Photoplay 1935-01 Vol. 47, No. 2

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JANUARY 25 CENTS 30 Cents in Canada SHIRLEY ould You Love, Honor Bi cat and Obey These Men? See Page 30

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fast . £ RYE WAFER th 88 Ciacice cae” 2 font Poe Dinney Mew with SOP sad Salads q ate MaMa ee " teensy, AMY Rue tery ang gah mad Seuese ; He stare eee OR: BILLIE SEWARD, vivacious ingenue, intends to stay as charming and beautiful as she is in the Columbia pic- ture, “Among the Missing”, in which she is now play- ing opposite Richard Cromwell. You, too, can keep your figure slim and youthful — the Hollywood way! Eat Ry-Krisp with every meal. The loveliest movie stars have learned that Ry-Krisp is a real beauty aid—because it’s filling but not fattening. At meals and between meals you'll find these crisp, delicious wafers are the perfect F ar thing to serve — because they taste so good. 2 *,t git / Mme. SYLVIA a5) JUNE a of Hollywood 5 - yol 6 ote gf jf World famous authority on the feminine figure — and Yin, ad _, Hollywood masseuse. Intimate stories about Holly- wood — valuable beauty advice. Hear how you can win duplicates of gowns worn by famous stars — FREE. Every Wednesday night — NBC Blue Network — 10:15 EST 9:151CSi 8:15 MT TBS) XC

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PHotTopLaAyY MAGAZINE FOR JANUARY, 1935 TARVING.. . yet th ey Dreaded the coming of the FOOD SHIP OUENTLY emaciated and ravenously hungry, the people of St. Kilda’s, the lonely island off the Scottish coast, dreaded the arrival of the supply ship from the mainland. They realized that though it brought food to the wilderness it brought also civilization’s curse—the common cold. Illness and death invariably followed the rattle of the anchor chain. In the Arctic, the Eskimos had the same experience. Reviewing such cold epidemics, scientific men came eventually to the belief that colds were caused by germs, not by exposure, wet feet, or drafts although these may be contributing causes. Colds are caused by germs, they say—but by germs unlike any others previously known. Germs, if you please, that cannot be seen. Germs so small they cannot be measured except as they exert their evil effect upon the human body. Bacteriologists call them the filtrable virus because they readily pass through the most delicate bacterial filters. Using a liquid containing this mysterious virus, they have been able to produce repeatedly by inoculation, one man’s cold in other men. Under ordinary conditions, this virus enters the mouth, nose, or throat to cause the dangerous infection we call a cold. Accom- panying it are certain visible germs familiar to all; the pneu- mococcus, for example, and the streptococcus—both dangerous. They do not cause a cold—they complicate and aggravate it. To Fight Colds—Fight Germs Obviously, the important part of the fight against invisible virus and visible bacteria should take place in the mouth and throat. The cleaner and more sanitary you keep it, the less chance germs have of developing. “The daily use of a mouth- wash,”’ says one eminent au- thority, ‘‘will prevent much of the sickness which is so common in the mouth, nose, and throat. Children should be taught the disinfection of the mouth and nose from their earliest years.” For oral hygiene, Listerine is ideal—so considered for more than fifty years both by the medical profession and the laity. It possesses that rare combination absent in so many mouth washes—ade- quate germ killing power plus complete safety. And of all mouth washes, it has the pleasantest taste. Numerous tests under medical supervision have shown that regular twice-a-day users of Listerine caught fewer colds and less severe colds than those who did not use it. t We will send free and postpaid a scientific treatise on the germi- cidal action of Listerine ; also,a Booklet on Listerine uses. Wriie Lambert Pharmacal Company, Dept. PU-1, St. Louis, Missowrt. For Colds and Sore Throat... LISTERINE... The Safe Antiseptic

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PHOTOPLAY MAGAZINE FOR JANUARY, 1935 TAY TL ONE OF THE GREAT! You have heard so much about it. The world's eagerness to see this beloved Charles Dickens novel on the screen will be amply repaid. The two years of waiting are at an end. Never before has any motion pic- ture company undertaken the gigantic task of bringing an adored book to life with such thrilling realism. 65 great screen personali- ties are in this pageant of humanity, adapted to the screen by the famed Hugh Walpole. — The original scenes, the vivid characters, the imperishable story ... they live again! Directed by GEORGE CUKOR Produced by DAVID O. SELZNICK

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PHOTOPLAY The World’s Leading Motion Picture Publication KATHRYN DOUGHERTY, Editor William T. Walsh, Managing Editor Ivan St. Johns, Western Editor Vol. XLVII No. 2 : January, 1935 | High-Lights of This Issue | Close-Ups and Long-Shots ; : KATHRYN DOUGHERTY 23 Will Your Favorite Stat Survive Color : ; MILDRED MasTIN 26 Could You Love, Honor and Obey These Mens ; . ARLINE MERTON 30 Making a Man’s Picture : : . Kartrey BASKETTE 34 Fun Like Mad : ‘ : : 3 . Mrirzt Cummincs 44 Hollywood Holiday Bellies : : ! : SARA HAMILTON 48 Scene from “A Wicked Woman” ; : : : s 52 Cal York’s Monthly Broadcast from Hollyw ood : : ; : 54 Seymour—PHOoTOPLAY’S Style Authority — . : ‘ , ’ FD) | Copperfield in Quest of His Youth : ; : SARA HAMILTON 68 Here’s More Perfection for You : : : : , SYLVIA 70 All the World’s His Stooge. : A d MILDRED MASTIN. 76 Winners of Photoplay PHOTOPLAY’S Hollywood Beauty Shop ; z CAROLYN VAN WyYCK 78 Magazine Gold Medal for Movie Fill-in Contest Winners : ; : f é : ea taG the best picture of the year Sa i Photoplay’s Famous Reviews “HUMORESQUE” | Brief Reviews of Current Pictures. : : ‘ : : re LO || The Shadow Stage ’ : : : : : om ‘ 72 1921 | “TOL'ABLE DAVID” Personalities 1922 Meand MyPal _ . 6 “ROBIN HOOD” A Quartet of Big Pay Babes . 8 CRA Nelson Eddy : : : : : < eS “THE COVERED WAGON” Margaret Sullavan Wants None of It _ : é KiRTLEY BASKETTE 28 ee At Last the Films Round Up Joe : 5 23 “ABRAHAM LINCOLN” Tha-a-ank You-hoo, Maxine Doyle 33 Romance with an Angel : . JERRY LANE 36 “THE BIG PARADE’ Mr. Broadway Gambles Against Hollywood ; : . ANNE CASTLE 38 Kitty Crashes Fame : ; ; ‘ Jutius Irwin 43 1926 Norma Shearer Relaxes ; 46 “BEAU GESTE” | Here’s One Fat Man Somebody Lowes 47 1927 She’s the Belle of the Film Colony ‘ 3 f ; é 47 “7th HEAVEN” It’s Never Been Done Before : : : ROBERT BURKHARDT 51 i528 The “Rediscovery” of Bill ae P : ; . Scoop CONLON 58 “FOUR SONS” || Salute May Robson! ; : d ; ’ RutTH RANKIN 67 Paul Muni and Bette Davis 5 ‘ . ; : : 82 “DISRAELI” | Tom Meighan Is Restless é : : . WALTER D. SHACKLETON 83 || Pert’s Reducing Vacation. 4 ; ; ; : ; 90 a 1930 || Pat Paterson 93 a CUE ON THE | On the Gor er—Shirley Temple—Painted by i arl G hristy “CIMARRON” 1 Information and Service || Brickbats and Bouquets . . . . 12 Screen Memories from PHOToPLAY . 115 “SMILIN’ THROUGH” i Hollywood Menus = eS a ie 94 The Fan Club Corner Ce eee a lel OD “oer || Askthe AnswerMan . . . . . 100 Casts of Current Photoplays 5 9 IAA “LITTLE WOMEN” || Addresses of the Stars . . . . 107 Hollywood Cinema Fashions ,. 3) -124 t Published monthly by MACFADDEN PUBLICATIONS, INC. Bernarr Macfadden, President Irene T. Kennedy, Treasurer Wesley F. Pape, Secretary Publishing Office, 333 N. Michigan Ave., Chicago, Ill. Business and Editorial Offices, 1926 Broadway, New York City London Agents, Macfadden Magazines, Ltd., 30 Bouverie Street, London, E. C. 4, England Carroll Rheinstrom, Advertising Manager, Graybar Bldg., 420 Lexington Ave., New York, N. Y. Charles H. Shattuck, Manager Chicago Office YEARLY SUBSCRIPTION: $2.50 in the United States, its dependencies, Mexico and Cuba; $3.50 Canada; $3.50 for foreign countries. Remittances should be made by check, or postal or express money order. CAUTION—Do not subscribe through persons unknown to you. Entered as second-class matter April 24, 1912, at the Postoffice at Chicago, Ill., under the Act of March 3, 1879 Copyright, 1934, by MACFADDEN PUBLICATIONS, INc., New York

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Me and My Pal That cute little trick, Shirley Temple, tells her Mexican pooch Poncho to ‘‘sparkle.’? But Poncho looks as though she’s about. to do a running leap away from the staring glass eye of the camera. It may be true that English bulldogs are gentle creatures, but would you want to be the first to try and get by George Brent’s prize winning pug, Whiskey? And he’s George’s constant companion. Jean Muir is asking her fav- orite canine chum to come take a walk. He is tagged Shandy- gaff, which is a drink consisting of beer and ginger ale! 6

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PHOTOPLAY MAGAZINE FOR JANUARY, 1935 7 ©THE PICTURE WH oF THE MONTH hes For the Christmas Stockings of a Hundred. 1) Million Film Fans, We Give You Warner We j Bros.’ Magnificent Picturization of the Stage 7, Triumph That Made America Young Again — Never has a story brought back so gloriously the good old days be when flaming youth went to town on a bicycle-built-for-two—or more. That’s Papa in the rumble-seat...but where’s his shot-gun? ‘ ae ee : in Brought to the Screen After 63 Weeks — Count ’em, 63—on Broadway, With Its Immortal Melodies and Romance That Take Us Happily Down Memory Lane, Dashingly Guided by Director MERVYN LEROY We'd like to take up the merrie olde custom of slipper-drinking ourselves—just to toast that grand trio of fun-makers— Hugh Herbert, Ned Sparks, Joe Cawthorn—and all the delicious dancing girls who are toonumerous to name—but too sweet not to mention. rH Ever whistle“ Why Was I Born?”, “HereAmI”,and“ Don’t Ever Leave Me”? Well, this is the show that made them famous! Now you'll hear these and other great Jerome Kern hits sung and danced en * : e as never before—all because Warner Bros. finally lured dance- a sisi director Bobby Connolly of “Ziegfeld Follies” fame to Hollywood. And while the orchids last, let’s toss a load of them to irresistible Irene Dunne, and Donald Woods and Louis Calhern for their brilliant tell- ing of a great love story; to Mervyn Le Roy for his superb direction; to Phil Regan for his delightful tenor; and to Jerome Kern and Oscar Hammerstein Il for authoring December’s grandest show!

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A Quartet Of Big Pay Babes Bi eR Cherubic June Pres- ton is about to make her screen bow under the optimistic eyes of RKO-Radio in ‘Anne of Green Gables.” June was snapped up when she paid a visit to the studio. A keen- eyed executive saw her and _ forthwith called for a screen test. Result, a con- tract This manly little lad, David Holt, went into his eighth year a few months ago. Now he’s into high gear in his screen work, for which he gets a neat one hun- dred and fifty dollars per week. Because he knows just what to do when he goes before the camera Sate a Ni He’s known as Baby (The Scene Stealer) Virginia Weidler, the petite miss above in her after-school play dress, has also passed her seventh birthday. Like David Holt, she is under a Paramount contract. And since her outstanding work in “Mrs. Wiggs,” she is viewed as a big bet at the box-office 8 LeRoy. Old and young stars watch him as he comes on the set. It is said he rates seventy-five dollars a week. And when the actual time he works is figured out, it puts him just about at the top of the pay-roll, he’s that big a drav

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PHOTOPLAY MAGAZINE FoR JANUARY, 1935 9 Bigger than THE BIGGEST SHOW ON EARTH is the amazing story of Barnum! His audacious humbuggery ... his hilarious family uprisings . the beautiful women who came in — and out — of his life! Not even Barnum himself could have conceived a more fascinating drama than this — the story he actually lived! Joseph M.Schenck prese nts PNT LCE. BEES a in DARRYL F. ZANUCK "Ss producti . R / a & 4 wh feo 4 ae, Written by CENTURY Fg 2 = \, - ms : “ — Gene Fons ond Bes Mardy BPICTURE Sie Released thru UNITED ARTISTS } By the producers of “THE BOWERY” and “THE HOUSE OF ROTHSCHILD”

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Consult this pic- ture shopping guide and save your time, money and disposition Briel Reviews 0 Current Pictures + Indicates photoplay was named as one of the best upon its month of review ADVENTURE GIRL—RKO-Radio.—Unreeling Joan Lowell's exciting adventures in the tropics. An hour packed with action. (Nov.) AFFAIRS OF A GENTLEMAN—Universal.— Cleverly handled murder mystery film, with Paul Lukas as the author who makes women in his life characters in his stories. Good cast includes Dorothy Burgess, Sara Haden. (July) AFFAIRS OF CELLINI, THE—20th Cen- tury-United Artists—Frank Morgan’s per- formance as the Duke of Florence highlights this sophisticated yarn about the loves of Benvenulo Cellini (Fredric March). Constance Bennett, as the Duchess, and Fay Wray are grand. (July) AGE OF INNOCENCE, THE—RKO-Radio. —For those who appreciate an intelligent in- te rpretation of a great theme—love's sacrifice for con- vention’s sake. John Boles and Irene Dunne are a splendid team. (WNov.) ALONG CAME SALLY—Gainsborough.—So- =e British musical comedy with Cicely Courtneidge, a dual réle, and Sam Hardy. (Sept.) ARE WE CIVILIZED—Raspin Prod.—A drama- tization of various conflicts from the beginning of civilization, with a powerful sermon on world peace by William Farnum. (Sept.) BABY TAKE A BOW—Fox.—Shirley Temple scores again as the daughter of an ex- convict (James Dunn) accused of stealing the ‘“‘pearls.’’ Alan Dine- hart, Claire Trevor, Ray Walker. (Sept.) BACHELOR BAIT—RKO-Radio.—As the pro- moter of a matrimonial agency scheme, Romance, Inc., Stuart Erwin is perfect. Pert Kelton, Skeets Gallagher and Rochelle Hudson. (Sept.) BADGE OF HONOR—Mayfair.—Phony and amateurish, with some pretty awful dialogue. Buster Crabbe and Ruth Hall. (Nov.) BARRETTS OF WIMPOLE STREET, THE —M-G-M.—Well nigh perfect is this adapta- tion of the stage play, with Norma Shearer as the invalid poetess and Fredric March as her lover. Charles Laughton and excellent support. (Oct.) BELLE OF THE NINETIES—Paramount.— La West comes through again with a knockout performance. Roger Pryor, John Mack Brown, Katherine De Mille do well. But the film is a major triumph of Mae over matter. (Nov.) BEYOND BENGAL—Showmen’s Pictures.—Still another jungle story with thrilling wild animal shots and a touching native romance. (Aug.) BEYOND THE LAW—Columbia.—Railroad de- tective Col. Tim McCoy's investigation of a killing is packed with suspense and action. Shirley Grey. (Oct.) BIG HEARTED HERBERT—Warners.— Just one heartfelt laugh. Guy Kibbee is grouchy father, continually reminding Aline Mac- OER and their children of his struggle to success. (Nov.) BLACK CAT, THE—Universal. pense in Boris Karloff’s latest ‘chiller.’ And dangers that threaten Bela Lugosi, David Manners, Jacque- line Wells while in his weird abode seem all too uncon- vincing. (July) No great sus- BLACK MOON—Columbia.—If you're in the mood to see a white woman (Dorothy Burgess) en- slaved by Voodooism, you'll probably enjoy this. Jack Holt and Fay Wray fine. (Sept.) BLIND DATE—Columbia.—Moderately | satis- factory film fare about Ann Sothern going out with Neil Hamilton when ‘‘steady’ Paul Kelly lets business interfere with her birthday party. (Oct.) 10 BLUE LIGHT, THE—Mayfair Prod.—This artistic Leni Riefenstahl production will be enjoyed by all intelligent audiences though dialogue is in German and Italian. Magnificent camera effects in the Tyrol. (Aug.) BLUE STEEL—Monogram.—John Wayne again outgallops, outshoots and outwits the outlaws, and rescues heroine Eleanor Hunt. (Axg.) BRIDE OF THE LAKE, THE—Amer-Anglo Prod.—Pleasant romance against a background of Irish country life. Nobleman John Garrick in love with peasant girl Gina Malo. Stanley Holloway sings Irish ballads. (Dec.) BRIDES OF SULU—Exploration Pictures Corp. —Regard this as a scenic travelogue and try to over- look the poor dialogue. Interesting customs and Gee with Philippine Archipelago background. Oct.) Fill-in Contest Winners! A complete list of the lucky ones will be found on page 116— this issue of PHOTOPLAY BRITISH AGENT—First National.—Locale —Russia during the war; characters—Leslie Howard, a British agent, and Kay Francis who loves him, but is also passionately devoted to her country. Deft direction; capable cast. See this! (Oct.) BULLDOG DRUMMOND STRIKES BACK —20th Century-United Artists —You must see Ronald Colman as the amateur detective who leaps headlong into the most baffling case in many a day. ; Loretta Young, Charles Butterworth fine. (Aug. BY YOUR LEAVE—RKO-Radio.— You'll chuckle plenty. Frank Morgan is the picture, as the husband in his forties who wants to be naughty and has for- gotten how. Includes Genevieve Tobin. (Dec.) CALL IT LUCK—Fox.—An old plot, but Her- bert Mundin’s cockney cabby characterization and Pat Paterson's fresh charm make it fair entertain- ment. (Axg.) CARAVAN—Fox.—For a riotous carnival of song, dance, costume and operetta plot, we recommend this film laid in Hungary. A-1 cast in- cludes Jean Parker, Charles Boyer, Loretta Young and Phillips Holmes. (Vov.) CASE OF THE HOWLING DOG, THE— Warners.—Smooth and clever, different and divert- ing murder yarn. Lawyer Warren William solves mystery. Mary Astor, Gordon Westcott. (Nov.) CAT’S PAW, THE—Fox.—Doing his familiar characterization—the naive young man for whom even the most difficult situations come out well—Harold Lloyd scores again! This time he’s a missionary’s son, visiting America. Una Merkel. (Ocl.) CHAINED—M-G-M.—Splendidly written, acted, directed, with Joan Crawford married to Otto Kruger and in love with Clark Gable. (Nov.) CHANGE OF HEART—Fox.—Admirers of the Janet Gaynor-Charles Farrell team will like this light tale about their experiences with two college chums in the big town. (Auxg.) CHANNEL CROSSING — Gaumont-British.— Melodrama aboard the Dover-Calais liner, in which Constance Cummings, Anthony Bushell, Nigel Bruce, Matheson Lang all take important parts. (Aug.) CHARLIE CHAN IN LONDON—Fox.—Warner Oland (Charlie Chan) has three days to prevent ex- ecution of Drue Leyton’s brother, accused of a murder he did not commit. Alan Mowbray involved. (Dec.) CHARLIE CHAN’S COURAGE — Fox. — This yarn, centering around Warner Oland’s difficulties in delivering a string of pearls, is the least amusing of the Charlie Chan series. (Sep/.) CHEATERS—Liberty.—Racketeer Bill Boyd's reform of his entire gang, when he falls for June Clyde, makes an amusing little tale. Dorothy Mackaill, Alan Mowbray and William Collier, Sr. do nicely. (July) CHU CHIN CHOW—Fox-Gaumont-British.— Colorful British version of Ali Baba and the Forty Thieves. Fritz Kortner, German star, and Anna May Wong excellent in leads. (Dec.) CIRCUS CLOWN, THE—First National.—Joe E. Brown splendid in the sympathetic réle of circus roustabout who later becomes a trapeze artist. Patricia Ellis and good support. (Aug.) CITY PARK—Chesterfield.—As one of three cronies who become involved in the destiny of a girl (Sallie Blane) gone broke in the big city, Henry B Walthall is superb. (Vov.) *” CLEOPATRA — Paramount. — A passionate love story, with Claudette Colbert splendid in the title rédle, Warren William as Caesar, and Henry Wilcoxon as Anlony. A typical DeMille spectacle (Sepl.) * Wheeler and Woolsey, h 2 and Noah Beery. Two sure-fire song hits. COCKEYED CAVALIERS—RKO-Radio.— A hilarious hour in Merrie Olde England with Dorothy Lee, Thelma Todd (Aug.) CONSTANT NYMPH, THE—Fox-Gaumont- British Margaret Kennedy's novel about the chil- dren of the mad composer, Sanger, artistically adapted to the screen. Brian Aherne and Virginia Hopper, his constant nymph, give beautiful por- trayals. (July) COUNT OF MONTE CRISTO, THE—United * Artists.—A thrilling film which builds steadily to the dramatic courtroom climax. Robert Donat is Dantes; Elissa Landi fine, too. (Nov.) CRIME WITHOUT PASSION—Paramount. —A truly remarkable picture, that has for its theme the workings of an unscrupulous mind. Claude Rains, Margo, Whitney Bourne all first-rate. Sus- pense maintained throughout. (Nov.) [ PLEASE TURN TO PAGE 14 |

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PHOTOPLAY MAGAZINE FoR JANUARY, 1935 ; = LS Re Another glorious Hepburn romance to THE LITTLE MINISTER by SIR JAMES M. BARRIE With JOHN BEALE and ALAN HALE An RKO-Radio Picture Directed by Richard Wallace eA Pandro S. Berman Production share your treasured ( 7 memories of “Little RKO picture from one of the great love stories of the ages. Another fire and wistful tender- radiant acting triumph by the year’s ness of Barrie’s immortal Gypsy “Babbie”’. outstanding star, as she brings you Really something more than a motion a role endearingly different—the — picture—a Christmas gift for your heart! oy) of life 5 gladness hl its pau abl embed in doves ph dcaweek song /

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Brickbats & Bouquets ecooe THE AUDIENCE TALKS BACK eeee 7OWD almost think this was a lovelorn column or cupid’s headquarters these days! Letters on Charles Boyer’s sex- appeal, and advice to dissatisfied wives, and one on harems—my, my! mentioned sex twenty-two times. It And it’s nice to have a good crop of bouquets floating in bloom. for a change THE $25 LETTER It was not until I married that I ever at- tended the movies. When a child I longed with a passion that became an obsession to go to the movies. But when I saved penny by penny till I had the fare my father wouldn’t hear of my going. He was surprised that a child of his even thought of contaminating herself by going to “the devil’s playhouse.” Since my marriage I’m thankful to say I’ve been a frequent attendant and I get more - pleasure and relaxation from a good movie than from any form of recreation. But somehow I can’t forget that forlorn kid who was denied the supreme pleasure. So each week I pick two children from the poverty stricken district and take them with me to the movies. Their shining eyes and happy faces are all the thanks I need And when I find a man or woman who is blue and burdened with troubles I press a quarter in his or her hand and tell them to go see a picture. Mrs. H. E. Apam, Cedartown, Ga. THE $10 LETTER Make a law against it! Sexcommunicate everybody who breaks the law, no sexcuses, no sexceptions, no sexemp- tions, no sextenuating circumstances! Every sintelligent sindividual should sindorse it. Let’s have no more of Eddie Cantor’s sin- uendo, no more of Wheeler and Woolsey’s sin- temperance, no more of Ann Harding’s sin- timacies, nothing as sexotic as Kay Francis, no more of Jean Harlow’s sexpositions, no more of the sexquisite Garbo and the sinternational Sten; we must sexpurgate the sexhuberant Mae West, and alas, we must sexterminate the sex- pressive Harpo Marx. Let’s take the sin out of sinema! No more sextravaganzas like ‘42nd Street” and “Gold Diggers.” We will show only sexalted sex- amples like Mickey Mouse and Shirley Temple, who are surely sexempt from sexecration. We’ll give the sinsors a break! But what of the sexchequer? sexpenses? Let’s abolish sex! Will we pay For sex is still spelled $ex! Can We get a guarantee against sinsolvency? Yours with much sinterest, Frances M. SrepHenson, Columbia, Tenn. THE $5 LETTER Last Winter, I was very poor. I had a tem- porary job that paid me five dollars a week— barely enough for food and shelter. Christmas was coming. The Christmas trees, the tinseled shop windows, the “Silent Night, Holy Night” of the Salvation Army band, mocked me. I’d always loved Christmas so. This year, when I could neither go home nor send gifts, I hated it. On Christmas Eve I couldn’t go to church— 12 We got so steamed up we even gave a prize to a letter that must be that love’s in there would be old songs I loved, remem- brances, I couldn’t stand it. I had twenty cents in my purse—and that was all. I knew a girl who was penniless. “Come on, I'll take you to a show,” I said. We forgot there had been happier Christ- We sat there and saw the picture Afterward, we mases. through three times. ran In 1928 Greta Garbo won honors as Jris March in “A Woman of Affairs,’? taken from ‘The Green Hat.” John Gilbert was her screen lover through the frosty night, and fell into our beds to get warm, re-living the picture until sleep brought us forgetfulness. If I had my way, Id give every poor person in the world a free ticket to a movie for a Christmas gift. ANITA PrInKHAM, Minneapolis, Minn. GARBO VS. BENNETT Having just come from a showing of “Out- cast Lady” I am impelled to compare it with “A Woman of Affairs” as played some years ago by Garbo. Both pictures, as you know, are made from the book “‘The Green Hat.” In “Outcast Lady” Miss Bennett gives a smooth, excellent performance. But never once does she make me feel like that J7is is an individual, a warm, living personality. It seems to me hers is a carefully studied tech- nique. Polished, to be sure, but it leaves me cold. In “A Woman of Affairs” Garbo created an Tris so vital, so alive that my heart ached with the poignancy of her suffering. While Miss Bennett’s a clever young actress, Garbo is the rare genius who interprets with an almost divine understanding the souls of her char- acters. Nora Deuprer, Kiowa, Colo. 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 sug- gestions do. We reserve the right to cut letters to fit space limitations. Address The Editor, PHOTOPLAY Magazine, 221 West 57th Street, New York City. When Constance Bennett played Tris in the recent version of ‘‘The Green Hat,” titled ‘Outcast Lady,’’ comparisons with Garbo were inevitable. Male lead was Herbert Marshall The lady reader who writes that George Bancroft is a member of her screen star harem should hear him play chopsticks with Roscoe Karns. Georgie’s rendition is irresistible!

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HAREM OF STARS It’s time we women admitted that we really are all polygamous at heart! When we see George Bancroft portray real he-man parts in which the heroine leads a tempestuous, here- today-gone-tomorrow existence, we thrill to it and vow that is the only life for us. Until, we see Leslie Howard and Herbert Marshall with their quiet sophisticated gen- tility. Then, just as suddenly, the old heart does a right-about-face, for handsome Gable is in the next movie we see! Ah me! The Sultan of Turkey used to have his harem of women but we women secretly have our harem of stars. Emma Emmett, Portland, Ore. CROONERS’ KITTY Salvos of praise to a new sensation—Kitty Carlisle. She actually looks intelligent all the time that Bing is singing to her. This is re- freshing after seeing other girls with an inane emptiness of expression while listening to the crooning of the male. MARGUERITE VARNES, Denver, Colo. THE COLONEL’S GREAT IN COURT! Cheers! Cheers! Cheers! For Henry B. Walthall, for his splendid per- formance in the picture ‘‘Judge Priest.” No other actor has ever come so near stealing a picture from Will Rogers as did Mr. Walthall in the courtroom scene. I remember Mr. Walthall years ago as the Little Colonel in the picture “The Birth of a Nation.” He was a great actor, then. | He is great now. T. Matruews, Houston, Tex. Nearly nineteen years ago Henry B. Walthall (above) won movie fame for his fine portrayal of the Little Colonel in ‘The Birth of a Nation.” Today he’s gathering laurels for a performance just as outstanding in the Fox production, “Judge Priest’’ (right) TEAM ’EM, STUDIOS Here are some screen teams we fans would like to see together: Ann Harding and Fredric March Norma Shearer and Clive Brook Claudette Colbert and Ronald Colman Carole Lombard and George Brent Margaret Sullavan and _ Robert gomery Madge Evans and Richard Arlen Loretta Young and Joel McCrea Frances Dee and Robert Young Joan Bennett and Lew Ayres B. Hout, Fort Smith, Ark. Mont- MORE— And while you’re on the subject of screen teams, how about Tom Brown and Anita Louise? On the screen, off the screen, they’re my idea of a swell pair! June E tis, St. Louis, Mo. NO GYP Anna Sten cost Sam Goldwyn a million dollars. (So you said in a past issue of PHoro- PLAY.) Well, believe me! She’s worthit! I’ve just seen Miss Sten in “We Live Again,” and while it only cost me fifty-five cents to see the show, I think Goldwyn and I both got our money’s worth. J. M. P., New York City lor consistently fine performances over a long period of time I vote a gold medal to Lewis Stone. I do feel, however, that Mr. Stone’s roles recently haven’t been quite as good as they have in the past. Please, Mr. Movie Executive, keep Stone in leading or strong supporting roles. R. L., Stamford, Conn. You can just quote me as saying, ‘I have just seen ‘The Gay Divorcee’ with Fred Astaire and Ginger Rogers, and wish to say it is the most delightful picture I’ve seen for years”—and let it go at that. P. S—I’ve seen it three times. LititH KircHett, Kansas City, Kans CHARLES HAS WHAT IT TAKES Talk about sex-appeal! I didn’t know the meaning of the word until a few days ago when I saw Charles Boyer in “Caravan.” One day Boyer was only another obscure actor to me and the next I had him heading my list cf favorites. BerTHA SMitTH, Mullins, S. C. LONG A WINNER She’s been my favorite star for fifteen years On the screen and in the public print, I’ve followed her through flops, tremendous suc- cesses, changing réles, motherhood, four mar- riages. I’m glad now to see her back on the On or off the screen, everybody loves this team. (They like each other, too.) The cameraman caught Tom Brown escorting Anita Louise to the preview of ‘‘The Firebird,” in which she scores a hit screen again, more beautiful than ever, in a smashing good picture. I’m talking about Gloria Swanson, star of ‘Music in the Air.” IXVELYN ANDREWS, Des Moines, Iowa SEALS FOR BABES? I thoroughly enjoyed your article, ““ Robbing the Cradle for Stars,” in the November PHoro- PLAY. However, I think the sudden outcrop of child [ PLEASE TURN TO PAGE 16]

