage contracts. And she is his “attorney- | in-chief” on his real estate deals. like it. And people like them. They conquer the hearts of everyone they meet, high or low. Madeleine has had a previous opportunity to come to Hollywood. It was when Winfield Sheehan was preparing to produce “Caval- cade.” Madeleine was offered the réle of Jane Marryot, played by her close friend Diana Wynyard. And they N refusing the réle, Madeleine said,“‘I’d love to go to Hollywood, but I’m scared stiff at the prospect of attempting to rate with those beautiful American stars. American audiences don’t know me, and probably won’t want to . know me. “T’d be too pooran ambassador from London to Hollywood to warrant accepting such a big undertaking. Get Diana to do the réle. She is far better than I.” Her personal triumph opposite Herbert Marshall and Conrad Veidt in “I Was a Spy,” however, caused Sheehan, on vacation in London, to show Madeleine a synopsis of “The World Moves On,” and to tell her of the “charm exchange.” ‘This time Sheehan over- came her objections—but only with help from Philip. After “The World Moves On,” Madeleine Here’s that Remarkable NEW Make-Up So Many Women Are Asking About WRONG MAKE-UP gives o “hard”, “ cheap “’ look. RIGHT MAKE-UP provides a natural seductiveness — free of all artificiality. These Pictures, Both of the Same Model, Show the Difference Between Right and Wrong Make-up THERE Is Now a wew and utterly different way in make-up...the creation of Louis Philippe, famed French colorist, whom women of Paris and the Cosmopolitan world follow like a religion. A tota//y New idea in color that often changes a woman’s whole appearance. That is because it is the first make- up—rouge or lipstick—yet discovered that actually matches the warm, pulsating color of the human blood. Ends That“ Cheap”, Hard” Look This new creation forever banishes the ”? “cheap’’, ‘‘hard’’ effect one sees so often today from unfortunately chosen make- up—gives, instead, an absolutely xatural and unartificial color. As a result, while there may be some question as to what constitutes Good Form *K See the marvelously gay, new daytime colors— Pandora and Poppy The‘ Little Red Box’’ for lips and cheeks in manners or in dress, there is virtually no question today among women of admitted social prominence as to what constitutes Good Form in make-up. What It’s Called It is called Ancetus Rouce Incarnat. And it comes in both lipstick form and in paste rouge form in many alluring shades. * You use either on 4oth the lips and the cheeks. And one application lasts all day long. In its allure, it is typically, wickedly of Paris. In its virginal modesty, as natural as a jeune fille—ravishing, without revealing! Do as smart women everywhere are doing —adopt Angelus Rouge Incarnat. The little red box costs only a few cents. The lipstick, the same as most American made lipsticks. You’ ]] be amazed at what it does for you. had to return to England to do a screen story called “Mary, Queen of Scots.” But she will be back. By LOUIS PHILIPPE USE ON BOTH THE LIPS AND THE CHEEKS
Page 112
114 CORNS Relieved in ONE Minute! Dr. Scholl’s Zino-pads will give you relief in oneminute! These soothing, healing pads stop the cause by lifting nagging shoe pressure off the irritated nerves. Result —no more pain, sore toes or blisters from new or tightshoes. Remove Corns and Callouses Dr. Scholl’s Zino-pads quick- ly, safely loosen and remove corns and callouses when used with the separate Medicated Disks included for that pur- ose. Get this sure relief to- day. Sold everywhere. Dr Scholls Zino- Put one on—the -Mercolized Wax oe is ds Keeps §kin Young Absorb blemishes and discolorations using Mercolized Wax daily as directed. Inv isible particles of aged skin are freed and all defects such as blackheads, tan, freckles and large pores disappear. Skin is then beauti- fully clear, velvety and so soft—face looks years younger. Mercolized Wax brings out your hidden beauty. At all leading druggists. Powdered Saxolite: Reduces wrinkles and other age-signs. Sim- ply dissolve one ounce Saxolite in half-pint witch hazel and use daily as face lotion. DR. WALTER’S flesh colored gum rubber garments LATEST BRASSIERE. 2 to 3 inch com- \) pression at once. Gives a trim, youthful new style figure. Send bust measure. .$2.25 REDUCING GIRDLE. 2 to 3 inch com- pression at once. Takes place of corset. Beautifully made; very comfortable. Laced \ at back, with 2 garters in front. Holds up abdomen. Send waist and hip meas- Ue PetcnarS.sig D.C ct OO ODOC OO HOOD $3.75 Wrtte for literature. Send check or money ordeT—no cash. DR. JEANNE P. H. WALTER, 389 Fifth Ave.,N.Y- GRAY HAIR FADED Women, girls, men with gray, faded, streaked hair. Shampoo and color your hair at the same time with new French dis- covery *“‘SHAMPO-KOLOR,” takes few minutes, leaves hair soft, glossy, natural. Does not rub off. Free Booklet. Monsieur L. P. Valligny, Dept. 43, 254 W.3IstSt., N.Y. Prevents Sore Toes—Eases Tight Shoes | PHOTOPLAY MAGAZINE FOR JULY, 1934 What’s Ahead for Hepburn? [ CONTINUED FROM PAGE 69 | stacles for herself, torturing her soul, putting herself in for a rap at the very door of the Promised Land—stooping for a kick while the welcome kiss was being bestowed. Y did she invite it? No other star of her rocketing importance ever took it on the chin so early. Garbo didn’t, nor Dietrich. George Cukor is the man whom Hollywood generally credits with the screen development of Katharine Hepburn. He directed her in her first picture, “A Bill of Divorcement,” and in her most popular triumph, “Little Women.” Katharine, her- self, has given him credit for the success of the latter picture. So hiscomments on Hepburn and Jed Harris, | who produced and directed ‘‘The Lake,” are significant. “She went to Mr. Jed. Harris with the great- est confidence and respect. He completely sold himself to her before she ever left Holly- wood for New York. He was an old friend, but, strangely enough, before Katharine had made a great success of motion pictures, he had paid her little attention. “Katharine Hepburn could recite the al- phabet on Broadway and draw them in. To take someone like Hepburn and flop with her is unbelievable—a joke. “T know her attitude toward the play was perfect. She was terribly conscientious about it and worked extremely hard. She was eager to do a splendid job.” Katharine Hepburn to co a was eager | “splendid job.” | more resolved to The stage has always been attractive to her. She was first discovered for the screen by David Selznick, while playing in “The War- rior’s Husband.” W ‘ill it still be attractive to her now? Or has the experience of defeat and disillusion, twice as bitter because it followed tremendous Hollywood success, eaten into her sensitive nature enough to destroy that ambition and turn her exclusively to the screen? And if she does forget the footlights and devote her talent to pictures, will it be as great as it was, or has she passed her peak? Has the stage knock taken anything out of her which even the boost of the highest screen recognition cannot offset? Can she regain her spark and go on to even greater triumphs in Hollywood? What lies ahead for Katharine Hepburn? The answer rests within Hepburn herself. At RKO her associates tell us that Hepburn has always eagerly desired to make a stage rs Possibly as a “home town” boy, who sought success elsewhere, always has the ambition to go back home and “show ’em.’ NOWING Hepburn’s determined and proud nature, they expect her to be all the “show ’em’”’ now that she has “flopped.” In fact, but for her contract with | RKO, which called for her definite return to the studio by the middle of June, the opinion is that she would have made every effort to live down her failure with a Broadway success before showing her face in Hollywood. But contracts are contracts—and thousands upon thousands of dollars were involved. However, Katharine Hepburn does primarily want to be a screen star. There have been hundreds of stories about her indifference to Hollywood and her career on the screen. George Cukor insists that most of these are “bunk.” For instance, the one about Hep- burn, after finishing ‘“‘A Bill of Divorcement,” having to be hunted for and notified by wire that she had been a sensation. “She was nervous and did not attend the Hollywood preview,’ says Cukor. “But I called her up myself and told her what a hit she had made. She was delighted, en- thusiastic and appreciative.” After the studio showing of “Little Women,” Hepburn dashed out of the projection room, the picture of almost childlike, exuberant joy. She ran around slapping all her fellow workers on the back and shouting, ‘“This one’s going to write your pay-checks for a long time!” She, herself, has made the statement, “I like pictures. There’s nothing more thrilling than to see myself in a good performance— and there’s nothing more heart-breaking than to see myself in a bad one.” A THOUGHT similarly expressed to Cukor, when she told him once, “It hurts me when I see myself in a poor scene and hear people saying, ‘But she must be good.’ ” Sensitive, but certainly conscientious. Actually her “indifference” can be traced to her personality, which is very aptly described by this director as “‘bumptious.” She doesn’t like publicity, she wants to be alone. She may be capricious, even eccentric —but Hepburn wants to be a great screen star every bit as much as RKO and her public want her to be. Then what are her chances—from nowon? Again quoting Cukor: “Katharine Hepburn isa very, very talented girland herfutureis unlimited. She hasextraor- dinary equipment for the screen, she’s highly intelligent, and she possesses a kind of integrity which is very unusual. “She has the right attitude toward her roles, and the capacity to understand them. Naturally, when she does not sympathize with her assignments she doesn’t do her best. In ‘Christopher Strong’ she didn’t like the part in which she was called upon to exploit glamour, and she didn’t succeed in giving her best to it. OBR es to popular belief, Katharine Hepburn is extremely well disciplined and an earnest worker on the set. “She has always been amazingly relaxed and natural when she works. When she first came to Hollywood, she didn’t know a thing about screen technique, but now she has im- proved tremendously in virtuosity. The use of her voice has also been marvelously mas- tered. I thinkit’s obvious thatshe is unusually equipped for as great a success as she desires to make. “And I don’t believé there’s such a thing as an actress who doesn’t want to keep on doing better acting.” So—it’s up to Hepburn. From a story standpoint, parts lie ahead for her. The first, “Break of Hearts,” three excellent is a very power-
Page 113
ful story of a young girl whose musical genius is unrecognized, until a composer loves her and watches her rise to fame as he slips back; the second is “Joan of Arc,” an opportunity for a really classic performance; the third is “The Tudor Wench,” a chance for her to recreate on the screen one of the most interest- ing and important of all royal figures—Queen Elizabeth. And if Katharine Hepburn will take her un- fortunate fiasco in stride, shake off the jittery hangover in which it has apparently left her, and sink her teeth into these parts as only Hepburn can, then there’s only one thing ahead for her—eventually. A crown of her own. Patricia Ellis picks a swim suit that meets all requirements of decorum, yet is stylish and modern—with ad- justable back and “‘uplift”’ effect PHoTopLaAy MAGAZINE FOR JULY, 1934 115 A DISCOVERY THAT ENDS “RAZOR STUBBLE” After Removing Arm and Leg Hair A Way That Not Only Removes Hair Instantly, But Definitely Ends The Stiff Re-growth Problem @ Now one can actually get rid of arm and leg hair. Can, once and for all, banish the coarsened re-growth, the bristly stubble that follow the razor. This is due to a new scientific dis- covery by one of the leading cosmetic laboratories of the world. A way that solves the arm and leg hair problem as women have always hoped it would be solved. What It Is It is an exquisite toilet accessory, re- sembling a superior beauty cream in texture. You simply spread it on where hair is to be removed. Then rinse off with water. That is all. Every vestige of hair is gone—gone so completely that, even by running your hand across the skin. you cannot feel the slightest trace of stubble. For this amazing creation defi- nitely ends after-razor “stubble” .. . When re-growth finally does come, it is utterly unlike the re-growth follow- ing the razor and 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—and is on sale at all drug and department stores and beauty parlors. Comes in two sizes: medium and large.
Page 114
Overlooking Central Park RECOGNIZED LEADER FROM COAST TO COAST SAVOY-PLAZA...a name that is synonymous with luxurious living -..Mmajestie and impressive with the 840 acres of Central Park at its doors... a setting one hardly hopes for in the towering city of stone and steel. To the travelled person, it is vividly evident that here, truly, is one of the world’s most distinguished hotels. CELEBRITIES CHOOSE THE SAVOY-PLAZA From Hollywood come celebrities of the motion picture world to New York and the Savoy- Plaza. This outstanding hotel has acted as host to many of the best known producers, executives and stars. SINGLE ROOMS FROM $5 Henry A. Rost, Managing Director FIFTH AVENUE 58th to 59th STREETS, NEW YORK 9A PRE PRES E EREC GEE tA Ae EP PHOTOPLAY MAGAZINE FOR JULY, 1934 Brief Reviews of Current Pictures [ CONTINUED FROM PAGE 15 ] LEGONG—Bennett Picture Corp.—Island of Bali is locale of this film venture of Marquis de la Falaise. Odd rituals of native cast provide rare entertainment. Technicolor. (April) LET’S BE RITZY—Universal.—After a marital fuss, love conquers for Patricia Ellis and Lew Ayres. Robert film. Frank McHugh, Isabel Jewell. (May) LET’S FALL IN LOVE—Columbia.—Director Edmund Lowe's fake Swedish film find (Ann Sothern) goes over with Producer Gregory Ratoff until Lowe’s fiancée Miriam Jordan tips him off. One good tune. See this. (March) LITTLE WOMEN—RKO-Radio.—This clas- sic is exquisitely transferred to the screen. Katharine Hepburn, as Jo is sky-rocketed to greater film heights. Joan Bennett, Frances Dee and Jean Cae as Jo’s sisters, give spendid performances. an. LONE COWBOY—Paramount.—Without Jackie Cooper there wouldn’t be much of a picture. Jackie's sent West to comfort his dead father’s pal embittered by his wife’s (Lila Lee) faithlessness. (Jan.) LONG LOST FATHER—RKO-Radio.—Quite amusing, but story not up to John Barrymore’s standard. Helen Chandler is adequate as actress separated from father since childhood. (May) LOOKING FOR TROUBLE—20th Century- United Artists.—Spencer Tracy and Jack Oakie, tele- phone trouble shooters, take you through blizzards, earthquakes and fires. Constance Cummings and Arline Judge supply love interest. Good fun. (April) LOST PATROL, THE—RKO-Radio.—When relief arrives, all but one man (Victor McLag- len) of this desert patrol have been shot down by Arabs. Excellent dramatic performances by Boris Karloff and supporting players. (April) LOVE BIRDS—Universal—Amusing comedy, especially for Slim Summerville-ZaSu Pitts followers. Mickey Rooney adds to the fun. (April) LUCKY TEXAN—Monogram.—A Western with murder, intrigue, romance in addition to usual hard riding. John Wayne, Barbara Sheldon and George Hayes doing fine characterization. (April) MADAME SPY—Universal.——Spy Fay Wray marries Austrian officer Nils Asther, who also be- comes a spy. Vince Barnett, John Miljan, Edward Arnold. Nothing very unusual here, but skilfully handled. (March) MAD GAME, THE—Fox.—Spencer Tracy, imprisoned beer baron, is released to catch a kidnaper. He loves the assignment—after what the kidnaper did to him. Love interest, Claire Trevor. Well acted. Not for children. (Jan.) Fair. MANHATTAN LOVE SONG—Monogram.— Peppy lines and good cast, including Dixie Lee and Robert Armstrong, make this light comedy amusing in spite of a familiar plot. Excellent support. (June) MAN OF TWO WORLDS—RKO-Radio.—After his New York stage success, Francis Lederer should have had a stronger vehicle for his initial American screen appearance. It’s the story of an Eskimo brought to civilization. Elissa Landi. (March) MANDALAY—First National.—Poor story ma- terial for Kay Francis, miscast as shady lady, and Ricardo Cortez. However, Rangoon and Mandalay atmosphere perfect. Lyle Talbot. (April) MARRIAGE ON APPROVAL—Freuler Film.— Barbara Kent and Donald Dillaway are married but she doesn’t know about it, though she lives with him, because they were ona hectic party when it happened. Complicated plot. (March) MASSACRE—First National.—Educated Indian Richard Barthelmess displays his marksmanship at World’s Fair, and returns to the reservation when his father becomes ill. Ann Dvorak aids in squaring matters with crooked government agent. (March) MASTER OF MEN—Columbia.—Both the plot and the dialogue are old. But there’s a good cast, including Jack Holt, as the mill hand who rises to financial power; Fay Wray, his wife; Walter Con- nolly, Theodore Von Eltz, Berton Churchill. (Feb.) MEANEST GAL IN TOWN, THE—RKO- Radio.—A capable group of comedians, including El Brendel, ZaSu Pitts, “‘Skeets’’ Gallagher, Jimmy Gleason and Pert Kelton, make this worth-while entertainment. (March) MELODY IN SPRING—Paramount.—Ra- dio’s well-known tenor makes his film début in an elaborately staged production with Ann Sothern, and that comedy team Charlie Ruggles and Mary Boland. Charming musical moments, fun and laughter in abundance. (June) McWade'’s characterization highlights the. MEN IN WHITE—M-G-M.—Torn between difficult scientific career and easy medical prac- tice with love of Myrna Loy, Clark Gable does a re- markable acting job. Elizabeth Allan, Jean Hersholt, Otto Kruger merit praise. (April) MIDNIGHT—Universal.—Sidney Fox turns in an excellent performance in this morbid drama from th2 Theatre Guild play. Good cast. (May) * MISS FANE’S BABY IS STOLEN—Para- mount.—A powerful, thrilling presentation of the kidnaping menace, with Dorothea Wieck as Baby LeRoy’s mother. Alice Brady, Jack LaRue. Excel- lent suspense. (March) MODERN HERO, A—Warners.—Beginning in circus, Richard Barthelmess’ sole aim is to achieve financial independence. Marjorie Rambeau, Jean Muir, William Janney fine, but story weak. (June) _MORNING AFTER, THE—British Interna- tional—Grand humor runs through Ben Lyon's ad- ventures of the ‘“‘morning after’’—Graustarkian intrigue, countesses, secret papers. Sally Eilers rivals Ben for top honors. (April) MOULIN ROUGE—20th Century-United Artists.—Gorgeous clothes, hot-cha dances, smart dialogue, and splendid performances by Con- stance Bennett and Franchot Tone put this film in the A-1 class. Tullio Carminati, Russ Columbo and the Boswell Sisters. (March) MR. SKITCH—Fox.—The trip West in the family rattler of Mr. and Mrs. Skitch (Will Rogers and ZaSu Pitts) provides laughs galore. Florence Desmond's impersonations are grand. (Feb.) MURDER ON THE CAMPUS—Chesterfield.— A worn murder plot with college setting. Police re- porter Charles Starrett, in love with suspect Shirley Grey, solves the mystery. (April) _MY LIPS BETRAY—Fox.—A musical comedy kingdom in which cabaret singer Lilian Harvey falls in love with king John Boles, and is loved by him. El Brendel. Fair. (Jan.) MYSTERY LINER—Monogram.—Poor acting, with exception of Noah Beery’s performance, in this murder mystery which has for its locale a radio-con- trolled ship at sea. (April) MYSTERY OF MR. X—M-G-M.—Gripping mystery centering around thief Robert Mont- gomery, also suspected of being the killer, Mr. X. Lewis Stone, Elizabeth Allan, Ralph Forbes. (May) MY WOMAN—Columbia.—Wally Ford gets a radio break when his wife,. Helen Twelvetrees, vamps Victor Jory into the idea. But success goes to Wally’s head; he loses his job—and his wife. (Jan.) NANA—Samuel Goldwyn-United Artists.— Anna Sten, exotic Russian beauty, makes an impressive début on the American screen as Nana in Zola’s classic. Richard Bennett, Mae Clarke, Phillips Holmes, Lionel Atwill. (March) NINTH GUEST, THE—Columbia.—Eight per- sons party with a mysterious ninth guest—Death. Suspense is well sustained. Donald Cook, Genevieve Tobin, Vince Barnett. (May) NO FUNNY BUSINESS—Ferrone Prod.—British comedy about an agency which» effects marital reconciliations. And funny is the word! Gertrude Lawrence and fine support. (May) NO GREATER GLORY—Columbia.—George Breakston heads a grand cast in this tale of the Paul Street Boys who go through the military pro- cedure of a regular army to protect their playground from rival group. See it. (May) NO MORE WOMEN—Paramount.—Victor Mc- Laglen and Edmund Lowe teamed again for some rowdy entertainment, with a grand battle over Sally Blane, owner of a salvage ship. (April) NO RANSOM—Liberty.—In order to reform Robert McWade’'s unappreciative family, Jack La- Rue kidnaps him and causes*Leila Hyams and Hedda Hopper some anxiety. Good supporting cast. (June) OLSEN’S BIG MOMENT—Fox.—E] Brendel is not only a janitor, but a matchmaker and a caretaker for an intoxicated bridegroom. Plenty of laughs. Walter Catlett and Barbara Weeks. (Jan.) ONCE TO EVERY WOMAN—Columbia.—One day in a big hospital. Drama, and romance with Fay Wray and Ralph Bellamy. Walter Connolly and support fine. Skilfully directed. (April) ONE IS GUILTY—Columbia.—Ralph Bellamy comes in for honors as detective who solves mystery of prizefighter’s death. Direction helps keep interest. Shirley Grey, Rita LaRoy. Fair. (June)
Page 115
ONLY YESTERDAY—Universal.—It’s a hit * for Margaret Sullavan in the réle of a girl who kept the secret of her unwise love from her lover, John Boles, for many years. Splendid direction. (Jan.) ORIENT EXPRESS—Fox.—Norman Foster, Heather Angel and Ralph Morgan become involved with several other passengers while traveling on the Continental Express. Fair. (March) PALOOKA—Reliance-United Artists —AIl about a country lad, Stuart Erwin, becoming a prize-fighter. Jimmy Durante, Lupe Velez, Marjorie Rambeau and Robert Armstrong. Grand funthroughout. (March) POLICE CAR 17—Columbia.—Tim McCoy, in a radio squad car, chases a crook, and winds up in marriage with Evalyn Knapp, daughter of the police lieutenant. Just so-so. (Jan.) POOR RICH, THE—Universal—Edna May Oliver and Edward Everett Horton put on a grand show when unexpected guests, who do not know their hosts have lost their wealth, arrive. Excellent sup- porting cast. Lots of laughs. (March) POPPIN’ THE CORK — Fox-Educational. — Milton Berle in a three reeler with the ‘‘repeal”’ angle. Two good songs and some effective dance ensembles (March) PRIZEFIGHTER AND THE LADY, THE —M-G-M.—With Myrna Loy to make love to, and Carnera to fight, Max Baer is the hero of one of the best ring pictures yet made. He'll challenge any lady-killer now. (Jam.) QUATORZE JUILLET (‘JULY 14’’)—Protex Pictures.—A taxi driver and a girl enjoy the French national holiday together. The comedy can be better appreciated by those who know French. Fair. (Jan.) * QUEEN CHRISTINA W— M-G-M. —As Sweden’s Queen Christina, Garbo makes a magnificent appearance with John Gilbert, who does fine work in his screen comeback. Splendid support by Cora Sue Collins, Lewis Stone, Ian Keith, and Reginald Owen. (March) QUITTER, THE—Chesterfield—A _ slow-paced yarn about Charley Grapewin, publisher of small town newspaper, deserting Emma Dunn and son William Bakewell, and then returning years later for happy ending. Barbara Weeks, Hale Hamilton. (June) REGISTERED NURSE — Warners. — Romance, tragedy, humor within the walls of a hospital. Nurse Bebe Daniels the object of Lyle Talbot's and John Halliday’s admiration. Interesting plot details. (May) RIGHT TO ROMANCE, THE—RKO- Radio.—Ann Harding, a plastic surgeon, tired of success and eager for love and adventure, marries playboy Robert Young, while constant doctor ad- mirer Nils Asther patiently awaits the outcome. Sophisticated. (Feb.) * RIPTIDE — M-G-M. — Tense drama, with Norma Shearer vivid and compelling as the wife, and Herbert Marshall giving a flawless per- formance as the jealous husband. Robert Mont- gomery and good support. Direction excellent. (May) ROMAN SCANDALS—Samuel Goldwyn- United Artists.—Quite different from the ordinary musical. With Eddie Cantor and a bevy of beauties; Ruth Etting of radio fame; some lavish dance ensembles, and a chariot race that’s thrilling tothe finish. (Feb.) SAGEBRUSH TRAIL—Monogram.—An average Western with the usual bad hombres and rough riding, and John Wayne as the hero. Good photog- raphy. (March) SEARCH FOR BEAUTY, THE—Paramount.— The result of Paramount's world-wide beauty con- test. Featuring Ida Lupino, Buster Crabbe, Robert Armstrong and James Gleason. Amusing. (March) SHADOWS OF SING SING—Columbia.—Fairly entertaining story about Detective Grant Mitchell’s setting a trap for real murderer of Mary Brian's rience brother, to clear son Bruce Cabot of charge. ay SHE MADE HER BED—Paramount.—A gay merry-go-round of events—a tiger loose, a big fire,and baby Richard Arlen, Jr. in the ice-box—create an exciting finis. Sally Eilers, Richard Arlen, Robert Armstrong. (May) SHOULD LADIES BEHAVE?—M-G-M.—(Re- viewed under title ‘‘The Vinegar Tree.’’)—Mary Carlisle won't listen to reason when her parents, Alice Brady and Lionel Barrymore, try to keep her from marrying suave Conway Tearle. Amusing. (Jan.) PHOTOPLAY MaGAZINE FOR JULY, 1934 FOLD oS ecco BRERA me "HOW THE WRONG SHADE OF — “FACE POWDER CAN MAKE | YOU LOOK YEARS OLDER> i —=— eee realy, BH ERE { i | Pavlova’s Experience NNA PAVLOVA, the great dancer, was giving two concerts in a distant city. The first night she looked gloriously young and vibrant. But the second night she was another woman altogether—she looked old and haggard. Something terrible had hap- pened to cause the transformation. What was it? Just this: By mistake the wrong colored spotlight was thrown on her. And the effect was that she appeared twenty years older. The audience whispered—“My, how old Pavlova looks.” The right light was im- mediately switched on. But the damage was done! No one in the audience could be con- vinced that Pavlova hadn't grown old. Your Face Powder Shade— Aging or Youthifying? What holds for lighting holds for face pow- der shades, too. The wrong shade can make you look five to ten years older. Many women, choosing their face powder shade on the wrong basis, are victims of a decidedly aging effect. Could it be possible that you, too, are paying the penalty of the wrong shade of face pow- der? Look at the above illustration. It gives wrong shade of face powder makes. you some idea of the difference the right and g | One Way fo Tell MH There is one way to tell which is the right shade of face powder for you—which shade makes you look young rather than old—and that is to try all the five basic shades. As Lady Esther has demonstrated and, as color specialists confirm, there are five basic shades which supply the needs of all types of women. One of these will prove the most flattering and—youthifying—for you. And Lady Esther offers you the opportunity of finding out that shade at her expense. At Lady Esther’s Expense! Simply mail your name and address and you will receive a liberal supply of all five shades of Lady Esther Face Powder. Try them all on your face before your mirror and instantly one of these shades will prove the one for you. Mail coupon now for all five shades of Lady Esther Face Powder. V (You Can Paste This on Penny Postcard) ] FREE] j LADY ESTHER, 2018 Ridge Ave., Evanston, Ill. : ] | I want to find the right shade of face powder I | for my type. Please send liberal supply of all 5 | l I | shades of Lady Esther Face Powder free and postpaid. Address Gityie--.
Page 116
eres . a hal 1 ; oe Ahan eta eeen cry el) WHEN you visit New York enjoy the comforts of an ideal home and still be in the heart of the Motion Picture Art Centre. * Parlor with Bedroom and Bath PER DAY FOR $500 ONE OR TWO $125.00 per month Largest Single Room in $3 New York ~~ PER DAY for this Beautiful 2-Room Suite. 3-Room Suites in proportion. All rooms equipped with radio, combination tub and shower bath and running ice water. Ideal location — adjacent to shopping, business and theatre districts. * Swimming Pool and Gymnasium FREE to Guests. details. | Telegraph reservations (Collect) ENJOY NEW YORK'’S COCOANUT GROVE ROOF GARDEN AND TIC TOC CLUB at tral 56th St. at 7th Ave. New York City Write for PHOTOPLAY MAGAZINE FOR JULY, 1934 SHOW-OFF, THE—M-G-M.—Spencer Tracy handles réle as show-off with skill. Madge Evans does well as his patient wife. Clara Blandick, Lois Wilson, good support. Amusing. (May) SIDE STREETS—First National—Aline Mac- Mahon's characterization of the love-starved woman who marries a jobless sailor (Paul Kelly) is superb. Ann Dvorak, Patricia Ellis. (June) SING AND LIKE IT—RKO-Radio.—A devastat- ing mirthquake. Soft-hearted gangster Nat Pendle- ton makes ZaSu Pitts a stage hit to distraction of ’ Producer Edward Everett Horton and jealous Pert Kelton. Ned Sparks. (May) SIN OF NORA MORAN, THE—Maiestic Pic- tures.—The tragic story of a girl (Zita Johann) who dies in the electric chair to save her lover. Alan Dinehart, Paul Cavanagh, John Miljan.. Very de- pressing. (March) SITTING PRETTY—Para: ount.—Five popular songs do much for this musical. Song writers Jack Oakie and Jack Haley meet Ginger Rogers as they hitch-hike to Hollywood. Entire cast splendij. Fan dance finale at end, effective. (Feb.) * SIX OF A KIND—Paramoun‘.—This is a howl. Charlie Ruggles, Mary Boland, W. C. Fields, Alison Skipworth, George Burns and Gracie Allen are six of a kind—ace comedians. If you crave action, stop here. (April) SIXTEEN FATHOMS DEEP—Monogram.— Against the villainous opposition of George Rigas, Creighton Chaney succeeds in bringing in his sponges, and winning Sally O'Neil. Fair. (April) SLEEPERS EAST—Fox.—Wynne Gibson is the only bright spot ina dull yarn. Entire cast, including Preston Foster, tries hard, but plot is weak. (April) SM OK Y—Fox.—The life story of Will James’ wild colt ‘“‘Smoky,”’ from colthood to “old age.” Victor Jory turns in a good performance as bronc- buster. (Feb.) SON OF A SAILOR—First National.—Joe E. | Brown has a weakness for gold braid and pretty girls | including Thelma Todd. Good, clean fun. (Jan.) SON OF KONG, THE—RKO-Radio.—Helen Mack and Robert Armstrong find the twelve-foot offspring of fifty-foot King Kone much more friendly than was his father. Fine photography. (March) SONS OF THE DESERT—Hal Roach-M-G-M. —Lodge members Laurel and Hardy have a gay time trying to escape wives Dorothy Christy and Mae Busch so they may attend the annual convention. And they do. See this. (March) SPECIAL INVESTIGATOR — Universal. — Onslow Stevens and Wynne Gibson are rounded up as murder suspects. When things look darkest, Wynne saves the day. Too mystifying to be easily followed. (Jan.) SPEED WINGS—Columbia.—Tim McCoy has his usual difficulties, this time in winning the air speed championship. William Bakewell, Evalyn Knapp. Plenty of thrills. (May) SPITFIRE—RKO-Radio.—If you like char- acter studies at all, this splendid one of Kath- arine Hepburn as a Kentucky mountain girl should appeal. Ralph Bellamy, Robert Young. (April) STAND UP AND CHEER—Fox.—Assisted by Madge Evans, Secretary of Amusement Warner Baxter cheers the nation with an inspiring presentation of music and dance numbers by Jimmy Dunn, Shirley Temple, John Boles and a score of others. (June) STRAIGHTAWAY — Columbia. — Lively mo- ments for auto racing enthusiasts, with brothers Tim McCoy and William Bakewell as ace drivers. Sue Carol provides love interest. (April) STRAWBERRY ROAN—Universal.—Ken May- | nard and Ruth Hall good; but the horses are so fine, humans weren’t needed. An exceptional Western. (Dec.) SUCCESS AT ANY PRICE—RKO-Radio.— Story material so poor that in spite of Douglas Fairbanks, Jr.’s fine work, and efforts of Colleen Moore, Genevieve Tobin, Frank Morgan, Nydia West man, film just doesn’t click. (May) SWEETHEART OF SIGMA CHI, THE—Mono- gram.—Buster Crabbe and Mary Carlisle ornament an otherwise so-so tale of college life. (Dec.) TAKE A CHANCE — Paramount. — Tent-show crooks James Dunn and Cliff Edwards try to build up June Knight for Broadway. Lilian Bond and Buddy Rogers. Excellent musical numbers. (Jan.) TAKE THE STAND —Liberty.—Columnist Jack LaRue is murdered while broadcasting in locked room. Several persons have motive. But who did it? Good cast includes Thelma Todd, Leslie Fen- ton, Vince Barnett. (May) +. THIS MAN IS MINE — RKO-Radio. — Society comedy-drama. Irene Dunne, Ralph Bellamy, Constance Cummings form interesting triangle. Sparklingdialogue. Kay Johnson deserves honors. (May) THIS SIDE OF HEAVEN—M-G-M.—A realistic tale—one hectic day in the life of the Turner family. Lionel Barrymore, Fay Bainter and children emerge no worse for the wear. (April) 3 ON A HONEYMOON—Fox.—Trouble starts when Sally Eilers pursues officer Charles Starrett on round-the-world cruise. Poor story, but cast in- cluding ZaSu Pitts and Henrietta Crosman create fair amount of interest. (June) THUNDERING HERD, THE—Paramount.—A well-directed Zane Grey tale with old-timers Harry Carey, Monte Blue, Noah Beery and Raymond Hat- ton. Randolph Scott and Judith Allen provide love interest. (Feb.) TILLIE AND GUS—Paramount.—Even W. C. Fields and Alison Skipworth couldn’t make much of this would-be comedy. (Dec.) TO THE LAST MAN—Paramount.— Randolph Scott and Esther Ralston, as representatives of feuding ex-Kentucky families, lend welcome plot variety to this good Western. (Dec.) TRUMPET BLOWS, THE—Paramount.— George Raft’s scenes in bull-ring provide thrilling moments as brother Adolphe Menjou, ban- dit posing as rancher, and Frances Drake, loved by both men, tensely await outcome of the great en- counter. (June) TWENTY MILLION SWEETHEARTS— First National.—Through efforts of Pa® O’ Brien, and Ginger Rogers’ “giving him the air,” Dick Powell becomes radio sensation. Hit songs, grand supporting cast. (June) TWO ALONE—RKO-Radio.—A dull farm tale, featuring Jean Parker as the enslaved orphan and Tom Brown, the bey she loves, also bound to farm drudgery by Arthur Byron. ZaSu Pitts and Nydia Westman. (March) UPPERWORLD — Warners. — In self-defense Warren William shoots jealous lover who killed dancer Ginger Rogers. After his exoneration, Wil- liam goes away with wife Mary Astor and son Dickie Moore. Good performances offset trite plot. (June) VERY HONORABLE GUY, A—First National. —Honest gambler Joe E. Brown sells his body to science to pay debt, but when “delivery date” arrives, Joe escapes his bargain. Entertaining. (June) 3 * Mexico's barbarous bandit, by Wallace Beery. work by Henry B. Walthall. (April) VIVA VILLA!—M-G-M.—Action galore in this fine portrayal of the colorful life of ae 00 VOICE IN THE NIGHT—Columbia.—Some- thing going on every minute in this melodramatic telephone construction story with Tim McCoy in his usual hero réle. Suspense well sustained. (June) WALLS OF GOLD—Fox.—Sally Eilers, others, wander dully through a dull tale about marrying for money after a lovers’ falling out. (Dec.) WALTZ TIME — Gaumont-British. — Charming music helps a dull, draggy story. (Dec.) WAY TO LOVE, THE—Paramount.—Maurice Chevalier wants to be a Paris guide, but finds himself sheltering gypsy Ann Dvorak in his roof-top home, Plenty of fun then. (Dec.) WHARF ANGEL — Paramount. — Good theme that didn’t jell. Yarn about hard guy Victor Mc- Laglen selling out Preston Foster and finally making noble sacrifice to redeem himself. Dorothy Dell is the girl. Alison Skipworth. (May) WHEELS OF DESTINY—Universal.—Plenty of action, with Indian fights, buffalo stampedes, prairie fires and a terrific rainstorm, to say nothing of Ken Maynard and his horse, Tarzan. Children will be thrilled. (March)