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Brief Reviews of Current Pictures CRIMSON ROMANCE—Mascct.—War story, good flying, plenty combat scenes. Two pals, Ben Lyon and James Bush, both fliers, of course, fall in love with ambulance driver Sari Maritza. (Dec.) DAMES—Warners.—A barrel of good humor, and excellent tunes by Dick Powell, teamed again with Ruby Keeler. ZaSu Pitts, Guy Kibbee, Hugh Herbert supply comedy, and Joan Blondell lends a snappy touch. (Oct.) DANCING MAN—Pyramid.—Mediocre murder mystery, featuring Reginald Denny as a gigolo in love with Judith Allen and affairing with her step- mother, Natalie Moorhead. (Oct.) DANGEROUS CORNER—RKO-Radio.—A story with two endings—what happe ned and the “cover-up. Involves a ‘‘suicide’’—actually a murder. Full of startling revelations. Ian Keith, Erin O’ Brien Moore, Conrad Nagel, Melvyn Douglas, Virginia Bruce, others. Excellent. (Dec.) DEATH ON THE DIAMOND—M-G-M.—Im- probable in spots, yet meat for baseball and mystery devotees. Paul Kelly convincing as a Rep Ortes. Robert Young and Madge Evans love interest. (Nov. DEFENSE RESTS, THE—Columbia.—Enter- taining story of a none-too-ethical but unbeatable criminal lawyer (Jack Holt) forced to defend a kid- naper. Jean Arthur. (Nov.) DESIRABLE—Warners.—A neat gem that will please the entire family. New laurels for Jean Muir and George Brent. (Nov.) DOUBLE DOOR—Paramount.—A sinister, melodramatic plot that works up to a terrific climax. Mary Morris is aptly cast as the spinster who cruelly rules over brother Kent Taylor, sister Anne Revere, and Kent’s bride, Evelyn Venable. (July) DOWN TO THEIR LAST YACHT—RKO- Radio.—Fine cast wasted in this tale of “Blue Bookers”’ of 1929 giving away to ‘‘Brad Streeters”’ of 1934. Sidney Fox, Ned Sparks, Polly Moran, Mary Boland, Sidney Blackmer. (Nov.) DRAGON MURDER CASE, THE — First National.—Not up to the S. S. Van Dine standard— nevertheless satisfactory film fare. Warren William is a convincing Philo Vance. Helen Lowell, Mar- garet Lindsay, Lyle Talbot. (Nov.) DR. MONICA—Warners.— Kay Francis handles the title rdle with finesse. And Jean Muir, as the friend in love with Kay's husband (Warren William), is superb. (Sept.) DUDE RANGER, THE—Fox.—If you like West- erns, you may like this one. George O’Brien rides. Irene Hervey, Leroy Mason, Henry Hall init. (Dec.) ELMER AND ELSIE—Paramount.—Light family fare, with Frances Fuller and George Bancroft who reveals hitherto concealed comedy talents. (Oct.) EMBARRASSING MOMENTS—Universal.—In the rdéle of a practical joker, Chester Morris does an excellent acting job, and there’s never a dull moment. Marian Nixon, Walter Woolf. (Aug.) [ CONTINUED FROM PAGE 10 | FOG OVER FRISCO—First National.—Fairly exciting mystery is provided when Bette Davis becomes ‘‘fence’’ instolen security racket. And there’s romance by Margaret Lindsay and Donald Woods, Lyle Talbot, Arthur Byron. (July) FOR LOVE OR MONEY—British & Dominion. —Catalogue this one under ‘‘ Mild and Slow- Moving.” Wendy Barrie and Robert Donat play the leads. (Oct.) FOUNTAIN, THE—RKO-Radio.—Rather slow- moving, yet exquisitely produced with a capable cast including Ann Harding, Paul Lukas and Brian Aherne. (Nov.) FRIDAY THE 13th—Gaumont-British.—An in- teresting and revealing check-back on the activities of several persons who are in a bus crash at mid- night of this fateful day. (Avwg.) FRIENDS OF MR. SWEENEY—Warners.—Fair slapstick, with Charles Ruggles a scream as the row- dy college lad who becomes a brow-beaten editorial writer. Eugene Pallette, Ann Dvorak. (Aug.) , GAY DIVORCEE, THE — RKO-Radio. — Grandly amusing. Fred Astaire’s educated dancing feet paired with those of Ginger Rogers. He's mistaken for a professional corespondent by Ginger, seeking a divorce. Edward Everett Horton, Alice Brady pointed foils. (Dec.) * GIFT OF GAB—Universal.—Edmund Lowe, fast talking news announcer, flops, but is boosted up by Gloria Stuart. Story frame for gags, songs, sketches. Alexander Woollcott, Phil Baker, Ethel Waters, Alice White, Victor Moore. (Dec.) GIRL FROM MISSOURI, THE—M-G-M. —Fast and furious adult fare, presenting Jean Harlow as a “good girl” chorine, and Franchot Tone as her millionaire ‘‘catch.’’ Fine cast includes Lionel Barrymore. (Oct.) GIRL OF THE LIMBERLOST, A—Monogram. —Folks who enjoyed Gene Stratton Porter’s novel will want to see this. Marian Marsh, Louise Dresser, Ralph Morgan well cast. (NVov.) GRAND CANARY—Fox.—Weak tale of a doctor (Warner Baxter) who, having been “‘gossiped” out of his profession, recaptures past standing by wiping out a plague of yellow fever. Madge Evans is his romance. (Sept.) GREAT FLIRTATION; THE—Paramount.— Jumbled and sentimental but colorful story of an actor’s (Adolphe Menjou) losing popularity with marriage, and his wife (Elissa Landi) becoming a star. (Aug.) HALF A SINNER—Universal.—Film version of “Alias the Deacon,” with Berton Churchill again rating loud handclaps. Joel McCrea and Sallie Blane are the love interest. And Mickey Rooney is a good little comedian. (July) HANDY ANDY—Fox.—As the apothecary, Will Rogers does another of his priceless char- acterizations. Besides an A-1 cast—Peggy Wood, Mary Carlisle and Frank Melton—there is good dia- logue and believable burlesque. (July) HAPPINESS AHEAD — First National. — Tuneful and peppy. About a wealthy miss and (honest!) a window washer. Josephine Hutchinson (fresh from the stage), and Dick Powell are the two. You'll like it and hum the tunes. (Dec.) HAPPY LANDING—Monogram.—Plenty of thrills when Border Patroller Ray W alker goes after crooks who use the radio to get him in a jam, and Oa bombing an ocean liner. A-1 support. cl. HAT, COAT AND GLOVE—RKO-Radio.—Fair adaptation of the stage play, in which lawyer Ricardo Cortez defends his wife’s lover, accused of murder. Superb performances by every cast member. (Oct.) HAVE A HEART—M-G-M.—A wistful tale about the love of a cripple (Jean Parker) for an ice-cream vendor (Jimmy Dunn). Una Merkel- Stuart Erwin are a good comedy team. (Nov.) HEART SONG—Fox-Gaumont-British.—A pleas- ant little English film with Lilian Harvey and Charles Boyer. (Sepl.) HERE COMES THE GROOM—Paramount.— So-so comedy featuring Jack Haley whom Patricia Ellis introduces to family as her crooner husband. But the real crooner turns up—and then! (Aug.) HERE COMES THE NAVY—Warners.—One of the best Cagney pictures to date, and prob- ably the most exciting navy picture you've seen. Jimmy, Pat O’Brien, Gloria Stuart and Frank McHugh all turn in ace performances. (Sept.) HE WAS HER MAN—Warners.—Jimmy Cagney in a gangster film with a brand-new angle. Joan Blondell, Victor Jory. Fair. (Aug.) * HIDE-OUT—M-G-M.—As a racketeer play- boy, escaped from police, and being ‘“‘done over’ by Maureen O'Sullivan, Robert Montgomery does a fine job. In fact, every one in the cast rates praise. (Oct.) HIGH SCHOOL GIRL—Bryan Foy Prod.—Plot and dialogue are directed toward early sex knowledge. Well presented. Crane Wilbur, Cecilia Parker. (Aug.) HIS GREATEST GAMBLE—RKO-Radio.— Richard Dix’s struggle with his convention- loving wife for the molding of daughter Edith Fellows’ character makes interesting screen fare. Dorothy Wilson and Bruce Cabot. (Sept.) HOUSEWIFE—Warners.—Encouraged by his wife (Ann Dvorak), George Brent starts his own business, acquiring wealth and a mistress (Bette Davis). Just so-so entertainment. (Oct.) HUMAN SIDE, THE—Universal.—Accu- rately titled—a family story that is entertain- ing from start to finish. Adolphe Menjou, Doris Kenyon, Reginald Owen. (Nov.) I CAN’T ESCAPE—Beacon Prod.—Onslow Stevens does a grand characterization of the ex- convict who goes straight when he meets the right girl (Lila Lee). (Avug.) Photoplays Reviewed in the Shadow Stage This Issue Save this magazine—refer to the criticisms before you pick out your evening's entertainment. Make this your reference list. Page Anne of Green Gables—RKO-Radio... 75 Autumn Crocus — Associated Talking PIGtUKes sh csnio aetsirsteioi a MeL ae 120 Broadway Bill—Columbia 73 Captain Hates the Sea, The—Columbia 74 Cheating Cheaters—Universal College Rhythm—Paramount........ i HORS scene eke: 120 Enter Madame—Paramount......... Evelyn Prentice—M-G-M Firebird, The—Warners. Flirtation Walk—First National. Fugitive Lady—Columbia. . Gay Bride, The—M-G-M Page Gentlemen Are Born—First National.. 75 Great Expectations—Universal Girl O’ My Dreams—Monogram Green Eyes—Chesterfield Hell in the Heavens—Fox. I Sell Anything—First National Kentucky Kernels—RKO-Radio Kid Millions—Samuel Goldwyn- United — Artists Lightning Strikes Twice—RKO-Radio. 120 Limehouse Blues—Paramount Little Friend—Gaumont-British Lost in the Stratosphere—Monogram. . Loyalties—Harold Auten Prod Man of Aran—Gaumont-British Music in the Air—Fox Norah O’ Neale—Clifton-Hurst Prod... Painted Veil, The—M-G-M Return of Chandu, The—Principal.... St. Louis Kid, The—Warners Transatlantic Merry - United Artists White Parade, “est Without Children— Tees 4 sed eye

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PHOTOPLAY MAGAZINE FOR JANUARY, 1935 15 I GIVE MY LOVE—Universal.—Paul Lukas, Wynne Gibson, Eric Linden, John Darrow all de- serve better than this familiar story of the mother who makes a great sacrifice for her son. (Awg.) I HATE WOMEN—Goldsmith Prod.—lInterest- ing newspaper story about Wallace Ford, confirmed woman-hater, falling for June Clyde. Good comedy by Fuzzy Knight. Bradley Page, Barbara Rogers and Alexander Carr also in cast. (July) It’S A BOY—Gainsborough.—In this British farce, Edward Everett Horton is top-notch, but that isn’t quite enough to carry the whole picture. (Sep/.) JANE EY RE—Monogram.—The old classic, han- dled with taste, but slow in the telling. Virginia Bruce is very beautiful, and Colin Clive does a good acting job. (Sepl.) Irvin S. Cobb's humorously philosophical char- acter live so enjoyably, you wish you were a part of the drowsy Kentucky setting. The music heightens your desire. Tom Brown, Anita Louise the love in- terest. Perfect cast. (Dec. ) * JUDGE PRIEST—Fox.—Will Rogers makes MUS iy Sul IT H—Gaumont-British.—A musing comedy, from Frederick Lonsdale’s play ‘‘Never Come Back,” boasting an all-English cast headed by Tom Walls. Monte Carlo locale. (July) KANSAS CITY PRINCESS, THE—Warners.— Comedy, “‘so-called,"’ about two manicurists (Joan Blondell, Glenda Farrell) out to do some _ gold- digging. Not for children. (Nov.) KEY, THE—Warners.—Melodrama about the Sinn Feiners warfare with English troops in Dublin in 1920. Colin Clive, William Powell, Edna Best. Plot weak in spots. (Avxg.) KISS AND MAKE-UP—Paramount.—Plenty of laughs while Genevieve Tobin divorces Edward Everett Horton to marry beauty specialist Cary Grant who really loves Helen Mack. (Aug.) LADIES SHOULD LISTEN—Paramount.— Delightfully adult society comedy, with Cary Grant revealing himself as a farceur of distinction in the role of a Parisian bachelor. Frances Drake, Edward Everett Horton and Nydia Westman all splendid. (Oct.) LADY BY CHOICE—Columbia.—Fresh and original, with a new situation for May Robson. Carole Lombard, fan dancer, ‘‘adopts’’ May, an irrepressible alcoholic, as her mother for a publicity gag. Roger Pryor, Walter Connolly important. (Dec.) LADY IS WILLING, THE—Columbia.—Leslie Howard ina mild little English farce. Binnie Barnes, Nigel Bruce. (Nov.) LAST GENTLEMAN, THE—20th Century- United Artists——An interesting character study of an eccentric old man (George Arliss) who can't decide on his heir. Real, refreshing and enter- taining. Splendid support. (Aug.) LAST WILDERNESS, THE—Jerry Fairbanks Prod.—A most effective wild animal life picture. Hasn't bothered with the sensational and melo- on Howard Hill deadly with bow and arrow. ec.) LAUGHING BOY—M-G-M.—Dull, slow-mov- ing filmfare about Indian boy Ramon Novarro's love for Lupe Velez who knows evil ways of the white race. Effective photography. (Aug.) LEMON DROP KID, THE—Paramount.—A race-track tout goes straight for marriage and a baby. Lee Tracy, Helen Mack, William Frawley, Baby LeRoy, Minna Gombell, Henry B. Walthall. (Dec.) LET’S TALK IT OVER—Universal.— Young and old will be amused by the trans- formation of sailor Mike McGann (Chester Morris). All for the love of a society damsel (Mae Clarke). (Aug.) _ LET’S TRY AGAIN—RKO-Radio.—Slow-mov- ing and much too talkie is this film in which Diana Wynyard and Clive Brook play a ten-years-married couple falling out of love. Helen Vinson. (Oci.) LIFE OF VERGIE WINTERS, THE—RKO- Radio.—Louis Bromfield’s story of a lingering, illicit love sacrificed to a political career is well acted by Ann Harding and John Boles. Supporting cast first-rate. (Aug.) * LITTLE MAN, WHAT NOW ?—Universal.— Touching and very real is this story of a young couple’s struggle with life. Ma irgaret Sullavan is superb, and Douglass Montgomery's réle fits him likea glove. (Aug.) LITTLE MISS MARKER —Paramount.— Baby Shirley Temple, left as security for an I. O. U., simply snatches this film from such com- petent hands as Adolphe Menjou, Charles Bickford, and Dorothy Dell. Don’t miss it. (July) [ PLEASE TURN TO PAGE 110 ] TWO BRILLIANT STARS BROUGHT TOGETHER IN A HEAVENLY PICTURE The producers of “It Happened One Night”,“’Lady For A Day” and “One Night Of Love’’ Now Bring You The Greatest Romantic Comedy Of All Time! reat Alone. Perfect Together! WARNER MYRNA BAXIER =LOY (Broadway A FRANK CAPRA PRODUCTION By Based on the story by ROBERT RISKIN °© MARK HELLINGER with WALTER CONNOLLY HELEN VINSON A COLUMBIA PICTURE Ask at your favorite theatre when this picture will be shown

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Brickbats & Bouquets scoee DON'T SAY 17, WwW REE [| CONTINUED FROM PAGE 13 | talent on the screen is just a passing fancy. Today a cunning child tops handsome heroes and beautiful girls at the box-office any night in the week. But by tomorrow the pendulum of public favor may swing from babes to black- faced comedians or trained seals. Who knows? GrorGE Mack, Omaha, Neb. WANTED: A NETWORK If I had a million I’d buy a radio station and give coast-to-coast broadcasts in praise of Helen Mack. As it is, Pll have to content my- self with a twenty-five cent megaphone, which will serve the same purpose in a smaller way. I think she’s one of the grandest little actresses on the screen, and certainly the prettiest. A. R. L., Knoxville, Tenn. AMEN! “The Barretts of Wimpole Street,” this very night, has taught me the difference between the Amen of a parent who breeds hate and fear in the souls of his children and the Amen of love, capable of destroying illness and the fear of death. No greater sermon has ever been preached than by this stirring drama. We don’t know whether or not Anna Sten can win at ping pong, but she certainly comes out on top with the movie audience! Latest fame-winner for Miss Sten is ‘‘We Live Again”’ If I Lewis Stone is dashing over to the M-G-M lot to begin work on “David Copper- field.’””’ That should satisfy admirers who feel his recent roles haven’t been up to past standards Call off the bloodhounds! Little man, you’ve had a busy day! Irvin S. Cobb is all worn out after his jail break. People have been hollering for funnier comedies, so Colonel Cobb is com- ing through with a series for Hal Roach, one of which is ‘‘The Ballad of Paducah Jail.”” Cobb says it isn’t biographical, even if it is about Paducah 16 were given one wish, it would be that every mother and father who dominate their sons and daughters might see this picture. Mrs. Haroitp VAN TASSELL, Newark, Ohio MRS. CUPID I would like to say a word to all dissatisfied wives. Annex a movie hero! The advantages are numerous: No broken homes. No lawyers’ fees. No half orphaned children. No scandal. No divorce. When the world. goes wrong just take the afternoon off and see your favorite movie star. For a blissful hour you will be the most desired of all women, your every wish granted by a handsome man who is always romantic (as our John never was), never forgets to be polite and never, never makes a scene over the bills. You will return home from a movie with a veneer of well being that can withstand being blamed for everything, from junior’s tummy ache to the rain’s spoiling an afternoon of golf. And it costs so little! Mary Mixscu, Clovis, N. M. MOVIE MIRACLE The police department of a hamlet went to the home of a man upon being informed that contraband articles—machine guns, pistols, counterfeit money, etc.—wwere hidden there. They surrounded the house, then the captain stole in quietly and covered the suspect. At the police station after the suspect was booked, the captain asked him why he had not tried to escape, and why he had not continued to keep the contraband hidden. The man answered, “I saw a movie last night, ‘The Defense Rests,’ with Jack Holt. I’ve been thinking it over and decided to end my career of crime myself, before another ends it forme. I’m willing to take my punishment.” CHARLES ENIBINDER, Minneapolis, Minn.

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HATS OFF, PLEASE It ain’t no sin to go to the movies, but it is a sin to lose one’s temper and swear. Along with the Mae West influence and the “Gay Nineties” styles, large hats have reap- peared. We sit behind them swearing to ourselves, missing half the picture, craning our necks. Isn’t it about time to display that old sign on the screen again, “Will the ladies please remove their hats?” Mrs. Paut REDEKER, Springfield, III. HAPPY ENDINGS? There seems to be some timidity on the part of producers in making pictures with tragic endings. I have noticed it in two recent productions, “Chained” and “British Agent.” Here were two fine pictures, yet I know I would remember them longer if in “ British Agent” Leslie Howard and Kay Francis had died together as would have happened in real life, and if in ‘“‘Chained” Joan Crawford had stayed chained and not given up at the last minute. These and other productions have failed to reach top because of melodramatic, artificial endings which you feel are not real. LENNOX ALLEN, Winter Park, Fla. DIDN°’T EVEN CHANGE THE TITLE! My pet movie peeve recently is against pro- ducers for their ruthless distortion of stories in adapting books to the screen. I salute, however, with a high hand RKO- Radio for its splendid production from Mrs. Wharton’s charming book, “The Age of In- nocence.” Its flawless photography, perfection of cast, fine fidelity to custom and costume of the period and the beautiful and accurate con- tinuity of the text, places this movie in my gallery of exquisite picture memories. A. Watson, Oak Park, II. STUPENDOUS PANCAKE I’ve discovered when a picture is advertised as stupendous, colossal, dazzling, gigantic, thrilling, it usually is very disappointing and sometimes as flat as the proverbial pancake. Why all the ado over so-called “big” pic- tures? Acnus MecTacue, Colorado Springs, Colo. POET’S PRAISE After seeing “The Barretts of Wimpole Street”? one can rightly agree with Robert Browning: “‘God’s in his heaven, All’s right with the world.” Well, the cinema world, anyway. M. McKey, Dallas, Texas NIGHTHOOD IS IN FLOWER Surely a splendid production like “One Night of Love,” featuring Grace Moore, could have had a more appropriate title. Not often are we given a superb picture like this one. But why the title? I have seen seven pictures in recent months with the word ‘‘night” in the titles! Dawn (once a favorite word with title thinker- uppers) has apparently faded into night. Why not give dusk or evening a chance? Nice words, too. And also made for love. Mrs. Mary R. Brooxe, Hollywood, Calif. A news article never appears concerning a marriage, divorce, extravagance or scandal about an actor or actress that someone doesn’t exclaim, ‘““Those movie people! Isn’t it ter- rible?” And a barrage of unkind criticism fol- lows. We put them in glass houses so we can watch their personal lives. Is it fair, then, to stand off and throw stones? Mrs. Aricr C. Woop, Phoenix, Ariz. it a romance Helen Mack comes in for a big bouquet this month. Here she is attending the preview of ‘‘The Lemon Drop Kid.’”’ Her escort is Charles Irwin, and he usually goes where Helen goes, making CHILDISH AMERICANS? Traveling about Australia I have often heard the cry, ‘‘ We’re tired of American movie nonsense. It’s so childish. Why doesn’t America grow up?” And any intelligent per- son can see this plea is justified! America, look to your laurels! other countries making pictures now. J. A. GLENNON, South Australia. There are DODGE ’EM, HOLLYWOOD! I'd like to know if the following “entertain- ment” doesn’t rate a wagonload of brickbats: Two lugubrious comedies. One pathetic imitation of a Walt Disney cartoon. A news reel with only one bright spot—a passing shot of Will Rogers in Japan. And “Chained,” ill-starring Joan Crawford and Clark Gable, who, of course, couldn’t help it if their vehicle had flat tires, a lungless motor and no particular design. Please tell Hecht and MacArthur to hurry to the rescue! Martz BRENNAN, St. Louis, Mo. I am a farmer boy—the old-fashioned, gar- den variety. I mse at 4:30 in the morning, bring the cows from the pasture, milk them, feed the horses, the pigs, the chickens, then begin on the real day’s work. If it’s July, I cut hay; if it’s March, I make maple syrup. Summer, winter, spring and fall—there’s al- ways something to be done. But in the evening I drive dull care away. Get my sweetheart and go into town to watch a love story on the screen. Whoopie! I even forget about the alarm clock! Arcurie R. ArBro, Marathon, N. Y. NO SALE ON SHORTS Why the sudden hue and cry against double feature programs? I prefer two long features, even if one is inferior, to a lot of un-funny comedies, silly shorts, and news that often isn’t news. Rutu Kinc, Cranrorp, New Jersey. Are children screen players just a fad? One reader says so. Baby Juanita Quigley and Marilyn Knowlden, on the set of ‘Imitation of Life,’’ hope it isn’t true. They’re having too good a time 17

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) 35 18 PHOTOPLAY MAGAZINE FOR JANUARY, 1935 Be Moviedom’s guest in your own easy chair! Tune in on “39 MINUTES IN HOLLYWOOD” EACH THURSDAY NIGHT AT 10:00, E. S. T. OVER COLUMBIA NETWORK Join Hollywood over its teacups—as you hear Cal York’s newsy Hollywood talk. Attend a Hollywood “First Night” as we pre-view a thrill- ing new movie, enroute to your nearby theatres. Meet your best-liked screen stars—interviewed during each broadcast. Hear the latest successes from the studio music shops, brilliantly inter- preted by Mark Warnow’s Orchestra. Here’s Hollywood—the town, the people, the industry, transported to your loudspeaker. Swift- paced. Enthralling. Grand entertainment in “45 Minutes in Hollywood.” Tune in ¢his Thursday night. Hollywood!. .. Elissa Landi and Cary Grant, caught by the camera in “Enter Madame,” new Paramount production . e Hollywood! ... Scene from Universal’s Lowell Sherman production “Night Life Of The Gods,” with Alan Mow- bray and Florine McKinney Hollywood! . . . Warner Baxter and Myrna Loy, in Columbia’s new picture “Broadway Bill.” Presented bs BORDEN’S derriourors or NONE SUCH MINCE MEAT

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is this outfit smart, girls? And is Gloria Swanson very smart looking in it! Certainly, it’s something brand new in a woolen blouse and skirt effect, with the niftiest sort of touches. Incidentally, Gloria and John Boles are giving us all a vocal treat in the Fox film version of the stage hit, “Music in the Air” Clarence Sinclair Bull

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TEFFI DUNA listens to Regis Toomey cooing sweet nothings in a scene from RKO’s tale of the South Seas, “Kara.” It’s quite a change for Steffi from her many-flounced Spanish costumes of “La Cucaracha,” sensational Technicolor short. The previous assignment for Regis was in Majestic’s “She Had to Choose”

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Elwood Bredell ly, ctual But a Because Sylvia, in between her own scenes, YLVIA SIDNEY looks to be a very pensive little Indian girl. she is enjoying herself immensely. 5 likes nothing better than to sit on the sidelines and watch the work of the other players. Behold My Wife” ee S lavish tribal garb in Paramount’ S She wears thi

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ATRICIAN ANN HARDING, cooland poised, as she appears in the M(G-M picture, “Biography of a Bachelor Girl,” in which she is co-starred with Bob Montgomery. Ann, a tennis addict, was compelled by the doctor to give up her racket during the filming of this production. It was sapping all of her vitality Clarence Sinclair Bull

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By Kathryn Dougherty HEN, several years ago, I saw Helen Hayes on the New York stage in “What Every Woman Knows,” I had a fleeting wish— which soon vanished as hopeless—that I might some day see this dis- tinguished little lady on the screen in the same réle. Therefore, I was more than delighted when, a few months ago, M-G-M an- nounced that Miss Hayes was on her way to Hollywood to bring to life once more the unmatchable Maggie of Barrie’s creation. Miss Hayes, who never once in her whole career failed to portray splendidly any role she essayed, has, I believe, never surpassed, either on stage or screen, this latest production. You have probably seen ‘What Every Woman Knows.” If you havent, it is likely there will be a later billing in your town. Everyone who has once seen it is eager to see it again. You'll be sorry if you miss it. T pays to screen a good story. Walter Wanger, who produced the sensational picture “The President Vanishes,” estimates, it is said, that the studios’ expendi- ture for indifferent material runs far ahead of that for really good stories. Mr. Wanger’s estimate is that of $2,500,000 expended in five years for stories, only one quarter of that sum has purchased real quality. The rest may be classified as poor. N last month’s PHoropiay you read an article entitled ‘‘Let’s Go To Tomorrow’s Movies,” in which the prediction was made that, by 1940, the screening of pictures by television in your home would be practicable. Now, M. H. Aylesworth, President of the National Broadcasting Company, announces he believes this dream will come true, and that we can enjoy in our easy chairs current news features, instead of going to the theater to see them. From this, it looks as though our news is going to be truly pictorial, and that the newspapers of the future may have strong competition. Incidentally, Mr. Aylesworth allows five years for the consummation of this idea. HOSE stinging little gnats, the “quickies,” are annoying the major studios. A “quickie” manufacturer, you know, is usually an enterprising fellow who manages to get together enough cash to turn out a picture fast. He releases it through the lower priced theaters and often makes a neat profit on each production. The big, well-established studios see no reason why they should not have some of this profit, too. Plans are being considered by them for this type of production. The major studios certainly will turn out as good, probably better films than these

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LRLIAAR TATRA FAKFLFFLFFFTFFFFFFFFFFEECLELF little competitors. And, as an added advantage, these “‘quickies” could serve as a training school for many actors. HE life of the late Lou Tellegen was really an epitome of a considerable period of motion picture history. It was romantic, dramatic, tragic. About 1915 he entered into a contract with Famous Players, and for the next decade his star was in the ascendent. Tellegen was unique in the fact that he was representative of every phase of the motion picture colony. Fame suddenly flamed before him when Sarah Bernhardt gave him a leading rdle _ in “Madame X” for her American tour. The stage was his by inheritance. His mother was a Dutch dancer. At the age of eighteen, he appeared as Romeo, and in Ibsen’s “Ghosts.” After his appearance with Bernhardt, his career secure, he became a tremendous matinee idol. Jesse Lasky gathered about him celebrated names, and Tellegen was one of them. His Broadway fame, through the medium of the screen, was reflected in every city and village. : Tellegen became a symbol for Hollywood. His charming personality, his good looks, his grace of manner, his appeal to women everywhere, his sensational mar- riages and divorces established in the public’s mind a conception of a Hollywood that was really mythical. No man could live at such a dazzling pace forever. When fortune turned, he fought bravely to keep up a front. Only an incurable illness finally conquered him. Though he could no longer stave off defeat, nevertheless, we must take off our hats to him. HERE’S going to be more real music in the air than we ever dreamed of. Maybe the intelligence norm of the average person is low, as the abstruse psychologists say, but there is onc thing certain, good music fills the theaters. “One Night of Love” has proved that. Among other studios, Universal has caught the idea and Director Howard Hawks will work into the next Margaret Sullavan production, “The Good Fairy,” a com- plete symphony. Paramount’s “Enter Madame” has several operatic selections in it. Of course, the initial big hit with classic music woven in was “Be Mine Tonight.” Welcome the movie all-year round opera season! It'll be grand—but—will the men have to buy top hats and tails? HAT effect will the developed Technicolor process have on women’s clothes? Off hand, I would say a lot, for it no longer takes an argument to prove that the screen fashions our garments, manners and ways of living. “La Cucaracha” gave us the first of the new colorful splendor. In “Becky Sharp” and in * Peacock Feather” we shall see dazzling raiment surpassing even King Solomon’s famed lilies of the field. I wish to go on record as making this forecast : Spring will witness the gayest adornment on ladies we have seen in many a season. VEN Mickey Mouse is to have a new paint job. Walt Disney has decided that the lovable little rodent is too anemic and is suffering in comparison with the gorgeous “Silly Symphonies.” You will soon be seeing Mickey Mouse with a pink nose and a school girl complexion. RFRTMTMFLTVBMFFRVAMFMFFFRLRFFLREMEMMLRLLLL D4, j

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Clarence Sinclair Bull ERE’S proof that all opera stars aren’t fat and all movie so crooners. For Nelson Eddy is tall and handsome, and a baritone. M*~GM has lured him from the operatic and concert stage. His small but successful réle in “Student Tour” probably will be followed by the male lead in “Naughty Marietta”

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Will Your Favorite Star Survive Color! LEACHED heads must go. No more platinums. No more artificial blondes. No more heavy How many stars can survive these edicts? By Mi i d re d Mas tin Yet, according to Robert Edmond Jones, these rules must govern the choosing of stars in the future. ““Because,’’ Jones says, “color has come to the screen to stay. And you can’t fool the color camera! It catches the slightest artificiality, magnifying it, making it ridiculous. Bleached hair which may be beautiful on the shadow screen, in Technicolor looks like a straw wig.” Robert Edmond Jones, famous stage designer, designed the sets and worked out the color composition for ‘‘ La Cucaracha,” the first motion picture to be made entirely by the new Techni- color process.. He is in Hollywood now working on “ Becky Sharp,” an all-color full length feature which RKO-Radio is producing. The title réle in “ Becky Sharp” was, of course, a coveted one. It would be the first full-length feature picture filmed by the new process which photographs all the colors of the spectrum. It would attract tremendous attention and comment. However, when Robert Edmond Jones looked over a list of all the eager applicants for the réle, his answer to each name was ‘‘no.” Becky Sharp must be blonde. But she had to be a natural blonde. The plum finally went to Miriam Hopkins, whose golden hair has never been touched by a bleach. It photographs beautifully, soft and silky, shining yellow. You can’t fool the color camera! It’s going to set make-up. a new standard of beauty ty Illustrated by Frank Dobias Work begins on “Becky Sharp,” first all-color full length picture. - Miriam Hopkins’ natural blonde hair won her the coveted title réle. On the left, a scene from “La Cucaracha,” Tech- nicolor short designed by Robert Edmond Jones so successfully that RKO-Radio is willing to stake a fortune on Mr. Jones and “Becky”

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“We all live in a world of color,” says Jones. “It is ridiculous to think that people do not want color in their movies. People are now prejudiced against color pictures because they have seen bad ones, made by the old, imperfect process. When they are shown movies in which the color has been brought to the screen truly and naturally, they won’t be satisfied with black and white pictures any more.” And whether you agree with Jones or not, you are compelled to remember back, seven years ago, when sound came to the screen, and movie-goers resented the imperfect recordings, the cracked voices. They said it was just a fad, that silent pictures would re- main, that the talkies would never be ac- cepted. However, sound advanced swiftly, and the public’s early prejudices against it were soon swept away by the Robert Edmond Jones, famous stage designer, is in Hollywood be- cause he believes all movies soon will be made in color rapid improvements in talkies. Technicolor, on the other hand, has been building up a wall of disfavor for twenty years. The first Technicolor picture was made in 1914, and it was not till recently that any major improvement in the process was made. Except for Disney’s colored symphonies, “ LaCucaracha”’ is the only picture released so far that has been entirely made by the new process. Pictures made by the old proc- ess you did not like. They looked highly artificial, and the colors were not true. There were several reasons for this. In the first place, the old color camera could not photograph blue. Of the primary colors it “saw” only yellow and red. Since blue is one of the three primary col- ors, it was impossible to get a true color picture of any shot with the old Technicolor cameras. Even white did not [ PLEASE TURN TO PAGE 104 | OY al

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Margaret ITHIN two days after she finishes her present pic- ture, ‘““ The Good Fairy,’ Margaret Sullavan intends to be married. The picture should be finished be- fore you read this and, con- sequently, Margaret should be on her honeymoon. When she told me of this impending matrimony, across a luncheon table at Universal studios, I searched her gray Irish eyes for a betraying twinkle. Because Margaret Sullavan is quite likely to say anything that comes into her mind—any- thing at all—just to test your credulity. She had just told me that she intended some day to have fifteen children—which she did not mean, of course. When she said that, her eyes had smiled. But this time they were steady. She meant it. ‘ That’s all she said—all she would say. To the natural ques- tions of who her intended is, what he does, where he lives, or what he looks like, she presented a very effective silence. No one may ever know until the wedding bells. And when she does marry, very possibly, Margaret Sullavan —Hollywood’s unhappiest actress, movie star against her will, and the girl whom Hollywood has never understood—will be able to slip out of the screen picture, and one of the most amaz- ing chapters in Hollywood’s ever-astounding history will come to aclose. And as I first said—all this may already be over and done with. Margaret Sullavan may be married—now! Who Perhaps marriage may happy exchange she seeks for fame, fortune and Hollywood By Kirtley Baskette Sullavan be the can accurately predict for Hollywood? Marriage may aid Marga- ret in what it is very evident she is seeking. An escape from a screen career. Incredible as it sounds, it’s. true. The twenty-three year old girl, blessed with striking talent, gifted by the dramatic gods as few are gifted, who was the major motion picture sen- sation of last year, who, in the short space of two pictures, has been soundly entrenched in popular adoration along with Katharine Hepburn, Joan Crawford, Norma Shearer—yes— and Greta Garbo; the girl who stepped from seven straight stage “flops” to a world wide cinema sensation, who is making more money now than she ever made in her life, who can look forward to rapidly pyramiding fame and mounting wealth, who stands on the threshold of a future so rose-hued as to be beyond the wildest dreams of an ordinary mortal, wants none of it. None of it! Neither the fame, the money nor that kind of a future it offers—not at the price she is paying for it. Which is unhappi- ness, deathly unhappiness, mental depression and nervous torture. This sounds strange. It sounds fantastic. It would be just that with anyone else but Margaret Sullavan. It would be so fantastic as to reek of a publicity act. And Margaret has been accused of that, many times, ever since she first revealed by her singular, individual reactions—which seemed mad caprices —that the business of making pictures tore her to pieces. When you see Margaret Sullavan in “The Good Fairy,” take a long, lingering look. For nobody knows at what moment this girl who hates Hollywood will walk out of movies, never to return

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Wants None Of It! But it’s no act—it’s an actuality, which time has made more and more insistent, more and more evi- dent. I rather imagine she herself wondered about it for a while, whether or not she was sincere in her dis- like of making pictures. I know, however, that time has convinced her that being a motion picture star _ presents a hopeless ordeal—that somehow Fate ironi- cally picked the wrong person to thrust into a spot- lighted spot in which somehow she cannot bear to remain. ; I remember talking to her when she first came out from “ Dinner At Eight” on Broadway to make “ Only Yesterday.” She was firmly convinced then that she was completely unequipped for the screen. John M. Stahl, the director who from his seat in a theater audi- ence had picked her for the part he had searched all over the world to fill, had to plead and coax her to come to Hollywood, to fame, fortune and future. HE didn’t want to. She had never heard of John Stahl, she wasn’t interested in any part of a Holly- wood career. She finally weakened, not from the de- sire of becoming a screen star, not with the faintest idea of ever possibly becoming a screen star. She weakened because she had played a series of unsuc- cessful Broadway shows—and here was a successful, guaranteed engagement. “T’m a mess for movies,” she believed then, after a few days on the set of “Only Yesterday.” ‘I’m not even half-way beautiful. I don’t know anything about making pictures. As soon as this is through, I’m going back to New York.” Which she did; in fact, she started to leave a time or two before the picture was finished. Her interrupted flights, her sincere protests, her storied rebellions, her eccentric actions were not tem- perament. They were inspired by a sudden and over- powering realization that [ PLEASE TURN TO PAGE 108 | Margaret Sullavan sincerely believes that she is not beauti- ful and that she cannot act. However, one can’t agree with her after a glance at the portrait on the left and seeing her fine portrayal of the orphan girl in her latest picture, ‘‘The Good Fairy” oO

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Robert Montgomery Could You Love, Honor LW Es and sweet- hvelar tisk please give heed! I have something very ex- citing and also very personal to ask you. Would you exchange your husband or your sweetheart for one of the famousloversofthescreen? Would you, if you had the chance, exchange your John for John Boles? Or your Bill for Bill Powell? Or your Bob for Bob Montgomery? Could you and would you love, honor and obey—obey, mind you— Clark Gable, Gary Cooper, Herbert Mar- shall, Ronald Colman, George Brent, Leslie Howard, Robert Montgomery, William Powell, Franchot Tone, Warner Baxter, John Boles, or Fredric March if you had the chance? Isn’t that something to think about? Can’t you see yourself bustling briskly about the home of some noted screen star, supervising the meals, sewing on buttons, placing away, in neat little stacks, piles of socks and handkerchiefs, or telephoning the shops that Mrs. Colman or Mrs. Gable was speaking and how about a nice tender chicken for Mr. Colman’s or Mr. Gable’s dinner? Stop, my quivering heart! Would you gladly and willingly lay aside your comfortable existence and the comfortable understanding that exists between you and your best beau for the hectic existence as the wife of a famous 30 Herbert Marshall screen lover, with its overwhelming need for tactfulness at all times and under all circumstances (no matter about your personal feelings) and its demands on your time? Demanding that you go places and do things when you don’t want to? But wouldn’t the sound of an awe-stricken voice whispering, “‘There goes Clark Gable’s wife,’ make up for all the lost comfort? What do you say, girls? Could you really love, honor and obey one of thesé fascinating men? But wait. Before you decide. Let’s contemplate a bit more on the Mrs. Colman idea. On the screen, Colman is pretty much considered the remote and unattainable lover. Generally, he has a reputation for being the same off. But certain delightful English women in Hollywood (sorry, but he does prefer them a wee bit English) will tell you, in strict secrecy, that he is the most gay and charming companion imaginable. That he rather likes the English idea of superiority of the male. The Americans like it too, poor sweet lambs, but they don’t know how to get it. But Ronnie does, make no mistake. In fact, he prefers very feminine women —but they must play tennis. So for marital bliss with Ronnie you’d have to brush up on your backhand stroke, be sure to speak the King’s English and serve scones at tea—and by all means, wear blue—any shade of blue, but give the preference to navy. It’s his favorite color. And cheerio, here’s the best news yet, unless you’re a giddy fly-by-night. He likes com- fort and a glowing fireside. Ronald Colman

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The Big Twelve, who rouse more thrills, perhaps, than all the other male stars in Hollywood By Arline Merion Close your eyes for a moment, girls, and dream dreams. Rain dropping gently on the roof. Dripping from long, weary tree branches outside the window. Inside, a warm glowing fire. Across, in a deep, comfortable chair, Ronald Colman. The man you had promised to love, honor and obey. Could you take it, girls? ons Or maybe you’d attached that fireside dream to ia Gary Cooper with his long legs stretched out from the easiest chair. Well, forget that dream, for you couldn’t keep Gary in a chair very long. He'd have to tear outdoors for some plain and fancy riding or a bit of camping out or even rounding up. And how would you be ona round-up? On the screen and off the screen, Gary is about the same, I’m told. The strong, silent type who loves one woman to the exclusion of all others. Could you love, honor and obey Gary Cooper for as long as you live? Then there’s the irrepressible Bob Montgomery. Just how would you like to be Mrs. Montgomery while you're at it? Sharing always and forever in that little bad boy grin and those bad boy pranks? For ex- ample, supposing you were giving a party and some Mrs. Prim-and- Proper wanted to use the telephone, and the telephone, heaven help us all, suddenly shot forth a stream of water in Mrs. Prim- and-Proper’s eyejustas Bob had in- tendeditshould? What, oh what, would you do tihvem), Munisy: “Wanted-to-be” Montgomery? For Bob will do those things. He will have people sit- ting down on cream puffs or grab up some- one, more than likely you, and off you’d go to the beach for a day of kewpie-dolling and merry-go- rounding. ‘ And then he’d look at you with that mischievous but guilty little smile and—well, here’s where you make your choice. Would you say, “No, I couldn’t take a lifetime of loving or obeying him. I couldn’t.’”’ Or would you say, with your heart bursting with love and joy, “Bob, you imp, I—I just love you so much; I’m glad you’re mine to honor and to keep.” Oh dear, we haven’t even touched on Herbert Marshall or Fredric March or John Boles, and here we are all dewy-eyed and everything with our dreams brought so com- pletely into the open. Smooth and gentle Englishman that Herbert Marshall is, if he loved you, he would go through the bad- place and high water for you. But he would expect the same in return, Bil

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remember. No half way measures. No hesitating. No glanc- ing back. You’d love, honor and obey him completely and wholly or you wouldn’t qualify, that’s all. A bit frightening, isn’t it, and would you take the step? Search deep down in your heart and discover for yourself whether your feelings for this handsome Englishman are only the dreams of an emotional woman or—if the chance ever came your way—would you plunge? Deeply and forever into the life of this man? Honor- ing and obeying, world without end? Then there’s George Brent. Any number of willing girls would enjoy George around the house, especially since he no longer belongs to Ruth Chatterton. George is footloose and fancy free—one of the few eligibles among all the lads we dream about. Let’s imagine—and wish — Well, there’s no law against wishing, is there? Of course, right now you’d run into some pretty stiff com- petition in one Miss Garbo, for Greta has been George’s one enduring romance since his divorce. But just sup- posing, in some magical manner, you managed to outshine Garbo as far as Mr. Brent was concerned and George became the man you had given your promise to love and honor. The first thing you’d have to do would be to make up your mind to give him lots of free- dom. If there was to be a dic- tator in the house—better let George be it! He objects to having his life managed and pos- sessed and he would be one man from whom you could not demand explanations. Plenty of casual in- difference would win George over all the concentrated attention you could shower on him. So if you’re not the in- different type, think it over carefully. Being Mrs. Fredric March, however, would mean being a dozen wives all in one. For there’s Freddie March, the actor; Freddie, the little boy; and just plain Freddie, the eternal male, who knows that the girls are looking at him out of the corners of their eyes. But just imagine having that March profile to look at mornings and nights. Im- agine listening to that fascinating half-break in the famous March voice. Imagine the exciting Freddie March saying, ‘‘Darling, I love you,” and meaning YOU! Then there’s the serious-minded Warner Baxter. Cautious, constantly looking ahead with anxious eyes into the future. You'd have to be ready with plenty of under- standing and encouragement if Warner were your choice. In return you could expect sympathy and tenderness, es- pecially if you were ill, for Warner has an unlimited capacity for helping those who need help. Perhaps not as alluringly spectacular as some of the other screen lovers, yet the very handsome Warner Baxter is certainly one to consider if you’re in that “I do” mood. Leslie Howard ND while we’re still able to go on, let’s consider the problem of loving, honoring and even obeying John Boles. And fancy anyone not wanting to love, honor and obey the hand- some John. For not only is John every girl’s idea of a Prince Charming, but girls, it would be all right to bring on mother for a visit so far as John is concerned. No, honest, I mean it, John will even charm his mother-in-law, for the same grand charm he shows on the screen, he showers off screen, on young and old alike. A little kiss on the brow, a little press of the hand to thrill an older woman into a state of complete happiness. 32 “You do look handsome in that outfit,’ I once heard John’s mother-in-law say to him. ‘‘ Why, thank you, darling,” he answered, as pleased and delighted as if some glamorous creat- ure of the screen had passed the compliment. Mrs. John Boles!!!! How does it sound? Ne now pause for long, drawn-out sighs. Or is the suave Bill Powell your preference? If it’s poise and wit and social sense you value in a man, Bill is elected. But study up on your answers, because Bill likes the girl who knows them. He is always gay and amusing—he likes gay companions. You would have to like dogs or Bill wouldn’t do for you at all—he’s crazy about ’em. And his favorite costume (honest) is a pair of bathing trunks. He has a crazy kind of fantastic humor, and it requires a rather worldly sophisticated woman to really appreciate him. You naive little girls should fall for some- body else—you wouldn’t be happy with Bill. And, too, Bill goes in for new fangled electric things. Buttons that open gates or fling down beds in the most awful places. Like the one in the projection room, for instance. And remember, Bill likes his women plenty colorful, gay and smartly turned out. Look at Lombard. Look at Harlow. And look at Bill. Could you take him forever and ever? But Leslie Howard—well, in spite of his ex- tremely cultured air of rather tired sophistication, Leslie has a very tender and understanding side. An eye for the beautiful ladies, Leslie has. So unless you have the understanding of ten women, you’d curl up and die of jealousy in no time, But if Leslie is your ideal, make no final de- cision until you have seen him ina polo outfit. Then you can judge the triumph of mind over matter. Now for you girls who like to feel the latent caveman in your ideal lover—Clark Gable is made to order. He is the perfect Male Trium- phant, whose word would be law, and who would give the impression of plenty of force available—if necessary. Some of us enjoy thinking that he could even be cold—that he could leave without a word or a backward look, if he were displeased. He is the dominat- ing type, whose word would be law. But the Right Woman always knows she could appeal to the little- boy side of his nature. For instance, if Clark grew too domi- nant for any good, you could run right out and buy him a new gun. Not to shoot you with, my dear, but to distract his atten- tion. Clark, you know, is the big outdoor type and even if you were left alone by the telephone for weeks on end while Clark went gunning for wild animals, could you or would you give all your love and life to honor and obey him? You could be sure of one thing in Franchot Tone. And that’s faithfulness. But just supposing you could pry Franchot away from Joan Crawford—and I’d like to see the team of elephants that could do it—would Franchot be that dream Prince in your life? Have you ever wondered just what ro- mance, love and marriage with Franchot would be like? For one thing, you dreamers, you’d have to know a lot about books, art and culture. And you’d have to be careful about putting forth that old positive personality of yours. Franchot is a gentle man, who wants to [| PLEASE TURN TO PAGE 121 ] Franchot Tone aa

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At Last The Films Round Up Joe OR eight years, Joe Morrison did some planning, and it must have been good, because it landed him right where he wanted to be—in the movies. And, Joe says, he’s doing right well, thank you. In the course of that eight years, Joe decided he might as well do something about his voice. It’s been described by rapt admirers as “golden honey.” So, he tried it out with ‘‘The Last Round-Up.” You could cut the silence—but it wasn’t the silence of close attention, it was that cold silence of disapproval. Well, Joe put that song right back on the shelf—until three months later. Stuck for a song, he dragged it out and dusted . it off. He was soloist with George Olsen’s orchestra at the time. Anyhow, Joe sang the plaintive plains song. The dancers stopped in their gliding and listened. Joe finished and they mobbed him—demanding more. They made him sing it until he was hoarse. Overnight, he became a sensation. Not so long after, he was in New York and Adolph Zukor heard him. P.S. Joe got a Paramount contract. But, that sounds easy. Far from that. Previously, Joe got a job as tenor in a vaudeville quartet, and headed toward Hollywood. There he spent a desperate year trying to crash the golden gates. But no go. The studio scouts and executives didn’t even give him a tumble for his work in “Nine O’Clock Revue,” and he was in that in Hollywood for eight months! But, that’s all water under the bridge. Joe is now right where he wants to be, and he’s coming along—fast. You last saw him in “The Old-Fashioned Way,” and now, “Me Without You.” And he has at least two more pictures ahead of him. He’s only twenty-seven, and not married—not even “in danger,” he says. But, there is one thing certain, should he marry, the little girl will just have to live in Hollywood. Joe is not only sold on the movies, but on the town, too. Tha-a-ank You-hoo, Maxine Doyle AXINE DOYLE is one little girl who went back home and made out better. That sounds funny, but Maxine was doing right nicely with a job as Master of Ceremonies in a Washington, D. C., theater. She decided she’d rattle out to Hollywood and give it a look-over. She bought herself an old car and went. Now California is Maxine’s home grounds, so she knew just where she was going. Also, Hollywood itself was no novelty to her, in that many of the stars had been under her eye in their Washington personal appearances. So, you have Miss Doyle in Hollywood, and Hollywood took one look at the five-foot-two, eyes-of-blue Maxine, and then and there the Master of Ceremonies business was history for Maxine. She was a novelty, and Warner Brothers was not passing up such a delightful one. The net result was a contract and a part in a stage produc- tion of ‘‘Take a Chance,” with Olsen and Johnson, two delight- ful people to take a chance with. Maxine was a hit from the opening curtain. So much so, that M-G-M promptly borrowed her for “Student Tour.”’ Then she hopped on her little bicycle and pedalled around with Joe E. Brown in “6 Day Bike Rider.’’ Soon you'll see her in ‘‘ Babbitt.” “How’d you do it?” she was asked. “Why, I didn’t do a thing!” she said. “I just smiled and took any old thing they gave me. I never asked nor demanded, and I think my meekness just broke them down.” And now, here’s a deep, dark secret on how Maxine started the road up. It was when she was Master of Ceremonies. The first night, when she said ‘‘ Thank you” to the audience, she was so scared, her voice broke and the “‘you”’ went way up to the roof. It was a howl! And she had to do it all the time there- after. The good people just ate it up.

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MAKING “ AYBE,” said Director Henry Hathaway, with just a tinge of irony in his voice, “‘we had better call this picture ‘Wives of a Bengal Lancer’!” And tearing into shreds a sign reading, ‘No Women Allowed,” which he had just jerked down from a tree trunk, he resigned himself to the gloom of his thoughts. You see, the reason for Director Hathaway’s inward struggle was the fact that the dust from Gary Cooper’s retreating car was still sifting up his nostrils. And the reason that Gary Cooper’s car was bedusting the serene shores of Malibu Lake was that Gary was deserting camp in a hurry to meet his wife, Sandra Shaw Cooper— And all this was very much against the rules. The setting for this bit of dramatics is the greatest excursion of modern movie times—Paramount’s rugged (and partly ragged) expedition of some four hundred masculine souls into the wilds to make “Lives of a Bengal Lancer.’”’ You prob- ably read the book by Francis Yeats- Brown, and if you did you'll know that it’s pretty exclusively a male affair. No women. Well—there is to be one in the movie—Kathleen Burke—but she’ll step in and out inside of two hundred feet of film. Incidentally, this is not the only picture planned or in the making, in which the males are an overwhelming majority. On the M-G-M list, there’s ‘“‘ Mutiny on the Bounty,” also with a lone woman. Fox is going in strong for masculinity. “Hell in the Heavens” is a one-woman film, she being Conchita Montenegro; ‘‘ East River”’ has just two, Marjorie Rambeau and Grace Bradley, and in the same studio’s “* Lottery Lover,” three-fourths of the cast are men. It’s something for the ladies of Hollywood to worry about! Hathaway was to have with him four hundred hairy-chested gentlemen, includ- ing somé hundred and fifty Hindu olive Sir Guy Standing, Gary Cooper, and Franchot Tone were all lured away from location by undaunted ladies. 34 Director Hathaway posted a sign, “No Women Allowed,’’ but Gary’s wife crashed into the camp A MAN’S pickers from the Napa Valley, a troop of a hundred mustang- bitten cowboys (made up as lancers), and such two-fisted fel- lows as Gary Cooper, Franchot Tone, Sir Guy Standing, C. Aubrey Smith, Monte Blue, Richard Cromwell, Douglas Dum- brille and Colin Tapley. There also were to be a host of dare- devil war veterans from all over the world, including Russian generals, Cossack cavalry commanders, Australian light-horse officers, and even a former member of Pershing’s staff. So, with these stiff-whiskered gentlemen filling the woods, Director Hathaway decided that members of the weaker sex would seem a bit out of place on this particular expedition. Oh, there’d be a production staff member or two, but those business-like girls wouldn’t interfere with plans. So he determined to make the whole affair a he-man’s holiday. Hence the sign— ‘“No Women Allowed.” It was the very next day after the mon- astic edict that up to the forbidden spot

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PICTURE The “Bengal Lancers” direc- tor hid his masculine cast in the mountain wilderness, but women still pursued them By Kirtley Baskette Four hundred hardy men invaded the wilderness around Mount Whitney, to make the exciting Khyber Pass sequences of ‘‘Lives of a Bengal Lancer” for Para- mount. Among them were many cowboys, war veterans, and Hindus boiled Sandra Shaw Cooper in her roadster and registered at the nearby Malibu lodge. Immediately she dispatched a mes- senger to the forbidden precincts with a note. And whatever she wrote, her words had more authority for Gary than military orders. Gary said he thought he should go over to the lodge, but Director Hathaway said he wanted the entire company to stay Watch out for your head! Monte Blue, made up as Hamzulla Khan, means business! Director Hathaway should have assigned Monte to the job of scaring the girls away with his sword in camp. So Gary discovered a rattle- snake in his tent, and found it entirely necessary to move at once to the lodge, where his health would be beyond danger. Hence Mr. Hathaway’s full measure of chagrin. Of course, it had been in the course of evolution for several days—this chagrin. And not all because of Gary. Why, the very day before, a beguiling honk had penetrated the sanctity of the camp, and that perennial charmer, Sir Guy Standing, laden with flies, and rods and reels, had bundled hurriedly but withal furtively out of his tent. Down to the road he went, and was seen to greet a mysterious bru- nette. She was in a roadster, and away they whirled, to the boat-landing. While the perturbed Mr. Hathaway spied upon them, Sir Guy fished and the mysterious lady of the lake rowed the boat or netted the trout he caught. Too, a series of long distance messages from Joan Crawford, calling Franchot Tone away from his womanless surround- ings at odd times during the day, had further proved the resolve of the feminine invasion which threatened the “ Lancers.”’ Women, women, women! How could you ever get away from them and make a man’s picture? “Never mind,” Hathaway now mut tered into his beard, as Gary’s big motor rumbled off Sandra-wards in the distance, “wait’ll I get ’em at Lone Pine.” Because the whole ‘ Lancer” company. after completing the two weeks’ term at Malibu Lake, only forty-five miles from Hollywood, and therefore within convenient feminine seige distance, was due to pack into the bare and rocky slopes of Mount Whitney—three hundred miles from anywhere, to film the Khyber Pass excitement of the picture. Getting into the location at Lone Pine, Mr. Hathaway reflected with satisfaction, would be something of a feat for a lady who had no business with [| PLEASE TURN TO PAGE 88 | = oo

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Actually, when Heather Angel was married in Yuma, she had on a borrowed frock. But she wears this gorgeous creation in ‘Romance in the Rain” 36 Romance With Many times she seemed way out of reach, but persistent Rafe Forbes at last touched heaven By Jerry Lane ECIPE for romance: A tennis court inspiration- ally located between a rose-covered tea house and a dahlia garden. A balmy afternoon. One very handsome, very blond young man. One slip of a girl with hair like buffed ebony, an ador- ably piquant face—and the meanest serve in Hollywood. °° GRE) OR Ear Paes “T didn’t know an Angel could play a game like vou do!” Ralph Forbes lunged for a well placed low one, returned it, missed her answering shot. “Forty, love,” sang out someone from the sidelines. “Love?” echoed Mr. Forbes, reaching for a high ball. “Tove!” chanted Cupid, swinging on the net. xk Be * * * * * They’d met a bare half hour before, H. M. Howard, writer extraordinary and “Tottie” to his friends, had done the trick. And Heather Angel had smiled, a very secret little smile, as Rafe lingered over her hand. She couldn’t very well explain what she was thinking. But in her mind’s eye she was back in India, escaping from the broiling sun into a small, rattan-roofed theater, seeing a picture years old—“ Beau Geste.” “That young one, that Forbes, he seems so familiar,” she remarked to her friend, a member of the same repertory company in which Heather was touring the Orient. “Do you suppose I could have met him any- where in London? He’s obviously from England, too.” And then in Colombo, another cinema with Forbes a Scotch nobleman this time. In Sarat, he was a dashing army officer up there on the screen. In Calcutta they saw him as a spy. In Hong-Kong he was Betty Comp- son’s lover. “Ts there any other actor in America?” Heather de- manded. ‘‘Every time we go to a motion picture, there he is! . . . And I still can’t place where I met him.” UT they’d never met. Not until that afternoon on Howard’s tennis court. A haunting memory of some- thing never lived, half remembered scenes from an un- known past. Where do they come from? This, however, was real enough! Rafe Forbes was asking for her telephone number in the customary fashion of young men the world over. There was but one slight hitch. He wrote it down wrong! The very next morning he dialed the number. A cool, impersonal voice slid over the wires to him, ‘Sloot and Sloot, plumbers. No sir, there’s no angel here. This is a plumbing shop.”

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It all happened so suddenly, when they were married, that Rafe didn’t have time to make an of- ficial proposal! , An Angel s = But—here it wasn’t! Heather had no way of knowing that the secretary had in- advertently read ‘‘6” instead “Hang!” said Mr. Forbes. No use trying to wheedle it out of the operator. The private numbers of pic- ture people are guarded more zeal- * of “7.” She was sure of just one ously than the crown jewels. He tried thing. Never would she ring Ralph Howard. Mr. Heward, his secretary informed Forbes again. Not as long as she lived. That Rafe, had been called out of town unexpectedly. furious woman who had answered the call. Brrr! Not fifteen minutes later, Howard’s secretary was informing a It left her petrified. He wouldn’t be invited to this cocktail Miss Angel that yes, she thought she could get Mr. Forbes’ party—nor to any other she gave! telephone number. Just a minute please. It’s . . . here it is, And that’s the way matters stood for four months. Oxford 3216. [ PLEASE TURN TO PAGE 102 | ry od

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r. Broadway Gambles Against Hollywood ey URE I’m worried about this movie. I’ve been worried for sixty-three years. You say I don’t look sixty- three? What? Forty-five? Lady, if I were forty-five, I’d jump up and swing from that chandelier. And then I wouldn’t have to earn a living by playing ina movie. And then, maybe, I wouldn’t be worried!” It was George M. Cohan speaking. The movie he was worried about was “ Gam- bling.” He had written the play himself some years ago. He had played in it on Broadway, and it is numbered among his successes. And now, out at the Astoria, Long Island studio, he was making it into a motion picture. Most people thought that Cohan would never try to make another movie. His Hollywood talkie experience, just two years ago, was brief and unhappy. It started 38 shoulder. George M. Cohan has his chips on the table—and one on his He’ll make movies in New York, but out West—no! By Anne Castle a Be No cea when he was lured to the Coast to appear in ‘‘The Phantom President.” And it ended the minute the pic- ture was finished. “T wouldn’t have gone back into pictures —in Hollywood,” Cohan says bitterly. ‘I didn’t like the folks out there; they didn’t like me. But making this movie here in the East, that’s differ- ent. For one thing, it’s my own play; I wrote it. ‘The Phantom President’ was written by twelve hundred other people. Oh, it must have been at least twelve hundred, for there was a new author brought in every minute! “Another thing. I’m making this picture for a boy I’ve known all my life—Harold Franklin. That makes a difference.” But if you know Cohan, you realize that his dislike for Hollywood is based on something far more human and fundamental than the fact that on the Coast he didn’t know the pro- ducer, and that the script had too many authors. And even Hollywood must admit that George M. Cohan was treated strangely. In the first place, Cohan went to Hollywood with the understanding that he was to help write the script. But among the alleged twelve hundred authors, Cohan was not numbered. It was almost as if Holly- wood forgot, or didn’t .know, that George M. Cohan [ PLEASE TURN TO PAGE 114 ] Cohan didn’t like Hollywood and says Hollywood did not like him. But if a success, he may make more pictures in the East “Gambling” proves |

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WM EET the general! Ruby Keeler looks so fetching in tha smile if she ordered a court martial! Wearing gold brai is commanding attention now in Warner Brothers’ Yes, Dick Powell wears a uniform, too. But it’s Ruby Ke

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R ALPH BELLAMY in a striking studio pose. Ralph is soon to be seen in A Fox's ““Helldorado.”” He recently returned, you know, from a trip to Eng- land. And, lo and behold, he brought back seven lamp-posts. But, ‘sall right. O They were relics from the historic Waterloo Bridge, which has been torn down

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EGGY FEARS, who acted and produced plays on Broadway, shows one of the gowns and a gorgeous hat she wears in Fox's “Lottery Lover.” This is her début as a screen player, and, under the terms of her contract, we may hear from Miss Fears as a writer and director. And a striking looking woman she is, too

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| | | PPE TPR EHIND this innocent exterior is dynamite! “Spanky” McFarland doesn’t keep all his devilment for his picture scenes. In the filming of his latest, RKO- Radio’s “Kentucky Kernels,” he had Wheeler and Woolsey ina constant state of dithers—chairs whisked from under them, trip lines everywhere. Nice “Spanky”!

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tune which perhaps you have heard once or e twice, called “Love in Bloom” (and if you haven’t heard it, you’d better drag out your ear trumpet because you’re going stone deaf as sure as the world—it fills the air these days). Which is to say, that Kitty Carlisle first made the general public sit erect and focus attention when she did the hitherto unheard 7 of; namely, splitting singing honors with Bing Crosby in “She d : j } eC Lawes Me Not. 4 Naturally that wasn’t the first time she had ever tried out her voice, nor the first time she had put on greasepaint. In fact, the strange business noted above of an unknown girl’s refusing to autograph a movie contract which she really did want very badly, took place in the artistic setting of Westport, Con- necticut, where Kitty, having success- fully completed her first professional engagement, a tour with a condensed company of “Rio Rita,” was busily en- gaged in trying out the musical ‘‘ Cham- pagne Sec,” an American adaptation of Johann Strauss’ operetta “Die Fleder- maus”’ (the flying mouse; i.e., bat). Al- though just what champagne has fo do with bats and flying mice is a little vague. Maybe you see them after you drink it. Kitty wasn’t sure. Anyway, she played the part of “ Prince Orlof- sky” and they say she was really something in tights. Possibly the Paramount talent scout was attracted clear down to Westport by the tights or the tasty, tangy title of the show, but finding Kitty twice [ PLEASE TURN TO PAGE 118 ] Mr. Opportunity had to rap hard _ and loud before Miss Carlisle > listened to his +> Hollywood offer By Julius Irwin “ O, I won't sign the contract, until I’ve seen my test.” “But why?” protested the per- plexed Paramount executive engaged in signing up practically unknown Kitty Carlisle fora movie career. “It’s our gamble—not yours.” “TI might be terrible, and I’d feel like such a fool!” was the explanation that didn’t explain a thing. It’s just such unorthodox, upside down things jabout this amazing and amusing Carlisle person |of New Orleans, Paris, Rome, London, New York jand points cosmopolitan which have just about convinced Hollywood that Kitty is one of the most interesting, completely captivating and unusually destined things that has happened to it for a long, long time. For one thing, it’s hardly cricket for a girl to be in Hollywood only six months and, with no particular stage prestige, to leap right up to \co-stardom with that secret passion of the nation’s femininity, Bing Crosby. Kitty shares the headlines i in the picture she has i} jjust finished, “Here Is My Heart.” Then again, for a girl who has to make something of herself to click BHO Os Kitty soared to the top and is comfortably set- tled there for a nice long stay. In her third movie she’s co-starred with Bing Crosby was cradled ona ae Pise. tutored by royalty, polished and finished abroad, introduced nto Continental society, and ossed about in the soft lap of uxury to’ suddenly say, ‘Oh, we I'm tired of being worth- jt career—” and get it— jvell, it’s like the Holly- lvood climate—unusual. | Of course, to most of its the career of Kitty, vhose name rhymes juite nicely with ’ starts with a

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FUN LIKE MAD! EAR JOAN: H’ar yuh? I’m very chipper myself. Thought I’d be head- ing for the Old Maid’s home, didn’t I, in my last letter? Well, t’aint so. Louise Fazenda’s multiple birth- day soirée, the opening of Reinhardt’s “Midsummer Night’s Dream,”’ Nelson Eddy’s cocktail gathering, Colonel Van Dyke’s party—to say nothing of the elegant wedding in the De Mille family, a coupla twirls at the gay Trocadero, and several wildly expensive luncheons — have left me feeling anything but old-maidish. In fact, I’m utterly limp from so much festivity. Deah, deah, such popularity! I know that nothing but minute details will satisfy your avid curiosity, Joanie, so I shall relate everything that I’ve saw and ORE news from Mitzi Cum- mings, who circulates more widely in Hollywood than an issue of United States currency. From her letters to Joan, published every month in PHOTO- PLAY, you may learn what the exciting people of the movie colony are saying and doing. Mitzi loves the life and lives it with grand, glowing spirit. that’s all we are. took all my attention. I couldn’t even tell you who was there. OW from the sublime to the other thing. We took two hours for lunch at the Vendome—the lovely Mrs. Robert Florey, Josephine Hutchinson, that de- lightful and capable young actress who is going to appear in the screen version* of ‘‘ Midsummer Night’s Dream,” and Doris Warner LeRoy, and me. And we had a giggle when Doris suddenly pointed to our hats. All four of us had gone Tyrolean with mad feathers. Style slaves, Doris was awfully excited because for the first time she was going out to visit husband Mervyn LeRoy’s set of “Sweet Adeline.”’ Poor gal! For weeks now she’s been staying home did all this past month. I won’t leave out a single word. every night and going to bed early. When that director-spouse Let’s start on a nice, dignified note. Shall we? The DeMille wedding. The great C. B. was his son’s best man, and I might mention that Noah Beery, Jr., Gwynne Pickford (Mary’s niece) and Katherine DeMille were among the entourage. It was a beautiful cere- mony, with exquisite music that just thrilled me to the marrow. Weddings al- ways make me sentimen- tal, anyway, and here I was longing for a nice, handsome fellow to lead me to the altar. How- ever! Well, the bridesmaids looked heavenly in light blue gownswith trains, long sleeves and large swash- buckling hats to match, and leis of flowers around their necks. They carried small blue velvet Bibles. Then came the bride. Ah, the bride! She was Louise Denker, a society bud, and the niece of that big bank- ing mogul, A. P. Giannini. Everyone in that beau- tifully dressed congrega- tion craned necks and then gasped. Louise, like her bridesmaids, was com- pletely in blue. Her fif- teen-foot tulle train was a mass of blue foam. There was a rosary of amethysts twined in her fingers, and she carried a prayer book, and a long, silver-twined sheath of powder-blue water-lilies. I’ve never seen so exquisite a bride. In fact, her beauty, and the inspiring ceremony, 44 een? é ® es We'll bet Jean Harlow and Mitzi Cummings were swap- ping secrets when the cameraman’s flash interrupted them. And judging by those smiles, they both must have heard cheerful little earfuls of hers is making a picture | that’sthelaw,she’slearned. a movie in her private projection room. With all that luxury, though, she’s simple and sweet and fine. the director. But I can’t | help it, he’s such a peach. | Last letter, if you remem- | ber, I told you how he | called and invited me toa. party and simply sky-— rocketed me out of the’ doldrums. Elegant party. Always elegant parties. Billie Burke was there, and Madge Evans, Minna Woolsey and Anna May | Wong. The Chinese lady was. late because she was giv-' ing an Oriental dinner and had to wait until she was. free. She is so charming and cultured that I’m al- ways on pins and needles. waiting for her. Someone’ said regretfully that she| had just missed the} Chinese consul—he| couldn’t wait any longer} for her. To which our| Miss Wong murmured,| “Ah, these Chinese, they always retire early.” My friend Woolsey and I had quite a séance, we did. And I learned all But she’s quite content to | stay in her mansion and | read out of her first- — edition library, or look at KNOW you're going to | think I’m always ravin’ | about Woody Van Dyke, Gombell, Ted Healy, Bob