Page 117
WHITE WOMAN—Paramount.—Charles Laugh- ton, ruler of African jungle kingdom, discovers that Carole Lombard, cast-off, whom he is sheltering, has fallen in love with Kent Taylor. And what blood- curdling horror follows! (Jan.) WILD CARGO—RKO-Radio.—The film story of Frank Buck's most recent expedition into the Malay Jungle, with a detailed explanation of each scene. Interesting and beautifully photo- graphed. (June) WINE, WOMEN AND SONG—Monogram.—To save her daughter (Marjorie Moore), in love with dance director Matty Kemp, from clutches of theatrical operator Lew Cody, Lilyan Tashman poisons Lew and herself. Nothing new here. (Feb.) WOMAN’S MAN, A—Monogram.—In her screen comeback, Marguerite De La Motte causes prize- fighter Wallace Ford some concern as to his career. But she sets things right again after the big fight. Fair. (March) WOMAN UNAFRAID—Goldsmith Prod.—Suffi- cient suspense in this tale of female detective Lucille Gleason, who defies perils of gangdom. Lona Andre, “Skeets” Gallagher. (April) WOMAN WHO DARED, THE—Wm. Berke Prod.—Assisted by reporter Monroe Owsley, Claudia Dell manages to outwit gangsters who threaten to bomb her textile plant. Good cast; fair story. (Feb.) WOMEN IN HIS LIFE, THE—M-G-M.—A very melodramatic tale about a lawyer (Otto Kruger) who finds himself in the odd position of defending the man who has murdered the woman he (Kruger) loved. Una Merkel, Roscoe Karns provide comedy relief. Ben Lyonis young love interest. (Feb.) WONDER BAR—First National.—Al Jolson, Dick Powell, Dolores Del Rio and Ricardo Cortez furnish gay, sophisticated entertainment at the Wonder Bar Café. And Kay Francis does well with a small réle. (April) YOU CAN’T BUY EVERYTHING—M-G-M.— Excellent characterization by May Robson as schem- ing old woman who has devoted her life to pursuit of gold. William Bakewell, Lewis Stone, Jean Parker do fine work. (April) YOU MADE ME LOVE YOU— Majestic Pictures. —lIn this swift-paced English farce we see a new Thelma Todd. The “Taming of the Shrew” idea, with Stanley Lupino adding much to the film. (Feb.) YOU’RE TELLING ME—Paramount.—Assisted by Princess Adrienne Ames, W. C. Fields brings about marriage of his daughter Joan Marsh to wealthy Buster Crabbe. A barrel of fun, with Fields scoring high. Louise Carter. (June) Katharine Hepburn’s stand-in at last gets a break in movies. Adalyn Doyle’s first réle is in RKO-Radio’s “Finishing School” PHOTOPLAY MAGAZINE FOR JULY, 1934 119 pra MAG ICl pane ses AMAZING | SHORE nti SS Cagle Seand CHOCOLATE SAUCE 2 squares unsweetened } chocolate a 134 cups (1 can) Eagle Brand Sweetened Condensed Milk Melt chocolate in a double boiler. Add Eagle Brand Sweetened Condensed Milk and stir over boiling water five minutes until mixture thickens. Add salt and hot water, amount depending on the consistency desired. Makes 2 or 21% cups. teaspoon salt to 1 cup hot water @ Only 5 minutes’ cooking! No lumps—always gor- geously creamy and smooth! The ice cream, too, is failure-proof. See free booklet. @ But remember— Evaporated Milk won’t—can’t—succeed in this recipe. You must use Sweetened Condensed Milk. Just remember the name Lagle Brand. - R - Z J MARVELOUS NEW COOK BOOK! e Contains dozens of short-cuts to caramel, chocolate and lemon good things, also magic tricks with candies, cookies, ice creams, salad dressings! Just address: The Borden Co., Dept. PU74, 350 Madison Avenue, New Y one IN5aY< Gry poe ea) eee ee eee State (Print name and address plainly) Don’t Miss a Single Issue of PHOTOPLAY Masazine containing the Fascinating New Prize Money Different” Puzzle Contest Turn to Page 50 of This Issue Now
Page 118
120 LastingLovetiness at your FINGERTIPS | 2 Mary Brian’s beautiful hands achieve added loveliness when they are smartly fashioned with Moon Glow, the new nail polish that actually “flatters your fingertips.” MOON GLOW’S six smart shades will thrill you, and your nails will retain their smart appearance longer. MOON GLOW will not fade, crack or peel. Ask for the 25c or 50c size of MOON GLOW Nail Polish at your drug or department store. Accept no substitute for genuine MOON GLOW. If your dealer cannot supply you, mail coupon. moon GLOW NAIL POLISH Moon Glow Cosmetic Co., Ltd., Hollywood, Calif. Gentlemen: Please send me introductory package of Moon Glow. I enclose 10c (coin or stamps) for each shade checked. ( ) Natural ( ) Medium ( ) Rose ( ) Platinum Pearl ( )Carmine (_) Coral. Look for the Patented Crimp. STA-RITE HAIR PIN CO. SHELBYVILLE, ILL. REMINGTON ¢ PORTABLE A new Remington Port able. Carrying case free. Use 10 days without cost. If you keep it, pay only 10c a day. Write. ® Say: How can I get a Remington Portable on 10- day free trial offer for only 10c a day. Remington Rand Inc., Dept. 4603, Buffalo, N. Y. Learn PHOTOGRAPHY and have a profitable vocation There are many opportunities in this dignified and profitable profession. Learn quickly by the famous N. Y. I. method of instruction. Personal attendance or Home Study courses in Commercial, News, Portrait. or Motion Picture Photography. Free booklet, “How to Succeed in Photography.” New York Institute of Photography Founded 1910 10 West 33 Street, Dept. 37, New York Cily wow 10 SUCCEED % PHOTOGRAPHY PHOTOPLAY MAGAZINE FOR JULY, 1934 Casts of Current Photoplays “AFFAIRS OF CELLINI, THE’’—20TH CeEn- TURY-UNITED ARTISTS.—From the play by Edwin Justus Mayer. Adapted by Bess Meredyth. Directed by Gregory LaCava. Thecast: Duchess of Florence Constance Bennett; Bevenuio Cellini, Fredric March; Duke of Florence, Frank Morgan; Angela, Fay Wray; Ascanio, Vince Barnett; Ollaviano, Louis Calhern; Beatrice, Jessie Ralph; Polverino, Jay Eaton; Captain of Guard, John Rutherford. “AFFAIRS OF A GENTLEMAN’’—UNIVERSAL. —From the story ‘‘Women in His Life’’ by Edith and Edward Ellis. Screen play by Cyril Hume and Peter Ruric. Directed by Edwin L. Marin. The cast; Gresham, Paul Lukas; Gladys Durland, Leila Hyams; Jean Sinclair, Patricia Ellis; Lyn Durland, Onslow Stevens; Carter Vaughn, Phillip Reed; Nan Filzgerald, Dorothy Burgess; Carlotta, Lilian Bond; Foxey, Joyce Compton; Fletcher, Murray Kinnell; Gail Melville, Dorothy Le Baire; Bindar, Richard Carle; Sato, Wilfred Hari; Secrelary, Sarah Haden; Inspector, Charles Wilson; Bela, Gregory Gaye. “BLACK CAT, THE’’—UNIvERSAL.—Story by Edgar Ulmer and Peter Ruric from a tale suggested by Edgar Allan Poe. Screen play by Peter Ruric. Directed by Edgar Ulmer. The cast: Poelzig, Kar- loff; Dr. Verdegast, Bela Lugosi; Peler, David Man- ners; Joan, Jacqueline Wells; Karen, Lucille Lund; Majordomo, Egon Brecher; Maid, Anna Duncan; Conductor, Andy Devine; Car Steward, Herman Bing; Train Conductor, Andre Cheron; Train Steward, Luis Alberni; Thamal, Harry Cording; Bus Driver, George Davis; Porter, Alphonse Martell; Border Patrolman, Tony Marlow; Station Master, Paul Weigel; Wailer, Albert Polet; Brakeman, Rodney Hildebrant. “CHEATERS”’—Liperty—Suggested by ‘‘The Peacock Screen’’ by Fanny Heaslip Lea. Screen play by Adele Buffington. Directed by Phil Rosen. The cast: Steve, Bill Boyd; Mabel, Dorothy Mackaill; Kay, June Collyer; Kelly, Wm. Collier, Sr.; Southern, Alan Mowbray; Sweeny, Guinn Williams; Lilly, Louise Beavers. “CONSTANT NYMPH, THE’’—Fox-Gaumont- BrRiITISH.—From the novel by Margaret Kennedy. Screen play by Dorothy Farnum. Directed by Basil Dean. The cast: Lewis Dodd, Brian Aherne; The Sanger Family: Tessa, Victoria Hopper; (by arrange- ment with Sydney Carroll); Lina, Peggy Blythe; Tony, Jane Baxter; Kale, Jane Cornell; Susan, Beryl Laverick; Sanger, Lyn Harding; Linda, Mary Clare; Florence, Leonora Corbett; Jacob Birnbaum, Fritz Schultz; Roberio, Tony De Lungo; Trigorin, Jim Gerald; Charles Churchill, Athole Stewart. “DOUBLE DOOR"’—ParaMount.—From the story by Elizabeth McFadden. Screen play by Gladys Lehman and Jack Cunningham. Directed by Charles Vidor. The cast: Vicloria Van Brell, Mary Morris; Anne Darrow, Evelyn Venable; Rip Van Brell, Kent Taylor; Morlimer Neff, Sir Guy Standing; Caroline Van Brelt, Anne Revere; Dr. John Lucas, Colin Tapley; Avery, Virginia Howell; My. Chase, Halliwell Hobbes; Telson, Frank Dawson; Louise, Helen Shipman; William, Leonard Carey; Lambert, Ralph Remley; Rev. Dr. Loring, Burr Caruth. “FOG OVER FRISCO’’—First Based on the story by George Dyer. Screen play by Robert N. Lee. Directed by William Dieterle. The cast: Arlene Bradford, Bette Davis; Tony, Don- ald Woods; Val, Margaret Lindsay; Spencer, Lyle Talbot; Jscsy, Hugh Herbert; Bradford, Arthur Byron; Thorne, Robert Barrat; Porler, Henry O'Neill; Jake Bello, Irving Pichel; Joshua, Douglas Dum- brille; Chief O'Malley, Alan Hale; Joe, Gordon West- cott; O'Hagan, Charles Wilson; Van Ness, Charles Minjir; Spike, William Demarest; Lieut. Davis, Douglas Cosgrove; Joe Hague, William Davidson; Driver, George Chandler. NATIONAL.— “HALF A SINNER’’—UNIVEeRSAL.—From the play ‘‘Alias the Deacon’ by John B. Hymer and LeRoy Clemens. Screen play by Earle Snell and Clarence Marks. Directed by Kurt Neumann. The cast: Deacon, Berton Churchill; John Adams, Joel McCrea; Phyllis, Sallie Blane; Louella, Gay Seabrook; Willie, Mickey Rooney; Jim Cunningham, Spencer Charters; Slim Sullivan, Russell Hopton; Bull Moran, Guinn Williams; Mrs. Gregory, Theresa Max- well Conover; Mrs. Clark, Alexandra Carlisle; Sheriff, Reginald Barlow; Rumplemeyer, Bert Roach; Radio Annouhcer, Walter Brennan. “HANDY ANDY"’—Fox.—From the story by Lewis Beach. Screen play by William Conselman and Henry Johnson. Directed by David Butler. The cast: Andrew Yales, Will Rogers; Ernestine Yates, Peggy Wood; Fleuretle, Conchita Montenegro; “Doc Brumeister, Roger Imhof; Janice Yates, Mary Carlisle; Lloyd Burmeister, Robert Taylor; Charles Norcross, Paul Harvey; Mattie Norcross, Grace Goodall; Pierre Martel, Gregory Gaye; Howard Nor- cross, Frank Melton; Henri Duval, Adrian Rosley; Mrs. Beauregard, Helen Flint; Mr. Beauregard, Rich- ard Tucker; Jennie, Jessie Pringle. Complete for every picture reviewed in this issue “T HATE WOMEN'"’—Go.psmitH Prop,.—From the story by Mary McCarthy. Directed by Aubrey Scotto. The cast: Scoop McGuire, Wallace Ford; Anne Meredith, June Clyde; Cookie Smith, Fuzzy Knight; Powell, Bradley Page; Dollie, Barbara Rog- ers; Cohen, Alexander Carr; Ducky, Bobby Watson; Tillie, Eleanor Hunt; Nelson, Douglas Fowley; Rose, Cecilia Parker, Elmex, Billy Erwin; Ma, Margaret Mann; Casey, Kernan Crippes; Big Boy, Snowflake. “JUST SMITH'"’—Gaumont-BritisH.—Adapted from Frederick Lonsdale's play ‘‘Never Come Back.” Directed by Tom Walls. The cast: Smith, Tom Walls; Mary Linkley, Carol Goodner; Lady Moyn- ton, Anna Grey; Lord Trench, Allan Aynesworth; Lady Trench, Eva Moore. “LITTLE MISS MARKER” — ParaMouNT.— Fom the story by Damon Runyon. Screen play by William R. Lipman, Sam Hellman and Gladys Leh- man. Directed by Alexander Hall. The cast: Sorrowful Jones, Adolphe Menjou; Bangles Carson, Dorothy Dell; Big Steve, Charles Bickford; Miss Marker, Shirley Temple; Regret, Lynne Overman; Doc Chesley, Frank McGlynn, Sr.; Sun Rise,f{Jack Sheehan; Grinder, Gary Owen; Dizzy Memphis, Sleep 'N Eat; Eddie, Puggy White; Benny the Gouge, Sam Hardy; Buggs, Tammany Young; Marky's Father, Edward Earle; Sore Toe, John Kelly; Canvas-Back, Warren Hymer; Dr. Ingalls, Frank Conroy; Reardon, James Burke; Sarah, Mildred Gover; Mrs. Walsh, Lucille Ward; Doctor, Crauford Kent; Head of Home Finding Society, Nora Cecil. “LOUD SPEAKER, THE’’—MonoGram.—From the story by Ralph Spence. Screen play by Albert E. DeMond. Directed by Joseph Santley. The cast: Joe Miller, Ray Walker; Janet Melrose, Jacqueline Wells; Dolly, Noel Francis; Pop Calloway, Charles Grapewin; Walker, Wilbur Mack; Green, Lorin Raker; Burroughs, Spencer Charters; Ignatz, Sher- wood Bailey; Caleb Hawkins, Billy Irwin; Amy, Ruth Romaine; Thomas, Lawrence Wheat; Grand- ma, Mary Carr. “MANHATTAN MELODRAMA’’—M-G-M. — From the story by Arthur Caesar. Screen play by Oliver H. P. Garrett and Joseph L. Mankiewicz. The cast: Blackie, Clark Gable; Jim, William Powell; Eleanor, Myrna Loy; Father Joe, Leo Carrillo; Spud, Nat Pendleton; Poppa Rosen, George Sidney; Annabelle, Isabel Jewell; Tootsie, Muriel Evans; Snow, Thomas Jackson; Miss Adams, Claudelle Kaye; Blackie’s Allorney, Frank Conroy; Mannie Arnold, Noel Madison; Blackie, as a boy, Mickey Rooney; Jim, as a boy, Jimmy Butler. “MANY HAPPY RETURNS” — ParamMountT.— From the story by Lady Mary Cameron. Screen play by J. P. McEvoy and Claude Binyon. Directed by Norman McLeod. The cast: Guy Lombardo, Guy Lombardo; Gracie, Gracie Allen; Burns, George Burns; Florence Allen, Joan Marsh; Horatio Allen, George Barbier; Ted Lambert, Ray Milland; Brinker, William Demarest; Davies, John Arthur; Joe, Stanley Fields; Mike, John Kelly; Dr. Olio von Strudel, Egon Brecher; Horatio’s Secretary, Franklin Pangborn; Nathan Silas, Morgan Wallace; M.P. Director, Kenneth Thomson; Dance Team, Veloz and Yolanda; Harmonica Player, Larry Adler; Tap Dancers, John Taylor and Clark Rutledge and Guy Lombardo’'s Royal Canadians. “MONTE CARLO NIGHTS" — Monocram.— From the story ‘‘Numbers of Death’”’ by E. Phillips Oppenheim. Adapted by Norman Houston. Direct- ed by William Nigh. The cast: Mary, Mary Brian; Larry, John Darrow; Aunt Emma, Kate Campbell; Daggell, Robert Frazer; Madelon, Yola D’Avril; Blondie, Astrid Allyn; Gunby, George Hayes; Mazie, Billee Van Every; Brandon, Carl Stockdale; Croupier, George Cleveland. “NOW I'LL TELL’’—Fox.—From the story by Mrs. Arnold Rothstein. Adapted by Edwin Burke. Directed by Edwin Burke. The cast: Murray Golden, Spencer Tracy; Virginia, Helen Twelvetrees; Peggy, Alice Faye; Mositer, Robert Gleckler; Doran, Henry O'Neill; Freddie, Hobart Cavanaugh; Hart, G. P. Huntley, Jr.; Mary, Shirley Temple; Tommy, Jr., Ronnie Cosbey; Traylor, Ray Cooke; Curtis, Frank Marlowe; Davis, Clarence Wilson; Wynne, Barbara Weeks; Joe, Theodore Newton; Peppo, Vince Barnett; Honey Smith, Jim Donlon. “PARTY’S OVER, THE’’—Co.tumsia.—From the story by Daniel Kusell. Screen play by S. K. Lauren. Directed by Walter Lang. The cast: Bruce, Stuart Erwin; Ruth, Ann Sothern; Phyllis, Arline Judge; Martin, Chic Chandler; Mabel, Patsy Kelly; Sarah, Catherine Doucet; Belly, Marjorie Lytell; Theodore, Henry Travers; Clay, William Bakewell; Tillie, Esther Muir; Ferd, Rollo Lloyd. “PRIVATE SCANDAL’'—Paramount.— From the story by Vera Caspary and Bruce Manning. Screen play by Garrett Fort. Directed by Ralph Murphy. The cast: Miss Coates, ZaSu Pitts; Chiff Barry, Phillips Holmes; Fran Somers, Mary Brian; Lieul. Riordon, Ned Sparks; B. J. Somers, Lew Cody; Deborah Lane, Olive Tell; Adele Smith, June Brew- ster; Mr. Terwilliger, Charles Sellon; H. R. Robbins,
Page 119
Jed Prouty; Insurance Agent, Rollo Lloyd; Blaney, George Guhl; Baker, Charles B. Middleton; Schullz, John Qualen; Jenkins, Hans Joby; Jim Orrington, Hale Hamilton; Mrs. Orringion, Shirley Chambers; ist Customer, Greta Meyer; 2nd Customer, Christian Rub; Macey, Bill Franey; Coroner, Olin Howland; Jerome, Harold Waldridge. “SADIE MCKEE"—M-G-M.—Based on _ the story “‘The Portrait of Sadie McKee” by Vina Del- mar. Screen play by John Meehan. Directed by Clarence Brown. The cast: Sadie, Joan Crawford; Tommy, Gene Raymond; Michael, Franchot Tone; Brenngn, Edward Arnold; Dolly, Esther Ralston; Stooge, Earl Oxford; Opal, Jean Dixon; Phelps, Leo Carrillo; Riccori, Akim Tamiroff; Mrs. Craney, Zelda Sears; Mrs. McKee, Helen Ware; Maid, Helen Freeman; Cafe Entertainers, Gene Austin, Candy and Coco. “SCARLET EMPRESS’’—ParaAMountT.—Screen play by Manuel Komroff. Directed by Josef Von Sternberg. The cast: Sophia Frederica, Marlene Dietrich; Catherine II, Marlene Dietrich; Count Alexei, John Lodge; Grand Duke Peter, Sam Jaffe; Empress Elizabeth, Louise Dresser; Catherine as a Child, Maria Sieber; Prince August, C. Aubrey Smith; Countess Elizabeth, Ruthelma_ Stevens; Princess Johanna, Olive Tell; Gregory Orloff, Gavin Gordon; Mons. Lieut. Ovisyn, Jameson Thomas; Chancellor Besiuchef, Erville Alderson; Marie, Marie Wells; Herr Wagner, Edward Van Sloan; Mlle. Cardeil, Jane Darwell; The Doctor, Harry Woods; Ivan Shuvolov, Hans von Twardowski; Archiman- drite Simeon Tevodovsky, Davison Clark; Count Lestocq, Phillip Sleeman. “SISTERS UNDER THE SKIN ’’—Co.tumsia.— From the story by S. K. Lauren. Screen play by Jo Swerling. Directed by David Burton. The cast: Blossom Bailey, Elissa Landi; John Hunter Yates, Frank Morgan; Zukowski, Joseph Schildkraut; Elinor Yates, Doris Lloyd; Miss Gower, Clara Blandick; Gilda Gordon, Shirley Grey; Winters, Samuel Hinds; Jones, Henry Kolker; Smith, Arthur Stewart Hull; Brown, Montague Shaw; Dution, Howard Hickman; Wiggins, Robert Graves; Mullen, Selmer Jackson. “SMARTY ’’—WarRnNeERS.—Based on the play “Hit Me Again’ by F. Hugh Herbert. Screen play by F. Hugh Herbert and Carl Erickson. Directed by Robert Florey. The cast: Vicki, Joan Blondell; Tony, Warren William; Vernon, Edward Everett Horton; George, Frank McHugh; Anita, Claire Dodd; Bonnie, Joan Wheeler; Edna, Virginia Sale; Tilford, Leonard Carey. “SMOKING GUNS’’—UNIVERSAL.—From the story by Ken Maynard. Screen play by Nate Gatzert. Directed by Alan James. The cast: Ken Masters, Ken Maynard; Alice, Gloria Shea; Dick, Walter Miller; Hank, Frank Hagney; Biff, Bob Kortman; Adams, Jack Rockwell; Masters, Ed Coxen; Cinders, Blue Washington; and Tarzan, the wonder horse. “SPRINGTIME FOR HENRY” — Fox.—From the play by Benn W. Levy. Screen play by Keene Thompson and Frank Tuttle. Directed by Frank Tuttle. The cast: Henry Dewlip, Otto Kruger; Julia Jelliwell, Nancy Carroll; Johnny Jelliwell, Nigel Bruce; Miss Smith, Heather Angel; Trivers, Herbert Mundin; Alfred Ordway, Arthur Hoyt; A Young Lady, Geneva Mitchell. “STINGAREE’’—RKO-Rap1o.—Based on the stories by E. W. Hornung. Screen play by Becky Gardiner. Directed by William A. Wellman. The cast: Hilda Bouverie, Irene Dunne; Slingaree, Richard Dix; Mrs. Clarkson, Mary Boland; Sir Julian Kent, Conway Tearle; Howie, Andy Devine; Mr. Clarkson, Henry Stephenson; Annie, Una O'Connor; Inspector Radford, George Barraud; Victor, ‘‘Snub" Pollard. “STRICTLY DYNAMITE” — RKO-Rapi0o.— From the story by Robert T. Colwell and Robert A. Simon. Screen play by Maurine Watkins and Ralph Spence. Directed by Elliott Nugent. The cast: Moxie Slaight, Jimmy Durante; Vera, Lupe Velez; Nick Montgomery, Norman Foster; Georgie, William Gargan; Sylvia, Marian Nixon; Sourwood Sam, Eugene Pallette; Radio Number, Mills Brothers; Miss LaSeur, Minna Gombell; Fleming, Sterling Holloway; Miss Hoffman, Leila Bennett; Pussy, Stanley Fields; Junior, Tom Kennedy; Mr. Bailey, Franklin Kennedy; Mrs. Figg, Irene Franklin; Mr. Rivers, Berton Churchill; Robin Figg, Jackie Searl; Priscilla, Mary Kornman. “SUCH WOMEN ARE DANGEROUS” — Fox. —From the story ‘““Odd Thursday”’ by Vera Caspary. Screen play by Jane Storm and Oscar M. Sheridan. Directed by James Flood. The cast: Michael Shawn, Warner Baxter; Helen Halleck, Rosemary Ames; Verne Lillle, Rochelle Hudson; Wanda Paris, Mona Barrie; Wilson, Herbert Mundin; Aunt Sophie Travers, Henrietta Crosman; Ellison, Lily D. Stuart; Stanley, Irving Pichel; Nancy Ryan, Jane Barnes; George Ryan, Matt Moore; Delahanty, Richard Carle; Jan Paris, Murray Kinnell; Bronson, Frank Conroy; Hinton, Fred Santley; Granigan, John Sheehan; Delange, Addison Richards; Helma, Bodil Rosing; Josef Paris, Douglas Scott; Delective, James Burke. . “TARZAN AND HIS MATE”’—M-G-M.—Based on the characters created by Edgar Rice Burroughs. Screen play by J. Kevin McGuinness. Adapted by Howard Emmett Rogers and Leon Gordon. Directed by Cedric Gibbons. The cast: Jane Parker, Maureen O'Sullivan; Tarzan, Johnny Weissmuller: Harry Holt. Neil Hamilton; Martin Arlington, Paul Cavan- PHOTOPLAY MAGAZINE FOR JULY, 1934 agh; Beamish, Forrester Harvey; Saidi, Nathan Curry. “THIRTY DAY PRINCESS” — ParaMountT.— From the story by Clarence Budington Kelland. Screen play by Preston Sturges and Frank Partos. Directed by Marion Gering. The cast: Nancy Lane, Sylvia Sidney; Princess Catterina, Sylvia Sidney; Porter Madison, Cary Grant; Richard Gresham, Edward Arnold; Count Nicholaus, Vince Barnett; King Anatol, Henry Stephenson; Baron, Edgar Norton; Mr. Kirk, Ray Walker; Parker, Lucien Littlefield; Managing Editor, Robert McWade; Spottswood, George Baxter; Lady-in-Wailing, Mar- guerite Namara; Mrs. Schmidt, Eleanor Wessel- hoeft, Doctor at Gresham's, Frederic Sullivan; st Detective, Robert Homans; 2nd Detective, William Augustin; Policemanat Mrs. Schmidt's, Ed Dearing; Spottswood's Friend, Bruce Warren; City Editor, William Arnold; Sergeant of Police, Dick Rush; Radio Man at Boat, J. Merrill Holmes; Gresham's Butler, Thomas Monk. “20TH CENTURY” — Cotumsia.— From the play by Charles MacArthur, Ben Hecht and Charles Mulholland. Screen play by Charles MacArthur and Ben Hecht. Directed by Howard Hawks. The cast: Oscar Jaffe, John Barrymore; Lily Garland, Carole Lombard; Webb, Walter Connolly; O'Malley, Roscoe Karns; Jacobs, Charles Levison; Clark, Etienne Girardot; Sadie, Dale Fuller; George Smith, Ralph Forbes; Anita, Billie Seward; Lockwood, Clifford Thompson; Conductor, James P. Burtis; Schultz, Gi-Gi Parrish; McGonigle, Edgar Kennedy; Sheriff, Ed Gargan; Porter, Snowflake; First Beard, Herman Bing; Second Beard, Lee Kohlmer; Flanni- gan, Pat Flaherty. “UNCERTAIN LADY’’—UNIveErRSAL.—From the play by Harry Segall. Adapted by Daniel Evans and Martin Brown. Screen play by George O'Neil and Doris Anderson. Directed by Karl Freund. The east: Eliott, Edward Everett Horton; Doris, Gene- vieve Tobin; Myra, Renee Gadd; Bruce, Paul Cavanagh; Edith, Mary Nash; Garrison, George Meeker; Cicely, Dorothy Peterson; Garcia, Donald Reed; Buller, Herbert Corthell; Superintendent, Arthur Hoyt; Secrelary, Gay Seabrook; Mr. Weston, James Durkin. “UNKNOWN BLONDE” — Majestic.—From the novel ‘‘Collusion’’ by Theodore D. Irwin. Screen play by Leonard Fields and David Silverstein. Directed by Hobart Henley. The cast: Frank Rodie, Edward Arnold; Mrs. Van Brunt, Jr., Bar- bara Barondess; Bob Parker, Barry Norton; Frank Wilson, John Miljan; Helen Rodie, Dorothy Revier; The Maid, Leila Bennett; The Publicity Man, Walter Catlett; Miss Adams, Helen Jerome Eddy; Papa Van Brunt, Sr., Claude Gillingwater; Judith Rodie, Arletta Duncan; Mrs. Parker, Maidel Turner; The Male Co-resbondent, Franklin Pangborn; Mrs. Vail, Esther Muir; Max Keibel, Clarence Wilson; Mr. Vail, Arthur Hoyt. “WE'RE NOT DRESSING” — ParaMounT.— From the story by Benjamin Glazer. Screen play by Horace Jackson, Francis Martin and George Marion, Jr. Directed by Norman Taurog. The cast: Stephen Jones, Bing Crosby; Doris Worthing- ton, Carole Lombard; George, George Burns; Gracie, Gracie Allen; Edith, Ethel Merman; Hubert, Leon Errol; Prince Alexander Stofani, Jay Henry; Prince Michael Stofani, Ray Milland. “WHERE SINNERS MEET” — RKO-Rap1o.— From the play ‘“‘The Dover Road” by A. A. Milne. Screen play by H. W. Hannemann. Directed by J. Walter Ruben. The cast: Anne, Diana Wynyard; Mr. Latimer, Clive Brook; Eustasia, Billie Burke; Leonard, Reginald Owen; Nicholas, Alan Mowbray; Dominic, Gilbert Emery; Maid, Phyllis Barry; Footman, Walter Armitage; Maid, Katharine Wil- Hants; Footman, Robert Adair; Saunders, Vernon teele. “WHIRLPOOL’’—Co.umsi1Aa.—From the story by Howard Emmet Rogers. Screen play by Dorothy Howell and Ethel Hill. Directed by Roy William Neill. The cast: Buck Rankin, Jack Holt; Sandy, Jean Arthur; Bob, Donald Cook; Mac, Allen Jenkins; Helen, Lila Lee; Thelma, Rita LaRoy; Morrison, Willard Robertson; Barney Gaige, John Miljan; Farley, Ward Bond; Editor, Oscar Apfel. “WILD GOLD’’—Fox.—From the Dudley Nichols and Lamar Trotti. Lester Cole and Henry Johnson. Directed by George Marshall. The cast: Sleve Miller, John Boles; Jerry Jordan, Claire Trevor; J. Lorillard Pushkin, Harry Green; Pop Benson, Roger Imhof; Dixie Belle, Ruth Gillette; Waller Jordan, Monroe Owsley; Eddie Sparks, Edward Gargan; The Golden Girls, Suzanne Kaaren, Wini Shaw, Blanca Vischer, Elsie Larson, Gloria Roy, Myra Bratton; Benjamin, Himself. “WITCHING HOUR, THE” — ParamMount.— From the story by Augustus Thomas. Screen play by Anthony Veiller. Directed by Henry Hathaway. The cast: Martin Prentice, Sir Guy Standing; Jack Brookfield, John Halliday; Nancy Brookfield, Judith Allen; Clay Thorne, Tom Brown; Mrs. Thorne, Olive Tell; Foreman of Jury, William Frawley; Lew Ellinger, Richard Carle; Frank Hardmuth, Ralf Harolde; District Allorney, Purnell Pratt; Chief of Police, Frank Sheridan; Clarence, John Larkin; Henry Walthal, Selmer Jackson; Judge, Howard Lang; Asst. District Altorney, George Webb; Dick Wingate, Guy Usher: Ambrose, Robert Littlefield; Margaret Price, Gertrude Michael; Dy. Meiklejohn, Ferdinand Gottschalk; First Lawyer, Ernest Hilliard; Second Lawyer, Arthur Stuart Mull; Train, George Reed. story by Screen play by WAI THE SILENT ’ MESSENGER a: © 1934, by Lenthéric The brook murmuring below When your eyes meet his, in a busy office, on a crowded street, it will seem as if you are alone with him beside some murmur- ing brook ...Let him be conscious of a fragrant charm, that kindles the urge to know you, the charm of the new Daytime Fragrance, Bouquet Lenthéric. In its amber depths an exquisite Lenthéric perfume is combined with a fine Eau de Cologne—a double essence . . . Each morning it gives you the tang of vivid aliveness, and, the moment after, a delicate, strangely persis- tent fragrance is born . . . Wherever fine perfumes are sold. Lenthéric, 245 Rue St. Honoré, Paris; Fifth Avenue, New York. Four-oz. flacon, $1.00 Eight-oz., $1.65; Sixteen-oz., $2.75 In five leading Lenthéric Perfumes How to use Bouquet Lenthéric In the morning, after bath or shower, apply freely to the body. Spray it or pat it on. Spray also on lingerie and handkerchief. Bouquet Lenthéric the new daytime fragrance “QUIET, BUT WITH A STRANGE PERSISTENCE”
Page 120
22 PHOTOPLAY MAGAZINE FOR JULY, 1934 UNSIGHTLY HAIR ON |Screen Memories From Photoplay ARMS AND LEGS — . Make it INVISIBLE MARCHAND'S SS] That's the best way to banish ugly dark hair on arms _anddegs. MAKE IT INVISIBLE with Marchand’s Golden» Hair Wash. MORE SATISFACTORY. Remember this. Hair growth on limbs is natural. If you shave it off nature hits back by making hair | grow back thicker and blacker. So don’t touch the hair, advise Marchand’s hair experts—take the blackness out of it. MAKE IT INVISIBLE. One or two treatments with Mar- chand’s Golden Hair Wash makes it so light and un- noticeable, no one sees it. Then you can wear all the short-sleeved frocks and sheer stockings you want. No worries about coarse regrowth or irritating the skin. Arms and legs look smooth, dainty attractive always. Easy to do at home, takes 20-30 minutes, most economical. Ask Your Druggist, or Get by Mail—Use Coupon IC wanchano co. 251W.W8insis movie T c. Pra aes CO., 251 W. 19th St., N. Y. C | 45) (send coins or stamps). Pile send me a regular bottle | | oF Mare Ma's Golden Hair Wash | PE Names Se aes vos RAE eg crating Seer gree sme eaase | | Adar City | PU734 Cooling, soothing Mentholatum relieves the inflammation. Promotes quicker healing. MENTHOLATUM Gives COMFORT Daily EVE'S LURE ..a minimum of brassiere with a maximum of support. Perfect for backless bathing suits and formals. Ingenuous, too. Just slips over the head, and gently moulds to the in- dividual. Secure, yet soft, it G yields with the body, BE All sizes including 33, 55, 37, 38 $1.50 $2.50 White net for bathing « . Peach net lined shadow lace GUARANTEED TO SUPPORT THE PENDULOUS BUST Patent No. 1856340 JUANITA DICKSON HOLLYWOOD, CALIFORNIA If Your. Dealer Cannot Supply You, Order Direct. It’s daintier, safer—results are | 15 Years Ago OLLYWOOD became the movie capital through the flip of a coin. Pat Dowling re- called how Al E. Christie tired of trying to make Westerns around New York and wanted to take the Nestor Company to Cal- ifornia. His partner favored Florida. They flipped —and went to Hollywood! Vitagraph’s Brooklyn studio (now Warners’ Vitaphone plant) was the kinder- garten of the movies. The late Commodore J. Stuart Blackton wrote of its most talented pupils, too numerous to mention Among them, Antonio Moreno and the Talmadge sisters. Constance Talmadge, always being “married off” by the gossips, said she didn’t expect she ever would’ wed. Tra la. Tex Guinan had a flock of chickens around her, even in this early day. But not the night club Mae Marsh variety—real, feathered ones, in her Hollywood back-yard. Terry Ramsaye told how the govern- ment throttled newsreel com- panies during the war, not even permitting them to approach the censored privileges of the press. Mae Marsh temporarily retired after Sam Goldwyn failed to re- store the wistful appeal of this Griffith star. Mae returned to pictures several times; again is taking a fling. Elmo Lincoln bloomed as the silent “‘ Tarzan of the Apes.” Conrad Nagel, twenty-two, longed formatureréles. Best films: “For Better, For Worse” (Gloria Swanson), “Red Lantern” (Nazimova), “Upstairs and Down” (Olive Thomas), ‘‘ Mary Regan”? (Anita Stewart), “Stronger Vow” (Geraldine Farrar), ‘“ Girl Room the Marsh Croft” (Swed- ish). Cover: Dorothy Phillips. 10 Years Ago ERFECTION of pictures that talk, within a year, was pre- dicted by Dr. Lee DeForest, who had worked out his ‘‘ Phonofilm.” Incredible! Rudolph Valentino, long absent, was returning to the screen in “Monsieur Beaucaire.” PuHoTopLay found a host of al- ready forgotten stars, among them Florence Lawrence, Florence Turner Lillian Walker, Maurice Costello, Louise Glaum, and Edith Storey, who had been back in films since the war, but retired again. Vincente Blasco (‘Four Horsemen’’) Ibanez, with his stories a rage in pictures, said American movie actresses were influencing women’s daily lives the world over. Screen Romeos, naming their favorite leading women, remind us of some famous teams—including Ramon Novarro and Alice Terry, Eugene O’Brien and Norma Tal- Mae Murray madge, Conway Tearle and Cor- inne Griffith. Heavyweight champion Jack Dempsey was making a million for ten two- reelers. Mae Murray, eternally feminine, ‘“showman”’ off-screen as well as on, maintained her im- posing box-office record. Jack Holt said he preferred to play villains, but there was more money in being a hero (Hi’yuh, Dillinger?). Doug Fairbanks sneaked into a very brief sequence of “Dorothy Vernon of Haddon Hall,” his first appearance in a Mary Pickford film. The six best pictures included that one of Mary’s, “Cytherea” (Lewis Stone), ‘Men” (Pola Negri), “The Goldfish”. (Connie Talmadge), “The Rejected Woman” (Alma Rubens), “The Lone Wolf” (Jack Holt). Our cover lady for this issue was exquisite Anna Q. Nilsson. 9 Years Ago NA CLAIRE had just become Jack Gilbert’s third wife. ‘“There was, in fact, almost a re- sentment. The world would con- cede Jack only to one woman— Greta Garbo.” There’s a lot in this 1934 PHoTopLay about Gloria Swanson. In 1929, we asked: ‘What Next for Gloria?” Married to her Marquis, “un- happy, melancholy,” off the screen for two years, she was “awaiting the effect of her newest picture, ‘Queen Kelly,’ . . . to see if she is still popular. That is, if ‘Queen Kelly’ is ever released.” You'll find the answer in this magazine. But really consequential news still was the talkie problem. In reviews we continued to label films All Talkie, Part Talkie, Sound, and Silent. Five of the month’s six best were All Talkie: “Bulldog Drummond” (Ronald Col- Ina Claire man), ‘‘Madame X” (Ruth Chatterton), “Fox Movietone Follies’ (Sharon Lynn), “In- nocents of Paris’’ (Maurice Chevalier), “The Studio Mur- der Mystery” (Warner Oland). The Sixth was Part Talkie, “Our Modern Maidens” (Joan Craw- ford and Fairbanks, Jr.). Chat- terton remained goddess of the new talkie era. We explained the voice dubbing when Dick Barthelmess and Laura La Plante sang, and when Paul Lukas (accent!) even moved his lips dialogically. “The Butterfly Man and the Little Clown” was a story of pathetic romance with an unhappy ending, about Lew Cody and his wife, Mabel Normand. B. H. Rogers, Kansas editor, told how his son, Charles, happened to be called “Buddy.” The petite cover charmer was Bessie Love.