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| | about his life. He was a jockey at lthe age of fourteen. But he ‘thought he oughta use his face to |make people—not horses—laugh, lso he became a comedian! Did you ever hear of such’a man! That Healy kills me, honest. \He’s such a scream. We were sit- ‘ting outside by Van’s swimming ‘pool, where there is a barbecue place and a big log fire (which was ‘burning, believe me!). It was just \delightful, sitting there in the star- light, listening to Ted’s amusing stories. Just a little group of us— ‘Muriel Evans, Irene Hervey, Nick Stuart and a couple of others. “Once,” Healy tells us, “I was a master of ceremonies at a bene- fit where one of the guys to appear on the program is named Tito Schipa. I never heard of him, so I stick him on first, which is the worst spot. But when I go out and announce him, the house tomes down. I can’t imagine what for. Well, the little fellow goes but and starts to sing, and gosh, ne’s plenty good. I send him back three times before I learn that he’s pne of the world’s finest opera singers. I guess he must have iked me, because that evening he homes to my dressing-room to get better acquainted. A coupla thugs were there. They wanted to go but to a night club, and the little jellow asks to go along. We took him with us, and he told me ifterward that he never had such a swell time in his life.” y. dealy shook his head. a Gosh, that boy’s gotta : voice. Wish I owned ten yer cent of him!” Max Reinhardt’s presentation of “A Midsummer Night’s Dream” will come to the screen now. Here is Reinhardt signing a contract to pro- duce spectacles for Warner Brothers. Jack Warner (left) and Hal Wallis are watching Louise Fazenda’s party was that night and, of course, I wanted to look very special. So to the beauty shoppe, where they let loose on little Cummings. And, I must first tell you a on story about Miriam Hopkins - that came from my opera- tor, who, like Miriam, is a Southern girl. It was that, I’d judge, which started the bond of friendship between them. Anyway, the little beauti- cian gets herself a vacation, spends it on a trip to Pana- ma, and promptly falls wildly in love with an army flier. She comes back, and one day dur- ing a shampoo, CONFESSES ALL to Miss Hopkins, plus the information that her beau is coming up to Los Angeles to see her .. . and may- be to marry her. [ PLEASE TURN TO PAGE 89 ] — 45 (NE particular day re- “cently was what you night term momentous. t che beautiful, cul- jured Anna May Nong was so eisurely over dinner the missed the Chi- | mese consul

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earer Relaxes * a . ‘ When you need rest, stand on your head! Norma does} it on the spring- board of the swim- ming pool at her! Santa Monica home. And isn’t her’ nautical lounging) suit, shown above, a nifty beach outfit?’ Norma Shearer surely is just about as chic as any- thing we ever saw on horseback—or off, for that matter, when she dons her fine tan whipcord breech- es and her English knit shirt of darker tan. She’s taking things easy, after her success in ‘The Bar- retts of Wimpole Street”’ 46

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Here’s One Fat Man Somebody Loves DWARD ARNOLD should know. He says that being a fat man has its advantages, particularly in the movies. Because, he explains, he can play all sorts of character roles and last indefinitely. He'll tell you that a movie ‘fat man, in that respect, has it all over a romantic leading man. ‘Of course, that’s Eddie’s opinion. ' He declares he’s the happiest man in Hollywood—for two reasons. First, because he’s the proud father of three fine children, nine, fourteen, and sixteen. Second, because he’s gone eyond being just established in pictures and has reached the tage where he’s in constant demand. And his record backs up hat last statement. You know of “ Wednesday’s Child.” ing the rounds now are his “ Biography of a Bachelor Girl,” nd “The President Vanishes.’”” There are three pictures in bout three months. And two more are already lined up for im. Yes, it might be said safely that Eddie is in constant emand. | And here’s something about his private life. His favorite indoor sport is cooking! Honest. He likes nothing better than to don a huge—and huge is the word—apron and prepare the evening meal for his family. ‘And if you don’t think I’m a 300d cook,” he’ll challenge you, “‘take a look at my youngsters. They’re the healthiest in town!” _ Born on-New York City’s East Side, Eddie had to hustle for aimself very early in life. Why, at ten he was an office boy ina ; ‘aw firm! Through a settlement house club, he became interested mn theatricals. Then came years of vaudeville and stock. And | hose years were well inter-larded with many lean and hungry jays! But, they taught him the lesson of saving for that im- orobable (for him) rainy day. Which brings this up: _ He never carries an umbrella and nobody can get him into a _ vair of galoshes, overshoes, if you like it that way. i sj She’s The Belle Of The Film Colony OBY WING, a pink and golden doll-baby, a peppermint stick of loveliness. Well, to sum it all up, Hollywood is completely Toby-struck. Toby-struck has a real mean- ing down South, Suh, where Toby hails from. It means a homely colt. Can you imagine Toby, at any time in her young life, being homely? And speaking of her young life, this nineteen-year-old blonde of enjoyable pertness is just what the doctor ordered, Holly- wood’s males contend. But why? Well, gather closer. Here it is, as Toby gives it: What’s sauce for the goose, is applesauce for the gander. And this is how it works: Toby’s first great romance was Jack Oakie. Jack asked for a movie date. But, said Toby, you must ask mama. And Jack had to ask not only mama but papa. And Jack had to have references! So he brought over his sister and her two children! Then H. B. Franklin, Jr. ‘‘I simply adore beautiful cars,” she said of his. (Remember that statement for when you read further.) Ah! And then came Maurice! None other than Maurice Chevalier. A demure little red dress with a more demure little Toby in it got Maurice, Toby says. But Maurice also got Toby. ‘I shall never, never forget Maurice,” she vows. Anyhow, enter Mr. Jackie Coogan. This one still stands, with a few intermissions, such as Alfred Gwynn Vanderbilt, Jr., and Howard Hughes, producer of ‘“Hell’s Angels,” is also prominently in the running. And another young producer was no proof against Toby’s spell, for a time. Now remember that line about H. B. Franklin’s cars. “I simply adore old cars,’ Toby told Alfred when he drove up for her in one. Toby’s great fun, and really most naive. yy

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Christmas time is drawing near. Santa Claus will soon be here With his presents and his toys For all the little girls and boys. EA, ye good old Yuletide draweth nigh. Too nigh for any good, if you want cold, hard facts. And poor old Hollywood, its muf- fler knotted about its quivering Adam’s apple, plodded on its weary way unrejoic- ing. Weary from its long skipping o’er the ice cakes with the bloodhounds of censorship yapping at its heels. As well as its nice people. In fact, Hollywood wouldn’t have cared a jingle if Santa Claus had fallen off someone’s simple old chimney and broken his silly old neck. To be honest, a lot of people had no idea what all the rushing around was about. Some had a vague idea St. Patrick’s day was about to descend on them and others decided it must be Groundhog day that was approaching. But nobody cared much, one way or the other. And then, as if by magic, one lovely morn, battered old Hollywood lifted its blackened eyes and took one look at the holly berries, took one sniff at the plum puddings and one glimpse at Sam Hardy’s new red and green overcoat and cried, “It’s Christmas. Let’s rejcice. Let’s throw off this mantle of gloom and make this a Christmas none shall forget.” Loud rang the huzzahs. In fact out at Warners they had to gag Joe E. Brown to keep him from splitting asunder the nearby mountains and Al Jolson’s head. Overnight committees were formed and Hollywood’s Holiday Follies was on. Meetings were held nightly at the Brown “We'll unite in one grand colossal holi- Sheehan “Let’s have all the old Christmas jingles printed and handed out so all may read. What about the reindeer one that goes ‘On Dasher! On Dancer! On Prancer and Vixen!’’? Derby. day jubilee,’ Winnie ] “Just a minute,’ licity to those guys? I move we make this a Hollywood thing and exclude all outsiders.’ So a writer from one of the studios was hurriedly summoned who made the necessary changes. The poem was then rewritten and passed out around to great applause while everyone read in unison, ’ another producer spoke up. “Just who are these ‘Dancer’ people? Why should we give pub- “On Schulberg! On Thalberg! On Zanuck and Selznick! On Briskin! On Ruskin! On Rivkin and Riskin!”’ The cheering practically tore down the Derby. Then a direc- tor from Paramount stepped forth and said he wanted to con- tribute another gem of Yuletide cheer in the little poem, “Jingle bells, jingle bells, jingle all the way.” HOLLYWOOD “#3 HOLIDAY FOLLIES like this: “Jingle Belle of | the Nineties, | Jingle Belle of | the Nineties, | Jingle all the way up to the nearest announced. ‘Dasher’ and

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| Paramount theater and see Mae West in her new super colossal picture.” _ Screams of protest arose just as he had expected. ‘“Let there be no advertising, gentlemen. Let this be strictly uncom- “mercial.” _ The director retired in silence. A timid little assistant director from Warner Brothers then arose and said, ‘‘ Gentlemen, we offer this old rhyme, “Little Jack Warner, sat in a corner, Eating his Christmas pie. He put in his thumb——— “And Joe Brown bit it,’’ some- 9 By Bing could sing under the Paran windows and Rudy and Dick befor Sara one rudely interrupted while the little assistant director broke into sobs and had to be led from the place. Walt Disney then arose and said he would like to submit his version of a famous Christmas poem. So saying, he began, “Twas the night before Christmas, when all through the house Not a creature was stirring, not even Mickey Mouse.” “T don’t know about that,” a supervisor said. ‘Sounds like to me it ain’t got no class or somethin’. That way it could be a house just anywhere. Why not give it a touch of Beverly Hills, like this: “Twas the night before Christmas, when all through the twenty-two room Spanish stucco house including the tennis court, swimming pool, patio and Gilbert Roland, Not a creature was stirring, not even Mary Boland.” “Vea, but where was Charlie Ruggles about that time?’’ someone wanted to know, which just spoiled everything. 1iount Warners, while other studios could “There’s more to that stand by with buckets of scalding water ee eo eo ankor said. “There’s one part that says, “When out on the lawn there arose such a clatter I sprang from my bed to see what was the matter.” “Well, there’s nothing new in that,” Gary Cooper protested. “Everyone in Hollywood has been springing from their beds for years at terrible clatters, and it’s always Jack Oakie getting home from a party. I move we skip that part.” It was skipped. While someone else asked what about the one that went, “Here are the stockings of little Nell, Oh, Mr. Santa Claus, fill them well.” Immediately Howard Strickling of M-G-M sprang to his feet and said, ‘‘I submit this one in the name of my boss, Louis B. Mayer.” At this, flags were unfurled all over everything while, amidst loud cheers, Howard read, “Here are the stockings of little Greta Oh, Mr. Santa Claus, don’t forget-a.” Immediately Paramount leaped up with, “Hereare thestockingsoflittle Marlene, See if you can fill them as well as she can-a.”’ All of which was terribly confusing to a little gentleman in the corner who, in some way, had gathered the idea it was Yom Kippur that was on its way and just why Garbo’s stockings and Santa Claus should be messing around with Yom Kippur was be- yond him. “How about this, ‘Oh what fun it is to ride in a one horse open sleigh’? Harry Cohn, of Columbia asked next. “No one rides behind a horse in anything these days,’’ Bob Montgomery replied, “except Will Rogers, and certainly you can’t go around singing, ‘Oh what fun it is to ride in Will Rogers’ one horse open buckboard’.” 49 Hamilton

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“Skip the buckboard,”’ someone else suggested, “‘and give the whole thing class like this, “Oh what fun it is to ride in a 16-cylinder limousine with red leather seats, convertible bars, flower vases, cigarette boxes—” “No, I got it,” a director snapped. “ We’ll sing, “Oh what fun it is to ride in Bill Fields’ trailer, including everything.” And so it was decided. Sam Goldwyn now arose and said, ‘‘Gentlemen, I propose that during the Holiday Jubilee, the studios show their good will to each other.” “We can show you our good Will Rogers,” a gentleman from Fox interrupted. And in view of the fact that Will’s high box- office rating was a heartbreak to everyone, a stunned silence followed while the gentleman (or maybe he wasn’t in every sense of the word) from Fox crept out the back door. And that ended the good will business for once and all. Right here, a little trouble arose. W. C. Fields said that unless he could climb up on Paramount’s roof and sing his favorite Christmas song entitled, ““Up on the housetop, hic, hic, hic,” he wouldn’t play. And Jimmy Durante came back and said that if Fields was allowed to “‘hic” on the roof, then he wanted to wear the mistletoe on his hat. It was finally settled that Fields could sit on the roof and sing, ‘‘ Up on the housetop, hic, hic, hic” to his heart’s content and Jimmy could wear the mistletoe and if anyone succeeded in kissing him in spite of the nose, he should be awarded the role of The Artful Dodger in the next Dickens drama. HEN it came to the selection of the Carol singers, the confusion was terrible. Warners insisted the serenaders consist wholly of Rudy Vallee and Dick Powell. This simply crushed the spirit of Lyle Talbot forever as Lyle was dying to sing under all the girls’ windows. J Paramount immediately turned pink with rage and insisted that Bing Crosby be the Carol singer. M-G-M rather timidly said they had thought of Chevalier, and in no uncertain terms. everyone howled they would tolene no one going around ina _ straw hat singing ‘“The Merry Widow Waltz’ under their win- dows with a French accent. That life was hard enough as it was. BW eeee the argument waxed long and fierce. Finally Para- mount screamed, “‘ We simply will not have Rudy Vallee going around under windows singing, ‘Hi ho, everybody Tm just a vagabond lover,’ and Dick Powell coming in with ‘ Fo goes your heart’.” “We could fix that,” Warners argued. “We could give it a. little Christmas twist Hike ‘Pop goes your little new popgun’ or ‘Pop go your nice little popcorn balls’.” “Aw, pop goes your weasel,”’ Paramount sneered. < Well, ” they came back, “it’s better than Bing Crosby going around warbling, ‘Is it the trees, is it the spring? No, it’s love in bloom, boo boo boob boo’.” “That’s easily fixed,’ a song writer from Paramount sail “We'll just have Bine sing, ‘Is it the trees all covered with tinsel? Is it the Spring in my little Jack-in-the-box? No, it’s my little potted poinsettia in bloom, boo boo boob boo’.” Anyway, it was finally decided that Bing could sing under the Paramount windows and Rudy and Dick under the Warner Brothers windows, while all the other studios could stand by with buckets of scalding water for anyone who dared warble a note near their premises. Then came the most important problem of all: How to enter-’ tain Santa Claus. This brought on a terrible clamor of disagree. ment but finally it was decided a committee composed of 2) prominent supervisor from each studio stand on guard at Mae West’s chimney, for, knowing Santa Claus from a way back’ they had a hunch that that would be the first place he’d break for. All things being considered [ PLEASE TURN TO PAGE 105 i a i 55 a . Ne ee, Alice Brady at home. 50 And Miss Brady’s Beverly Hills house is one of the most colorful in Moviedom. The walls are done in tones of red, the predominating color. pots on the ends, was designed especially for the star by Adrian That fascinating couch, with space for flower

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Its Never Been Done Betore Ketti Gallian did not speak English when Winfield Sheehan dis- covered her. She learned to in a hun- dred days! Sten, Dietrich, and all the rest really were stars abroad, pa) to OAM faerhive Galante” is Ketti’s début as a movie lead T has never happened before. An extra irl from Over- ence consisted of appearing as an True, there have been the 5 extra and bit player—been brought Garbos, the Dietrichs, the Stens, seas becomes the star of to Hollywood from overseas and the Lilian Harveys, the Made- pitchforked into a starring role for leine Carrolls—a whole parade of her first Hollywood film her picture début. glamorous ladies from Europe to The girl is Ketti Gallian, of the American screen—but they were France. The story of her discovery all stars in their own countries be- B Ro bert Bu rkh a rdt and the odd provisions of her con- fore boarding fast liners for our y tract 4s one of the most unusual in shores. the history of a place where the Never before has a virtual unknown—a girl with only one unusual occurs so often that it has become commonplace. major stage appearance to her credit, and whose screen’experi- It happened one night— [ PLEASE TURN TO PAGE 106] 51

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Ream AW Ny, Mady Christians is someone to look up to in this scene from M-G-M’s “A Wicked Woman.’’ Charles Bickford is the intense gentleman em- bracing her, and another Charles, by last name, Brabin, is directing them. He is the man with one foot on the stairs. Behind Mr. Brabin are his camera- men and technicians, getting some unique shooting angles for the first American film of the Viennese Miss Chris- tians. This photograph was taken on the set at the M-G-M Studio, and shows you actual work- ing conditions. A Wicked Woman” is now ready for your inspec- tion, so you may see this sequence as the movie camera caught it. HE screen story is based on a’ novel by Ann Austin. Itinvolvesa woman’s determined fight to give her children a decent upbringing, after she has killed their rum-running father and fled with them from a miserable existence in the malarial swamplands of Texas. Bickford plays the part of a man who comes into Mady’s life after she has established herself in a position of respectability. But then the veil is torn from the ugly past, and the com- plications are stirring in their drama. It all — but, see for yourself. ERE are a few facts about Mady Chris- tians that may have slipped your mind. AIl- though this is her first Hollywood picture, she has acted before the cam- eras across the sea. She wasin the Fox-Gaumont- British ‘“‘Heart Song.’ She is no stranger to the New York stage. Earlier, she attended Max Rein- hardt’s school in Berlin. Some of the other players in “A Wicked Woman” are Jean Parker, Betty Furness and Sterling Holloway. 52

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The late Lou Tellegen was at the height of his romantic career at the time this picture was taken, shortly after his marriage to Geraldine Farrar in 1916. Then there was not a hint of the divorce and other clouds that were to darken his horizon HE month’s laurels for tact go to the head waiter at the Trocadero, Hollywood’s super supper spot. Douglas Fairbanks sat with an after-theater party including Clark Gable, Richard Barthelmess, Kay Francis and other friends. In came Mary Pickford with another party, including the Johnny Mack Browns and the Charlie Farrells. The head waiter never batted an eye. With perfect calm and poise, he escorted Mary and her entourage to a booth at the other end of the room. And there sat the Royal House—divided, as far as the house would allow—until Doug broke the ice and went over for a friendly chat with Queen Mary. HEY are now running excursions, in Holly- wood at least, to view that magnificent new fence of Garbo’s. It is made entirely of willow branches, ten feet high, with sharp points suit- able for catching the trouser seats of any prying cameraman. Willow, weep for us! 54 Frank Fay and his charming wife, Barbara Stanwyck, as Frank was about to officiate as Master of Ceremonies at the dedication of a Sunday Night Frolics series, in Holly- wood. Frank and Barbara are still one of the most de- voted film colony couples LIST of grand old-timers, glorious stars of not solong ago. Chesterfield has this line- up: Mary Carr, Barbara Bedford, Bryant Washburn, Robert Frazer. At Columbia: Lou Tellegen Giliose death came before he could make a picture), Hobart Bosworth, Claude Gillingwater. "THEY were taking pictures of Margaret Sullavan in gorgeous evening gowns. Maggie was all done up, fine feathers, fancy hair- dress and everything. Then the cameraman happened to glance down at the floor—and almost fainted. La Sullavan was barefooted! ‘Why not?” she advanced. “My feet don’t show, and it’s a lot more comfortable.” HARLIE BUTTERWORTH and _ the Missis (Ethel Kenyon Sutherland Butter- worth) were observed at the El Rey Club, evi- dently having a grand time. The third person at their Eddie Sutherland—former husband of Mrs. Butterworth, who was the third Mrs. Sr land. Grove, CAL The Monthly VORKANNOUNCING broatcas) LORIA SWANSON and Herbert Marshall seem to favor the old established Cocoanut rather than the newer and fancier night spots. They were observed there again recently —Gloria looking like an eighteen-year-old col- lege girl. At the Hollywood premiere of “The Affairs of Cellini,’? Louis Calhern, one of the cast speaking from the stage, said, “I consider it an honor to have worked in this pic- ture with such artists as Fredric March, Frank Morgan, Vince Bar- nett, Fay Wray—and that’s all.” Was Connie Bennett’s name de- liberately or accidentally left out? Louis said ‘‘And that’s all.” But he won’t talk. table was none other than Director

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Hollywood Goings-On a Among the celebrities at the ‘‘Wel- come Home” for Marion Davies were the Countess di Frasso and the noted producer, Samuel Goldwyn EARS ago, Roscoe (Fatty) Arbuckle gave James Cruze a gold watch. He engraved it “Roscoe to Jimmy.” Shortly after, someone stole the watch. Recently at a party at Cruze’s house, a guest drew out his watch and Cruze Saw it. “Where did you get it?” he asked. “In a pawnshop, bought it for the gold,” said the man, “then I decided to use it.” They opened the case. There were the words —*Roscoe to Jimmy.” [T° was Lee Tracy who sprung this. “Yeah, when you don’t work on Broadway, it’s a lay-off. But when you don’t work for two years in Hollywood, you’re a supervisor.” Al Jolson, just up to his old tricks at one of the wrestling matches that entertain Hollywood. The whole town turns out on these nights Now that Marlene Dietrich and Josef Von Sternberg have decided to go their respective cinema ways, can it be that Rouben Mamoulian, here with Marlene, is to be her next director? Ernst Lubitsch has a bid in, too OW that Marlene and Von Sternberg have decided to go their separate ways, profes- sionally, it will be interesting to see the paths that each choose. Maestro Von Sternberg believes that “We have progressed as far as possible together. My being with Miss Dietrich any further will not help either her or me. If we continued we would gef into a pattern which would be harm- ful to both of us.” So, when “Caprice Espagnole”’ is completed, Marlene will have another director and Von Sternberg will have another star. Rumors also persist that Josef will be leaving Paramount. ILL Virginia Bruce and John Gilbert remarry? Virginia still insists on being addressed as Mrs. John Gilbert. And there’s the baby. OUG FAIRBANKS, Jr. comes home next February, for a stage play, ‘ Moonlight Is Silver,” starring him and Gertrude Lawrence. If I’m correct, it was in this play, on the Lon- don boards, that Doug, in one scene, clasps a jeweled bracelet on Gertie’s wrist, prop jewels of course. Now listen closely—one night Doug popped on the bracelet—and it was the real thing. Just a love token. N Oy

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IRLS, you needn’t pass up that date with the boy friend now, because you’re just back from the hairdresser’s with your locks all done up tight in pins. Because, Joan Crawford appeared at a premiere of a picture with Franchot Tone—and Joan’s hair was all done up in paper curlers. Se GOLDWYN, noted Hollywood producer, has chosen the following as the ten most outstanding stars of film history, and rates them in the order named: Charles Chap- lin, Douglas Fairbanks, Sr., Norma Shearer, Mary Pickford, Marguerite Clark, Janet Gay- nor, Greta Garbo, Clara Bow, Wallace Reid, and Marie Dressler. Of the ten listed, only five are making pic- tures today, two have died, and three, in- cluding Mary Pickford, have retired from the screen. FTER this, anything’s likely to happen. You don’t have to imagine Mae West with a lorgnette—you can see her with one. Hollywood got its first glimpse of the haughty article at Emanuel Cohen’s recent testimo- nial dinner—when Mae impressively eyed the assembled guests through it. She says she always has carried one—but maybe she was bashful before. Hollywood, slowly recovering, expects a monocle any day now. HILE making “Repeal” at the M-G-M studio, Carole Lombard had a birthday. Among the lovely gifts were six or seven huge bouquets from William Powell. But the climax to the celebration came when the delivery boy, through error, tried to deliver the flowers to Jean Harlow’s dressing-room. HE ill-fated “Trader Horn” catastrophes are clearing up a little. Dozens of doctors have attended Edwina Booth, trying to effect a cure for the mysterious jungle fever she is said to have contracted during the African expedition. Now there is a doctor who is certain of a cure. And friends of Duncan Renaldo are making an appeal for his release. He was convicted on an immigration quota infringement. The Marquis de la Falaise was stricken with a similar jungle fever, and John Barrymore has recurrent attacks of the same disease. 56 Paramount employees are all for Emanuel Cohen, studio head. So much so, that they gave him a testi- monial dinner, at Holly- wood’s Ambassador. Mr. Cohen is smiling happily. And why not, with such a bevy of beauty about him? From the left, you can readily recognize Mary Boland, Katherine DeMille, and (standing) Arline Judge Sidney Kingsley is referred to as the “Dark Horse” in the life of Sylvia Sidney. This is the first time they have been caught together by the camera, although they’ve been around town quite a lot, off and on Step up and meet royalty! King Ed- mund Lowe and his Queen, Mrs. Wilson Jones, as they pre- sided at the gay charity -entertain- ment given by the Twenty Little Work- ing Girls at the Cocoanut Grove in Hollywood

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When royalty was divided. Here you see Mary Pickford and her guests at the Trocadero, in Hollywood. From the left, are Charles Farrell and his wife, | Johnny Mack Brown, Queen Mary, and Johnny Mack Brown. And, although you cannot see him, Douglas Fair- banks and his party are at another table, with the width of the big room between them. However, shortly after this picture was taken, Doug joined Mary Virginia Valli, Mrs. "THE mysterious lady who has been calling on When you can get George Brent 7s Greta Garbo—after all the Mr. and Mrs. Will | speculation going around for weeks and weeks. |The Toluca Lakers have been practically dithered ever since they discovered Greta in George’s back yard playing handball and punching the bag with a right good will. Two comedians went to the | wrestling matches together. “That wrestler certainly has a lot | of stamnia,” one remarked. | “Yes, but not nearly as much as _ Rosco Ates,” the other drawled. ‘THE proudest possession of a Hollywood |” child star is his bridge-work, of all things! As fast as the children lose their front baby teeth, they are rushed to a dentist who fits them up with false ones which they wear all chrough the picture. You should see little David Holt and Cora Sue Collins proudly displaying theirs. “It ‘licks, too,” they say. { IFE begins at forty. But to Arthur Byron, 1s) 4 A ie 5 a good actor all his life, stardom, with its Jamorous reward, eluded him until he was 'xty-five. It was then Walter Wanger signed im to the starring réle in ‘‘The President Van- hes.” And from all reports, the delay was well ‘orth waiting for. } i ek Rogers together for a picture, it is a rare event, in- deed. Mrs. Will is very modest, and shuns the limelight. How- ever, Will is fond of boasting he is about the only man in all movie- dom with his original wife THE lowdown on the Cary Grant-Virginia Cherrill bust-up, which was followed by Cary’s dramatic bender, mistaken for a “sui- cide attempt,” is that the two couldn’t get along on money matters. W C. FIELDS is the favorite * comedian of Toby Wing and her sister Pat. Almost daily, Toby goes from the Paramount studio and relates the latest Fieldsiana. So Toby’s five-year-old brother Paul has developed quite a curiosity about W. “Tell me,” he said to Toby, “is W. C. Fields a real actor, or is he like Mickey Mouse?” HE last time world’s champion Max Baer came to Hollywood, he was all tied up in an Indian summer romance with his wife, Dorothy Dunbar. But this time, with his marriage all washed up, Max is running a temperature over Judith Allen. They’ ve been doing the night spots together, in fact, ever since he first came to town for “Kids on the Cuff,” at Paramount, where Judith also checks her working togs. [ PLEASE TURN TO PAGE 86 ] 57

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eC e “Rediscovery” of Bill Krawley One of the “pioneers” of Hollywood, he has made a film comeback after a long absence By Scoop Conlon | The Frawley in this scene from “The Lemon Drop Kid,’ with Minna Gombell, is the same Bill you see seated at the desk in the old production still at the right NE of Hollywood’s newest screen ‘‘discoveries”’ turns out to be one of Holly- wood’s “‘pioneers’’! Because of several sparkling per- formances during the past year, William Frawley, of the Broadway stage Frawleys, has been presented with a long-term contract by Para- mount. During the filming of the “The Lemon Drop Kid,” one of those Damon Runyon stories of big city life in which Bill Frawley is right at home as a wise-cracking, sentimental tough mug, it was accidentally discovered that the new ‘discovery’ knew more about Hollywood than most of the boys and girls who earn their bread and butter, swanky cars and Beverly Hills estates out here. How do you like that? Bill Frawley knew all the picture stars of one, two decades ago—when. More than that, he knew most of them very, «“ »” | very well. SEE eee Normand and Mack Sennett dined nightly at Al | Bill is still quite a young fellow, but he films in which Bill Levy’s cafe; when Richard Barthelmess, Bobby | has a well-stocked memory. He remembers and his wife played. Harron and D. W. Griffith squired the Talmadge | when all colossal movie deals were made She is the typist. and Gish girls to the Alexandria Tea Room to. mane The late William . ; oat ; di on the Million Dollar Rug of the old Alex- Russell is shown, dance to Paul Whiteman’s music; when Richar andria Hotel; when Charlie Chaplin, Mabel talking to Bill Dix and Douglas [ PLEASE TURN TO PAGE 116] 58 |

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JEWELRY makes a perfect feminine gitt, especially when it comes in sets as this above. Hollywood loves the bracelet with matching dress and ear clips. A triangular motif in rhinestones is a novel detail employed here SPARKLING IDEAS Be GIFTS VIRGINIA PINE, appearing in ‘Lady by Choice,” wears her gift suggestion! Earrings and a large pin of multi- colored stones follow an old-fash- 222 5 8 5 : é ys :7 ioned design. This duet is as charming Fel DEAE 4 for formal costumes as for informal ones ea? CERTAIN to make a hit is the gift of matching acces- sories. Here, at left, is a set of hat, gloves, scarf and hand-bag—all in a soft, hairy knit fabric. The metal initials are part of the set TRICKY watches are the pets of the smartest stars. They like to give and to receive them. Two of the newest de- signs are sketched. One is encased in a lipstick holder. The other is a money clip with tiny watch for the motif. The latter is a good gift for men as well as for women

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HOLIDAY PARTY — PREVIEWS HOLLYWOOD CINEMA FASHIONS here sponsored by PHOTOPLAY Magazine and worn by famous stars in latest motion pictures, now may be secured for your own wardrobe from lead- ing department and ready-to-wear stores in many localities . . . Faithful copies of these smartly styled and moderately-priced garments, of which those shown in this issue of PHOTOPLAY are typ- ical, are on display this month in the stores of representative merchants MOIRE shot with gold is one of the loveliest me- terials of the formal season. Helen Vinson wears this Kalloch model in “The Captain Hates the Sea.” Wide, suspender-like pieces that tie on the shoul- dersmakeadaring top to an otherwise demure gown CHIFFON returns for the late Winter and resort wear. In “Imitation of Life,’. Claudette Colbert presents this charming vision in white. The soft movement of skirt and wide sash are interesting details. Front and back décolletage are the same

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LACE of cobweb sheerness is Banton’s thought for a forward looking mid-Winter evening gown. Gertrude Michael wears it in “Menace.”’ Both a cape and peplum treatment with a back flare to the skirt are stressed, giving a crisp, graceful line BEADS embroidered in a herring-bone tweed pattern form the unusual tunic of Fay Wray’s dinner gown designed by Kalloch. The tunic, longer at back and slashed on the sides, is girdled with flame chiffon. The same chif- fon edged with beads makes a large hand- kerchief which Fay wears also as a scarf