Page 121
PHOTOPLAY MAGAZINE FOR JULY, 1934 Fan Club Corner ERE is more news on the annual con- vention of movie fan clubs to be held in Chicago, August 11, 12 and 13. The conven- tion this year is sponsored by the Movie Club Guild, an organization of members of ten various fan clubs, members of the PHoropLay Association of Movie Ian Clubs. Those fans who attended last year’s convention in Chicago won’t have to be told of the wonderful, interest- ing and entertaining things done by the fan delegates. Part of the plans that the various committees are now working on are: Regular business sessions, a sight-seeing tour of the Chicago Loop, a trip to the Century of Progress, conducted tour of Chinatown, radio theater party at the WLS Barn Dance, movie theater party. These and other events will complete the three days’ program. There will, of course, be time out for meals, and if you have never eaten bird’s nest soup and would like to try it, you’ll have the oppor- tunity while on the visit to Chinatown. Club committees are expecting some celebrities to be present, and many pictures will be taken during the convention. If you want more in- formation about the convention, or if you have any suggestions, please write the Movie Club Guild Secretary, 5737 S. Artesian Ave., Chi- cago, Ill., or to the publicity director, 951 N. Drake Ave., Chicago. Florence Scafidi, secretary of the Buddy Rogers Fan Club, 92 Borden Ave., Norwich, N. Y., writes that membership in the club is growing fast. She also announces that the club has started a clipping bureau of pictures of all stars. Lucile Carlson, president of the Alice White Fan Club, announces that Jean L. Haddon was judged the winner of the club’s recent title contest. Kay Marquardt was second. The prizes will be sent by Miss White. The news bulletin of the Norma Shearer Club is improving with each issue. Con- gratulations! This club also announced prize winners of their movie contest for last month. Norma Shearer fans are invited to write Hans Faxdahl, president, 1947 Broadway, New York City. Miss Lenore Heidorn, president of the Billie Dove Fan Club, was happy over the telegram received from Mr. Kenaston, Miss Dove’s husband, announcing the arrival of a husky seven-pound, two-ounce baby, named Robert Allen. The Ramon Novarro Service League has, n the past month, inaugurated a branch of The Animal Welfare League. The work is especially interesting, and requires kindness and consideration toward animals. Certain proportions of the club’s funds usually devoted to charitable work will be given yearly to animal welfare societies where the workers are voluntary. Admirers of Novarro who would like further information regarding this move- ment are requested to write Ethel Musgrave, general secretary, 6384 Elgin St., Vancouver, B. C., Canada. Irene Rourke, president of the Douglass Montgomery Fan Club, entertained the Movie Club Guild officers at a recent dinner party meeting. The lucky ticket was drawn for the attractive rhinestone bracelet, which was sent by Dolores Del Rio for the Guild’s social in Chicago. Agnes Ayres, who was present at the meeting, drew the winning ticket for Arthur Cooper, of Detroit, Mich. The Herald Cinema Critics Club, of Syracuse, N. Y., recently broadcast the fourth of a series of ‘‘Theater and Screen Chats,” a quarter-hour program going over WSYR, their local NBC affiliate. This popular club is doing beneficial things in a big way. The Miriam Jordan Fan Club is starting a new membership contest with prizes to be given by Miss Jordan. All members joining during the contest may compete for the prizes. For information write Claire Bingham, sec- retary, 200 Walpole St., Norwood, Mass. Franchot Tone has presented the Silver Star Club with a new mimeograph to assist them in printing the club news. Phyllis Carlyle, president, Portland, Maine, invites Franchot Tone fans to write her about the club. Al Kirk, 66 Milwaukee Ave., Bethel, Conn., president of the Screen Fan’s Club, announces in their recent club news that Gloria Stuart is now an honorary member. Prospective members are invited to write him. Ginger Rogers fans are asked to write Marion L. Hesse, president, 154 Elm St., Eliza- beth, N. J., for information about the club for Miss Rogers. The Maureen O’Sullivan Club recently cele- brated its first anniversary. They are going strong. At the birthday dinner of New York members, a congratulatory telegram from Miss O’Sullivan was read. Irene Brettmann, 895 Park Ave., New York City, is president. The Bodil Rosing Fan Club announces “Chaw” Mank, Jr. as winner of their recent membership contest. Bodil and Her Fans, the club news bulletin, is a dandy! Mrs. Martin Boyer, 1121 E. Ferry St., Buffalo, N. Y., is president. The Crosby Comments, news publication of the Bing Crosby Fan Club, says that the club membership has been growing rapidly the past few months. Fansareinvited to write Fay E. Zinn, 109 Orchard Road, Maplewood, N. J. Gotty J. Benthall, 28 Lexington Ave., West Somerville, Mass., extends an invitation to fans to join the Moving Picture Club of America. Write her for details. Star Dust is the name of their news bulletin. Lillian Musgrave, 2700 Vincent Ave., Min- neapolis, Minn., is president of the John Boles Music Club and wants John Boles fans to write her about this club. Lorraine Mason is still president of a James M. Fidler club. This is Chapter No. 1 of the James M. Fidler Fan Club. There are, at present, five various clubs united under this organization. News about this chapter of the Fidler organization may be had by addressing Miss Mason at 112 N. Sixth St., Vineland, N..J. The Johnny Downs Club has issued its first monthly news bulletin of club happenings. In- terested fans may write Ruth E. Keast, presi- dent, 3506 West 64th St., Chicago, Ill. Betty Godzinski, president of the Ivan Lebe- deff Fan Club, writes that she will be glad to hear from all Lebedeff fans. Her address is 6141 S. Honore St., Chicago, Ill. Sue Carol fans may write to Walter Dreffein, president, 951 Drake Ave., Chicago, IIl., for news of the Sue Carol Fan Club. The address of the Dorothy Jordan Fan Club is 819 W. Center St., Decatur, Ill. Carl E. Lefler is the president. Marian L. Dommer, 9719 81st St., Ozone Park, N. Y., is president of the Joan Crawford Fan Club. 123 Call for PHILIP MORRI America's Finest IS£ Cgarette
Page 122
Cal York’s Monthly Broadcast from Hollywood [ CONTINUED FROM PAGE 92 ] In her remodeled home, she has had built in a theater with a tiny stage eight feet by twelve feet. And rehearsals are already under way. Incidentally, Joan says marriage plans for the present are not to be thought of. She denies emphatically she and Franchot Tone will be married. Just as long as she is in pictures, says Joan, she will not marry. Francis Lederer has been squiring Joan around lately, and he has taken an active part in her little theater plan. Ida Lupino gets her exercise and keeps that perfect figure swimming in her hilltop pool. The little English star is busy on the set these days, working in Paramount’s ‘‘Ready for Love”’ INCE Katharine Hepburn’s mild reception in “The Lake,” both Paul Muni and Edward G. Robinson have been doing a little thinking. Stage-bound, they have shifted their sails slightly. Now neither will sign for that play in New York this fall unless guaranteed successes are secured! Play producers would like to have that guarantee underwritten. E hit her, or something, with an automo- bile—and marriage followed. Alberta Vaughn slipped away to wed Joe Egli, assistant casting director. And Alberta once sued Joe because of that accident! Martha Sleeper and Hardie Albright have also fled to the altar. INCE Constance Bennett came right out and stated over the radio that ‘everybody hated her, and she didn’t care,” she won’t mind this: Recently she was all set to begin a scene when a slight delay occurred. Connie blew up: “How long have I got to stand in this heat, these lights,” etc., etc. Charlie, her photographer, came right back at her with: ‘‘Do you think we’re having a good time out here? We’re in just as much heat as you are!” La Bennett looked startled for just the fraction of a second—then— “Well, well, if it isn’t Miss Ben- nett!’’ said she. 124 AF MARSH’S daughter, Mae Marsh, Jr., is doing a nice little bit in “Little Man, What Now?” along with her famous mama, who is also in the picture. WELVE years ago, Douglas Fairbanks, Sr., entertained the world with a bouncing version of that rugged individualist, Robin Hood. The film was a great hit. Doug, Jr., has now elected to follow in his athletic dad’s footsteps with a fresh version of “Robin Hood.” He will be one up on his father, be- cause he will not only be seen but heard. His elder’s film, of course, was a silent. JN spite of all her protests, the Kay Francis- Chevalier romance still blazes away. Maurice isn’t sending any girl two dozen roses a day and not meanit. And Bill Powell gets his roses into Kay’s drawing-room with well-timed regular- ity, too. “TT*HE Exit of Don Juan,” which was the original title decided upon for Douglas Fairbanks’ (Senior) English picture, has been reconsidered. Evidently regarding it as a trifle too prophetic or something, it has been changed to “The Loves of Don Juan.” OAN CRAWFORD, it would seem, is a for- ward-looking young woman. She has two years to go on her present movie contract. But, at the end of that time, Joan desires to try a stage career. She has started preparing for it. WE waited a long time for Diet- rich’s ‘Scarlet Empress’’—and here’s the reason: Josef Von Sternberg has been talking pains—and dishing out pains, too. Jameson Thomas, an actor who has a small part in the picture, re- tired from the set, rather crestfallen. To other actors he confided that he didn’t know he was that terrible— Von Sternberg had made him do his bit over twenty-five times! “You got off easy,” they consoled him. “T did mine for a hundred and two takes,’’ said Sam Jaffee. “T’ll top that with a hundred and fifty-two !’’ capped another. Gilbert Emery is an American actor whose roles usually require an Eng- lish accent. He’s the English butler in ‘‘Where Sinners Meet”
Page 123
EORGE is happy again. George, the faith- ful valet of George Brent, had a few lean years when it was decided Brent didn’t need a valet after his marriage. So George was let out and was pretty unhappy. And then came the Chatterton-Brent separation and Brent’s first act was to hire back George. EMEMBER your history, about the capri- cious “‘Du Barry”? How she suddenly de- cided she must have a sleigh-ride in the middle of July, and all the real sugar in Paris was used to give the impression of snow, and gratify the lady’s whim? Well, Jes Freres Warner were pretty darn sure they weren’t going to be sugar-daddies to that extent. So when it came time to photo- graph the scene with the luscious Dolores Del Rio as Du Barry, along came an enterprising gent with the idea that ground-up gypsum would look just the same. And it did. And was much, much cheaper. ACKIE COOPER’S allowance, al- though he is quite a big boy now, is still two dollars a week. We asked Jackie the other day what he did with all his money. “Save it,” hereplied. He wheedles his mother into buying the necessary candy, chewing-gum and playthings. We further wanted to know where he kept his fortune. “In the Bible,” said Jackie. “I keep it there so if anyone steals it, they’ll be committing a double sin.” The boy will go far. HEY train practically everything to act in Hollywood—clear down to fleas, but you’ve never seen anything until you’ve seen Pat Casey’s educated rabbit do his stuff. Pat, who represents the Motion Picture Producers As- sociation in labor matters, has a white bunny with pink eyes, who is no dumb bunny, either. He’s gifted, in fact. Sits up when you talk to him, runs in and out of the room at Pat’s com- mand, and does all kinds of educated nip-ups that would put Rin-Tin-Tin to shame. And you should see him impersonate the stars! His best is a take-off on Charles Butterworth—the resemblance is remarkable—strike me pink if it isn’t! NUMBER of inquiries have been received as to the present professional activities of Pierre de Ramey, a French nobleman of con- siderable versatility. Comte de Ramey was one of the two admirals in one of the first talkies, “‘Glorious Betsy,” with Conrad Nagel and Dolores Costello. Then followed a succession of réles for him. He played parts in over a dozen pictures, in- cluding ‘‘Such Men Are Dangerous,” “Hell’s Bells,” ““Madame Satan,” ‘‘Sin Takes a Holi- day,” “The Common Law,” “Secrets,” “The Magnificent Lie.” Pierre de Ramey has also played in several French versions of American made pictures: “Unholy Night,” ‘ Olympia,” “Playboy of Paris,” “Show Girls in Hollywood,” “Madame Lucie,” ““A Night in Spain.” His other professional activities have in- cluded réles in such stage plays as “Lulu Bell” with Dorothy Burgess; ‘‘The Parrot,” with Doris Keane, and “Mad Hopes” with Billie Burke—all presented in the Belasco Theater in Los Angeles. On the New York stage, Comte de Ramey appeared in ‘‘Lady Godiva” with Violet Heming, and “The Drums Begin” with Judith Anderson. He has also done dramatic réles on the Columbia Broadcasting System. PHOTOPLAY MAGAZINE FOR JULY, 1934 Would You Believe I’m Past 60? Look at My Picture ...Then Do As I Do Edna Wallace Hopper... Who at Over 60 Has the Skin of a Girl. . . Discloses Another of Her Startling Youth Revelations Look at my picture. Do I look like a wo- man past 60? People can’t believe it, but I am. Boys scarcely above college age often try to flirt with me. I’ve been booked from one great theatre to another as “The One Woman in the World Who Never Grew Old.” At a grandmother’s age I still enjoy the thrills of youth. Now, let me tell you how I do it. Follow 2t and I promise if you’re 50, you’ll look 40. If you’re 40, you’ll look 30. And if you’re 30, you'll gain back the skin of eighteen. Women I’ve given it to call it a miracle— say it takes 10 years from the face in 10 minutes! It is the discovery of a Famous French Scientist, who startled the cosmetic world by discovering that the Oils of Youth could be artificially re-supplied to the skin of fading women. He found that after 25 most women were deficient in certain youth oils. Oils that kept the skin free of age lines and wrinkles. And then, by a notable scientific discovery, he found a way to re-supply the skin daily with these oils. This method puts those oils back in your skin every day. Without them you are old. With them you are young—allur- ing, charming. ; All you do is spread it on your face like a cold cream. But, don’t rub it off. Let it stay on. Then watch! Your skin will ab- sorb every bit of it—literally drink in the Ps Ne Edna Wallace Hopper youth oils it contains. It’s one of the most amazing demonstrations in _ scientific youth restoration known. You look years younger the first treatment. Youth and allure come back. Look at me. At over 60 —I am living proof. The method is called Edna Wallace Hopper’s Special Restorative Cream. You can get it at any drug or department store. Try it. It may give your life a new meaning. LOS ANGELES pec aot Pret yysca2ee ne fads eas iS 0 @ eee « INVITES INQUIRIES FROM THOSE PLANNING A TRIP TO SOUTHERN CALIFORNIA WERNER HARTMAN, MANAGER THE SMART HOTEL OF SOUTHERN CALIFORNIA ANSONIAS FAMOUS The Favorite of Screen Stars and Society Leaders are NOW AVAILABLE to Women Every- where through our Expert Mail Service. ANSONIA OPERAS ARE HAND TURNED and carefully constructed on exclusive lasts. They will not gap on the sides and slip at the heel. These Famous Special Lasts are the talk of New York. BUCKLES many styles 50c each No. 150 Last. "'The Empire lower'' heel gives this op- era beauty and grace that’s hard to imagine. The highest heel made (3 inches) yet the tall women prefer them. $5.98. Chotce of Black Pat- ent, brown, black, blue, beige, gray or white kid. Beige or gray suede, white Satin or crepe. Black satin or crepe, also etght pastel doe- skins. Lower heels tf destred. ANSONIA SHORT VAMP OPERA makes your foot appear one to two sizes smaller and so comfortable $5. Widths AAAA to C. Sizes 1 to 9. State size, material, col- or. Postpaid if remittance ac- companies order, or sent Cc. 0. D. ANSONIA DeLuxe SHOES, Inc. Mail Order Division 122F.West 26th St., New York City NEVER BEFORE:..<-<.< has a Ladies Manicure Set possessing the sheer beauty of this imported, 6-piece set (in a beautiful case) been offered 30¢ to the discriminating women of America. No picture will convey its charm. Order now while stock lasts- This is the biggest value we have ever offered and will positively not be repeated. Only one to a customer. Send only 30c. Satisfaction guaranteed or money cheerfully refunded. AMERICAN SPECIALTY CO. Dept. G, 211 East 188th Street, New York
Page 124