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STAR ROLES FOR TUNG BANTON’S keen fashion eye spots the screen pos- A LIGHT colored tunic with dark skirt is Shirley sibilities in the pencil slimness of the tunic. He gives Grey's favorite afternoon costume. The tunic is this simple gray dress of Kitty Carlisle’s added dash straight and plain except for the softly draped collar with an unusual collar framed by a brilliant splash of held by a gold tongue clip. This is from her personal plaid silk. Kitty wears it in “Here Is My Heart” wardrobe. She appears next in| Wednesday's Child” ——— _—_ or

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Ne: Wallace Beery isn't taking a couple of youngsters out for a two little people are Olive and George Brasno, m ts, | play the rdles of Mr. and Mrs. Tom Thumb in the 2C Mighty Barnum.” ally is Barnum himself, the

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GARBO'S FIRST FASHION ~ SITTING IN FIVE YEARS! en ee ee Si OF all the great stars, Greta Garbo is the most elusive when it comes to posing in new fashions. Thus, it is a distinct thrill to give you a preview of three costumes designed by Adrian for her new picture. A gray silk tea gown, above, has a pleated organza jabot and deep dolman type sleeves THE sports type of thing Garbo loves—nonchalance in the swagger lines of a white flannel coat. A man- nish note in the polka-dotted navy blue taffeta scarf. And the favorite felt hat, also in navy with a new height to the crown and a downward flare to the brim. Adrian's hint for a resort costume

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Three exciting costumes Si from "The Painted Veil posed exclusively for met LOPLAY 5 a These costumes are not obtainable in Hollywood Cinema Fashions’ stores A NEW version of the famous Garbo pillbox hat is this distinctly Oriental creation in corded felt with jade ornament. Jade is repeated in the exotic Chinese ornaments used to trim the simple white crépe dress. The scarf neckline is held by the large clips and the wide belt is composed entirely of antique squares held by the carved jade buckle. Adrian uses the dolman sleeve again but continues the fullness to the hand, where it flares outward. This, too, is a grand Winter resort suggestion

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William Fraker 5 at luscious Ann Sothern through the camera eye, we see her up- n. But Ann herself has nothing to be upset about. She’s a star among stars—i at glittering background! She did a very pleasing job in United Artists’ ‘Kid Millions,’ and her next picture will be Columbia's “Georgiana

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Balute May Ro bson: A great-grandmother, she’s a fine example for every woman who’s afraid of growing old By Ruth Rankin AY ROBSON will be seventy years old on the nine- teenth of April, 1935. For most of us, the late sixties are regarded as a ripe old age at which to retire and contemplate our bless- ings. If, indeed, we are lucky enough to be around contemplat- ing anything. _ But when this amazing woman could count three score years plus, she started out upon a new career. After twenty years asa stage star, and some years on the stage before she was starred, and then a successful silent-screen career, she launched out into the audible pictures to hang up additional laurels for herself. _ May’s vitality, her grand spirit, are marks to shoot at. If you have half as much steam at fifty, consider yourself a success. There is certainly no woman in public life who offers a better example to those who fear approaching age. Sometimes she has as long as two days to rest between pictures. So she spends them sitting for portraits, shopping, or making } tests at the studio. She goes to see a picture four or five nights } out of the week. Sometimes she drives her car, sometimes } Lillian Harmer, her friend, companion and secretary for more } than twenty years, does the driving. May Robson was born near Melbourne, Australia, on April 19, } 1865. Her father was Captain Henry Robson of the British Royal Navy. He died when May was six, and she was sent to the Convent of the Sacred Heart in London. As no young girl’s | education was considered complete unless she spoke Parisian | French, May was later sent to the Pension Passy in Paris, and to | a branch of the same school in Brussels. Her life was extremely | sheltered but very happy, because Sister Teresa encouraged in | her the ambition to be a great actress. AY ROBSON never knew poverty or privation in her youth. She had perhaps as finea classical education as any | actress you can name, and she fully appreciates it. But it did _not make the way any easier when she decided to go on the stage. Many people did not consider acting a suitable career for a young } girl in those days. She had mountains of prejudice to conquer. From school she returned to London—fell in love, and married E. H. Gore, a handsome young inventor. They crossed to New York, established a home there, and a son was born. E. H. } Gore, Jr. still lives in the same home. So did his son, Robson | Gore, until his marriage a few years ago. A baby girl, daughter of Mr. and Mrs. Robson Gore, has been christened May Robson II, which gives May Robson the honor of being the only great- grandmother in pictures. It was very daring of May to express a wish to divide her early Approaching seventy, May Robson is today one of Hollywood’s busiest stars. With her picture making she finds time to trade recipes with neighboring housewives and tell stories to all the youngsters on the block married life with acting. But she had some friends in the theater, and they gave her the first boost. One day, back- stage with one of them, she heard a frantic producer grap- pling with some lines in French which an actress was to speak. Impulsively, May rushed to their assistance. May wound up with twopartstoplay. [PLEASETURNTOPAGE 113] 67

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Characters from Dickens: Murdstone (Basil Rathbone), the child David, (Freddie Bartholomew), his mother, Mrs: Copperfield (Elizabeth Allan) and Peggoty (Jessie Ralph) F you have ever wondered how Holly- wood goes about selecting the exact and perfect character for a certain screen role, let me tell you of the long and relentless search for just the right little fellow to play David Copperfield as a boy. One of the longest and most fran- tic searches in the history of Hollywood. A hunt that consumed almost a year of time, caused considerable grief, heart- aches and disappointments and added innumerable throbs to the already ach- ing head of Metro-Goldwyn-Mayer. For, when that studio decided to pro- duce Dickens’ immortal ‘‘ David Cop- perfield,” they had no notion of the tre- mendous task ahead. They thought all in the world they had to do was to pro- ceed as usual. Select a proper cast, a director, and begin. 68 By Sara Hamilton They were mistaken. For, when it came to cast- ing the picture, they could find no boy to play David in his tender years, and the part would be an important one. The rest of the cast, including Lionel Barrymore, Eliza- beth Allan, Lewis Stone and Maureen O’Sullivan, were carefully chosen. Frank Lawton wasselected to play David as a man. The story was completed, and the production date was set, but, as yet, no suitable boy David had been located. In February, 1934, when still no David had been glimpsed on the immedi- ate horizon, the search began in earnest. Moth- ers in Hollywood were invited to bring in to the studio any child whom they thought might qual- ify. And the qualifications were set forth plainly and at length. But what qual- ifications! | The boy must be from _ eight to ten years old, | refined in appearance, handsome, unaffected, must have a true English accent, and no professional experience at all. Further- | more, this paragon must have enough personal magnetism to steal each of his one hundred and ninety-five scenes from | the rest of the cast and | carry the title réle of the Copperfield In Quest Of | His Youth It took almost a year of frantic, inten- i sive searching to find the right youngster { | 4

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picture on his slim little shoulders. There, in a nutshell, was David. Practically every child in town was either seen or tested. None was found who answered all the requirements spec- ified. Several were found who had one or two or even three of the qualifications, but were either too large, too small or had a slight East-side accent. When, in the course of a month or two, it became apparent that in all Hollywood there lived no David, the search turned to England. Director George Cukor and Producer David Selznick, with their cameramen, sailed the sea with the ultimate goal of bringing back a David to the restless, waiting studio. ORD was sent throughout Eng- land that a David Copperfield was needed in Hollywood, and to gather the youngsters together in merry old London, the home of one Charles Dickens. They gathered. From thenorth, south, east and west of England, they came. The boys were interviewed, tests were made, and the cameramen worked over- time as the dozens of potential Davids poured in. And poured right out again. For, of all the groups of lads with their chopped-off syllables and broad English “As,”? not a one was found who could completely fill the bill. “Let’s try Boston,’ someone sug- gested. ‘“Let’s try the whole New Eng- land States,’’ someone else spoke up. So once again, a crew of men, all at the expense of good old M-G-M, remember, set out on thesearch, while back in Holly- wood producers took to grabbing their thumbs and mumbling aloud to them- selves. In fact, one anxious and worried super- visor dreamed that Wally Beery had been cast for the part and awoke howling with A scene with Peggoty and little David. So exacting were qualifications for the boy’s rdéle, thousands were tested before young Bartholomew was discovered such unearthly screams it took his wife, three neighbors and two radio cops to quiet him down. “T can’t stand by and see Wally Beery play David Cop per- field,” he kept wailing over and over. It was now July. Exactly five months had passed since the serious search for a little boy David had started. While through the New England States, the weary little group of searchers went on, day after day, testing this child and that one. Sending back the tests for a nerve-torn studio to view. And the view wasn’t too lovely. By this time, the last member of the tremendous and impos- ing cast had been signed. Expenses at the studio mounted and Freddie Bartholomew (left) shares title rdéle honors with the grown- up Copperfield, Frank Lawton. What a re- semblance! mounted. The tour of the New England States ended, with the seekers no nearer a David than they had been before. The studio then established, at [ PLEASE TURN TO PAGE 121 | 69

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The perfect waist- line is the enviable possession of Jean Parker. And Sylvia tells you how you may achieve a sym- metry equal to hers. So get busy, girls— and you ladies fur- ther along in years can do it, too 70 Margaret Sullavan is your example for perfect hips. She has no bulges and no bumps, yet none of her bones shows. Follow Sylvia’s ex- ercises and diets, and you, also, may have the same ex- quisite contours Here’s More Pertection For You Madame Sylvia is “assembling” the perfect model to guide you in reshaping your figure. Last month she selected Grace Moore’s throat, Norma Shearer’s shoul- ders, and Jean Harlow’s bust. Now she adds the waistline, hips and abdominal sculpture for the hypothetical ideally - formed woman. Says Sylvia ELL, I certainly started something last month when I began to seta standard of beauty by picking out the perfect bodily features of the stars and telling you how to perfect yourselves. Tm practically snowed under with letters from all my girl friends outside the profession. You’re all asking me, ‘‘ Who has per- fect arms? Who has perfect legs, feet, hips, etc:, etce:im Listen, babies, just be patient. Give me time to catch my breath—a good deep breath. I'll get around to it. And in the meantime remember to im- prove yourselves from day to day, little by little, until you’re completely satisfied. One letter gave me a real thrill. It said, ‘‘Ever since I’ve been reading your articles, Sylvia (and I’ve read every word you’ve ever written), I’ve wanted to know what your ideals are. Now you’ve told | me. But tell me more. It gives me an inspiration.” And let me tell you, letters like that give me an inspiration. So this month I’m going to

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pick the stars who have the most beautiful waistline, hips and abdominal sculpture. Take them as your basis of perfection and then do what I tell you so you can be perfect, too. Are you ready? Then here they are: HE perfect waistline? You guessed it—little Jean Parker’s. | Yes, I know she’s young, but that doesn’t make any differ- _ ence. I’ve seen girls in their teens whose waistlines looked swell _ when they had on their clothes—but put them in bathing suits | —and good heavens! what sights they look! Some with their _ rolls of fat and others with their scrawny waistlines. Yes, I said | scrawny. The waistline is one of the parts of the body that | needs a little covering of flesh. No, I don’t mean a spare tire - and I don’t mean flabby muscles. I mean a covering of nice firm flesh. And that goes for you older girls. I know you'll squawk and say, “I had a nice waistline at seventeen, too.” Well take it from me, waistlines can begin at forty. So get busy. Look at Jean Parker. She has a perfectly proportioned body. | T’ll admit, and her waistline inclines on the long side, which is _ right. Another thing that adds to the beauty of it is that | lovely flatness at the back and that grand length between her | bust and waist. And when Jean Parker puts on a girdle she | hasn’t got a jelly-roll of fat pushing up over it. ' JT remember how thrilled my mother was because she had a seventeen-inch waist. But how did she get it? By hooking her | corset strings around the bed-post and walking away from it. | So what happened to the flesh that was rightly at the waistline? | You’ve guessed it. The flesh rolled out of the top and below the bottom of her corset. Isn’t it grand that we’re so much more / sensible now? Yet even today we do things to ourselves— | wrong things—that spoil the natural symmetry of the body. _ §$o if your waistline is too long or too short, conceal it by | wearing clothes with correct lines. Your mirror can tell you | what you need to know about that. Also remember to make your bust firm with exercise and wear a good brassiére so that | your bust and your waistline won’t roll into each other. That’s Sylvia if you have any questions about health or bodily beauty, write to Sylvia. See her answers, page 98 i) ‘ | | | Connie Bennett used to be Sylvia’s perfect hip model. But no more! Bones should not protrude sharply i ; i Joan Crawford’s abdominal sculpture is something for you to strive for. She is flat in front. And that’s essential to beauty very important. And then you’ve got to make the muscles in your back firm and flat. Here’s how. Place your feet about six inches apart, with the toes straight out in front. Don’t move your feet. Don’t bend your knees. Arms above your head. Twist and bend your body until your finger-tips touch the floor as far out as you can reach and slightly to the right. Do you feel the waistline muscles pulling, particularly that one at the back? Repeat on the left side. Start by doing this ten times a day and work up to twenty. [PLEASE TURN TO PAGE 98 ] tal

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Select Your Pietures and You Woe Xe THE PAINTED VEIL—M-G-M ARBO is Garbo—forever. And lighted by her magic presence this Somerset Maugham story is distinguished and powerful on the screen. She has seldom been more real or compelling than in the tragic role of the girl who goes with her doctor husband (Herbert Marshall) to China, there realizes a consuming passion for another (George Brent), suffers the heartbreak of his disappointment, and then dis- covers a love greater than passion for her husband amid a cholera epidemic. Director Richard Boleslawski has cap- tured a tremendous movement and tense realism in his climactic scenes, but in others a vagueness hampers the film’s meaning. Marshall is as polished as usual. Brent plays his scenes convincingly and with warmth. Jean Hersholt, For- rester Harvey and Cecilia Parker distinctive in small roles. ie THE WHITE PARADE—Fox LESSED with fine acting and superb direction, here is a picture you'll long remember. Against a hospital back- ground which is at all times genuine and human are por- trayed the good times, the bad times, the dreams and ideals of a group of girls in nurses training. Loretta Young, giving the best performance in her career, stands out in the group. A Cinderella love story threads through the picture, with John Boles, wealthy play-boy, as the Prince Charming and Miss Young his desired. Jane Darwell, as the soft-hearted head nurse who must be stern, is outstanding. The entire supporting cast, particularly Sara Haden, Muriel Kirkland and Dorothy Wilson, is excellent. It’s a beautiful, a heart-stirring picture which keeps you trembling between tears and laughter. is 72 The Shadow Stag (REG. U.S. PAT, OFF.) A Review of the New Pictures Sie KID MILLIONS—Samuel Goldwyn-United Artists ERE is a hit and a long run picture—a Cantor extrava- ganza complete with hilarious situations, gorgeous settings, catchy tunes and a grand cast. Eddie, a poor and homeless lad, learns he has inherited from his father a treasure worth millions which he must go to Egypt to collect. Sailing on the same boat are torch singer Ethel Merman, posing as his long-lost mother; her thug boy-friend, Warren Hymer, pretending to be his Uncle Louie; and Berton Churchill, unscrupulous Southern gentle- man, all planning to cheat Eddie out of the fortune. The attempts to bump him off on shipboard are hilariously un- successful. Once in Egypt things happen fast and funny. Eddie’s scenes with Sheikess Eve Sully are side-splitting. Eventually Eddie (now Eddie Bey) escapes with the treasure, and returns home keeping his promise to all the poor children in the neighborhood to build them an ice cream factory. The final sequence, with the youngsters making merry in the ice cream plant, is in Technicolor, and you’ve never seen anything lovelier on the screen. It’s truly an inspired wind-up. The love songs in the picture are sung by Ann Sothern and George Murphy, as sweet-singing a twosome as you’ve ever heard. ‘‘Kid Millions” is an earful and an eyeful, and you'll be humming the tunes and repeating the gags for days.

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Have to Complain About the Bad Ones The Best Pictures of the Month KID MILLIONS THE PAINTED VEIL GREAT EXPECTATIONS | EVELYN PRENTICE THE CAPTAIN HATES THE SEA | The Best Performances of the Month Greta Garbo in “The Painted Veil” Eddie Cantor in “Kid Millions” Myrna Loy in “Broadway Bill” Loretta Young in “The White “Parade” Jane Darwell in “The White Parade” Myrna Loy in ‘Evelyn Prentice” William Powell in “Evelyn Prentice’ Florence Reed in “Great Expectations” Jack Gilbert in ‘The Captain Hates the Sea” Victor McLaglen in ‘“The Captain Hates the Sea” Warner Baxter in “Hell in the Heavens’ Joe Penner in “College Rhythm’ Casts of all photoplays reviewed will be found on page 122 yy BROADWAY BILL—Columbia OTTED with unforgettable moments, this is a grand picture. The story is of Warner Baxter, who breaks away from the dull task of making paper boxes under the dom- ineering fingers of his wife, Helen Vinson, and her father, | Walter Connolly, and stakes his future on a gallant race horse, Broadway Bill. Everything, except Myrna Loy, seems to plot against his | winning—living in a ramshackle stable, unable to raise money for the entrance fee, Broadway Bill catching cold during an endless rain storm, a crooked jockey. When the race is finally run, for sheer, unbearable ex- citement it should end all horse races on the screen. Nothing so tremendous could ever be repeated. The story leads up beautifully to such a dizzy height of emotional relief that you will rise and cheer furiously at that wonderful horse, Broadway Bill. Director Frank Capra executes a miracle of timing and direction, and the entire cast has lifted the picture to dramatic excellence. Myrna Loy’s performance is distinctly memorable. And Clarence Muse, Raymond Walburn and Harry Todd are __ stand-outs. Baxter’s work is extraordinarily effective. Those who love horses will be particularly enthralled with _ this movie. It is a Capra picture, and a racing picture, and __ a good picture. BROADWAY BILL THE WHITE PARADE MUSIC IN THE AIR COLLEGE RHYTHM FLIRTATION WALK Sv GREAT EXPECTATIONS—Universal HERE has Dickens been all this time? Or possibly, where have the studios been? Here is superb movie material. This is the story of the orphan boy, Pip, (admirably played as a child by George Breakston, later by Phillips Holmes), and his love for Estella (Jane Wyatt), adopted daughter of the eccentric Miss Havisham (Florence Reed) who took the orphan boy into her weird home. The story unfolds with interest and mystery, and is clearly delineated on the screen. Florence Reed gives an outstanding performance, as does Henry Hull. Alan Hale, Rafaela Ottiano, Francis L. Sullivan and the rest of the large cast are more than equal to their réles, and the result is a fine and worthwhile production. Sho. MUSIC IN THE AIR—Fox N THIS charming musical, gay with laughter and rich with song, Gloria Swanson returns to the screen. Witha fine sense of comedy she portrays Frieda, tempestuous opera star in love with her leading man, Bruno (John Boles). Miss Swanson’s voice may not be adequate as a foil for that of Boles. But their scenes together—their violent quarrels and ecstatic reconciliations—are so amusing and spontaneous that this possible fault is offset. Charming, too, are the bewildered Bavarian villagers, Karl (Douglass Montgomery) and his sweetheart, Sieglinde (June Lang) and her father, Dr. Lessing (Al Shean), who have come to Munich to hear Frieda sing. Altogether it’s a delightful adaptation of the operetta, with Jerome Kern’s fine score given its full value.

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The National Guide Ww EVELYN PRENTICE— M-G-M HAT ace of teams, William Powell and Myrna Loy, score another hit! In deeply human roles they bring a rare sense of reality to the characters: Myrna as the wife who thinks she has murdered a man, Powell as Myrna’s lawyer husband hired to defend Isabel Jewell who is accused of the murder. Miss Jewell makes cinema history in a short courtroom scene. Una Merkel and Harvey Stephens give grand support. W THE CAPTAIN HATES THE SEA— Columbia OR the grandest trip of your life board the ship commanded by Walter Connolly, a Captain who really hates the sea. On board you’ll meet John Gilbert, tippling reporter, Victor McLaglen, detective, Tala Birell at her most gorgeous, and a whole boat load of favorites. The story sails smoothly, with bright dialogue, good comedy, and strong direction by Lewis Milestone. A man’s picture no woman will want to miss. THE FIREBIRD— Warners HIS exquisitely wrought picture is proof that the movies have grown up. The story is of Ricardo Cortez, an actor who tries to ensnare Verree Teasdale, wife of Lionel Atwill, into a love trap. Verree spurns him, but her young daughter, Anita Louise, is caught in the web, when Cortez is killed. Here is splendid adult screen entertainment, magnificently acted. Anita Louise gives an outstanding performance. 74 to Motion Pictures (REG. U.S. PAT OFF.) ne COLLEGE RHYTHM— Paramount Ce ready with a sis boom rah for another bright and tune- ful collegiate musical with football star Jack Oakie steal-| ing girl friend Mary Brian from Lanny Ross, and Joe Penner adding gales of laughter. A wow is Joe, and no mistake!) The music is catchy, the comedy hilarious, and the climax hysterical with the nuttiest football game ever played. Helen Mack, Lyda Roberti, George Barbier, help greatly. FLIRTATION | WALK— First National pee colorful background of West Point, the double barrellec charm of Dick Powell and Ruby Keeler, and the sensitive human directorial touch of Frank Borzage make this a granc parade of entertainment. Pat O’Brien plays the tough. knuckled, sentimental sergeant to perfection. Ross Alexandei scores as Dick’s pal. Bring the whole family—and perhaps handkerchief for the final scenes. KENTUCKY | KERNELS— | RKO-Radio [=e your superiority complex at home and indulge 1) unrestrained mirth at the most absurd antics of Wheel and Woolsey. As custodians of a young heir, Spanky McFa 7 land—who is alone worth the price of admission—they go dow to Kentucky and get mixed up in a feud, with moonshine an roses and phony Southern accents. Mary Carlisle and Noa Beery add to the merriment. You'll have a good time. | i

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meres Your Pictur THE ST. LOUIS KID— Warners STORY as fast, breezy and active as James Cagney him- self puts this one well out in front. Jimmy, a peppery truck driver, talks up a milk strike in a country town and then, with his buddy, Allen Jenkins, has to run the gauntlet of en- raged farmers with a milk-laden truck. You should see Jimmy sock ’em with his head. Romantic prize is Patricia Ellis. Definitely prescribed for Cagney admirers. GENTLEMEN ARE BORN— First National RANCHOT TONE gives his most able performance to date in this modern story of four pals just out of college, strug- gling to place themselves in their professions. Nick Foran, as Smudge is good, and the other major parts, played by Jean Muir, Ross Alexander, Margaret Lindsay, Ann Dvorak and Robert Light, are convincing. In spite of its trend of hope- lessness, you’ll enjoy this picture, for it is real. ANNE OF GREEN GABLES— RKO- Radio FAITHFUL and sympathetic screen adaptation of the novel makes this an enjoyable picture, suitable for the whole family. The cast is good, with Anne Shirley in the title réle of the orphan adopted by kindly Matthew Cuthbert ' (O. P. Heggie) and his sister Mari/la (Helen Westley). Tom Brown, Sara Haden, Hilda Vaughn, are all excellently cast. Well directed. Romance, humor, and pathos well balanced. en. hime ariel) oemiaesy HELL IN THE HEAVENS— Fox OOD acting, and a plot that is different make this a picture of merit. It’s the story of a French air unit, quartered near the German lines. Warner Baxter, as an American aviator, tops an excellent cast which includes Russell Hardie, Ralph Morgan, Andy Devine and Herbert Mundin. Conchita Montenegro is the only feminine influence in this very mas- culine picture which can’t fail to grip your interest. LITTLE FRIEND— Gaumont- British DD this one to the list of British productions that are making American producers look to their laurels. Simply and convincingly told, it’s the tragic story of a child whose happiness and security at home is suddenly shattered by her parents’ divorce and subsequent court actions for her custody. Nova Pilbeam, English child star of the picture, gives a beauti- ful performance. MAN OF ARAN— Gaumont- British et ; £ Y ee e A SSRN AGNIFICENT in its beauty, here is a saga of the fisher- folk who live on the rocky Aran Islands, off the coast of Ireland. The film has no plot. Its purpose is to tell the story of people who must battle with the sea for a bare existence. One can easily understand why this picture received the Mus- solini cup as the most beautiful film of the year. [ ADDITIONAL REVIEWS ON PAGE 120] =~ Nn

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oe ELLO, Jimmy, y) how are you?” Ask him that question, and Mr. Savo will answer, ‘“‘Oh, I can’t kick, I have a sore foot.” Or, “Just like*a ‘stove— grate!” Or, ‘Like a bundle of wood. I’m all broken up.” @ Then he’ll smile ingratiatingly and say, ‘I'll bet you won't like me any more—after that last one!” But you will. All Broadway has, for the past | twenty years. And Jimmy Savo has been making terrible puns and groan-provoking jokes since he first learned to talk. He takes off his hat, looks at it a moment, and comments, ‘“‘I like to wear a derby. They seem musical to me. On account of the band, I guess. And I wear a fur coat and a palm beach suit most of the time, too. Then, no matter what the weather is, I’m always comfortable. By the way, do you know who wears the biggest hat in the world? Give up? The man with the biggest head!” a a At this point : By Mildred Mastin Charlie MacArthur groans and says, “That’s the sort of thing Hecht and I were afraid of when we asked Jimmy to play the lead in our picture, ‘Once in a Blue Moon.’ And we have the guy under con- tract, too!” “Aw, that’s all right, Charlie.’’ Jimmy pats his director on the shoulder. “Cheer up! I'll sing you a little song entitled, ‘Don’t Throw Spinach At Me; There’s Iron In It!’ Oh, you’ve heard that one? You don’t likeit? Well, then, Charlie, how about the little ditty, ‘She Used To Be A School-teacher, But She Lost Introducing Jimmy Savo, the . King of Clowns! But don’t say a word. If you do, he’s sure to make a stooge of you, too Her Class.’ No? Very unmusical man, Mr. MacArthur. Come on out, Charlie, ll buy you a drink.” At the bar Jimmy orders cheer- fully, ‘“‘Give me a bird cocktail. You don’t know what it is? Why, a couple of swallows.” Or, “I’d like a Scotch drink—a glass of water with a nickel in it.” During this, Mr. Mac- Arthur is standing at the Here’s Savo, telling his horse a joke about nightmares. A patient beast, horsie usually starts kicking after the third or fourth pun by Jimmy “Hello, there, how are you?”? Don’t ask Savo the same ques- tion unless you’re quite willing to be a stooge for the little comedian

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other end of the bar, pretending he isn’t with ‘Mr. Savo, trying not to listen. _ “Have anything you want, Charlie,” Jimmy yells at him. ‘“Any- thing but champagne. I can’t bear to hear a champagne bottle opened. Makes me homesick. I think of pop.” There’s still no response, no recogni- tion, from Mr. MacArthur. So Jimmy explains smilingly, ‘‘Charlie doesn’t like jokes like that. He’s an ex-reporter, you know. Appreciates old riddles like what’s black and white and red all over? Don’t guess. The answer is, a newspaper. _ “MacArthur threw a bottle at me — yes, an empty one—the day I asked him what gives more milk than a cow. The answer, of course, is two cows. Made aim sore, too, when I told him I saw fifteen men all under one umbrella and none of them got wet. Charlie said, ‘It nust have been a big umbrella.’ ‘No,’ explained, ‘it wasn’t raining.’ Made aim mad. I guess he’s jealous. Waiter, “ive Mr. MacArthur another drink.” i Jimmy tells the dove what a bird cocktail is. And his feathered friend’s answer is “Cheap, cheap” On the set of ‘‘Once in a Blue Moon,” Mr. Savo has just asked Edwina Arm- strong a question. She’ll be his stooge soon But MacArthur’s silent disapproval doesn’t worry Mr. Savo. For, when Charlie doesn’t laugh he is dis- tinctly in the minority. Everybody else laughs at a Savo joke. Maybe you heard it before. Maybe it is a terrible pun. But with a comical Savoesque gesture, it’s screamingly funny. And Jimmy, known as the king of pantomim- ing comedians on Broadway for many years, can throw a theaterful of people into paroxysms of laughter simply by counting to ten! Strangely enough, Savo didn’t know he was funny until he had been enter- taining audiences for a long time. Like W. C. Fields, he began his theatrical career as a juggler, not a comedian. The juggling started when, at the age of eight, he and his brother watched a man on a New York street corner juggling lighted torches. Using small stones, Jimmy tried to copy the trick and soon perfected it. For the amusement of the youngsters in the block he performed, [ PLEASE TURN TO PAGE 108 | Mh

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A\ Starred Christmas itt Premiere Hrom Hollywood AROLYN VAN WYCK has turned detective and for the last few weeks has snooped around Hollywood and New York like nobody’s business, in an effort to forecast what the stars will be giving for Christmas this year, for the benefit of you, my readers. My explorations were full of adventure. Around a corner might come Norma Shearer, glowing like an Autumn leaf, trim and chic in the smartly tailored street clothes she affects, her eyes twinkling merrily about a mysterious armful of packages. Or Marlene Dietrich, her blue eyes and golden hair like sunbeams, lifting those : : Joan Bennett has chosen a very new perfume for a strange brows slightly when questioned. Or any of those hundreds gift. It is a luxurious fragrance, of South Sea island of lovely players that make Hollywood the center of the world’s inspiration, in a flacon of clouded glass with black and gold lacquer-like cover beauty and charm, some of whom we corraled straight to the studio to pose for you. But to one of my young pets, Rochelle Hudson, should go the biggest of Christmas trees, the fullest of stockings and the nicest of gifts, because Rochelle took time and patience to have a tree decorated as she thinks one should be, to have packages wrapped and tied to make them look appealing and enchanting as all gifts should look, whether they happen to contain the rarest of A choice in compacts by Glenda Farrell. In left hand is a modern, color- ful affair holding lip- stick, powder and rouge. In right is an enameled squarish design, richly colored, double, with loose powder and rouge. Grand gift ideas Rochelle Hudson is wide- eyed in anticipation of that Christmas package. If the contents are as grand asthe wrappings, Rochelle, all will be very, very merry. Make your remembrances look gay and gifty with holiday pa- pers and ribbons and amusing tags 78

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| your evening bag. | A gift gadget that many a | girl will welcome for her | bag is a purse perfume case in platinum tone with red and black accents. Protects and prevents spillage, and comes filled in any of ten favorite fra- grances. Judith Allen suggests this gift Complete treatment and make-up kits fill your stockings with delight. Evelyn Venable, appear- ing in “Mrs. Wiggs of the Cabbage Patch, is en- thusiastic about this com- pact arrangement contain- ing everything that makes you well groomed and beautiful ae Dolores Del Rio exhibits one of the newest Holly- | wood and Paris fashions, mirror accessories for Here is a lustrous compact of inlaid mirrors with down puff MIOLOPEAY S HOLLYWOOD mee) Y SHOP All the beauty tricks of all the stars brought to you each month Conducted By Carolyn Van Wyck perfumes or a practical little thought like hair pins designed for your special needs and the color of your hair. So take a lesson from Rochelle, and invest in gay papers, ribbons and cards to make your thought look like a gift, not a mere package. The sentiment on your cards is important, because, with a little care on your part, you can hand the recipient a laugh as well as a gift. And a happy laugh is always a true gift. The stars like to give beauty—gifts that are beautiful in them- selves and that will make you more beautiful. Perhaps this ten- dency is largely due to the fact that these girls have learned the value of beauty or what passes for beauty. The compact, for example, which adds thrill and color to your street or evening bag. Perfumes, whose inspirational value can never be over-estimated. Irene Dunne will frankly tell you that the scent of perfume once saved her from a bad attack of stage fright. Powders, treatment and make-up kits, bath accessories, the list goes on. So for every girl confronted with a gift problem, I think I may safely advise, give beauty. It is lasting, inspiring, beautiful.

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HOLIDAY SrOrPING WITH BENITA HUME AROUND NEW YORK : Fur toques are a new target for your favorite ; perfume. It lingers appealingly on fur. Benita = is spraying hers with a fragrance reminiscent . of Paris, from a smart atomizer HEN Benita Hume finished “The Private Life of Don Juan,” she began a vacation, stopping in New York to look over | the shops. From a shopping expedition she came straight to the studio to show you some of the things she had bought. You can see After Benita Hume com- that Benita has a penchant for perfume. I'll | pleted ‘The Private Life ii <5 ileal : . ErDenUtaalunieneimed tell you all about her gifts, names, prices, Ker onashoppinattolr details, if you'll write to me, or any of the | One of her purchases other ideas shown in these pages. was a flacon of pine Benita, in my opinion, is one of the most bath essence, in a pine- beautiful players. Her gray ribbed wool frock needle green bottle : : ; : rescedniomevithmeala and gray astrakhan toque, with ruby-like clip, | banding and seal. Di- were perfect backgrounds for her rich brown vinely exhilarating in hair and velvety brown eyes. } - your bath All of my pictures seem to fill the bill for the | ladies of our families and acquaintance, young | and not so young, but we’ve neglected the t men and the very young generation. { ‘ aa: é One of this season’s offerings is a very new becoeomana 8% i ee perfume for men. Don’t be too surprised. It is not the alluring, charming essence which we like to waft as we walk, dance or sit. Instead, it is essentially masculine and refreshing, denoting just that note of immaculacy and | thought that we like in our sweethearts, hus- | bands and friends. I think most men will be pleased to find that world-famous chemists have at last concocted for them an essence that is appropriate, masculine and in perfect | taste. If you have little sisters or nieces running | about, my best suggestion for them is a small manicure kit. You can buy good ones from | fifty cents up, and I suggest this for an im- | box in sky-scraper pattern portant reason. — The very sophistication and looks very sophisticated and : Ss grown-upness will please immensely, but the | charmingly amusing point is that it is the best means in the world) Spraying your fabric gloves with perfume is another of Benita’s ideas. A fragrance to titivate the imagination is enclosed in that inspired flacon studded with crystal sparks. Very elegant A quartette of Parisian per- fumes also snared Benita. A foursome, all of which you will adore. That ultra-smart SO (

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Florence Rice approves of this combination ; that gives you both perfume and atomizing } device in the same package. A romantic concoction that lingers in memory pf overcoming grimy and nail-biting habits. (The manicure kit is a perfect idea for the srown-up, too. Even if you go in for profes- ‘ional manicures, the kit is necessary and will lo worlds of good between manicures. | The basic treatment boxes are always wel- lome. Creams and lotions should work to- ether, and it is wiser to use especially face ‘reams and lotions by the same maker. sesides, the kit idea often introduces you to ome grand preparation that ordinarily you night not know about or think that you veeded. | The same is true of make-up combinations. .ouge and lipstick should be in the same tone. | number of manufacturers have worked out erfect tone combinations in these beauty duches. _Who ever has enough bath accessories, powders, eaux de Cologne, bath scenting and pftening preparations? Any or all are grand ‘ft ideas. Most of them come in charming, ay packages especially for the Christmas tason, that add a note of luxury to your pur- hase, no matter how simple. June Clay- forth’s choice is worth a second look. A inning cabinet in white, washable composi- on, accented with red, containing just what very woman would adore, bath essence, eau de vlogne, powder and soap. The cabinet sets | hangs, as you wish. ‘Inever pass up the permanent wave idea at aristmas if you want to go in for a bit more | a gift. Mothers, even grandmothers, espe- uly adore this gift. It is one of those lasting, ‘mforting and beautifying suggestions. Or generous blow to a facial or two or several ‘and manicures has a very uplifting effect. | An attractive and prac- tical make-up ensemble is shown by Ruby Keeler. The idea of make-up in combination is advisable, because it gives you har- monious and related tones. A thought for the girls whose color pref- erence you know or can choose, wisely. They will like twins aeeonre CKINGEUL PORE S aE Ruy AOTCINIGE PLAY ERS For the evening, Kitty Car- lisle, now appearing in “Here Is My Heart,” sug- gests a good-looking com- pact and cigarette case com- bined in black and white. Sophisticated Something to get excited about, thinks June Clay- worth. A bath-room cabi- net holding eau de Co- logne, bath essence, bath powder and soap. White and gay red 1

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Nis mE: Si COLL O Bert Longworth NOTHER starring combination, Paul Muni and Bette Davis. These two Warner luminaries will be seen together for the first time in “Bordertown,” which will be released very soon. You'll easily recall the hilarious performance of Muni in his previous picture, “Hi, Nellie!” Bette’s latest was “Housewife”

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F you had one pala- tial home in the ex- clusive Great Neck , section of Long Island, whose broad ex- panse of lush lawn fronted on the Atlantic. And if you had another in sunny Florida. And if you enjoyed outdoor games by day and bridge by night. And if you hada host of gay, intelligent, congenial friends to enjoy all these things with. And, more to the point, if you had a plump purse to main- tain such an existence, would you be apt to get restless with a desire to do a gruelling piece of work? Noneed to an- swer. I can readily vis- ualize the scoffing snickers the question caused. But, believe it or not, there is such a person. Thomas Meighan. Tom is restless again. Fresh from the success of his ‘‘Peck’s Bad Boy,” he wants to leap right into another screen story with all that stimulating vitality and vigor of his. And what is more, he’s going to do it. You can’t stop him. When he gets an idea, you can’t stop Thomas any more than Thomas can stop that Atlantic tide from ebbing and flowing at the foot of his Great Neck dooryard, or prevent Florida from getting a devastating gale ever so often. Or, let jus say, no more than Tom can help his great smile from warm- ing the deepest cockle in the heart of anyone it is turned on. ‘Meighan’s smile is one of the most potent and captivating ever flashed in this vale. It is a million dollars worth of personality. And the best of it is its sincerity—good honest value in it. However—about the restlessness of Mr. Meighan. His rest- | ‘A Tom Meighan Is Restless | The man with the million | dollar personality smile has an idea. When he has, then step lively, World! By Walter D. Shackleton “The Miracle Man” was probably Thomas Meighan’s greatest film. It still ranks as one of the best pieces of cinematic art ever turned out. But Tom had to organize his own company to produce it. only one who could see its value. In this scene from it are Betty Comp- son, Joseph J. Dowling and Tom Tom Meighan again is in Holly- wood—with another big yarn in his mind. He craves action and he’ll get it! lessness is always directed. It is thoughtful, not hit or miss. No, inidieeds You don’t know your Tom Meighan if you as much as suspect such a thing. Meighan gets restless be- cause he has plans that de- mand action, plans that have come to a keen edge only after studied shaping and sharpening. All right, Mr. Meighan is going to get action. He’llsee to that. Asa matter of fact, as you sit reading this, he will be in Hollywood getting that action. As for his plan, the only thing that may be divulged about it at this time is that it involves the screen characterization of an internationally known figure. And it is a figure that American writers, at least, have right under their respective noses—and have not been able to see. Yet, Thomas Meighan has seen the possibilities for some time. And he’s got his ideas about the screen development set. He’s even got a writer picked out, his close friend Gene Fowler. To Tom’s mind, Fowler is the only writer who can do justice to this character. That, unquestionably, is a great compliment to the ability of Fowler, noted as a [PLEASE TURN TO PAGE 118 ] 83 He was the

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PHOTOPLAY MacaZINE FOR JANuaRY, 1935 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! | ,) { 1

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PHOTOPLAY MAGAZINE FOR JANUARY, 1935 Hollywood’s Beauty Care Fragrant, white Lux Toilet Soap protects the loveliest complexions in the world—and has for years! 9 out of 10 Hollywood stars use it to keep their skin exquisitely soft and smooth. Begin your Lux Toilet Soap beauty care today! Joan Blondel! \ | < STAR OF WARNER BROTHERS’ oo “KANSAS CITY PRINCESS” | use cosmetics of course! But thanks to LuxToilet Soap, |m not a bit afraid of Cosmetic Skin

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‘THE ear-to-the-grounders tell me, that Hal Mohr and Evelyn Venable may have called it off, but they are still lunching together . . . And for your information, Walter Donaldson, brand new hubby of Walda Mansfield, com- posed such tunes as “Blue Heaven” and “Sleepy Head” .. . John Drew Colt is an ace squire to Tallulah Bankhead . . . Merle Oberon, British star, confirms it was just a “trial engagement” between her and Joseph M. Schenck . . . Loretta Young will tell you she and Fred Perry, tennis star, are to wed in London. But he still has an Australian tourney ahead of him . . . The sole memento between Guinn (Big Boy) Williams and Barbara Weeks is an unused marriage license . . . The Herbert Mundins have separated . . . The Chaplin boys call Miss Goddard Aunt Paulette... They say that gorgeous ring Kay Francis is wearing is the gift of that European noble admirer. . . Mrs. LeRoy Prinz, wife of the dance director, told her lawyers that she couldn’t stand it any longer, LeRoy coming home with saber cuts.all over him from duelling . . . It lasted just two months with Onslow Stevens and Phyllis Cooper . . . Ona Munson has been giving par- ties for Ernst Lubitsch . . . So, Helen Kane, after all those denials, is going to divorce Max Hoffman . . . That was an elopement of elope- ments, that of Barbara Fritchie and wealthy J. Ross Clark, 2nd—all the way across the con- tinent . . . Will Morgan is silent when Esther Ralston says no wedding bells for her. .. Kath- leen Burke, “The Panther Woman,” and her Chicago photographer husband, Glen Rar- din, have gone their ways... Are the Conrad Nagels to get together again? . . . The Ginger Rogers-Lew Ayres wedding has probably taken place as you read this . . . Eddie Buzzell, another groom of two months, and Sara Clarke already have a divorce ...’Tis said the Jimmy Durantes have separated, too . . . Joan Marsh has switched to Monroe Owsley .. . And the Roscoe Ateses have split . .. Glenda Farrell and Cal York Announcing the Monthly Robert Riskin are now “friends”. . . The tes- timony in that suit was that Ed Wynn had hired a woman bodyguard to protect him from his wife .. . Mervyn LeRoy and Doris Warner are nearing that event wherein they will choose pink or blue. Ma4Y ROBSON says the tinted toe-nails, dyed hair business is old stuff—not at all the extremes of the present generation. Forty years ago, May says, she startled Broadway by wearing a green wig to match a gown of that color. You can look for a new experience when “The Little Minister” is released. Katha- rine Hepburn is going to sing. IY, Gee WEST made a good speech at the Emanuel Cohen party. Among other things, she remarked that the jokes in her pictures didn’t need censoring half so much as some of the jokes that are in circulation about Mae herself. ERE’S a new one, discovered by Neil Hamilton. If you are a canary fancier, try sprinkling paprika on your bird’s diet. His plumage will turn to a lovely red-gold, about the color of Marlene Dietrich’s hair. That is, if you want your canary to look like Marlene. EWEST romance—Mary Carlisle is listen- ing seriously to young James Blakeley, from the Broadway stage. Blakeley is the son of Mrs. Grace Hyde, of Park Avenue, New York, and once was engaged to Barbara Hut- ton, five-and-ten heiress, now Princess Mdivani. Youthful producer and director, Howard Hughes, is taking an important part in Patricia Ellis’ entertainment these days. the Trocadero. Here they are dining at Toby Wing is another young player who has been seen with Mr. Hughes 8&6 UT on the Warner lot a two-hundred pound bruiser sits on a sound stage and ties peach blossoms on a tree limb for Dick Powell and Gloria Stuart to sing beneath. Don’t make the mistake, however, of saying, “Whoops, my deah,” in his direction. One electrician still has a black eye to. show for it. AUREEN O’SULLIVAN, who will marry John Farrow next Winter, will never forget her recent trip to her home in Ireland. So over- come were the natives with Maureen’s visit, they refused to let her drive anywhere. Instead, they insisted on pushing her car from street to street. But the height of their enthusiasm was reached when Maureen was awakened every morning by a bagpipe serenade under her window! "THE clothes closets and dressing-room cup- boards in Adolphe Menjou’s new house have the town abuzz. His seventy-five suits are in cellophane wrappers so that Adolphe may select one with- out removing the covers. And, for the same reason, the drawers are of glass. But what has Hollywood completely stumped is one large glass drawer which contains, in sol- itary repose, an Alpine hat. REDIT Gloria Stuart with this one —but some how or other we doubt whether her argument had as much effect on the officer as her pulchri- tude. Gloria was parked in a taboo zone on Wilshire Boulevard, Holly- wood. A motorcycle policeman came up and demanded her driver’s license. “Why?” said Gloria. “I’m not driv- ing. I’m sitting.” Whereupon the cop was much con- fused and said he guessed she was right. ‘THE Chamber of Commerce of Southern California is seriously considering making Sir Guy Standing chief good news spreader about the land of sunshine and flowers. When the doughty knight—on location with “Lives of A Bengal Lancer’—was bitten by the dangerous “black widow” spider and was out of the cast for two weeks, he made a special plea to the Paramount publicity department. “Don’t put anything about this in the papers,” requested Sir Guy, “it might keep some people from coming to California.” “THE LITTLE MINISTER” riot that was staged between the soldiery and the towns- people in that picture ended in several unan- ticipated casualties. In the melée, Reginald Denny’s white horse reared, causing an extra armed with a pike to leap, his pike butting John Beal in the eye. Katharine Hepburn was so excited she fell off the make-believe cliff on which she was perched and sprained her ankle. So the company is temporarily laid up for repairs. So you won’t talk, huh?” Charlie Chaplin says he’ll still remain silent in his next picture.

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Broadcast of Hollywood Goings-On! VW C. FIELDS was being * bored by anactor who insisted on pouring his life story into the ears of the Paramount comic. “__And then I ran for forty weeks on Broadway,’’ went on the actor. “Tt’s a pity they didn’t catch up with you,” Fields replied. RCHIE MAYO, the,rotund director who has megaphoned many of your favorite pic- tures, went down to San Pedro to a wrestling match. On the way to the stadium, he was stopped by a stranger who accused, “Just because you’ve shaved off your beard, you needn’t think I don’t know you! You’re ‘Man Mountain’ Dean” (pet wrestler in the movie ' colony). Be GARGAN arrives home to tell us that he had a hard time remembering he was in London. Going into the Savoy for dinner was just like entering the Brown Derby, there were | so many Hollywood actors and directors | around. For instance, in one evening there , were the Charlie Farrells, the Clarence Browns, | Laura LaPlante and Irving Ascher (her new husband), Ralph Ince, the Leslie Howards—to mention only a few. ATIENTLY sitting about in absolute silence Waiting for a baby to doze off in a certain ' scene for the picture, ‘‘Wicked Woman,” the entire cast grew drowsy. And when, an hour )later, the baby finally dozed off, Mady Christ- lians, Betty Furness and Charles Bickford had | to be wakened in order to shoot the scene. f | } Bc CROSBY’S records, long a favorite with Joan Crawford, have been replaced on ‘the Crawford phonograph. A new singer has ‘taken his place—Joan herself. | Joan has gone into the record making ‘business with a vim. And those who have heard the Crawford ‘records declare them very good, indeed. pee EMBER all the old mollycoddle jokes ~*about ping pong? _ Well, Hollywood has been playing it for years, its devotees numbering many of the most he-man stars. But the final masculine touch came when Max Baer bounded into the Paramount gymnasium, spied a ping pong table and reached for a paddle. “This is the game,” said Max. ‘It helps my timing.” comes on the set where Jack Oakie is working, Oakie hails him | thusly: “Hello, Bobby—oh, I’m | sorry, you’re Jackie Searl, the great child actor, aren’t you?”’ Which burns Mr. Coogan very severely. | VV HENEVER Jackie Coogan | (\THEY’VE had fan dancers of every variety *- —but it remained for Rudy Vallee to fea- lure a number with twelve two-hundred pound potball players as fan dancers! ii EN that battery of twenty one-thou- { sand-watt lights exploded, Marlene Diet- ch, Josef Von Sternberg, and Marlene’s ‘usband, Rudolf Sieber, came through the nower of hot glass unscathed. But two ‘ctras weren’t so fortunate. 1 ii NNA STEN wandered around the World’s Fair in Chicago for two weeks—without once being recognized. This is not so remark- able as when she returned to Hollywood. She ical was used. And it went right through Bob’s gown and burned him! “An antidote, get an antidote!” yelled Bob, leaping about the set like a mad hen. A hurried phone call brought no results, the formula was a secret one, and they refused to divulge the contents. Bob had to suppress his howls and finish his scene before he could be rushed off to the first aid station. Two young English players who have made splendid progress in Hollywood are Frank Lawton and Elizabeth Allan. Both are working in M-G-M’s important screen version of Dickens’ ‘‘David Copperfield” was met at the train by her husband, Dr. Frenke, who brought along the entire Sten- Frenke ménage—and still nobody recognized her! O one can say Leo Carrillo isn’t a thought- ful man. He has installed a row of large hooks along the edge of his bar. You are given an aviator’s life belt to put on, and hook your- self up to the bar. Clever, these Spaniards. HE M-G-M wardrobe went into a dither when an order arrived for a negligee—for Bob Montgomery! He wears one in a comedy sequence with Joan Crawford in “ Forsaking All Others.” And they couldn’t find one around the place that Bob could get into. Not many ladies are built like Bob. FoR a comedy scene in a Warner musical, it was necessary to splinter a violin on the head of Allen Jenkins. Nine times the scene was taken, but a tenth was found necessary. A prop boy handed over another violin. As it was raised over Jenkins’ head, the anguished cry of “Stop! Stop! It’s my violin!” came. The boy, by mistake, had picked up an orchestra play- er’s fiddle, valued at three thousand dollars! RCBERE MONTGOMERY wore a lady’s dressing gown for a scene in “ Forsaking All Others.” It was supposed to catch fire. To create smoke without flames, a certain chem- "THE story is around about the little extra who enjoys her gold digging. She calls her latest ‘The new buy friend.” ALLACE BEERY’S new plane is his fifth in seven years. It only goes two hundred and forty miles an hour! ARY COOPER’S method to aid charity is novel to say the least. Gary has installed a coin box on his front door. And it takes a dime before you can make his front doorbell ring. O you get confused in the spelling of movie names? Well, here are some rules then. It’s Alan Mowbray and Alan Dinehart, but Allen Jenkins. Rosco Ates, but Roscoe Karns. Katharine Hepburn, but Katherine DeMille, and Kathryn Carver. Adolph Zukor, but Adolphe Menjou. Merian Cooper, but Marion Dix. Mae West and Mae Clarke, but May Robson. Bette Davis, but Betty Compson. Aileen Pringle, but Eileen Percy, Aline MacMahon, and Arline Judge. Hugh Herbert is a comedian, but F. Hugh Herbert is a writer. Cary Grant, but Gary Cooper. Gilda Gray, but Zane Grey. Francis Lederer, but Frances Dee. Harry Joe Brown is a director, but Joe E. Brown is a comedian. 87

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Making a Man’s Picture the company. There, at last, lay the promise of a man’s world for ten days. A chance for his cast to lead real ‘Lives of a Bengal Lancer.” Riding and roughing, and hot sun and harsh winds and (this would appeal to the primitive instincts of Messrs. Cooper, Tone, Standing, et al.) hunting! Women, wives, sweethearts? Tush—in the thrill of the chase, they’d forget all about ’em! So they left Malibu Lake for Lone Pine— all these rough and hardy, keen-eyed Nimrods. Gary, with his two big African game rifles, well oiled. Franchot, proudly bearing a com- plete hunting outfit and a very super-special [ CON1INUED FROM PAGE 35 } timidated by miles of mountain roads, find lodging? Gallantly Sir Guy moved out of his room with Gary—and there were bunk replacements and crowding of quarters all down the line—clear to the cook’s quarters. “T thought Gary might be lonesome,” said Mrs. Cooper. Mr. Hathaway waved a white flag and admitted defeat. And that’s how Sandra, by force of circum- stance, was made an unofficial member of the Bengal Lancers—“ But don’t you mind me,” she admonished Gary, ‘‘you go right on with your hunting plans with Franchot.” Barbara Kent, are at last in Europe. After waiting two years for a honeymoon, Harry Edington and his wife, Harry is Greta Garbo’s agent, and is planning a real screen future for the talented Barbara 30-30 rifle, on which he had recklessly blown the weekly pay check. Sir Guy laden with a new set of flies. Now, Lone Pine is not one of the elaborate hotel centers, and stars’ quarters, on trips like this, are not always done up in modern finery. Gary bunked with Sir Guy; Franchot with Dick Cromwell, and so on down the list. Every available bed, cot and hammock in the little town was accounted for—not a spot to spare. And then, just as everyone was shoe-horned into his quarters, an automobile horn tootled without and a prop boy came running into Gary’s room— “Mrs. Cooper’s outside,” he announced. Director Hathaway fainted. And, well—you can imagine the havoc. Where could the undefeatable Sandra, unin- && “We'll go tonight,” said Gary, “at two A.M.” “Right,” said Franchot. “Stout fellow!” Now the details of that hunting expedition remain a little vague. But this much is known: That Gary and Franchot set out at two o’clock in the still of the morning, and returned to Lone Pine at about five-thirty A.M., with scuffed boots and weary legs, but with nary a buck—nor even jack-rabbit for that matter. They got all of one hour’s sleep before a bugle blasted down the hotel halls to shatter their dreams, and they were very, very tired lancers when that first day’s fight with the Khyber Pass Afridi tribesmen was over and Director Hathaway signaled ‘‘cut.” “From now on,” wisely decreed Nimrods Cooper and Tone, “our hunting will take place within easy walking distance of our bunks.” So they shot at tin cans and bottles discarded from the rolling kitchen, and deposited about the nearby crags and peaks by “Cracker” Henderson, Gary’s faithful retainer. Of course, Gary almost had a real buffalo to © add to his collection as a souvenir of the “ Ben- gal Lancers” safari. He and Hathaway, seek- ing good location sites, came upon a herd of fourteen American bison roaming a valley. What’s more, they’re still there, because neither Gary nor anyone else had the heart to shoot! Nor was Gary the only one with a soft heart in camp. There was Serevan Singh, who had been a fortune teller on the Strand in Long Beach, near Hollywood. He heard that Para- mount wanted Hindus, and being a high-caste Hindu himself, journeyed to Hollywood. | Serevan was asked to leave his telephone number at the casting office, so the story goes. “No phone number,” said the Hindu. “Just think of me, and I'll report for work.” Later, Hathaway and his assistant director decided they would need several Hindus in the next day’s shooting. Jokingly, Hathaway said, “Come on, you Serevan! Come elerevan— tomorrow morning.” And the next morning at eleven o’clock sharp, Serevan Singh was on hand! “T heard you call me last night,” he said simply. Gary and Franhcot and Sir Guy and Monte and all the gang heard of this wondrous seer, and wanted their fortunes told. And Serevan, in the fastnesses of Lone Pine, obliged—until he came to Gary. : “T am too soft-hearted,” he said. “What I have to tell you, you would not like to hear.” ARY doesn’t know what terrible fate lies ahead for him—although Franchot Tone thought surely Serevan had got his signals mixed and meant him, after he had been in the | altitudinous location a few days. Every few | steps he took, Franchot had to sit down and rest. i A newspaperman along with the outfit wrote _ a squib about Franchot’s height-susceptible — heart, and a Los Angeles paper printed it. The next day a messenger dashed frantically into the scene. “There’s an important long distance call from Miss Crawford at Lone Pine for Mr. — Tone,” he panted. Shooting was abandoned and the company — twiddled thumbs while Franchot made the © three-mile hike back to the telephone. When he returned, the face of Mister Tone © wore an expression of perturbation—a sort of sheepish look mingled with wounded pride. An » eyebrow was arched dangerously. “She was worried about my health!” con- _ fessed Franchot. “She wanted me to watch out — and not overdo!” } Not overdo—those words seared a lancer’s | soul. “Come on,” said Lancer Tone, with grim ; lips, “‘let’s get to work!” And Director Hathaway, raising heaven- wards a prayer of thanks for the final defeat of woman, grabbed his opportunity like a short- ’ stop grabs an infield drive. 1 “Let’s go on that cavalry charge scene,” he — cried. “‘Come on, Cooper, Standing, Cromwell, } Blue—let’s make this a man’s picture!” And that’s just what they’ve done with “Lives of a Bengal Lancer’—made it a real man’s picture—in spite of the women. i ti

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Miss Hopkins, a romanticist at heart, tells the little shampooist that she wants to help the thing along. She’ll invite the two of them to lunch with her at the studio, take them on the set, introduce them around to everybody. Then have them to dinner at her home that night—and on to the Cocoanut Grove. Surely a build-up like that would snare a proposal. But what happens? The flier arrives, he and his girl have a great big fight, and he goes right back to Panama. Such an ending! I really couldn’t blame the poor thing when she turned on the cold instead of the hot water and nearly froze me to death. | VER at M-G-M someone got the smart idea of giving Mr. Louis B. Mayer a fine new office to surprise him when he returned | from Europe with Mrs. Mayer. They worked night and day. The building sprang up—all | white and many-windowed and modern—like | magic. I took a peek just after he’d arrived |... and such flowers! With my all-seeing | eyes, I took in a big basket of lovely white blossoms from Jean Harlow, and a solid silver desk clock also from the thoughtful Jean and her mama to the big boss. _ His office is my idea of something pretty neat. There’s a real fireplace of black marble, | not fakey, like most of our Californy fireplaces, and a big circular desk. Concealed in a small | seeeroom is an ice-box and a double electric |plate where the man can whip up some tasty sled eggs. Just think of the fun! JN case, my lamb, you’d like my opinion on Max Reinhardt’s opening of “A Midsummer Night’s Dream” at the Hollywood Bowl, I shall give it to you in but few words, and they’ll all spell Glamorous. (By the way, I suppose you’ve heard that Reinhardt has signed with the Warner Brothers to produce “A Mid- summer Night’s Dream” and other spectacles ‘for the screen. Great, eh?) | Isnuggled down into my seat and just let myself go. The night was serene and warm, the stars were flung in mad abandon across the aeavens. Around the rim of the Bowl the trees were outlined like black, marching sentinels, ws the crowd, including the complete roster of Movieland, was expectant and excited. Then it started. Such a pageant of color. such breath-takingly lovely fairy dances, like ou imagined when you were a child. There were tinkling little bells, and fairy lights, thou- ands of them, winking off and on in the hills : fiver the fairies appeared. I could go on nd on like this, but maybe I’d better just skip > the spectacular end—the wedding scene. Down from the distant, furthermost peaks, to he music of “The Bridal Chorus”, marched a ow procession of several hundred people bear- 1g flaming torches aloft in the night. The most . ae sight I’ve seen in a long time. My “art wanted to turn handsprings! i | My gentleman friend must have felt that I _ eeded a snack after that, for he led me, unpro- i ‘sting and dreamy-eyed, to the newest night vot, the Trocadero. Wheeeeee! What a place! red and white and Continental and so gay. Petes of celebs were all over the place. |Pola Negri, with the dead white face and _ ack gown she usually affects (and so success- lly) was at a table with my hero, Ramon varro. Arline Judge, who is so cute and pert, | frialiice: Maat [ CONTINUED FROM PAGE 45 | was with her director-hubby, Wesley Ruggles, and then they visited another good man, Frank Capra. The megaphone wielders were out in numbers that evening. I noticed the attractive Charles Vidor, too. Then I spotted George O’Brien and his wife, Marguerite Churchill, and Thelma Todd in a black velvet chapeau that was high, wide and handsome. And in came her ex-husband, Pat de Cicco, with Sally Blane. But nothing happened. I run into Sally at the oddest places. Yester- day I went to a baby christening and there she was—godmother! Maybe he knew the beaute- little pinkie, you ought, for if that didn’t give out on me, I’d probably fill sixteen pages more. However, this, I promise, is the end. Well almost, for I just must tell you about Nelson Eddy’s cocktail party. Instead of being a conventional little affair that does itself up from five to seven, it goes on till two the next A.M. That gives youa vague idea. Of course everyone yelled madly for Nelson to sing, and he obliged—by phonograph record. Smart ole Nelson. The point I mustn’t forget to Stress, though, is that he’s got a truly magnifi- Sleep-’n’-Eat, RKO-Radio’s rival for Fox’s Stepin Fetchit, about to fatten up his part in Wheeler and Woolsey’s “Kentucky Kernels.’”’? The dusky lad’s real name is Willie Best, but he’s been tagged “Buckshot” ous Sally was holding him. The lucky kid! Any- way, he didn’t let a single squeak out of him the whole time. YOUVE been pleading for June Knight and ’ve always disappointed you. I’m a bad girl; I forgot to tell you how I went down to visit her, one lovely, warm day, at the Santa Monica house of her sweetheart, Paul Ames. (He’s Raquel Torres’ brother-in-law.) I found her in a scanty bathing suit, which she filled very nicely, my deah. Regarding her toes, which she had just lacquered a dead white and which were swell with her mahogany-color tan, she changes them to any old hue, any old time. Such antics! Such a chatterbox. Don’t you ever get tired of listening? You ought to be grateful to my cent voice. And when we hear him on the screen, we’re going to hear something. Everyone in town was there. I can’t begin to tell you the list, but I found me a lovely young man, and got the exciting idea of inviting him off to a secluded corner of the garden to see if love would bloom. But alas for the plans of mice and men . . . and Mitzi. While trying to compose enticing words, I happened to remem- ber the famous mistake of Ellen Terry on an important first night. What, you don’t know the story? Well, at the play’s biggest moment, Miss Terry was supposed to hold her sweet- heart’s hand and seductively croon: “Come, let us seek a cosy nook.” But what she actually said, was: “Come, let us seek a nosey cook!”? Fun like mad we have in Hollywood! MITZI. 8&9

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Pert’s Reducing Vacation ITIAN-HAIRED Pert Kelton went ae an idyllic spot for a vacation— Catalina Island. But there was no rest for Pert. She was out to take off pound- age. One of the methods was hauling a boat into the water. Try it sometime. You ll vow it is tied to a buried anchor. Her riding, however, was more fun. But the best time was when she was allowed a few minutes to sit and knit. And, believe it or not, that was the sole relaxa- tion Pert got! 90

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; NGLISH Pat Paterson came to Hollywood with a rich background of cabaret-radio-film-and-stage imein London. In less than a year, she has made four jctures. ; Lottery Lover,” for.Fox, is her latest. pt is golden blonde, a talented singer and dancer Ad Lazarnick

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or 5 As capable a cook as she is an actress, Margaret Sullavan bastes her huge turkey with pure olive oil, thereby enriching the flavor of bird and gravy and giving the white meat a fine texture ASTING with olive oil works wonders on the turkey itself, but without a properly blended, taste-tempting filling no holiday meal can be quite complete. Chestnut Stuffing is perhaps our wisest choice. Besides being a perfect accompaniment, it imparts a delicate tang to the meat while roasting. Here, as in every cooking venture, measuring accurately and carefully following directions will pay big dividends. Now for the method: Loosen the shells and inner skin from 1 quart of large chest- nuts by cutting a gash on the flat side of each nut, shaking them in a little melted butter, and setting them in the oven for 10 minutes. Remove shells, and boil in salted water until tender. Drain and press through a potato ricer. Add 1 pint of dry breadcrumbs or an equal amount of hot mashed sweet potato, 1 egg, 14 cup butter, 1 teaspoon salt, some chopped parsley, and the turkey liver, chopped finely. A little onion and lemon juice and pepper may be added. Mix all ingredients well, and if you prefer dressing moist, add soup stock or cream. Fruit Salad made with 3 oranges, 3 bananas, 14 pound Malaga or seedless grapes, 14 cup chopped pineapple and the juice of 1 lemon helps balance a hearty dinner. An excellent fruit salad dressing is made by combining and 94 Your Christmas Dinner Some new, some old — suggestions, but all delicious additions | to the festive meal beating well the following—l4 cup of salad oil, 114 tablespoons of lemon juice, a pinch of salt, a few grains of paprika, and 1 tablespoon of melted © currant jelly. Onions will, of course, be served. But why not try glazing them as a change from the creamed ones. Peel small boiling size onions. Melt 2 tablespoons of butter in a large iron skillet, and place onions in it, right side up, crowding them closely but having only one layer. Sprinkle 1 cupful sugar over them, and salt and pepper. Cover closely and cook over a slow burner until the onions are transparent. Old-fashioned Pumpkin Pie should | be on every Christmas menu. 50, here we go on the ingredients: 114 cups of cooked pumpkin 1 cup of rich milk 16 cup of sugar 1 teaspoon of cinnamon 14 teaspoon of allspice 14 teaspoon of mace | 2 eggs, well beaten 1 tablespoon of butter Pinch of salt | Place the pumpkin, milk, sugar, | salt and spices in a double boiler. | After the mixture is well blended and heated through, add the beaten eggs and stir until it thickens. Then add butter and pour into a crisply baked crust while hot. Place in a moderate oven and bake the pie slowly until the filling is firmly set. If you would like to depart from custom and vary your dessert from the usual pies and plum pudding, why not serve the typically English dessert—a Trifle? ; This requires 1 pound each of lady fingers and macaroons, 14 pound each of shelled almonds and crystallized cherries, halved, 1 pint each of fruit juice and hot milk, 1 quart of whipped cream, 2 tablespoons of flour, 1 well beaten egg, and 16 cup of sugar. Soak macaroons in fruit juice, blanch and chop the almonds. Make a custard of the sugar, flour and well beaten egg. Add gradually to the hot milk in double boiler and cook until thick, stirring constantly. Cool, add the almonds and half of the whipped cream. Line a large glass bowl with the lady fingers, add the cream- custard mixture and the macaroons, placing the cherries all through the bowl. Cover with the rest of the whipped cream and decorate with cherries. Serves twelve.