ollywood Cinema FASHIONS *_ 54" ALABAMA Loveman, Joseph & Loeb, Inc., Birmingham Blumberg & Sons, Dothan Al Levy’s, Montgomery ARIZONA Korrick’s Dry Goods Co., Phoenix ARKANSAS The New Pollock’s, Fayetteville Pollock Stores Co., Fort Smith The M. M. Cohn Co., Little Rock CALIFORNIA The May Co., Los Angeles The H. C. Capwell Co., Oakland Hale Bros., Inc., Sacramento The Emporium, San Francisco Lion Clothing Co., San Diego COLORADO The Denver Dry Goods Co., Denver CONNECTICUT Howland Dry Goods Co., Bridgeport The Manhattan Shop, Hartford The James H. Bunce Co., Middletown Style Millinery Shop, New Haven Mantell & Martin, Stamford Sugenheimer Bros., Waterbury DELAWARE Kennard-Pyle Co., Wilmington DIST. OF COLUMBIA The Hecht Co., Washington FLORIDA Kohn-Furchgott Co., Jacksonville Yowell-Drew Co., Orlando Jos. Herschkowitz & Son, Pensacola Rutland Bros., Inc., St. Petersburg Steyerman’s Style Shop, Tallahassee Maas Bros., Tampa GEORGIA Michael Bros., Inc., Athens Davison-Paxon Co., Atlanta J.B. White & Co., Augusta Smith Roberts Co., Griffin The Dannenberg Co., Macon Leopold Adler, Savannah Louis Steyerman «& Sons, Inc., Thomasyiile C. C. Varnedoe & Co., Valdosta IDAHO The Mode, Ltd., Boise Fargo-Wilson-Wells Co., Pocatello The Vogue, Twin Falls ILLINOIS W. A. Carpenter Co., Champaign Marshall Field & Co., Chicago C. E. Burns Co., Decatur Ackemann Bros., Inc., Elgin The M. A. Felman Co., Joliet Banks & Co., Moline The D. W. Klein Co., Peoria Halbach, Schroeder Co., Quincy Owens, Inc., Rockford 8. A. Barker Co., Springfield INDIANA The Fair Store, Inc., Anderson De Jongs, Inc., Evansville Wolf & Dessauer Co., Fort Wayne E. C. Minas Co., Hammond Raymond Cooper, Inc., Indianapolis Fashion Shop, Lafayette The Schmitt-Kloepfer Co., Logansport Benton’s, South Bend Meis Bros. Co., Terre Haute Gimbel Bond Co., Vincennes IOWA Craemer Dry Goods Co., Cedar Rapids M. L. Parker Co., Davenport Younker Bros., Des Moines J. F. Stampfer Co., Dubuque Damon’s Inc., Mason City The Pelletier Co., Sioux City KANSAS The Pelletier Co., Topeka Lewins Fashion Shop, Wichita KENTUCKY The John R. Coppin Co., Covington The Denton Co., Lexington New Hollywood Shop, Louisville LOUISIANA The Muller Co., Ltd., Lake Charles Rosenfeld Dry Goods Co., Ltd., Baton Rouge Masur Bros., Monroe 126 PHOTOPLAY MAGAZINE’S RETAIL STORE DIRECTORY Whenever you go shopping consult this list of reliable stores, offering faithful copies of HOLLYWOOD CINEMA FASH- IONS and NATIONALLY KNOWN MERCHANDISE, such as advertised in this issue of PHOTOPLAY. If this list does not include a store in your home city, write the nearest store for complete HOLLYWOOD CINEMA FASHION information. And when you shop, please mention PHOTOPLAY Magazine. Leon Godchaux Clothing Co., Ltd., New Orleans Goldring’s, Shreveport MAINE Chernowsky’s, Augusta Unobskey’s New York Store, Calais B. Peck Co., Lewiston Porteous, Mitchell & Braun Co., Portland MARYLAND The Hub, Baltimore Rosenbaum Bros., Cumberland Fashionland, Hagerstown MASSACHUSETTS Jordan Marsh Co., Boston Alexander’s Fashion Shop, Brockton Ann Fenton, Brookline R. A. MeWhirr Co., Fall River F. N. Joslin Co., Malden Boston Store, North Adams The Wallace Co., Pittsfield Almy-Bigelow & Washburn, Salem Forbes & Wallace, Inc., Springfield Gross Strauss Co., Wellesley Gross Strauss Co., Worcester MICHIGAN Wm. Goodyear & Co., Ann Arbor Seaman’s, Battle Creek The J. L. Hudson Co., Detroit The Fair Store, Escanaba : Nathan Strauss, Inc., Grand Rapids Elaine Shop, Inc., Jackson Gilmore Bros., Kalamazoo J. W. Knapp Co., Lansing The Winkelman Co., Port Huron MINNESOTA M. C. Albenberg Co., Duluth The Dayton Co., Minneapolis Field-Schlick, Inc., St. Paul Alexander Reid & Co., Virginia MISSISSIPPI Weinberg’s, Greenville Field's Women’s Wear, Jackson Liberty Shops, Inc., Meridian The Style Shop, Vicksburg MISSOURI : The Christman Dry Goods Co., Joplin Kline’s, Kansas City The Paris, St. Joseph A Mrs. R. M. Johnston, Moberly Stix, Baer & Fuller Co., St. Louis MONTANA Hennessy Co., Butte Stiles Style Shop, Great Falls The N. Y. Dry Goods Co., Helena Epstein & Katz, Miles City NEBRASKA Orkin Bros., Lincoln J. L. Brandeis & Sons, Omaha NEW HAMPSHIRE Dennis O’Shea, Laconia NEW JERSEY M. E. Blatt Co., Atlantic City L. Bamberger & Co., Newark Quackenbush Co., Paterson Lillian Charm, Trenton NEW YORK W. M. Whitney Co., Albany Kalet’s, Auburn Sisson Bros.-Weldon Co., Binghamton E. Jacobson, Cooperstown The Safe Store, Inc., Dunkirk The Gorton Co., Elmira Merkel & Gelman, Inc., Glens Falls Sardeson-Hoyland Co., Gloversville Parisian, Inc., Ithaca Wm. A. Empsall & Co., Malone Carson & Towner Co., Middletown John Schoonmaker & Son, Inc., Newburg R. H. Macy & Co., Inc., New York City Bellevue Dress, Niagara Falls M. J. MeDonald & Co., Oswego Sharron’s, Inc., Plattsburgh Windsor Dress Shop, Poughkeepsie E. F. Norton Co., Inc., Salamanca Altman’s, Saranac Lake The Carl Co., Schenectady Mabel Bentley Shoppe, Watertown Flah & Co., Inc., Syracuse Wm. H. Frear & Co., Inc., Troy D. Price & Co., Utica NORTH CAROLINA Bon Marche, Inc., Asheville J. B. Ivey & Co., Charlotte Ellis, Stone & Co., Inc., Durham Ladies’ Sport Shoppe, Gastonia Joseph Neil, Goldsboro Ellis, Stone & Co., Inc., Greensboro Purcells, Kannapolis Brooks, Inc., Raleigh Purcelle Modes, Salisbury J. K. Hoyt, Washington Dressmaker Shop, Wilmington NORTH DAKOTA The Black Co., Fargo Heller's, Grand Forks OHIO The A. Polsky Co., Akron Spring-Holzworth Co., Alliance The D. Zenner Co., Athens Darling Shops, Canton The W. M. Norvell Co., Chillicothe Irwin's & Kline’s, Cincinnati The Higbee Co., Cleveland The Morehouse Martens Co., Columbus Elder & Johnston Co., Dayton The Lewis Mercantile Co., Elyria Simon’s, Findlay Chas. P. Wiseman & Co., Lancaster The Leader Store, Lima The King Dry Goods Co., Newark Atlas Fashion Co., The, Portsmouth The Edward Wren Co., Springfield The Hub, Steubenville La Salle & Koch Co., Toledo The Strouss-Hirschberg Co., Youngstown The H. Weber Sons & Co., Zanesville OKLAHOMA Herzberg’s, Enid Pollock's, McAlester Kerr Dry Goods Co., Oklahoma City Newmans Cloak & Suit, Tulsa OREGON Meier & Frank Co., Portland PENNSYLVANIA Hess Bros., Inc., Allentown Brett's, Inc., Altoona Feldman’s, Bloomsberg A. D. Cohn, Bradford R. 8. Goldstein, Brownsville Fashionland, Chambersburg Wm. Laubach & Sons, Inc., Easton Erie Dry Goods Co., Erie Quality Dress Shoppe, Germantown Bowman & Co., Harrisburg Kline’s, Johnstown Watt & Shand, Inc., Lancaster The Bon Ton, Lebanon ~ J. Hirshberg Co., McKeesport Sol Silverman, New Kensington Gimbel Bros., Philadelphia Joseph Horne Co., Pittsburgh Pomeroy’s, Inc., Pottsville A. G. Rosenthal & Co., Punxsutawney Croll & Keck, Reading Samter Bros. Co., Scranton L. Shapiro & Bro., Shamokin Rosenbaum Bros., Uniontown E. L. Stein, Warren Hal Lewis, Washington Hollywood Apparel Shop, Wilkes-Barre Worth’s, Inc., York RHODE ISLAND Shartenberg & Robinson Co., Pawtucket Scott Furriers, Providence Ruby Shoppe, Inc., Woonsocket SOUTH CAROLINA Ladies-Ready-To-Wear, Clinton J. W. Haltiwanger, Columbia Levenson’s, Florence Cabaniss-Gardner, Greenville Haltiwanger & Carpenter, Inc., Newber: The Aug. W. Smith Co., Spartansburg SOUTH DAKOTA Olwin-Angell Co., Aberdeen Schaller’s, Watertown The Style Shop, Winner TENNESSEE The H. P. King Co., Bristol The Vogue, Chattanooga Dosser Bros., Johnson City Anderson Dulin Varnell, Inc., Knoxville J. Goldsmith & Sons, Memphis Loveman, Berger & Teitlebaum, Inc., Nashville TEXAS E. M. Scarbrough & Sons, Austin Worth’s, Inc., Beaumont The Smart Shop, Corpus Christi Herzstein’s, Dalhart Volk Bros., Co., Dallas H. M. Russell & Sons Co., Denton Popular Dry Goods Co., El Paso Washer Bros., Fort Worth Hahlo’s, Houston Palais Royal, Inc., Long View Joe Weisman Co., Marshall Arthur Caddell Co., Paris A. Bluestine, Port Arthur Baker-Hemphill Co., San Angelo Wolf & Marx Co., San Antonio The Goldstein-Migel Co., Waco Orchid Shop, Wichita Falls UTAH Zion Co-op. Merc. Institution, Salt Lake City VERMONT The Fashion Shop, Barre W. G. Reynolds Co., Jnc., Burlington Economy Store, Inc., Rutland VIRGINIA Levy’s, Inc., Charlottesville L. Herman, Danville Claire’s Fashion Shop, Galax C. M. Guggenheimer, Inc., Lynchburg Nachman Dept. Store, Inc., Newport News Jesse Frieden, Norfolk Glazier's, Portsmouth Verry Burk, Richmond S. H. Hieronimus Co., Inc., Roanoke Ballard & Smith, Suffolk WASHINGTON Best's Apparel, Inc., Seattle The Palace Store, Spokane The Fisher Co., Tacoma WEST VIRGINIA The Women’s Shop, Beckley The Vogue, Bluefield Coyle & Richardson, Inc., Charleston Rosenberg’s, Clarksburg Jolliffe’s, Grafton The Anderson-Newcomb Co., Huntington Shear’s Women’s Shop, Keyser Margolis Bros., Logan George Katz & Sons, Martinsburg Dils Bros. & Co., Parkersburg WISCONSIN E. L. Chester Co., Beloit C. & S. Newman’s, Green Bay Wm. Doerflinger Co., La Crosse Schuette Bros. Co., Manitowoc Stuart’s, Milwaukee Racine Cloak Co., Racine ALASKA Hollywood Clothes Shop, Fairbanks
Page 125
“I WANT A BABY” By MARILYN HERD The end of a girl’s search for happiness Synopsis of Ist and 2nd Installments Joan Randolph, vivacious daughter of the socially prominent and wealthy Cyril Randolph, defies her father and marries Michael Storm, handsome children’s photographer, once a carnival concessionaire. Randolph says he will smash Michael and Joan will return home. His machinations reduce the Storms to dire poverty. But, the more and greater the hardships, the happier Michael and Joan are in their love. And Joan is to have her heart’s desire—a baby. Michael realizes they must have money. A wealthy woman, a luxury-masked adventuress, takes more than a fancy to him and offers him a studio— at a price. Michael must make a decision. And then comes the eve of the birth of Joan’s baby. She is no longer Joan Randolph of Fifth Avenue, escapading debutante, thrill chaser, arguing with a referee in Madison Square Garden, galloping like mad along bridle paths. A greater, more breath- less adventure is rushing toward her with theminutes! PART III f IS won’t last! This won’t last! Soon! My baby will be heresoon!”’ Joan tried to fix her mind on that thought, the ut- ter bliss of a baby, to hold against her, to feel its soft little body against her own! She clenched her hands and prayed for her pain to pass. She must bear it. She must suffer the torture for the sweet promise it held, and for poor, distraught Michael. At the moment, he was holding a finger on the doctor’s door- bell and beating an insistent tattoo on the door as he peered through curtains on the two glass panels. Soon one of the curtains was pulled aside and the doctor, his hair tousled, a dressing gown collar snugged around his neck, peered at Michael. The face disappeared and Michael heard the latch snap. He pushed on the door in his eagerness almost sending the doctor sprawling. “Storm, I—” began the doctor in irritation. “Tt’s time, doctor! Hurry!” cut in Michael excitedly. “Now, now, Storm. Calm down. Nothing to get excited about. Remember you’re not the first father. I—” “She’s in agony, doctor! You’ve got to—” “Ves, yes,” sighed the doctor. ‘You know Mrs. Curtis, my assistant? I’ll phone her and she’ll be right over.” “He’s really here, at last!’ Joan said in a small voice. “I can touch him and kiss him and cuddle him!” “But you must—” interrupted Michael, setting his teeth. “Tl be right over, too, Storm,” said the doctor patting Michael on the back. “Just take it easy.” “Tm terribly upset, doctor! She won’t die, will she? It’s tough, the first one, isn’t it?’’ Michael’s voice was pleading. “You and your wife will be dancing at the child’s wedding,” soothed the doctor. ‘Now, don’t delay—” Before the doctor finished his sentence, Michael had taken the flight of brownstone steps in a leap racing back to Joan. Pride at his nearness to being a father fought to overcome his fear of Death hovering over childbirth. He couldn’t get back to Joan fast enough. He took the stairs to his apartment three at a time, bursting into the chilly little bedroom to Joan. Joan’s heavy eyelids slowly opened as Mich- ael gently knelt by the side of the bed and put an arm tenderly about her. He saw her eyes were dark with pain. She had bitten her lips. An auburn curl clung to her forehead. As Michael brushed it back, worship in his touch, he felt the hot dampness of her fore- head despite the chill of the room. A flood of memories rushed over him—Joan’s patience, her courage, the touch of her lips and hand on his, her beauty, a torch in the darkness of his hardships. To- gether they had shared happiness, yet now, she must bear this pain alone. Joan had given him strength when he was spent, but he could only kneel helplessly beside her bed. “Tt’s so unfair you have to suffer all this alone!”’ he cried out. Weakly, Joan tried to pat his hand in comfort. “ Doctor-be-here-soon?” she whispered. “Ves, dear,’’ Michael whispered back. He buried his head into the soft palm of her limp hand. Why didn’t the doctor hurry? Where was Mrs. Curtis? He could hear the clock ticking stolidly, stupidly away. The sound re- sounded like blows in his heart, the intervals seemed eternities. He visualized the little pot of ivy beside the clock, its leaves sear. He had given it to Joan. He felt Joan’s hand clutch at his hair as a fresh spasm of pain shot through her taut body. Michael groaned inwardly. He jerked his head up and listened—heavy footsteps on the stairs. ‘All right now, hon,” he whispered to Joan as he got 127
Page 126
hurriedly to his feet and strode to fling open the door. It was Mrs. Curtis, brisk, capable and matter of fact, puffing and muttering about the stairs. HE was breathing heavily as she pushed past Michael. She slipped her cape from her shoulders and turned to him. “Where is she?’’ she asked. Michael started to lead the way to the bedroom, but Mrs. Curtis brushed him aside. “You put a couple of pans of water on,’”’ Mrs. Curtis said, “and take it easy. It’ll be a long night.” Mrs. Curtis’ competence reassured Michael. He felt relief. For good measure, he put on a kettle and two pans of water. He went through the living room tothe bedroom. The door was closed. He did not have the cour- age to open it. He went back and stood over the stove, watching the pans and kettle, nerv- ously dragging at a cigarette. Where was the doctor? Just as the kettle began to whistle fitfully, the doctor arrived. He nodded shortly at Michael. “Has Mrs.—Ah, there, Mrs. Curtis! Every- thing all right?” he said, looking beyond Michael. Michael turned as the doctor passed him, into the bedroom. Mrs. Cur- tis closed the door. Stillness and a tensity of waiting closed in on Mich- ael. Subdued voices, the doctor’s and Mrs. Curtis’s, came through the door. And moans. Mich- ael stayed by the window, smoking cigarette after cigarette. Hours passed. The door opened and closed. Mrs. Curtis busied herself back and forth between bedroom and kitchen. Then screams—Joan’s screams. Sweat beaded Michael’s fore- head. When he offered to help, Mrs. Curtis brusquely told him he’d be in the way. He felt singularly helpless. Grey dawn lightened the street. The bedroom door opened again. “Tt’s all over,” the doctors’ tired voice came to him. Mich- ael whirled. The doctor was rolling down his sleeves. He smiled faintly. ‘‘And it’s a boy.” He sighed. ‘‘You may go in. Both are doing nicely.” Michael tiptoed to the door, his face solemn, but a light shining in his eyes. Mrs. Curtis was powdering and bundling into a blanketed roll a red, wrinkled little body—his son. Michael looked at Joan. Her eyes were closed in weariness. Mrs. Curtis beckoned to him. She held up the baby. “TIsn’t he a beauty?” she glowed. Michael grinned. But he felt awkward. He didn’t dare touch the mite. ‘‘ Now,” went on Mrs. Curtis, “you just go out and shift for yourself. Your wife must sleep. She can’t be disturbed for hours.”’ With great relief in his heart, Michael went out tothe kitchen. Some steaming hot coffee for the doctor, Mrs. Curtis and him- self. Just the ticket, he thought. He called to the doctor. “Come celebrate with me, doctor. The best coffee you ever tasted,” grinned Michael. With a sigh, the doctor slowly walked into the tiny kitchen, snug as a ship’s galley, and dropped into a chair. 128 Their son, Paul Storm, was the winner of the baby contest, and the prize of two thousand dollars! “T suppose you see that youngster already grown-up. A tich, respected, influential citizen,” he said. He yawned. “President, no less, I guess. College, fraternities, football—” he lapsed into silence. Michael, as the doctor talked, whistled softly the while he put coffee into the pot and poured boiling water onto it. He turned from the stove. “Anything his heart desires—maybe,” he grinned, but be- hind his grin was worry. Why did he have to worry when he desired to be so happy? If he could only count on Mrs. Stykes going through with her plan to set him up in a studio. She had said she’d be back on the fifteenth. In two days, now, Michael suddenly thought. His ex- pression became se- rious, determined— then, cheerful again. He rattled three cups into saucers and poured the cof- fee. Its pungent aroma filled thelittle kitchen and must have spread to the bedroom, for incame Mrs. Curtis, de- manding a cup. “T guess we all need it,”’ she said. The doctor rose after swallowing his coffee. “T’ll be back to- night,”’ he said. “And I’ll just run home for a few hours sleep,” Mrs. Curtis said. ‘And you’d better take a nap, Mr. Storm. I'll be back before you’re awake.” Michael made up a bed on the couch. Tomorrow, he told himself, as he lay unable to sleep, he’d call Mrs. Stykes. He must have money. Several times he got up and tiptoed in to look at Joan, but she slept the sleep of exhaustion. The baby was a quiet co- coon of blanketing. It seemed he had just dropped off to sleep when Mrs. Cur- tis was back at the door. Later, Michael was allowed into the bedroom, Joan, her face wreathed in smiles, was cuddling her son close to her. “Michael, just think,” she said in a small voice, “‘he’s really here, at last! I can touch him and kiss him and cuddle him.” Her eyes were shining. ICHAEL knelt beside the bed and kissed Joan. He awkwardly, gently touched his son ““Say, what’ll we call the young rascal?” he whispered. “Michael,” Joan said promptly, as though it was taken for granted. “Nothing doing,” objected Michael. “Then it would be big Michael and little Michael, and old Michael and young Michael. Why I’d be getting his love letters—and—and what not,” he broke off lamely, as a sudden thought struck him. He looked at Joan. ‘After your father, Joan?”’ he asked shyly. “No!” said Joan determindedly. She reached over and took Michael’s hand. ‘‘Darling, what was ‘Pop’ Brady’s first name?” she asked gently. Dear ‘Pop’ Brady to whom Michael owed everything in his carnival days.
Page 127
“Paul,” said Michael, gratitude and pleasure rising in his eyes. “We're naming our son Paul,” Joan said quietly. Michael smiled his thanks. His long fingers gripped Joan’s. He swallowed hard. His eyes burned. “That’s just like you, Joan,” he breathed. The doctor and Mrs. Curtis entered the room, smiling at the scene. “Tt’s my guess you two have never been happier,” the doctor said. ‘Have you chosen a name?” “Paul,” two voices answered as one. Mrs. Curtis and the doctor laughed, with Joan and Michael joining in. The doctor took out his record book and duly entered the name “Paul Storm.” Soon, he and Mrs. Curtis left Michael and Joan alone. As the door closed on them, Michael took Joan’s hand again. “You're very brave. A great fighter,” glowed Michael. He paused, his eyes thoughtful. ‘‘Do you know,” he said slowly, “your father will be proud. You'll tell him, won’t you?” “There’s just you and I, Michael.” Michael looked down on the tiny face of his son. ‘“‘And Paul,” he whispered, touching gently one curled, tiny pink fist. Joan mistily smiled upon them both. A great happiness welled up in her heart. ‘‘Isn’t he adorable,” she said. ‘He will bring us luck, Michael. Something tells me so.” For the time they wove grand dreams about Paul. The more and more insistent need of money was temporarily put aside. “Until tomorrow,” said Michael, “I have plans for then.” He looked down at his son. ‘He’s got to get off to a good start.” “You'll do it, dear,” murmured Joan, pride in her eyes. But the next day when Michael kissed Joan and Paul good- bye and went out confident he would find Mrs. Stykes, at home, he was doomed to disappointment. And the seven days that followed were an agonizing week of doubt and a growing fear that Mrs. Stykes had failed him. Lines of worry were etched into his face, dark shadows from sleepless nights appeared under his fine eyes. In vain he haunted studios, but other photographers, fight- ing the depression, didn’t even bother to take the name of the shabbily dressed applicant. His despair mounted as he tramped the wintry streets and saw the unemployed in huddled, helpless groups, staring, gaunt and vacant-eyed, at empty blackboards before the Sixth Avenue employment agencies. He saw crowds, shivering in Union Square and Columbus Circle, trying to get heart out of frenzied, frowsy speakers who promised a new and comforting deal. The straggling queues of breadlines, as the wind whipped further agony into frostbitten ankles and numb fingers, brought him the torment in the possibility of utter failure. J eter stepped into the comforting warmth of a drug- store. Once more to call Mrs. Stykes. He stamped his numbed feet as he dialed her number. Suddenly, against his stark fear of failure, came the voice of Mrs. Stykes, giving him hope. “T’m so glad you called. Can you come right over?” Michael hurriedly had his shoes shined, his suit pressed, and, while he waited, he thought up new and more forceful argu- ments to present to Mrs. Stykes in favor of their studio plans. He knew her type. His years sizing up people on the carnival lots had not failed him. Beggar the danger. He could handle her. He took a trolley across town. With a high heart he followed a maid into a high-ceilinged, tichly furnished drawing room at the Stykes mansion. As he waited for Mrs. Stykes, he looked about him at the masterpiece of a decorator’s art. Joan belonged in such a setting, Paul should have—But he must keep his mind on his plans. He would have need of all his wits against the wiles of Mrs. Stykes. He wasn’t fighting for just a studio. Trixi bounded in, barking happily. As he stroked the dog’s silken coat, he caught the scent of exotic perfume. He looked around. Mrs. Stykes was posed in the doorway. “Trixi seems glad to see you,” she smiled sultrily. She was beautiful, Michael noted. Skin dazzling white. Eyes cleverly shaded, studiedly guileless. She crossed with a languid rhythm to Michael and gave him both her hands. “It’s so good to see you!”’ She sank gracefully, indolently, into the deep red divan, and motioned smilingly for Michael to sit beside her. He noticed the turn of her shapely ankles, her slim curves beneath a low-cut gown. ‘‘The net is out for me,” said Michael to himself. He could not help admiring the curve of her soft white throat, the mass of dusky hair piled high on her head. “I have thought of you often,’’ she said, her voice low, deep and rich. She inserted a cigarette in a long ivory holder and looked along its length significantly at Michael as he struck a match and held it to her cigarette. “T have thought of you, too,” answered Michael, “and of our studio.” “Ym so pleased you thought of me. It makes our studio plans more-er-appealing than ever.”’ She was watching his mouth, strong, but when he smiled softening with a promise of rare tenderness. She leaned back that he might follow the curve of her shoulder. Bu Michael, absorbed in his plans for the studio, jumped to his feet, words tumbled over each other in his eagerness to discuss and settle their plans. He poured his soul into his picture of a studio. ‘‘And specialize in babies!” he emphasized, smacking fist into palm. A vision of Paul’s beloved little face came to him. Of brave Joan’s. “Children?” interrupted Mrs. Stykes. She looked up, eye- brows arched, smiling at him as though he were a little boy. “What a quaint idea.” Her laugh tinkled. But she saw he was serious. His eyes did not leave hers for a moment as she crossed her silkclad legs. Michael went on as though uninterrupted. “‘Yep,kids. My specialty. We’d pack the studio. And the sooner we get started, the better. You see, I’ve got to have money. We’ve been scraping—” ae We? ” The voice was sharp. It cut into Michael’s consciousness, stopped him short. Now he had tipped his hand! Well, why shouldn’t he? He wasn’t ashamed. He was playing a hard game, but— “My wife and I,” he resumed, as though unconscious of Mrs. Stykes’ surprise—but noting her expression of impotent anger, quickly masked. “Of course,’ Mrs. Stykes smiled, but her lips were set. “‘And—the children?” “A boy, Paul,” Michael smiled with tender enthusiasm. He must work fast. “‘I’ll tell you about that kid. You'll love him.” He launched into a grand spiel. He saw Mrs. Stykes’ mouth soften. He went into further ecstasies, further enthu- siasms about Paul—and about Joan. But in his enthusiasm, Viola Stykes rightly read behind it a desperation. He needed her and her money badly. Her capture of him, therefore, would be easier. She would let him tramp the streets a little longer. He’d come back. Again and again, until— Michael had stopped talking. He was watching her, eager- ness for her approval in his eyes. “Marvelous!” she applauded. me to rush into this?” “ce But—” Michael’s eyes were anxious. He read her, too. “Of course, I shan’t delay. I shall decide soon.” “T'll hear from you right away then?” “Soon.” Her emphasis was deliberate, and she smiled in cryptic fashion. Michael understood her better than she knew. Shortly afterward he left, his address in the hands of Viola Stykes. And Viola Stykes was visualizing the thrill of final capture, the zest in delay adding to it. To be alone with him, in a studio, skilfully camouflaged from a suspicious husband— 129 “But you wouldn’t expect
Page 128
Michael walked along the street away from the Stykes mansion. Sure—‘‘soon”, Michael told himself disgustedly. He angrily snapped a cigarette stub into the street and walked toward Broadway. He must do something, meanwhile, he said. But what? He was in the midway that is part of Broadway. Ballyhoo, bunk and bluff, penny arcades, fake fortune tellers, flea cir- cuses, doughnut shops, gaudy theater fronts, and smart lads taking in the gullible, all the age-old tricks of the carnival. The same old game of slicker versus sucker, Michael told himself. Here was where he belonged. Money to be made. He scoffed at himself for thinking there was art in a camera. What could he do for Joan and Paul? That was all that mattered. Why not just disappear, and let Joan and Paul benefit from the Randolph wealth? Cyril Randolph had of- fered a price. He, Michael, could drift off—be lost in the dusty roads of carnival land. Then suddenly he remembered. “There are just you and I, Michael.’”’ It was almost as though Joan had spoken to him. Michael stopped short. “Just you and I’’—what a punk he’d be to run out. He squared his shoulders. He stood before a peddler. ‘The mechanical wonder of the age!’’ came his ballyhoo. Michael talked to him and found out where he could get a basket of toys. With a more cheerful light in his eyes, he turned toward home. He hugged Joan tenderly, and laughed aloud at the grimacing of baby Paul in his sleep. Joan’s sweetness swept his mind clear. He told her that he had been unsuccessful, but that he had another, a better plan. “Don’t worry, Michael. You won’t have to give up your camera work for long,’ she encouraged smilingly. “You're right it won’t be for long,” he said cheerfully. He went into the kitchen to Mrs. Curtis. “Mrs. Curtis, how about your Johnny, maybe he’d like to make a little something.” He told Mrs. Curtis to have Johnny come over right after his supper. At that moment, Joan called him. “Michael, do you know,” she said, ‘‘ Christmas is but three weeks away.” “And what a Christmas!” Michael was jubilant. He sank to the floor beside the bed, and once more they forgot the present in anticipation of the future. The next morning, on a crowded street, in the shopping dis- trict with its towering department stores, a Salvation Army Santa Claus rang his bell, a wrinkled flower vendor piped her shrill appeal, a dog piloted his legless beggar-master, and— where the crowd was thickest—Michael Storm stood over a basket of tin fifes. “Music in the home for only two bits! One-fourth of a dollar! Plays anything from jazz to grand opera! Any child can play it! Amy child! Start him on the road to fame and riches.’”’ He had the attention of the crowd. ‘‘Look!”’ he called, searching the group before him. “Here! You, sonny! Come here! Just to show you, ladies and gentlemen, how simple it is to master this instrument, I’ll teach this young man.” He put a fife into the hands of the youngster who had come forward. ‘‘Now,sonny. Look—” Michael looked up at the crowd. ‘‘ What would you like to hear him play? How about ‘The Big Bad Wolf?’ Now watch him.” He put the boy’s fingers on the stops and showed him how to play the fife. ‘There you are,” he said to the boy. ‘Now try it.” ITH all the power of his lungs, the boy shrilled out “The Big Bad Wolf’ on the fife. Michael, with his engaging smile, threw up his hands. ‘See?’ he asked the crowd. “Simple as all that.’”’ His adult watchers shifted their positions and smiled. ‘‘ Now then, sonny, just a quarter and you can take it home.” “Gosh, but I’ve no money, mister.” handed back the flute. into their pockets. 130 The boy sorrowfully Michael saw several people reaching The crowd not only bought the boy the flute, but, under the spell of Michael’s good natured chatter, the basket of fife’s. As Michael talked, he watched the boy to whom he had taught the fife, amble off and stop on the next corner. He smiled to himself. What a swell little actor young Jimmy Curtis had turned out to be, he thought. On the edge of the crowd were two more-than-interested spectators. “That’s the man we want for our Santa Claus,” said Sol Bloom. “He'll sell the kids, and the mothers and fathers. Higgins frightens them away.” Gay was Michael that night with a pocket full of money and a job as Santa Claus in the toy section of the Century Depart- ment Store starting the next day. His kiss for Joan the next morning was hearty, and he was sure baby Paul had winked at him. Gay were the children, and satisfied was Sol Bloom as he watched the effect Michael had on business. Word quickly spread that the only real Santa Claus was at the Century store. Michael had not heard from Mrs. Stykes, and with the end of the Christmas rush, he again became uneasy. Should he call her? He took his final pay envelope from the cashier with a sigh. On the street again, he told himself. But, inside the envelope was a note. He was offered a job as salesman. Michael did some shopping—a small tree, decorations for it, Joan’s present, little Paul’s—That young rascal certainly had brought them luck, he chuckled. Cheerfully he made his way home. As he trudged along, an idea struck him, one he knew he could sell. By putting it over, he could forget Mrs. Stykes. He wouldn’t need her. He realized he would have felt tough at deceiving Joan which would have been the case had he accepted Mrs. Stykes’ plans for a studio. Happily he ran up the stairs. The small Christmas tree under one arm, the decorations and the presents under the other. It was Christmas Eve he told himself jubilantly. Joan flung open the door. Michael engulfed her with the tree, packages and all, in his arms. T was a gay Christmas morning as Joan and Michael stood, arms about each other, over Paul’s crib, watching him shake his blue and white rattle, as though beating time to the joy in their hearts. Joan glanced aside at a nearby chair where lay Michael’s present to her, a new coat. Michael, in his free hand, held an imported camera lens. “T still can’t understand how you made and sold sketches enough to get this for me without me catching on to you,” said Michael, examining the lens with considerable pride. “Oh, I thought of this a long time ago. You have more friends in the neighborhood than you think. I had help,” said Joan with a smile. They fell silent, watching Paul. Joan thought of other Christmases, of presents piled ceilingward, but lacking the happiness she now felt. And Michael thought of Christmases at the orphanage, with its unimaginative, formal ceremony, over which hung the cold orphanage atmosphere, its unchild- like rigidity was evidenced even to the wearing of their drab grey uniforms, and in the stilted gifts of two apples, one orange, and a small peppermint stick apiece. He held Joan closer. “Would milady like her breakfast?” Gaily, arm in arm, they went into the kitchen. Grilled sausages, golden omelet and crisp, brown toast. To Joan, the curl of steam from Michael’s coffee was a plume of smoke from a swinging censer. During the meal, Michael mimicked, for her amusement, his ballyhoo in the toy department. Joan rocked with laughter. Then he grew serious. “Joan,” he said portentiously, leaning across the small table, ‘‘I think we are about to climb right out of the red.” He sketched his plan to her, with many cries of pleasure and clappings of hands from Joan. It was a great day, largely spent in taking pictures of Paul in every conceivable position and pose.
Page 129
Michael slept peacefully that night. His mind was much easier now he felt he no longer needed Mrs. Stykes. He was on his own—he, Joan and little Paul. His pleasurable mood was with him when he saw Sol Bloom the next day and laid his plan before him. It gave him impetus and zest. He knew, after five minutes, he had con- vinced Bloom. ICHAEL’S plan was a children’s photograph studio— one with a gingerbread front—a playground, carousels, ponies, wading pool—. How that would pay the store! And youngsters could be left there while their mothers shopped. There were a thousand and one possibilities to the plan. “Talk to the directors. Right now.”’ Bloom pulled out his watch. “They’ll meet in fifteen minutes. I’ll call you.” In less than fifteen minutes, Michael had been presented to the board and its members were shooting questions at him. They kept him for more than an hour. And he knew he had them all sold but one, and he was the chairman. It was the chairman who said, ‘“‘ Your plan may be good, but I’d like to take some of your work along with me and look it over at home.” Michael smilingly handed him a folder of photographs, each with its credit line “by Michael Storm.” Bloom was enthusiastic. “Only one thing,” he said, “if the chairman is satisfied, you’re in.”’ “The guy who took my pictures?’’ it Yes.”’ “You know, Mr. Bloom, I think I know him. Who is the old boy?” “He’s president of the bank backing the store.” “Yeah, but what’s his name?” “Stykes. Clarendon Stykes.”’ Then suddenly Michael remembered. In the drawing- room of the Stykes mansion, he had seen a large picture of Clarendon Stykes. He chuckled gleefully. What a joke it would be on the old boy if a Stykes, after all, had a finger in this pie. The chuckle became a full-fledged laugh. Michael patted the bewildered Bloom on the back, and Michael’s hearty laugh attracted the attention of customers and clerks who looked up curiously at the balcony where he and Bloom were standing. Michael, when he reached the door of his apartment, heard voices. Joan’s and a man’s. He opened the door and a blond, debonair individual, pleasing despite the carelessness of his dress, turned toward him. Joan stood with the baby in her arms. “Michael, dear, this is—’’ Joan looked questioningly at the young man. “Skid Owens, Mr. Storm. me. You see, I’m—” was slightly sheepish. “He’s the reporter who got that picture of me and ‘Mar- jorie,’ Joan said. Michael’s face set. ‘“‘Say, I ought to throw—” I—er—guess you might know of His manner was frank, but his grin “Wait, now, Mr. Storm, let me explain. I—” “Make it snappy!” “Tf Mrs. Storm doesn’t mind my reference to him—”’ he turned apologetically to Joan. “TI took that picture only to get an interview from her old man. I knew it was a phony, an escapade. I’d been trying to get at him for weeks, through a barricade of secretaries and flunkies. The picture did the trick. He tried to buy the photo. But I compromised on an interview.” The lines in Michael’s face relaxed. He looked at Joan. She was chuckling. “Sit down, Owens,’’ Michael said. here now?” “Well, I'll tell you, but before I do, is it true that you were once a carnival man?”’ He continued rapidly as Michael re- garded him with suspicion. ‘‘I was number one advance man for Blistein’s circus myself once.” “What’s brought you “Sure,” went on Skid. “Say, I’ll tell you what I want. then we'll gab, you and me.”’_ He looked at Joan. “The world would like to know about Joan Randolph. And say, I’d sure like to tell the world about all of you, particularly that fine- looking kid of yours.” “Let’s ask him to dinner, Michael,” said Joan suddenly. Within a few minutes, Skid, his coat off and his sleeves rolled up, was in the kitchen, and he and Michael had Joan in stitches at carnival and circus antics they related. When Skid left late that night, he not only had his story, but pictures of the Storms, and of little Paul, taken at Christ- mas. And he had promised to make them another visit in a few days. In the Sunday Graphic-Herald, the story, a two-page spread, proclaimed ““BEAUTIFUL RANDOLPH HEIRESS FINDS HAPPINESS IN TENEMENT.” Skid had put his heart into the story. He had dug up past pictures of Joan, as a debutante, lolling in a bathing suit at Southampton, in ermine at the Horse Show. There was also a new picture of Joan smiling at baby Paul, with ‘Photo by Michael Storm.” In an oval above was a picture of Michael. Best of all, was a most unflattering and a very stern-looking picture of Cyril Ran dolph. “Wait until father sees this! any day,” laughed Joan. “Yes, but wait until he sees Paul. him, then nothing will,” said Michael. Michael thought of the Stykes. Bloom had heard nothing. and Michael had not heard from Mrs. Stykes. But the next few days were to be busy ones for the Storms Bright and early, the morning after the story and pictures had appeared, Joan answered a ring at the bell. As she opened the door, she was smothered in furs, as a pair of arms were flung about her. It was Una Townsend. Of all Joan’s former friends who had read the article, Una was the most genuinely happy. Joan, too, was truly happy to see Una. “Why didn’t you let us know?” reproved Una gently. “Now first, trot out that adorable baby. And, second, tell a/l. Of course, with such a handsome husband, I can understand you might want to keep him hidden. I would.” But they were not to have their talk. The doorbell rang constantly. Outside, urchins gathered and raced up and down the lengthening string of expensive cars, those of Joan’s former friends, calling on her—some from curiosity, some to laugh many to leave the small flat for their luxurious surroundings and wonder— He’s due back from Europe If that won’t soften T WASN’T until Michael returned that evening that Una had an opportunity to talk to Joan. Una and Michael liked each other from the first handshake. While they were chat- ting, an excited Skid Owens came in. He had a great idea— a series of articles this time. Una took the lead in confounding Skid on his idea. Michael and Joan sat back and enjoyed the fun. But Skid was glib, and gave as good as he received. “Say, now, Miss Townsend,” said Skid finally, grinning at Una, “I'll bet there’s one thing we can agree on.” Una smiled back at Skid challengingly. ‘‘Isn’t Paul the most beautiful kid you ever saw?” Paul was cooing and gurgling as though he too was en- joying what was going on. “Why Skid, we do get along after all!”’ cried Una. “Paul is. undoubtedly, the most beautiful baby in the world!”’ “Yes, sir,’ Skid rose. He saluted Paul gaily. “Paul Storm, the most beautiful baby in the world. You know,” he said, turning to the others, “back in the gay nineties—” “What do you know about the gay nineties? You were only a baby yourself,” scoffed Una. “You took the words right out of my mouth. And what a baby!” grinned Skid. “Say, I won a beauty contest! In those—” “Skid!” cried Una. ‘“‘That’s an idea! through your paper, the most beautiful baby in the world 131 Let’s make Paul, 1»?