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PHOTOPLAY MAGAZINE FOR JANUARY, 1935 o5 Car keys lost! BE poet ont of caries kdb ee POCKETBOOK PANIC* cures this star! Now Katherine deMille insists on handbags with TALON Fastener REG. U. S. PAT. OFF. convenience and secu rity! In the film world, where every detail of the costume must be carefully considered, the stars insist on handbags with Talon Fastener convenience and security. They find that Talon-fastened bags set the pace for style and beauty, can be depended upon for quality, and assure safety for handbag contents. The Talon Fastener used on handbags is a light- ning-like streak of usefulness that operates smoothly and easily, and closes snugly and securely. And this trim-lined device contributes to the smart tailoring of the handbags it is used upon. Talon-fastened handbags for morning, noon and night, in a wide variety of styles and at all prices, await you in your favorite store. When you buy, look for the name TALON on the slider. It’s your guarantee of quality, as well as you hen van ae é re security and convenience. contents spill ou ee Fete ey ee HOOKLESS FASTENER CO., MEADVILLE, PA. « NEW YORK « BOSTON CHICAGO+ PHILADELPHIA «LOS ANGELES + SAN FRANCISCO*SEATTLE

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96 PHOTOPLAY MAGAZINE FOR JANUARY, 1935 Books That Every Will Treasure BE Economy Educational League is performing a service of great value to the booklovers of America. Situated in New York, the center of book publishing activities, it continually combs the market for remnants of specially fine editions of educational and cultural books that we purchase at prices which permit us to supply our customers with truly excellent editions of great and authoritative works at amazingly low prices. Already more than twenty-five thousand booklovers have taken advantage of this service of whom many hundreds have become permanent customers, sending in new orders time after time as new bargains are offered. Of the books listed on this page all of those offered at $2.98 could well be priced at from $5.00 to $7.50, and those offered: at $1.98 from $3.00 to $5.00 and you would still feel you were getting your money’s worth full and plenty. Every book sent out by the Economy Educational League is returnable for refund if not satisfactory. Do not hesitate to send for any books that interest you. 1. GREAT POEMS OF THE ENGLISH LANGUAGE—One of the finest anthologies of its kind ever compiled. Indis- pensable to homes with growing children or where poetry is loved and appreciated. Beautiful great volume weighing four pounds. Cross indexed three ways, by titles, by first lines, by authors, 1502) pagesi. vc cen- ars cuctoieraciern aes n as 2. A HISTORY OF AMERICAN ART—By Sadakichi Hart- mann. New revised edition, two volumes in one with 66 illustrations; 691Npacesnus ance cia ienicieaeeeas 3. THE ROMANCES OF HERMAN MELVILLE—One-vol- ume edition. Moby Dick, Typee, White Jacket, Redburn, Mardi, Omoo and Israel Potter. The seven immortal classics of the most powerful writer in American literature complete in a single volume. 1660 pages.................... 82.98 4, THE STORY OF MEDICINE—By Victor Robinson. A survey of the development of medical knowledge from the Stone Age to our own times. 527 pages............ $2.98 5. AMERICA—By Hendrik Willem Van Loon. With 12 il- lustrations in color and more than 100 black and white drawings by the author. 463 pages..............00- $2.98 6. PRIVATE LIFE OF MARIE ANTOINETTE—By Madam Campa. The most famous intimate biography by her lady- IN=Waltiny.,. = 151 DAG CSty «lemenedseietereereieeeaatenciote wees $2.98 8. THE BOOK OF MUSICAL KNOWLEDGE—By Arthur Elson. An indispensable reference book. 609 pages. .%2.98 10. THE OMNIBUS OF ADVENTURE—Forty-four com- plete stories of stirring adventure by the world’s greatest romantic writers. Edited by John Grove. 882 pages. 81.98 ECON OM Y EDUCATIONAL LEAGUE 1926 Broadway New York, N. Y. Book Lover TUDOR PUBLISHING COMPANY NEW YORK 11. BEST AMERICAN WIT AND HUMOUR—Hdited by J. | B. Mussey. An anthology of modern humour representing | the finest work of a score of the great humourists of America. — 00 Ma of: 22 << ee ee IPE Ie, G0-0-0°0'0.0 00 0000c $1.98 — 13. GREAT SEA STORIES—Edited by Joseph Lewis French. Thirty-two salty tales by Captain Marryat, Steven- son, Pierre Loti, Masefield and others. 680 pages....#1.98 14. FAMOUS ANIMAL STORIES—Animal Myths, Fables, | Fairy Tales, Stories of Real Animals. Edited by Ernest | Thompson Seton: 686) pages......-9-seee eres $1.98 | 15. GREAT PIRATE STORIES—Edited by Joseph Lewis | French. Two volumes in one. 634 pages............ $1.98 | Use the coupon—circle numbers of books desired—any book — that proves unsatisfactory may be returned for immediate | refund of your money. Eeonomy Educational League 1926 Broadway, New York. Dept. Pl i Tiencloses$iiiece cnt: for which please send me postage prepaid h the books circled below; my money to be refunded on any | unsatisfactory purchase, y 1 2 3 4 5 6 8 10 11 13 14 15 | INTIVE, oasis sors veherceiZoun irejse! ah/s, /atre/\e, ites ais oyatie laleler siselvel(e)|clroll aetsat eat saeateiaanaea i

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“Southern Belle’ is the name of June Lang’s new coiffure. Denis Phillips created it for her, to accent her youthful facial contours and give full play to her gorgeous, blonde hair. And a fitting face frame, indeed _ HAVE reserved for this page a very special | Christmas gift, one for yourself. You didn’t _expect that, did you? But I feel that we ould all do something for ourselves at this eason that makes us look, and therefore feel, fappier and lovelier. | One thing that you can do that will immedi- tely transport you is to change your hair. ange of coiffure is a ritual with Hollywood, ad it might well be a ritual with many of us. fothing is so tiresome to ourselves—and -hers—as the same hair arrangement day in ad day out. Yet it’s a very popular and con- ant habit with many of us. ‘With holiday parties in mind, I show you a pautiful arrangement for evening. From ane Lang’s photographs, you can even admire i hair as well as its dress. Now this coiffure ould be done for you by a hairdresser, and su must have at least a long bob to begin th. Any competent hairdresser should be le to follow the design if you will take these (tures with you. Or if you have a good per- anent or natural curls, a little homework ight be a great success. Hair style trends are up, up, up. To my By Carolyn Van Wyck mind, evening is the time for the climbing coiffure, because it is neither appropriate nor practical for most of our daytime affairs. But every girl who can should take advantage of “BEAUTY at Bedtime,’ leaflet form, tells a few, simple steps that every girl should follow each night in the interest of good looks. It budgets your time, tells you what to use and how. You may have it as well as advice on any beauty prob- lem by writing to Carolyn Van Wyck, PHOTOPLAY Magazine, 221 West 57th Street, New York City, enclosing a stamped, self-addressed envelope for reply. Other leaflets at hand, too, covering skin, hair, nails and make-up. That ingenious twist of the hair at forehead and sides introduces a new note in hair dressing, and is dis- tinctly charming when hair texture is soft and smooth. Nice break from usual wave design. For debutante formal wear Mee AOLIDAY COIFFURE these charming upward styles for evening. They poetize you. They add the frail beauty of a Gainsborough portrait, invest you with qualities that are often fatal to your escort. The modern evening coiffure is decidedly romantic. Through our highly piled curls walk the ghosts of Marie Antoinette, Catherine the Great, and other grand, romantic ladies who have made history. High curls do something else for you. If you are even fairly young, with reasonably good facial contours and nice ears, this coiffure, with the right touches of make-up, seems to sculp- ture, dramatize and accent all good points. Let’s take advantage of this charming style, while we may. Recently I met Hedda Hopper, her usual vivacious, charming self. She was enthusiastic about a new coiffure just created for her. Her comment was, ‘‘It makes me feel years younger because it all goes up.” For decoration of the evening coiffure I sug- gest a ribbon, atiny clip or a real flower. With a high coiffure, especially, you have no idea of the allure of one lovely flower, such as a gar- denia or carnation among your mounting curls. Dif

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Here’s You must remember that the waistline is the center of your body and that if you are to have any grace of movement at all you must keep it supple. The best way to do that is to turn on the radio to a snappy tune, put your arms lightly above your head and hop, skip and jump around the room in a little two-step. Don’t imagine that you look silly“ Do it! It’s good for you! And all the time keep swaying and bending at the waist. This, too, will flatten that back muscle. HERE’S just one word that describes the perfect abdomen. That word is “flat.” Joan Crawford comes nearer to having the per- fect stomach than any girl in pictures. She knows how to stand. Her muscles are strong in her stomach, so her hip-bones don’t stick out like razor blades. I give Joan three claims to distinction. She is a grand actress. I saw her not long ago in “Chained,” and thought she was swell. She is a good scout. Everybody who knows her says that. And—she has a flat stomach. You mustn’t have any rolls or bumps or lumps. Here’s how to tell whether or not your stomach is right or wrong. Stand in front of the mirror without any clothes. Put a ruler down the front of your stomach. Is it flat? No? Then get right to work. First of all, walk straight and sit straight. Don’t slump down on your back-bone. Sit the way you’re supposed to sit. You’ve got to make your stomach muscles strong. The way to do that is to lie on the floor on your side, with your arms above your head. Stretch your arms so you can feel your stomach muscles pulling. Without changing the position of your arms or legs, roll over on your face, mak- ing sure your stomach touches the floor. Roll More Perfection for You [ CONTINUED FROM PAGE 71 ] back and forth like that, but at the same time progress along the floor, hitching yourself along on your stomach. It will take away inches and make you nice and flat. And every day use the ruler to see how you're progressing. Use the ruler after meals, too, because if your stomach muscles are strong enough, you won’t bulge after a heavy meal. But, listen, I don’t want you to eat heavy meals. Remember, exercise alone won’t give you the perfect figure. I hope you have sense enough to stay on my diets all the time. And you can never be perfect until your stomach is flat and firm. Even you mothers who have had several chil- dren don’t need to give me any alibis. You can make your muscles tight, too. You expectant mothers should insist that you are bound tightly after your baby is born, and the third day after, you should begin taking exercises in bed. Yes, I mean it. Lift your heels off the bed, keeping the knees straight. Lift the heels about four inches. Then lift your head off the pillow. Do this seven or eight times at first. Increase day by day. Feel how your muscles tighten. OW I want to show you the perfect hips. It makes me sort of sad, too, since for years I pointed to Connie Bennett as the girl with the most perfect hips. But she’s let little Margaret Sullavan swipe the title from her. Connie, I’m ashamed of you! The thing that makes me sad is that you know better, because IT taught you how to have beautiful hips. You’d better get back to the old exercises and diets that I gave you, baby. So, while Connie is getting her hips back where they were, I want you girls to take a look at Margaret Sullavan. Gosh! what beautiful lines! There are no bulges and no bumps, yet every bone is nicely covered. She is lean, yet softly rounding and appealing. Oh, Connie, Connie! Don’t you remember that night at Joe Kennedy’s when Gloria Swanson and ~ Laura Hope Crews and I were there, and I told” you that your hips were your greatest advan- _ tage? Please, Connie, get back that beautiful 4 line. 4 | Very few people are fortunate enough to have hips equally high. One is very apt to be - a little higher than the other. This usually comes from a slumping walk in childhood. If ~ you're afflicted that way, the thing for you to » do is to squeeze off excess flesh from the higher * hip. Then both will have the correct pro- portion. = | And listen to the exercise that will give you — hip perfection. Stand straight, feet slightly © apart. Raise your arms above your head. | Stretch your fingers. Turn your body so that without moving your feet you are facing 7 ways instead of straight ahead. Now, with | your body in this twisted position, bend over and touch a spot on the floor about two feet | from your feet, with your finger-tips. Isn’t that great? You can tell when you’ getting results—you feel your hip muscles b coming tense. Also don’t forget that ea too much meat puts fat on the hips. And, please, please—well, I won’t beg yo if you haven’t got sense enough to do th don’t want to bother with you—remember walk correctly. Don’t slump, or stand wit one hip higher than the other. Take yo exercises. Eat right. Sit and walk right, a before you know it you'll be giving all th Hollywood girls a run for their money. But I’m not through yet. Next month I going to describe perfect arms, legs, hands a feet. And come on, you girls, jump right up ¢ the beauty band-wagon! Answers by Sylvia Dear Sylvia: I was having an argument the other day with a friend of mine who said that if you took exer- cises you didn’t have to diet, and if you dieted you didn’t have to exercise. It didn’t sound right to me, so I said I’d ask you how about it? Mrs. R. McL., Providence, R. I. Tell your friend to read my articles and book. That will settle the argument. Of course, she might use a little common sense, but I suppose that never occurred to her. Ex- ercise and diet go hand-in-hand. One is use- less without the other. What could be more stupid than exercising systematically and then eating your head off? If you want a beautiful figure you’ve got to work for it, and you’ve got to do everything I say. My dear Sylvia: My fingers are very blunt and stubby from using the typewriter all day for years. Is there any way I can overcome this defect? L. L. D., Cincinnati, Ohio It’s simple. Every day, as often as you think of it, squeeze the tips of the fingers of one IS AYBE some of us can’t be per- fect, girls, but we can make our selves something better than we are— healthier, more attractive. I’ve helped many, many women to over- come their faults, and I can help you banish yours, be they large or small. No obligation. Just address your letter to Sylvia, in care of PHOTO- PLAY Magazine, 221 West 57th Street, New York City. SYLVIA hand with the thumb and forefinger of the other, tapering them toward the end. You can do this a hundred times a day, if you will, and you will be amazed at how quickly your finger- tips take on a nice, tapering shape. Dear Sylvia: I seem always to have cold hands and feet. I feel sure that this is because my circulation is bad. I appeal to you to help me. B. R., Lander, Wyo. Your circulation won’t be bad if you'll go on a big health campaign. Send a self-addressed, stamped envelope for my exercises and d that will improve your circulation. In meantime, here’s a little tip for you. Neve with your legs crossed. Always sit upright. Dear Sylvia: y I am a mere man and, I suppose, shouldn be writing to you, but I’m quite fat and I'd like to know if your diets and exercises a good for men as well as women. ; B. N., Brooklyn, N. Well, hoorah! Another man has gottt some sense. You bet my diets and exe are for men as well as women, and if you boys could hear some of the remarks women pass about you, you’d be more eager | reduce. Come on, boys and men, why don you string along on the reducing wagon? St my diets carefully, practice my exercises. guarantee that anybody—man, woman child—who follows my system can lose fift pounds a month. So go to it, and let me know how you get along. 7 For others of my male audience who are underweight or nervous, my diets and exer- cises build you up or relax you, as you need. : f

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PHOTOPLAY MAGAZINE FOR JANUARY, 1935 99 My dear Sylvia! | Will you kindly tell me some healthful foods | | which will put weight on my body? K. W., Los Gatos, Calif. Hominy with ripe, sliced bananas, thick | _ soups, chocolate, rice or bread pudding, cup | custard, avocados, butter, spaghetti—these are a few of the fattening foods which are very healthful. But I suggest that if you want to MILDLY MENTHOLATED add pounds you send for my building-up diet. | Dear Sylvia: | Kindly tell me what to do for fallen arches. | } Is there some exercise one can take that will | help? ; Wey CORK TIPPED D. R. W., New York City } | You bet there is! Don’t I always have a cor- | rective exercise for handicaps? Stand straight, |with your feet tight together. Lean as far back ‘on your heels as you possibly can, and then riseuponyourtoes. Besure todo this for ten or ififteen minutes every singleday. Also becareful lof your shoes. Don’t wear flat heels except for such sports as tennis. Use high heels for jevening, but be sure you have a medium heel for street wear. And don’t be vain about your feet. Be sure that your shoes are plenty long ‘enough. | | } | | | | | | | | Tuck a carton of KQDLS (200 cigarettes) | into any smoker’s stocking and listen to the grateful ‘‘O-ohs!’”? and ‘‘A-ahs!’’ you get. The mild menthol cools the smoke and soothes the holiday-harried throat, but the | fine blend of Turkish-Domestic tobaccos is IS ; 25¢ in a Canada MILD MENTHOL /. Vi C5 CORK TIPPED _ Edward G. Robinson is in his ele- ment, hunting. Eddie enjoys his _ leisure all the more, because he gets a { so little of it Rots fully preserved. Cork tips save lips. Coupon in each package (like a touch of Xmas all year long!) good for nationally advertised merchandise. Send for latest illustrated premium booklet. (Offer goodin U.S.A.only). Brown & Williamson Tobacco Corp., Louisville, Ky. SAVE COUPONS FOR HANDSOME PREMIUMS Write for free illustrated booklet

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/A\sk Fh le /\nswer Mlan the Answer Man’s mail bag this month. Movie-goers who saw her as Dinny in “One More River” went scurrying home to write let- ters asking about her. And here’s the low-down on the cute little miss who made such a hit in i WYATT is the outstanding player in her very iirst picture. Jane was born in Campgaw, N. J., August 12, 1912. At nineteen she left Barnard College, where she had studied for two years, and started out on a theatrical career. In addition to a great deal of work in stock, she appeared in such plays as ‘‘ Tradewinds,” “The Vinegar Tree,” ‘Give Me Yesterday,” and succeeded Margaret Sullavan in the cast of ‘Dinner At Eight’? when Margaret was called to the Coast, to appear in pictures. Last year Jane was appearing with Lillian Gish in ‘‘Joyous Season” when Carl Laemmle, Jr., saw her and gave her a contract with Universal. This contract per- mits Jane to spend part of the year in pictures and the balance on the stage. Jane is 5 feet, 4 inches tall; weighs 118 and has hazel eyes and dark brown hair. She is an excellent tennis player, swimmer and _horse- woman. She will soon be seen in the leading feminine role in Charles Dickens’ “Great I-xpectations.”’ At this writing she is appear- ing in a Broadway play “Lost Horizons.” Prccy Ann, Burrato, N. Y.—Yes, Josephine Hutchinson is a newcomer in pictures. ‘‘ Hap- piness Ahead” was her first picture. Her next is ‘The Right to Live.” Josephine was born in Seattle, Wash., October 12, 1909. She is 5 feet, 414 inches tall; weighs 110 and has red hair and golden brown eyes. LORRAINE Porter, St. Louis, Mo.—Sorry, I couldn’t make the December issue with your answers. Fay Wray was born in Alberta, Can- ada on September 15, 1907. She is 5 feet, 3 inches tall; weighs 114 and has light brown hair and blue eyes. She has three brothers and one sister. Fay entered pictures in 1924 and was made a Wampas Baby Star in 1925. She has been married to John Monk Saunders since June 1928. Fay recently became a citizen of the United States. Frankie Darro was born in Chicago, Ill., December 22, 1917. His real name is Frank Johnson. He has brown hair and brown eyes. Still growing so I can’t give you his exact height and weight. His next pic- ture will be ‘Racing Luck.” ANNA CritiE, New Yorx, N. Y.—You can write to both Alice Faye and Lew Ayres at the Fox Studios, 1401 N. Western Ave., Holly- wood, Cal. Doris Hutcuincs, Derrorr, Mrcu.—Mar- garet Sullavan’s next picture will be “The Good Fairy.” John Beal is her leading man in this. Margaret is twenty-three years old and celebrates her birthday on May 16. George Raft did the dancing in “ Bolero.” AMELA ERIKORIAN, KINGSBURG, CAL.— Shortage of space hinders me from listing the complete cast of ‘“ Back Street.”’ However, if you send a stamped return envelope, I will be pleased to send you a cast. The principals in the picture were Irene Dunne, John Boles, 100 Jane Wyatt, who left school to go on the stage, is now gathering laurels on the screen. Uni- versal’s star bet, her recent screen hit is Dickens’ ‘Great Expectations’”’ 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. For a personal reply, enclose a stamped, self-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 be sent. Address all inquiries to Questions and Answers, PHOTOPLAY MAGAZINE, 221 W. 57th St., New York City. George Meeker, June Clyde, Doris Lloyd and William Bakewell. MARGARET J. ANDERSON, MINNEAPOLIS, Minn.—Joan Crawford is 5 feet, 4 inches tall and weighs 115 pounds. She was born March 23, 1908. Her next picture will be “ Forsaking All Others” with Clark Gable and Bob Mont- gomery. MArGARET BuRKE, BALTIMORE, Mp.—Frank Lawton, whom you liked so well in “One More River’ was born in London, Eng., September 30, 1904. He made his stage debut in 1923. Entered British films in 1929. “Cay- alcade”” was Frank’s first American picture. His next is ‘‘ David Copperfield.” MILpRED Corcoran, New Lonpon, Conn. —Millie, it was Sir Guy Standing who played the role of the Admiral in “Hell and High Water.” EMItig Cooker, SANTA Monica, CALre.— Colin Clive was born in St. Malo, France, January 9, 1900. He is 6 feet tall and has dark hair and gray eyes. Made his stage debut at the age of 19. ALTHEA ASHBY, NEW ORLEANS, La. — You can’t fool this old Answer Man Althea, by say- ing that PHoropray has never printed any pictures of Franchot Tone. In April, 1933, we ran a lovely color portrait of Franchot and in August, 1933, a rotogravure of him. In November, same year, we published a story “Yd Rather Know Joan Than Anybody Else” says Franchot Tone. Franchot was born in Niagara Falls, N. Y., on February 27, 1905, He is 6 feet tall, weighs 165 and has brown hair and hazel eyes. He graduated from Cornell University. Appeared on the stage prior to going into pictures in 1932. Among the plays he appeared in were ‘Age of Innocence,” “Pagan Lady,’ “The House of Connelly,” and “Green Grow the Lilacs.” His latest picture is ‘Straight Is the Way” which John Gilbert made as a silent under its original title “Four Walls.” Next Franchot will be seen in ‘Lives of a Bengal Lancer.” “e Mary Heten Eaps, Monticerto, Ky.— The lad you refer to in “Sky Bride” was Tom Douglas. Nick Foran was the one you liked so well in ‘Stand Up and Cheer.” J. Y., Bremincuam, Ata.—The two ladies who appeared in the picture in the upper left- hand corner of page eight in the April, 1931, issue of PHoropray were Greta Garbo and Dorothy Sebastian. It was an off-stage shot from “A Woman of Affairs.” Marian Orta, MirwaukEE, Wis.—Unless he has been holding out on me all these years, Tom Tyler is still fancy free. Joel McCrea and Frances Dee were married October 20, 1933. EpmMonp Bocuarp, NAuRoyY, circus. Mary Boland was born on January 28, 1892 and Randolph Scott on January 23, 1903. FRANCE.— | Tom Mix has deserted pictures and is witha — { {

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PHOTOPLAY MAGAZINE FoR JANUARY, 1935 Dorotuy Mackay, HIGHLAND Park, MIcH. —fElissa Landi was born December 6, 1906. She is 5 feet, 5 inches ta.l; weighs 119 and has light auburn hair and green-gray eyes. Her latest picture is ‘Enter Madame.” Pappy, Dayton, Oxn1o.—The little lady who did the solo dance in “Too Much Har- ' mony” was Grace Bradley. Gracie is a _ Brooklyn girl, born and educated there. And | was she a smart youngster! At the age of six _ she was a child prodigy and gave many piano ' concerts in New York and other cities. At | sixteen she decided to take dancing and | dramatic lessons. Her first dancing engage- | ment was in “Ballyhoo.” Then came the | “Third Little Show” and “Strike Me Pink.” | Paramount executives saw her, a screen test followed and Gracie reached Hollywood a year ago. She is the first actress in her family, | although one of her grandmothers was a | dancer. She is 5 feet, 2 inches tall, weighs 108 | and has red hair and hazel eyes. She is of | French, German and Irish descent. Her hobbies are music, fencing and horseback riding. Harold Lloyd chose her for one of the feminine réles in his new picture, ‘‘The Cats- j | paw.” Her latest picture is ‘‘ Redhead.” $500-45. Traveler’s Atomizer, Polished crystal; gold or chrome fitted. Grained fabri- koid covered metal case; several colors. Closure - equipped. R. R. O., RactyrE, Wisc.—How could you let anyone spoof you like that? your pal Bing doesn’t wear a wig. Of course ELEANOR WERNTZ, SAVANNAH, Ga.—David Manners hasn’t forsaken the screen. Since appearing in ‘‘Torch Singer” he has been in “Roman Scandals,” ‘The Black Cat” and “The Great Flirtation.”’ His latest is ‘“Moon- stone.” $500-52. Crystal or black glass; chrome fitted. Equipped with button type non- evaporating closure. ! Mrs. Epita WALKER, St. Louis, Mo.—I | am always delighted to supply information for scrap books. Gene Raymond, was born in New York City, August 13, 1908. He is 5 feet, 10 inches tall; weighs 157 pounds and has _blonde hair and deep blue eyes. His real name is Raymond Guion and he is of French | descent. Gene was educated in private schools ! and appeared on the stage prior to entering | pictures in 1931. His favorite recreation is horseback riding. Jf you will send me a | return envelope, I will give you a list of his | pictures. The new array of DeVilbiss Atomizers, in both imported and domestic glass, includes distinctive perfume atomizers, smart encased styles for traveling, and attractive 6-ounce atomizers for spraying eau de cologne—an atomizer for every occasion and purpose, and to harmonize with every type of boudoir or traveling accessory... And any one of them is an ideal gift for Christmas. Now that lead- ing perfumers are recommending that perfume be sprayed, women will be more jhazel eyes. than ever happy to receive these beauti- | fully designed atomizers as gifts. The DeVilbiss Atomizer transforms one drop FASHIONS into 2000 atoms, bringing out the fullest fragrance of the perfume. Prices start at $1; with Closure, at $3.50 ... The No man can escape them and no woman wants to. You'll find this issue of DeVilbiss Company, Toledo, Ohio. ES PHOTOPLAY full of news about De VILBISS forthcoming styles and fashions. W. J. McManon AND Gane, St. PETERS- [2URS, Fra.—Shirley Temple’s latest picture iis “Now and Forever” with Gary Cooper and | Carole Lombard. Next she will be in “Bright Eyes.” Shirley was born in Santa Monica, 'Calif., April 24, 1929. She has golden hair and IO! CHOOSE YOUR Ss gfipom DEVILBISS WIDE SELECTION $400-1. Eau de Cologne Atomizer, Rock crystal cutting; black foot. Equipped with six-ounce bottle. Bhi. $750-7. Crystal or colored glass; fittings of chrome. Equipped with non-evapo- rating closure, $500-60. Crystal with chrome fitting, or green with gold fitting. Has button type non-evaporating closure. $500-54. Crystal or colored glass. New style chrome or gold fittings, Non-evapo- rating closure. ‘Ccifume Momizers

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Romance With an Angel Mary Forbes, coming to dine with her son one night, had big news. “I saw a charming girl today at the Gleasons. Really charming. I think you two should meet. Her name is Heather Angel. . .” “T have met her, mother! Oh lord,” groaned Rafe, ‘why didn’t I break that date at the dentist’s and go to the Gleasons?” Mrs. Forbes, fishing thoughtfully for a cherry in her fruit compote, smiled slowly. It was a certain violently black, star-emptied midnight when he did run into her. They were coming in opposite directions through the entrance of a popular night club. She paused. He turned. Neither liked the other’s com- panion. The air vibrated, changed to a chilly blue. “Why on earth did she pick him to go out with?” thought Rafe. “He’s here with that woman,” thought Heather. This was the end between them. The definite finale. They’d forget— But it was queer how, for people no longer interested in each other, sleep eluded both of them that night. How Forbes stormed and raged and ranted to his genial man Friday the next morning. “Tmagine letting that blankety-blank tag around after her! There ought to be a law against such men! She ought to know better. ag. She—” T took the British navy to bring them to- gether. At least a part of it. When His Majesty’s ship, Norfolk, steamed into San Pedro harbor, flags flying, a slim, shining greyhound of the deep, you could hardly suspect it of doubling for Cupid. “Boom!” went the great guns in salute. “Boom!” went that mischievous little fel- low’s bow and arrow. Rafe saw her as she stepped on deck. Lan- terns were strung along the gleaming length of the decks. There was the exciting medley of gold-braided uniforms, beautifully gowned women, the gaiety a warship takes on when it’s turned into a flower-trimmed ballroom. “T’ll Close My Eyes To Everything Else If You'll Open Your Heart To Me,” played the band. The Admiral, Sir Reginald Plunkett-Ernele- Krle-Drax, was bowing over Heather’s hand. Who was that with her? Ah—relief—her mother! Luck was with him tonight. his sister, Brenda. You don’t have to worry about a sister, not when she’s already surrounded by a half dozen young blades. By a little expert maneuvering, Rafe man- aged to get Heather alone for a moment. “Have you seen the shore lights from that nice spot up forward?” “Yes,” acknowledged the littlest Angel, “about eight officers have shown it to me al- ready!’? And suddenly they were laughing, looking deep into each other’s eyes, drifting . . . He finessed a dance with her, although by that time Heather was having serious Admiral trouble. She’d forgotten which dances she had promised him. It was a waltz, dreamy, lilting. . . . She was so exquisite and dainty and young. Breath-takingly young. “I’m having a buffet supper for the oflicers at my 102 He’d brought | CONTINUED FROM PAGE 37 | house tomorrow night. Can you come?” His arm tightened about her. “Yes, I’d love to,” against his coat lapel. “You're so blessedly sweet. You’re—” “T believe,” said the Admiral pleasantly, “this is my dance!” murmured Heather AFE’S house is an English Norman affair swooping up a hillside in the gentlest fashion possible. A rather glorified bachelor’s quarters, surrounded by sweeping lawns and trees that were young when the Spanish con- quistadors arrived. A gray parrot, the gift of a sea-wandering friend, holds forth at the Leo Carrillo, the likeable‘‘ bad man” of many pictures, proudly displays his honorary sheriff’s badge, so we suppose the country’s safe now entrance. ‘Hello, darling!” he chirped as Heather entered. “He’s speaking for me!” said Rafe, coming to greet her. It was good fun, that party. Sea stories were spun until you could fairly feel the spin- drift off the bow and the roll of the deck. Rafe made an exceptionally fine host—considering the fact that he kept his weather-eye constantly fixed on an Angel. she led the singing. In the garden, that was, along about the pre-daybreak hours. No one thought of departing. There were rollicking navy songs to be sung, three verses to a song, and the purple hills echoed with them. Laughter, clever toasts, a lusty chorus. It was two o’clock the following afternoon that Rafe awakened. His man was peering around the door in a slightly perturbed state “What shall I do, sir? There are two ladies And like all good angels, | sitting out on the lawn.” Forbes made a Nurmi-like leap for the window. There, calm and quite unconcernedly chatting, were Heath-— er and her chum, Pat Paterson. ‘“We’re driy-_ ing down to the beach,” they told him when he put in a hurried appearance. “We thought Mr. Forbes might be lonesome for a breath of salt breeze.” Why, come to think of it, Mr. Forbes was! Now Hollywood was still ruminating over the sudden Pat Paterson-Charles Boyer nup- tials. And Pat was in that state of enthusiasm peculiar to brides, where she wanted to see the whole world happily married. Here was a chance to help the good cause along! Not that it needed helping. In ecstatic mood, Heather reached for a_ flower on a nearby bush as they slowed up for — a stop sign. It was a nice little flower—only it — happened to have a hornet on it. He thor- oughly resented being a captive in a slim white — hand. It didn’t take him long to make the fact known in drastic fashion. Heather screamed. She backed against Rafe’s shoulder like a bruised child. And Rafe—what does any young man do in a case like that? Anyone knows that the general first aid treatment includes consider- able hand-holding. “Oh,” breathed Pat looking on, “it’s just like something you read in a book!” And, in truth, the next six weeks would have written a highly romantic chapter in any novel. THE blessed part of it was—there were no rumors. For once, Hollywood failed to di its usual blaring about a budding love affair. Because Hollywood didn’t know. No one sus- |f pected. Not even the columnists. It wasn’t _ It was just that | the Riviera pala larly to keep it a secre columnists don’t “cover” field on off days. “Great shot!’ Rafe pulled up to a Heather was such an ethereal little thing to be racing so madly down the field, swinging « mallet. A celestial cherub in white whipcord | breeches and a silk shirt, riding her mount like © a gaucho. He didn’t know then that she’d | ridden a pony in Oxford almost before she | could walk. That in India she’d been in the | habit of getting up at five in the morning to | exercise a friend’s racing horses. But she was — a wonder on the polo field. She was a wonder anywhere. In the eventual across candle-lit tables... on long rides through orange groves on up to the mountains. THey ' appeared together only twice in public. And— then the name-linkers of Filmtown were not | around! It was at her farewell supper for Boyer that | Rafe told her: | “Heather, sweet, I’m leaving tomorrow for |} a fishing trip up in the Sierras. I—I think it’s best.” ‘a He wanted to figure out this thing that h happened to him, to get a perspective. It’s 0 e | thing to drift into a romance—and another | to be caught in the glorious whirlpool” of it | that makes your senses reel, your heart poun TEN days later he was back. He knew exactly what he wanted of life. an angel with unfathomable dark eyes and 2