Page 130
Joan and Michael laughingly protested. ‘Don’t mind them,” said Una to Skid, waving a hand at Joan and Michael, “they’re merely the parents.” “Maybe you’ve thought of something, Una,” said Skid thoughtfully. ‘But even if I could sell the idea to the managing editor, Paul wouldn’t stand a chance. It isn’t the most beau- tiful baby, it’s the most votes. Some fireman’s or some policeman’s baby would win. They’d get the whole force out collecting votes.” “How much would a first prize be?” asked Una. “Oh, coupla thousand dollars, easily, I guess,” said Skid. Suddenly he leaned forward. ‘Say, why not? You’ve got me interested. I’m going to sell the managing editor on this!” “Tm with you!” cried Una. ‘“Let’s go now. Ill run you to the office in my car.” “WHO IS NEW YORK’S MOST BEAUTIFUL CHILD?” ran a broadside in the Graphic-Herald the next morning announcing the contest. Also in the paper were stories about children, stories against birth control, for large families, ref- erences on that score to Teddy Roosevelt, editorials anent a new cycle in American life, down with cheap sex, up with the home and fireside, the family was to take its proper place in a new America now in the making! HE timely contest caught the public fancy. Interest mounted. Leading citizens of all walks endorsed it. Bundles of ‘vote’ coupons poured in for the favorites whose pictures filled pages. But Paul Storm’s name wasn’t even among the first two hundred. At the end of the second week the record read—Abraham Cohen, 44,999; Alice Lee, 36,000; Gustav Gobel, 22,000. “We can’t expect Paul to win,” admitted Joan. “Never mind,” consoled Michael. ‘The contest helped me, you know, to do a little business.” But Michael had other things on his mind. Why hadn’t Stykes made a decision about the store studio? Why hadn’t he heard from Mrs. Stykes? Once and for all he was going to find out! He’d go to Mrs. Stykes and lay his cards on the table. The next evening he would call on her. looked down at his son. never cop a contest.” He went directly to Mrs. Stykes’ residence as soon as the store closed. When she came into the room, Michael thought she had lost some of her assurance—this woman who had come directly from the ‘‘Follies’” to riches and luxury. “Mr. Storm,” she began carefully, “I have learned you are negotiating with Century for a studio. You must choose—”’ Suddenly she dropped her mask. Her eyes glittered. ‘‘ Mich- ael,”’ she cried, flinging her arms about his neck. ‘You must take my plan—our studio! I want—” “That will be enough, my dear,” said a cold voice. Viola Stykes dropped her arms, and her face went white beneath its make-up. Michael whirled. He was unafraid, undisturbed, as Clarendon Stykes advanced on them. “T knew I’d only have to wait, Storm, for you to come to me. Thought you could play the game both ways, eh? Well, you also lose both ways! There will be no studio under my wife’s patronage, nor will there be one under Century’s back- ing.” Michael smiled grimly. ‘‘ You poor fool! I could have made money for you at the Century. I came here tonight to see you both. But if Mrs. Stykes wants to make such a fool of herself, [’m glad I’m out of it.” He took up his hat and coat. “You needn’t report in the morning,” said Stykes. ‘“ You’re through.” “You're telling me!” said Michael, and strode out of the room. But once outside, all defiance vanished. Well, he consoled himself, you played and lost, but not ingloriously. Yet, losing the Century was tough. What now? He thought of Joan 132 Before leaving he “You’re a winner to me, boy, if you y, uy and Paul. He walked home slowly and thoughtfully. Now that Una Townsend was seeing Joan, someone Joan could de- pend on, maybe he’d better make a getaway— In the tiny flat, a heavy conference was going on. “But I know what he’ll do,” Micheal heard Una say heatedly as he opened the door. “Oh, Michael!” cried Joan in consternation. “Look!” She held out a newspaper. On the front page was a picture of Cyril Randolph. ‘“He’s back! And I’m afraid he’s going to ruin Paul’s chances just as—”’ ‘Just as he has a chance to win!” cut in Una. that the very day before the contest closes, this should happen! And Paul right in top place from the latest report I’ve just had from Skid.” If they had known, at that moment, Randolph was talking to the managing editor of the Graphic-Herald. “T understand, Mr. Randolph,” said the editor, eager to impress the millionaire. ‘‘You want your grandson to win.” “On the contrary,” replied Randolph coldly. ‘How many votes does the Gobel child need to win?” ““Why—why, I should say about fifty thousand.” Randolph arranged for the purchase of that number of coupons and dismissed the matter. Skid got the news and it took him but a few minutes to reach the Storm flat with it. He and Una went into consultation. “Come out to the telephone with me!” cried Una. She called up_all her friends who had helped her put Paul on top. The result was that the next day, an hour before the contest closed, Una Townsend’s limousine drove up to the newspaper’s doors, and bundles of coupons went in to the contest editor. Frantically the editor tried to reach Cyril Randolph. “Mr. Randolph,” he was rebuffed smartly by ranks of secretaries, “would not be interested in a baby contest.” But he was, when he saw the big spread announcing the winner, with plenty of pictures—Paul Storm and a fac- simile of the two-thousand dollar check. “YT knew our baby would bring us luck!” crowed Joan exultantly. Then Michael told her he had lost his job. But with baby Paul’s hard won triumph, there was no room in their hearts for anything but joy at the moment. HERE followed floods of telegrams, all sorts of congratu- lations, offers of all sorts, even from Hollywood, parts in the movies for Paul. One telegram asked Mr. and Mrs. Storm to consider no contract until representatives of the company called on them! And it was from a major picture company! “Hollywood! Just think of it,” cried Michael. “A camera- man’s paradise! Let’s celebrate! Where’s Skid and Una?” “Oh, my dear Michael,” cried Joan, fishing among the pile of telegrams. ‘‘We’ve got a wire from them. Those two are off on a celebration all their own. They’ve eloped. But they’ll be in tomorrow.” “Mrs. Storm! Mrs. Storm!” came the shrill treble of a little girl’s voice at the door. It was Muriel Tees, to take Paul for his airing. The girl was so thrilled she was almost speechless— the prize baby! “Only for a short while, Muriel. And be careful,” Joan called down the stairs as Michael carried the go-cart and set it carefully on the sidewalk. A score of children followed the proud Muriel as she pushed the baby carriage, her tip-tilted little nose high in the air. Left alone, Michael and Joan sorted the telegrams, offers and congratulations. As they read and re-read them aloud, a clattering of footsteps and a babel of excited voices came up the stairs. Michael started toward the door. But it was flung open and Muriel Tees and half the kids in the neighborhood poured into the room. “Paul’s gone! A man took him!” gasped Muriel, fear on her blanched face, sobs in her voice. Joan clutched her throat in panic. Michael seized the now wildly sobbing Muriel. “To think ~
Page 131
“Tell me, Muriel,’’ he cried, “just what actually happened.” “He loved the baby and said he’d watch him for me while we went to get some candy. He gave mea dollar to spend for the kids and myself. Then when we got back, Paul was gone.” Michael, hatless and coatless, dashed out into the street, but only a peddler and a junk cart could be seen. He raced to the corner, almost colliding with big Jim Brennan, the policeman, coming around the corner. “Jim—Paul’s gone—stolen—kidnapped!” gasped Michael. The hue and cry was on. Smashing black headlines in all the papers screamed the news—‘CYRIL RANDOLPH’S GRANDSON KIDNAPPED.” “PRIZE BABY STOLEN.” The popularity of the baby contest had so caught public fancy, that the greatest search in the history of the city was started. Squads of police, armed to the teeth, in uniform and out of uniform, combed the city. Thugs by the hundreds took flight. But the search was not confined to the city alone. Patrols were out on every road, posses were hastily formed, planes soared over the countryside, keen-eyed watchers with field glasses scanning every out-of-the-way gully and forest road. Rewards poured into the newspaper offices. The Graphic-Herald, donor of the two-thousand dollar prize to Paul, put all its resources into the search. Skid Owens and Una, now Mrs. Owens, in high spirits, stepped into their small hotel dining-room in a hidden little village up-state. All the help, and the owner, his wife, daughter and the few guests of the hotel were clustered together reading a newspaper. “Guess they don’t get much news up this way. Look at them wolf that paper,” Skid said lightly to Una. He coughed loudly to attract attention as they sat down at the table. The proprietor hurried over. “My, my, what a time!” he said excitedly. “Guess they'll be somethin’ doin’ all right, all right!’’ making a clicking noise with his tongue as he shook his head. “Meaning?” said Skid, with a wink at Una. “Kidnapped that Randolph heir.” “What?” cried Una and Skid together. Skid jumped to his feet and strode over to the group with the paper. Unceremoniously, he yanked it away and shot a glance at the headlines. He dropped the paper and yelled at Una. ‘Get the bags packed, kid! Paul’s kidnapped!” He turned on the proprietor. ‘‘Where’s the telephone?” Not waiting for a reply, he ran out to the small lobby and found the phone himself. He was soon talking to his managing editor. Quickly getting the details, Skid reported he was on the way in. In a matter of minutes, he and Una were running out of the hotel, Skid tossing a bill onto the desk as he ran by, leaving the dumfounded group in the hotel staring blankly after them. “Not a single trace, Una!” explained Skid hurriedly as he threw the car into high gear. The heavy machine shot along the road. ‘But here’s one thing—old man Randolph has put up twenty-five thousand good old iron men for the return of his grandson. But that’s on the quiet. He doesn’t want his name mentioned.” Skid was peering ahead. ‘‘ Where the heck is that short cut?”’ he muttered. ‘‘Ah, there we are—grey barn—turn right. It’ll cut off twenty miles.” The car slowed into a dirt road cutting across country. S THEY rounded a bend, they could see a small car just ahead. Skid’s big car crept up on it. “Oh, look!”’ exclaimed Una. “That left tire! off! They’ll have a spill!” “You yell at them as we go by. Wecan’t stop,” cried Skid. He gave the car ahead a sharp, insistent blare from his horn— going by, it said. But the other car, instead of slowing and turning aside, put on speed. “The fools!” yelled Skid in exasperation. yell at ’em, Una.” “Hey! Hey!” screamed Una, leaning out and pointing at their tire. “Tire! Tire!” Skid, cursing under his breath, eased up on his speed. He It’s coming “Lean out and was afraid if the tire on the car ahead came off and the car skidded, he would crash into it. “Tire! Tire!”’ screamed Una again as she pointed wildly. The car drew away. But suddenly the tire was seen to part from the rim. The car swerved violently, shot into the brush alongside the road, crashing to a stop. Suddenly two men leaped out. They pointed back down the road. A series of sharp cracks were heard. The top of Skid’s car ripped. “Down! Down, Una!” Skid yelled. ‘Bullets!”” He jammed on the brakes and pulled to a stop. Another series of shots, and the two men turned and leaped away into the screen of the dense woods. AUTIOUSLY, Skid and Una peered over the cowl of their car. All was quiet. Skid started the car and slowly eased up to the car ahead. He peered in, his foot ready on the ac- celerator to leap away. There was no sign of the former occu- pants of the car. “All right, Skid. Let’s go. eyeing the bushes nervously. “Wait!” said Skid. He jumped out and reached onto the front seat of the other car. He pulled a blanketed bundle toward him. Carefully he opened one end. With a glad cry, he hastily gathered the bundle to him and thrust it at Una “Got him! Got Paul! The old newspaperman’s luck!” With a happy squeal, Una cuddled the bundle to her. “The other way up! The other way up!”’ yelled Skid as he slipped in the clutch and the car sped away. Paul was sleeping soundly. Una cooed and gurgled over him. “Now for the nearest telephone,”’ crowed Skid. ‘Gee, those two must have been scared! Well, he’s a pretty hot package.” “Hot package?” questioned Una indignantly. “Meaning, dear dumbness, they probably wished they hadn’t done it. Scared. Trail too hot. Panicked.” A crossing came into sight, a small store sign was visible, and a group of men, beside two automobiles blocked the road. ‘‘Oho!”’ muttered Skid. “Say, Una, put Paul between your knees. I’ve got a scheme. This is a posse sure enough. But look, if we can get away with it,” he talked fast and clipped his words, “we'll give the Storms and old man Randolph a break, get ’em together, and the good old Graphic-Herald gets a world beat. We’re going to take Paul right to his grandfather’s. Now, put the lap-robe over Paul, and pray he doesn’t wake up and cry. You're a sob sister on the paper. My identification card will get us by. Our cue is that we are working on the case. I’ll try and shoot them back up the road to the other car. Then me for a telephone.” They slowed up at the posse which was armed to the hat. guns pointed at the car. Skid already had his card out. “Who’s in charge?” he called out, as he spotted a gold badge on one of the men. The man stepped forward, a rifle in the crook of his arm. “T’m Skid Owens, working on the Storm kidnapping.” He extended his card, talking as though in great excitement. “Back up the road, about six or seven miles, a tire came off a car, and two men beat it into the woods, lamming some lead at us as they ran. They headed across country,’ said Skid pointing. He got out of the car. ‘‘Where’s a telephone?” The big man with the badge, glanced hastily at Skid’s card and thrust it back at him. ‘Phone in the store,” he said as he turned to his men. ‘“Let’s go,” he called. Skid ran into the store, By great good fortune, he noted, there was a telephone booth, he could talk in private. He beat a rapid tattoo with his fingers, glancing anxiously out to the road, as he waited for his call to go through to the managing editor. He watched the last car of the posse shoot up the road toward the abandoned car. A half hour and he’d be on the outskirts of the city. “Hello! Hello, Carson! Yeah, Owens. Now don’t leap out of the chair, I’ve got the Storm kid. Hey, what did I tell you? Listen, I’ve got to talk fast. Get somebody right over 133 We can’t stop,” called Una
Page 132
to the Storms, privately. Tell ’em Skid and Una have con- tacted the kidnappers, and they’ve got to meet ’em at a secret rendezvous. Never mind the details. Listen to me, for once! Tell ’em they’ve got to go blindfolded. How? How’re you going to get ’em out with the other newspaper mobs there? Say, take ’em out on stretchers. Mental col- lapse. Get it? An’ then run ’em right over to the grand- father’s. Sure, to old man Randolph’s. I’ve got a scheme. Give me an hour and a half and you'll have the biggest beat in town! Now don’t tell ’em where they are going. Just tell ?em Skid and Una are with the baby and he’s okay.” Jubilantly he dashed out to Una who was in a dither of excitement as she kept glancing back along the road. “We're set, baby!” Skid cried. He told the excited Una his plan, and she laughed joyously and cuddled little Paul to her. His eyes were now wide open, and he cooed with delight as he felt her friendly touch. Skid was stopped three times on his way in to the city, but his police card and his glib tongue got him by. Paul never even murmured when Una covered him over with the lap-robe during the few seconds it took Skid to talk his way onward. Bee at one deserted stretch of road, he stopped the car and had Una get into the back seat with Paul. “When we get to the Randolphs, if ever,” said the perspiring Skid, ‘‘there’ll be a flock of reporters and cops around for certain. Now, as we go along, dump my stuff out of that Glad- stone bag, and, just as we arrive, pop Paul into the bag. Ill carry it partially open so he’ll get air. It’ll only be for a few seconds.” They got to the Randolph mansion without further incident. Skid stopped a few doors away, as he saw a group on the side- walk before the house. Una popped the baby into the bag, and Skid held the handles so that air got in all right. i “Tl die before I ever reach that door,’ Una whispered excitedly. KID and Una pushed through the clustered groups before the Randolph mansion, and mounted the steps to where a burly sergeant of police stood guard. Jenson, the butler, his face pale and a strange expression in his eyes, stood beside him. As Skid and Una came up the steps, Jenson anxiously looked from one to the other, swallowing hard. It was obvious he wanted to ask about the baby, but training controlled him. In sepulchral tones he managed to say, “You are to go right in, Miss Townsend, and-ah-Mr. Owens.” The door swung to behind them. The tall figure of Cyril Randolph hurried along the hall. ““Where— Where—” he blurted. Skid gently deposited his bag and opened it wide. There was Paul, calm if not cool, sucking away at his thumb. Cyril Randolph, all his austerity gone, dropped beside the bag and tenderly lifted out the baby. There was a stir at the rear of the house. Two blindfolded people were being carefully guided along, by two young men who waved at Skid, grins on their faces. They whispered to the two blindfolded people, who stopped as their bandages were removed. Cyril Randolph, Paul in his arms, faced them. Suddenly he and Paul were engulfed by a rushing, laughing, sobbing Joan. Michael was beside her. Cyril Randolph, a glad smile on his face, tears of joy in his eyes, extended a hand to Michael around Joan’s shoulder. [ THE END } Could YOU Use A Share of $500.00? A lot of people can and the chances are you are no exception. Turn to the announcement on Page 50 of this issue of PHOTOPLAY and you'll find something unique in prize money contests. It’s so fascinating you'll just start right out solving it. It’s all straight-forward, honest puzzle. tricks or false clues. There are no You’ll enjoy immensely figuring out the * Fill-ins” almost as much as you will spending the prize money. Try it. 134 You’ll see! — W. F. HALL PRINTING CO.
Page 133
“From the Bahamas to Bermuda from Bar Harbor to Miami... Everywhere I go... B.V.D. rules the waves!” B.V. D's mission in life is the glor- ification of the feminine figure in the water and on the sands. Look for its new and stunning fabrics—for “Perl-knit" and for its brilliant new “Sea Tweeds’—sea fabrics of distinction. Look for the new “seamless waistline,” the ex- clusive B.V.D. feature that gives a new meaning to perfect fit! j In colors, choose any of the new B.V.D. creations. Rich new pastels — exotic blues, browns, | reds, in glorious hues. A suit for every taste and every purse. An orchid, too, for the new B.V.D. beach togs—that colorful parade of shorts, slacks and shirts. ls a B.V.D. year by land or by sea. The B.V.D. Company, Inc., Em- pire State Building, New York City. Also made and sold in Canada. Reading up left to right: WRAP-A-ROUND—an anatomic marvel with two-toned braided straps and contrasting wrap-a-round belt. SUNSHINE FASHION—with uplift brassiere — two-toned braided straps that may be worn numerous ways. DOLPHIN—an amphibian phenom- enon whose contrasting braided straps also adjustto give a halter neck. RUFF-NECK—pullover sweater in B.V. D. “Perl-knit” cotton that takes to the beach or any sport. Worn with mannish-cut slacks in same fabric. DV Dis EG. U. S. PAT. OFF. SWIM SUITS Copr. 1934, The B. V. D. Company, Inc. -— >) —
Page 134
t’s toasted” = The y~ Only the Center Leaves—these are the Mildest Leaves (Caméft x alts / NI copyrizht, 1934, The American Tobseco Company