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| you herself,” Pat leaned across the table in a | PHOTOPLAY MAGAZINE roR JANUARY, 1935 adorable shyness and an eager wistful little face. But the Angel was difficult. You can’t know an overwhelming love for the first time and be sure what you’re about. She was cold and formal one minute, and appealingly warm and dear the next. It put a man on edge. “T think,” he said mournfully one morning, “it’s going to take me two more months of steady concentration before I win her over.” That was the morning of August twenty- eighth. There was nothing about it to hint of what was to come. Pat was giving a cocktail party for Chevalier that afternoon and Mlle. Angel was as remotely impersonal as a marble statue. Most people thought they hadn’t met. He was to take her to dinner afterwards and Rafe scowled in be- wilderment as he dressed for it. What made her act like that? The telephone jingled. It was Heather. “Tm so tired tonight, Rafe. Would you mind dining here at Pat’s with the two of us?” Was there a tremble in her voice? If he could have known! Because the Angel had made up her mind! While she was dressing. A shaft of late sun- light had fallen across his picture. She stood there looking at it, wondering, and suddenly something went “click” in her heart. “Heather has just told me something to ask you, Rafe, and I think she’d better ask blaze of excitement. What was up? The girls had been acting queerly ever since he entered the room. | Heather pressed her hands together until the little knuckles showed white. “How long,’ she asked, ‘“‘does it take to gel to Yuma?” merica’s Finest Simple words—and then the full meaning of them struck Rafe spellbound. He pushed back his soup went, in a trance, to the other side of the table Carolina, Pat’s French cook, dropped a whole tray of plates and no one heard. These Forbeses are a swift acting lot. Rafe called five airports in many minutes. Not one plane available. He routed his sec- retary, Jane Grey, out of bed. She in turn routed Henry, the chauffeur. “T thought so,” i knew we’d be traveling to Yuma one of these days!” so said Henry sleepily. It occurred to the pair that there were people who might rate being notified. His mother— her mother. ‘Will you come right up to Pat’s apartment in the Sunset Towers,” their cryptic message. important to tell you!” There was the little matter, too, of an en- gagement ring. Rafe searched through his pockets ina frenzy. He had to use something! He did—the slender chain of his watch! He wrapped it around Heather’s finger and no ten-carat diamond ever was put on with more tenderness and feeling. There was a catch in her throat as his arms went around her. A love summed up, a question asked, an answer given in that one little phrase—‘‘ How long does it take to get to Yuma?” Usually it takes something like six hours driving from Hollywood. It took them ten. There were delays at the start, of course. Heather had to find a frock of Pat’s she could wear. People came. Rafe caught sight of the diamond and sapphire ring on his mother’s finger. It had been his grandmother’s. His mother was taking it off, giving it to him. was “We have something 103 “This is better than the chain!” she smiled. “Funny, I haven’t worn it for years. I don’t know what possessed me to slip it on tonight.” Jane Grey contributed the wedding ring one she had worn on her little finger. Every- body emptied their purses, for there’s no place you can cash a check at midnight. Finally they were off, at two-thirty in the morning. ‘in love. It was just past Indio that they threw a main bearing. Fortunately, infront ofa garage. Hitch-hiking to your busses at daybreak. Dinnerless, sleepless and blissfully wedding hailing But all the busses were going in the wrong direction. “T’ve got a 1922 car here,’”’ confided the garageman, “but it goes.” It did. Just It was held together by the grace of heaven and little else. There was no back seat. , Only a choice collection of antique farm implements. And in it Heather and rode to their marriage. Only four minutes it took, with Judge Free man reading the simple service. A hot, white sun streamed in. Rafe A bluebottle fly swung in lazy circles. Funny, how Paradise can shift down into a dry little courtroom. On the way home by train Rafe murmured, “Darling, do you know we have to begin all over again? [ll begin with a star sapphire engagement ring and then we’ll get a link of Janey’s ring put into a wedding ring of your own.” “Tt would be nice, dear,” said the Angel, “{f you’d begin with a proposal! you never marry you.” You know have—officially—asked me to a NEW KIND of Mildness 15 Cent Cigarette eyes

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Will Your Favorite Star Survive Color? reproduce truly, but photographed with an orangish-yellowish tinge. Rich purples, lavenders, all shades of blue, and many lovely in between colors could not be recorded. Now, however, the camera, by the new proc- cess, is able to “see” all three primary colors, and their combinations, of course, make up every color visible to the human eye. You can understand the impossibility of get- ting true color pictures by the old process if you try to imagine yourself painting a water color picture, using only red, yellow, and green. Under the old process, too, outlines were blurred, making the pictures not only displeas- ing but hard on the eyes. HE failure of former Technicolor pictures, however, should not be blamed entirely on thecamera’s lack. Those who made the pictures were partly to blame. They were used to work- ing in black and white. They did not realize that a production done in color had to be handled differently; that careful planning of color combinations and design were of para- mount importance. When Robert Edmond Jones worked out the color for ‘La Cucaracha,” he made thousands of crayon sketches, designing the movie, scene by scene, from the script. Every scene, each tiny sequence, was then created from his crayon sketches, copying the color exactly. Thus each shot was a perfect picture so far as color and design were concerned, making a beautiful and artistic whole. He is doing “Becky Sharp” with the same care and exactness. Those working in color realize now that such careful design is necessary. They have learned, too, that in many other respects their picture- making must be treated differently. For example, the heavy make-up so effective in black and white photography is ugly and artifi- cial in Technicolor. A light, natural make-up must be used. This, of course, makes it more difficult to cast a rdle. Skin defects cannot be hidden beneath a coat of grease-paint and powder Freckles can’t be powdered over. Eyes that are too small can’t be made to look large by tricky use of mascara and eye shadow. Colorless hair won’t do, while artificial coloring or bleaching photographs badly. Es putting an added demand on stars! Those that passed their voice tests several years ago, and have been breathing easy, ask nervously now, “How will I photograph in color?” “Tt will change the standard of screen beauty,” says Robert Edmond Jones. “It will bring naturalness into favor and toss artificial- ity into the discard. Beauty like Irene Dunne’s, for example, will then become fully appreciated —rich reddish-brown hair, skin of lovely tex- ture and color.” And, those stars who do survive the test are going to find themselves confronted with a more difficult job in movie-making. The tedious business of wardrobe planning, for example, will be even more difficult than it is now. Furthermore, according to stars who have appeared in color pictures, the intense lighting necessary for its photography makes working conditions trying and unpleasant. 104 [ CONTINUED FROM PAGE 27 | Jeanette MacDonald, who appeared in the Technicolor sequence of “‘The Cat and the Fiddle,” says, “It was terrible, trying to work under the lights. The heat was terrific; make-up was ruined after five minutes, and the intense light was so hard on our eyes, it was almost unbearable.” Miss MacDonald, incidentally, with her gold-red hair and gray-blue eyes, is one star who should certainly rate high before the color camera. But if the players find themselves confronted with difficulties, what of the studios? The studios have millions of dollars worth of equipment for making black and white pictures. It cannot be used for color movies. Are they going to be faced with junking all of this? Of course, when the tornado of sound hit Holly- wood, almost overnight equipment that cost fortunes was thrown on the junk heap. And there is no doubt that, if the public demands color pictures, Hollywood must, and will, pro- vide them. But, aside from the high price of equipment, the actual cost of producing a color picture is enormous! For example, it cost sixty-four thousand dollars for RKO-Radio to produce ‘La Cucaracha.” The average black and white picture of the same length costs around fifteen thousand. NE reason for the steep cost of color pic- tures is that the Technicolor camera uses three times as much film as the black and white camera. It carries one strip of negative film to record each of the three primary colors. Thus when the cameras grind, three photographs of the scene are actually being taken at once. It follows then that at each step in the handling of the film the work and cost is tripled. The process itself is not as difficult or com- plicated as one might expect. Let us imagine that the color camera is photographing a holly wreath, hung on a blue door. Your eye sees the red berries, the green leaves, the blue door. A beam of light carries these three colors into the camera. As the light enters the camera, it strikes a prism which splits it into three parts. In the camera are three filters made of gelatin—a green gelatin filter, a red one, a blue one. Each of the three parts of the light beam strikes one of these filters. The green filter permits only the green in the light to pass through and hit the negative film. The red filter lets only the red in the light through. The blue filter carries through the blue in the light to the negative. Now the actual color is not recorded on these negatives. Looking at them, you see only shadow, as on an ordinary negative. The thing that is recorded here is the intensity of the light that has struck each negative. These negatives must be printed now on a positive which will preserve these values of intensity and which can take dyes and print them. The positive used is a gelatin-coated film. After the negative is printed on the positive, the positive is put through a chemical process which hardens the gelatin of the positive in proportion to the light that strikes it. For example, the red berries were dark on the one negative behind the red filter, and those spots let little light through, so the gelatin there remains soft. On the same negative, the green — leaves and blue door are not dark, and light hardens the gelatin in those spots. Each posi- tive is now taken out and washed. Naturally the soft gelatin washes away, leaving little “valleys” where the red berries should be, and reliefs of hard gelatin for the door and leaves. These gelatin positives are known as matrices. Now these matrices must be dyed. Each is dyed with its opposite or complementary color. The red matrix is dipped in a green dye; the green matrix is dipped with red dye; the blue matrix is dipped in yellow dye. You now have three strips of film, one yellow, one green, one red. The dye, of course, is absorbed according to the thickness of the gelatin coating. Where there is no gelatin, no dye will “take.’”’ Conse- quently, the berries on the originally red mat- rix, having no gelatin covering, take none of the green dye. By the same token, on the originally green matrix these berries retained the gelatin, and so absorb the red dye. The three matrices are now printed on the final positive film. First the red matrix (now dyed green, remember) is placed against the film. Since, on this matrix, the red berries retained no gelatin and consequently picked up no green dye, the spot where the berries should be simply remains blank on the film. Next, however, the green matrix (now dyed red) is — placed against the film. Here the berries retained the gelatin, absorbed the red dye, and now print it on the film. However, on the third | matrix (the one originally blue, now dyed yel- low) the berries also retained the gelatin and took the yellow dye. When this is pressed against the film, then, yellow dye is placed over the red dye of the berries. The same is true of each impression: each is dyed twice. But the light in the projection machine, striking the film as the picture is being shown, clears this up. The light contains red, green and blue elements—the three primary colors. As it shines through the film, the red element holds up the green, the green stops the red, the blue detains the yellow. Thus the holly berries, stained with red and stained with yellow, come onto the screen as red only, because the blue element in the light detains the yellow, and only the red is allowed to go through. On the screen, you see the colors now as accurately and truly as if you were looking at the original objects. : F black and white movies are realistic to you, itis only because your imagination supplies the color. Technicolor, however, leaves nothing to the imagination. There is even a process which makes it possible to record such realistic touches as a blush, or a players turning white with fright or crimson with anger. In “La Cucaracha” you may remember when Paul Porcas became angry at Steffi Duna in the restaurant, his face turned purplish red. This is done with a machine which contains a variety of colored lights set on a pivot. The pivot is turned, shedding the desired light in front of the projector, and directing it to the spot in the scene where the effect is wanted. The man who invented the machine says it 1

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will increase the possibility of interesting effects immeasurably, permitting even such realistic touches as pale greenish tinges for seasick actors and pasty white effects for “hangovers,” if desired. Hollywood today is pretty much divided or the subject of color. Sam Goldwyn and Eddie Cantor recently leagued with the pro-colorists when they made the final sequence of “Kir ' Millions” in Technicolor. RKO-Radio signifies its belief in the future of color by tossing tal sums of money into ‘“‘ Becky Sharp.” of the public. ' - : | considered of small consequence. | / come to the screen, to stay. But the fate of its future lies in the hands | If the public demands it, the expense to the industry, the discomfort to players will be If the public wants it, Robert Edmond | Jones’ prophecy will be fulfilled—color will PHOTOPLAY MAGAZINE FOR JANUARY, 1 ao * | _ Hollywood Holiday | Follies [ CONTINUED FROM PAGE SO | | Mae agreed he might come down to see her jsometime, so it was settled. | Dietrich and Von Sternberg were to walk ‘into the Paramount dining-room, each with a ishoe-box lunch under an arm and, selecting a itable, were to calmly lay out their weiner- \schnitzels to their hearts’ content and the lwaiters’ astonishment. | This, too, would please and surprise Santa, ‘they felt sure. | Joan Crawford begged to be allowed to itwine gardenias i in Santa’s beard so he would sel in harmony when he came down her chimney. _ Provided Franchot would stand for any Such monkey business. | The only snag they ran up against, however, iwas that all the girls wanted to tickle the jolly old rascal; he being such a plump old lamb. In the end, they finally had to lay down “no tick- ing” rules which simply put Miriam Hopkins co bed with disappointment. _ After lunch (at the Brown Derby) Santa was to view the Bus Berkeley girls in action. If Santa still lived, a simple little twenty-seven sourse supper was to be spread at the new Trocadero. “And let’s finish up with nuts,” someone suggested. ' ‘THAT settles it,” everyone screamed, “‘if _ ~ the Marx Brothers come, we won’t. They’ll inish it up all right.” Just to show that every little thing had been | hought out, it was agreed, if a Turkish bath j “nailed to bring Santa around after the evening’s lun, Adrian was to stitch a bale of cotton round Guy Kibbee and with Santa’s pack on ‘is back, he was to finish up the job. ' “But what if I get stuck in a chimney?” suy whimpered. | “You’ve been stuck in worse things than vas agreed. | And with this last detail complete, joy broke vose all over everything and Gracie Allen had » clean it up. Cheers, huzzahs and three neers for “ Hollywood’s Holiday Follies” rang jit over the land. |And as Tiny Tim never in the world said, ‘Merry Christmas to you all. And God help i, every one.” 4 Jhimneys, haven’t you?” they argued. So it | chocolate MAGIC! 1 FREE! Name ? OO MAGIC CHOCOLATE FROSTING 2 squares unsweetened 1935 1% cups (1 can) Eagle Brand Sweetened Condensed Milk 1 tablespoon water Melt chocolate in double boiler. Add Eagle Brand Sweetened Condensed Milk. Stir over boiling water 5 minutes untilit thickens. (Imagine! Takes only 5 minutes to thicken perfectly!) Add water. Cool cake before spreading frosting. @ Only § minutes’ cooking instead of 15! And it never fails! Never too thick nor too thin. Goes on in lovely rich swirls! @ But remember... Evap- R. orated Milk won’ t—can’t—succeed-in this recipe. ies You must use Sweetened Condensed Milk. Just re remember the name Eagle Brand. J World’ s most amazing Cook Book! a Rotogravure picture-book (60 photographs) showing astonishing new short-cuts. Lemon Pie without cooking! Caramel Pudding that makes itself! 2-ingredient Macaroons! Shake-up Mayonnaise! Ice Creams (freezer and automatic )! Candies! Refrigerator Cakes! Sauces! Custards! Cookies! Quick Breads! Address: The Borden Co., Dept. PU15, 350 Madison Ave., New York, N. Y Street City (Print name and address plainly) State. 130 recipes, including: ~ 05 brldi Easiest Chocolate hey | Magazine of the Screen. | the screen. in its field of motion pictures. Brief reviews with the casts of current phctoplays. nothing but the truth, about motion pictures, the stars, and the industry. You have read this issue of Photoplay, so there is no necessity for tell- ing you that it is one of the most superbly illustrated, the best written and most attractively printed magazines published today—and alone Send a Money Order or Check for $2.50 if inthe U. ($3.50 to Canada and foreign countries), for the next twelve issues, addressed to PHOTOPLAY MAGAZINE, Dept. 1-P, 1926 eat New York, N. Y. What *22 Will Bring You | Hundreds of pictures of the stars of Hollywood and illus- trations of their work and pastime—in twelve big | (monthly) issues of PHoropLay, The News and Fashion Scores of interesting articles about the people you see on The truth and S., its dependencies, Mexico, Cuba

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Its Never Been Done Before A producer, in London on business, sought relaxation at the theater with friends. The play was “The Ace,” which had been a sensa- tion in the English metropolis for several months. Even so, tired from a day of conferences and checking reports, the producer leaned back in his chair, prepared to be bored. But in the first five minutes, he not only was interested, he was sitting on the edge of his seat. A new personality—vibrant, intriguing, compelling—had flashed across his conscious- ness. N olive-skinned beauty with flax-blonde hair and big blue-green eyes, she wore the simple costume of a French gamin stranded in Germany during the war. A scarlet hair- ribbon and sheer black silk stockings added a saucy pertness which was devastating. It was easy to identify her from the program, as she was the only feminine member of the cast. Ketti Gallian! An intriguing name— one that would look well on theater marquees. The producer, Winfield Sheehan, sighed deeply. For more than a year he had been searching the world over for the ideal girl to play the title réle in “ Marie Galante,” the Prix de Rome novel by Jacques Deval which had caused a sensation in Europe and an equal one in America when it was published in English. Here, if the gods were good, was the very girl he had been seeking. If she filmed well, his long search was at an end. Through his London associates, he arranged for an interview at Miss Gallian’s hotel. When he arrived to keep the appointment, her secre- tary was called in to interpret. Miss Gallian’s English vocabulary embraced no more than “How do you do,” “Thank you,” and “ Good- bye,” despite her months in London. She had no intention of remaining in Eng- land when she accepted the role of the French girlin ‘The Ace,” and, as her lines were all in her native language, there was no necessity for her tolearn English. She did the same as most Americans do who go to France fora visit—hired a bilingual secretary, and trans- acted all business through her, even to her shopping. Mr. Sheehan found Miss Gallian delightful on acquaintance and speedily arranged for her to make a screen test. Language offered no complications, as she merely did a scene from “* The Ace” before the camera. She screened gor- geously, the searching eve of the camera re- cording many facets of her piquant person- ality that were lost over the footlights. 106 [ CONTINUED FROM PAGE 51 | The producer found the little French actress more than eager to visit Hollywood. But there were several items to be settled first. That matter of language—owz, she yould learn English within one hundred days. Screen training—she would submit herself to any in- struction deemed necessary. Remodeling her figure—Oo, la la! Famous artists had pronounced her figure tres chic. Why must she change? It was patiently pointed out that the camera magnifies, and that a person who may look perfect on the street or the stage, often will look too large on the screen. Oui—Gallian would reduce, too, if it were necessary. And so the very unusual contract was signed. On Christmas Eve, her birthday, inciden- tally, Ketti Gallian arrived at the Hollywood airport. A stranger in a strange land, her first impulse was to hop another plane for home. . She had been seasick on the rough ocean crossing aboard the Italian Rex. She was air- sick following her speedy dash across the con- tinent by plane, and heartsick and lonesome for her relatives and friends more than six thousand miles away in Europe. N additional provision of her contract re- quired that, in order to insure her concen- tration on learning English, she must not as- sociate with French or French-speaking people during the period of her training. The only answer she knew to homesickness and discouragement was work, so the volatile, flaxen-haired starlet settled down to a period of intensive study and the bitter drudgery of lonely labor. Margaret Knapp, who last year coached Roger Pryor is proving a most attentive listener to Ann Sothern’s reading. The romance between this couple, seen dining at the Brown Derby restaurant, is said to be growing Anna Sten, the Russian actress, in English so successfully, wasretained to tutorthe French girl. + The young ladies shared an apartment, to obtain better results on the concentrated course of lessons. ‘ Miss Gallian’s only relaxation contributed to her education, too. She listened to the radio and attended American movies to become accustomed to the proper enunciation of words. ECHNICAL resources of Fox Movietone City were placed at Miss Gallian’s disposal. She was coached in histrionics, she was drilled in poise and carriage. In a hundred days she had learned Eng- lish. She became sufficiently acquainted with the language to read her lines clearly and distinctly, with just the trace of accent which movie-goers find so delightful in foreign stars. Through exercise—horseback riding, bicye- ling, tennis and swimming—and a_ balanced menu of wholesome foods, she reached her proper weight and the slender, sinuous silhou- ette her height and characteristics call for. Miss Gallian was born in the south of France, but her coloring, features and figure are not typical of that region. She is a marked contrast to the small-statured brunette wom- en of southern Europe. Straight as an arrow, she is wide-shouldered, thin-hipped, with light tresses and blue-green eyes. Perhaps this is due to the influence of her mother, whose family was of Nordic origin, though French for generations. Ketti’s mother was born in Boulogne-sur-Mer on the English Channel. Ketti’s father, Victor Galliano, is Italian born, from the Piedmont. A grape-grower, his vineyards extend up the hillsides of the Mari- time Alps, drinking in the sun from the warm southern exposure. Victor Galliano be- came a French citizen before the war and was French army when hostilities broke out in 1914. He went to the trenches early in 1915, was slightly wounded, went back to the lines, then came down with pneumonia. After a long siege in the service. baby. She was born during the dark days of the great struggle, far from the front, but where enemy sea raiders frequently at tempted to shell the ports — where enemy the Rhone Valley to bomb distant cities. mobilized with the , a hospital, he was | finally invalided out of | Ketti was a war} a stone’s throw from | the Mediterranean Sea” aircraft soared down | { 4 { i ; | | i \ H | i }

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| \ PHOTOPLAY MAGAZINE ror JANUARY, 1935 Addresses of the Stars Hollywood, Calif. Paramount Studios Iris Adrian Max Baer George Barbier Ben Bernie Douglas Blackley Mary Boland Grace Bradley Lorraine Bridges “arl Brisson athleen Burke Burns and Allen Allan Campbell Kitty Carlisle Claudette Colbert Elisha Cook, Jr. Gary Cooper Jack Cox Larry ‘‘ Buster’ Crabbe Eddie Craven Bing Crosby Alfred Delcambre Katherine DeMille Marlene Dietrich Jessica Dragonette Frances Drake W. C. Fields William Frawley Paul Gerrits Gwenllian Gill Cary Grant David Holt Dean Jagger Roscoe Karns Elissa Landi Charles Laughton Billy Lee Baby LeRoy Diana Lewis Carole Lombard Pauline Lord Ida Lupino Helen Mack Fred MacMurray Julian Madison Marian Mansfield Herbert Marshall Lois Maybell Gertrude Michael Raymond Milland Joe Morrison Lloyd Nolan Jack Oakie Lynne Overman Gail Patrick Joe Penner George Raft Lyda Roberti Lanny Ross Jean Rouverol Charlie Ruggles Randolph Scott Ann Sheridan Sylvia Sidney Alison Skipworth Queenie Smith Sir Guy Standing Colin Tapley Kent Taylor Eldred Tidbury Lee Tracy Evelyn Venable Mae West Henry Wilcoxon Howard Wilson Virginia Weidler Toby Wing Fox Studios, 1401 N. Western Ave. Frank Albertson Astrid Allwyn Rosemary Ames Lew Ayres Catalina Barcena Mona Barrie Warner Baxter John Boles John Bradford __ Frances Carlon | : . Madeleine Carroll Dave Chasen Tito Coral James Dunn _, Jack Durant | Alice Faye | Peggy Fears _|Stepin Fetchit Nick Foran Norman Foster Ketti Gallian Janet Gaynor ‘Harry Green Rochelle Hudson Roger Imhof _ !Walter Johnson 4 June Lang Edmund Lowe Victor McLaglen Frank Melton Frank Mitchell Conchita Montenegro Rosita Moreno Herbert Mundin Warner Oland Valentin Parera Pat Paterson Ruth Peterson John Qualen Will Rogers Gilbert Roland Raul Roulien Siegfried Rumann Albert Shean Berta Singerman Shirley Temple Spencer Tracy Claire Trevor Helen Twelvetrees Blanca Vischer Henry B. Walthall Hugh Williams RKO-Radio Pictures, 780 Gower St. lenn Anders red Astaire John Beal pate Best tic Blore lice Brady elen Broderick ‘Bruce Cabot Chic Chandler ichard Dix Stefi Duna rene Dunne ‘Hazel Forbes Skeets Gallagher ynne Gibson lan Hale Margaret Hamilton Harding die Cantor Charles Chaplin ouglas Fairbanks ve, seorge Arliss Constance Bennett Ronald Colman Katharine Hepburn Pert Kelton Francis Lederer Gene Lockhart Joel McCrea Raymond Middleton Polly Moran June Preston Gregory Ratoft Virginia Reid Erik Rhodes Barbara Robbins Ginger Rogers Ann Shirley Frank Thomas, Jr. Thelma Todd Bert Wheeler Robert Woolsey United Artists Studios, 1041 N. Formosa Miriam Hopkins Mary Pickford Anna Sten 20th Century Studios, 1041 N. Formosa Fredric March Loretta Young | Columbia Studios, 1438 Gower St. Fred Keating Peter Lorre Sheila Mannors Marian Marsh Tim McCoy Geneva Mitchell Grace Moore George Murphy Virginia Pine Arthur Rankin Gene Raymond Florence Rice Charles Sabin Billie Seward Ann Sothern Raymond Walburn Fay Wray Culver City, Calif. Hal Roach Studios Don Barclay Billy Bletcher Charley Chase Billy Gilbert Oliver Hardy Patsy Kelly Stan Laurel Billy Nelson Our Gang Douglas Wakefield Metro-Goldwyn-Mayer Studios Brian Aherne Katharine Alexander Elizabeth Allan Lionel Barrymore Wallace Beery Virginia Bruce Ralph Bushman Charles Butterworth Mary Carlisle Leo Carrillo Ruth Channing Maurice Chevalier Mady Christians Jackie Cooper Joan Crawford Marion Davies Jimmy Durante Nelson Eddy Stuart Erwin Madge Evans Muriel Evans Louise Fazenda Preston Foster Betty Furness Clark Gable Greta Garbo Gladys George C. Henry Gordon Ruth Gordon Russell Hardie Jean Harlow Helen Hayes Louise Henry William Henry Jean Hersholt Irene Hervey Isabel Jewell Otto Kruger Elsa Lanchester Evelyn Laye Myrna Loy Jeanette MacDonald Una Merkel Robert Montgomery Frank Morgan Karen Morley Ramon Novarro Maureen O'Sullivan Cecilia Parker Jean Parker Nat Pendleton Rosamond Pinchot William Powell Esther Ralston May Robson Shirley Ross Rosilind Russell Maurice Schwartz Norma Shearer Sid Silvers Martha Sleeper Lewis Stone Gloria Swanson William Tannen Robert Taylor Franchot Tone Henry Wadsworth Lucille Watson Johnny Weissmuller Diana Wynyard Robert Young Universal City, Calif. Universal Studios Heather Angel Henry Armetta Nils Asther Binnie Barnes Dean Benton Mary Brooks Willy Castello June Clayworth Carol Coombe Philip Dakin Ann Darling Andy Devine Sally Eilers Valerie Hobson Sterling Holloway Henry Hull G. P. Huntley, Jr. Lois January Buck Jones Boris Karloff Frank Lawton Bela Lugosi Paul Lukas Florine McKinney Douglass Montgomery Victor Moore Chester Morris Hugh O’Connell Roger Pryor Juanita Quigley Claude Rains Onslow Stevens Gloria Stuart Margaret Sullavan Francis L. Sullivan Polly Walters Alice White Clark Williams Jane Wyatt Burbank, Calif. Warners-First National Studios Ross Alexander Mary Astor Arthur Aylesworth Robert Barrat Joan Blondell Glen Boles George Brent Joe E. Brown James Cagney. Enrico Caruso, Jr. Hobart Cavanaugh Joseph Cawthorn Colin Clive Ricardo Cortez Dorothy Dare Bette Davis Dolores Del Rio Claire Dodd Ruth Donnelly Maxine Doyle Ann Dvorak. John Eldredge Patricia Ellis Florence Fair Glenda Farrell Grace Ford Kay Francis William Gargan Hugh Herbert Russell Hicks Leslie Howard Ian Hunter Josephine Hutchinson Allen Jenkins Al Jolson Olive Jones Ruby Keeler Guy Kibbee Terry La Franconi Hal LeRoy Robert Light Margaret Lindsay Anita Louise Helen Lowell Aline MacMahon Frank McHugh Helen Morgan Jean Muir Paul Muni Pat O'Brien Henry O'Neill Dick Powell Phillip Reed Philip Regan Edward G. Robinson Winifred Shaw Barbara Stanwyck Lyle Talbot Verree Teasdale Genevieve Tobin Dorothy Tree Mary Treen Helen Trenholme Harry Tyler Gordon Westcott Warren William Donald Woods Lloyd Hughes, 616 Taft Bldg., Hollywood, Calif. Harold Lloyd, 6640 Santa Monica Blvd., Hollywood | ae Beverly Hills. Ned Sparks, 1765 No. Sycamore Ave., Hollywood, Calif. Neil Hamilton, 351 N. Crescent Dr., Calif. Alan Dinehart, 2528 Glendower Ave., Calif. Hollywood, + 107 A a ee CaN EVERY MAN you know name the color of your eyes, this minute? If not, you are not making good in the beauty game and it’s time to ¢ake steps. You might take to Kurlash too. Slip your lashes into this fas- cinating little implement—press for an in- stant—and presto! They’re curled back like a movie star’s, looking twice as long, dark and glamorous. Notice how they frame your eyes, deepening and accentuating the color! No heat—no practice—no cosmetics .-.and Kurlash costs just $1 too! Jane L. is right when she writes that it’s worth the trouble to pluck her brows slightly along the upper line because it makes her eyes seem larger. But the reddened skin and discomfort she complains about are caused by using an old-fashioned tweezer. Do you know Zweezette? It works automat- ically, plucking out the straggly offending hair, accurately and instantly, without even a twinge. It costs $1 in any good store. a i. Stokes in afar! Rutu W. brushes her eyelashes when she does her hair. Not 100 strokes a day——simply an instant’s brushing with a compound of beneficial oils called Kurlene ($1). You'll be surprised how much silkier, softer and darker looking it will make yours too! Klass Jane eee will gladly give you personal advice on eye beauty tf you write hera note care of Department A-\, The Kurlash Company, Rochester, N. ¥. The iKurlack Company of Canada, at Toronto, 3. Copyright 1934 T. K. Co.

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All the World’s His Stooge eventually substituting rubber balls for the stones. Rapidly he became more adept, and finally was urged to present his ‘‘act” on amateur night at the neighborhood theater in the Bronx. Jimmy won first prize, and the manager offered the youngster a two-a-day contract. As the years went on, Savo developed the most complicated of juggling routines. One intricate trick took him two years to perfect. Once, while presenting it in a vaudeville house, he missed and the audience laughed. Savo decided that he would never be laughed at again while trying to perform a difficult and serious act. So he went back to simple tricks, doing them with comedy pantomime. His comedy was so successful that gradually he dropped the juggling and emphasized the pantomime. Almost at once he became a head- liner in vaudeville, featured comedian in Broadway shows, anda popular entertainer in New York’s most famous night clubs. It is surprising that until now movies paid little attention to him. For his forte is panto- mime—always more effective on the screen than on the stage. He made some Sunshine comedy shorts for Fox back in the silent days, and they attracted no particular attention. Last Spring he made a movie, “The Girl in the Case,” for Dr. Eugene Frenke, husband of Anna Sten. A private production, the picture was never released. However, picture men and critics who saw the movie by invitation, sang Savo’s praises. And afew months later Hecht and MacArthur asked him to play the lead in their picture. Maybe Hollywood shunned him because he once told a movie director that he would like to see his favorite book brought to the screen. It’s Margaret Sullavan Wants None of It! she was not and never would be happy making pictures. It wasn’t just Hollywood. Margaret had preconceived ideas about Hollywood— playtime Hollywood—and stunningly ignored it. All during her début picture she was ‘‘reg- ular” enough about doing the extra-set tasks demanded of a star. The publicity gags, pic- tures, smiles, introductions. No one called her a ‘prima donna.” But she was terribly unhappy every minute of the time she spent within studio gates. And she still is. I happen to know that ever since “Only Yesterday,” and its undreamed of re- sult of lifting her to the small pinnacle of great screen stars, Margaret Sullavan has never been the same. VEN during the filming of “Little Man, What Now?” under the kindness and understanding of Frank Borzage, whom she liked, on a set where harmony and pleasant- ness ruled, Margaret suffered the same soul- twisting tortures. Every picture has been a Hell for her to get through. Her attitude, which is genuine and uncontrollable, has not changed one iota 108 [ CONTINUED FROM PAGE 77 | “The Dishonest Conductor,” by Rob Nickels. He makes everybody stooge for him. And they like it! He’ll say to you merrily, ‘Come and go to the fair with me this afternoon.” You answer, ‘‘But, Jimmy, I didn’t know there was a fair in town.” “Must be. I read it in the paper last night, ‘Fair today and tomorrow.’ ” He’s the only comedian I’ve ever known who even makes stooges out of the writers who are interviewing him. Ask him about his education and he’ll say, “Sure I went to school. What did I take up? Space. No, seriously, I studied geography. I learned that the most important animal in Russia is a Mouse-cow.”’ SK him about his film plans for the future— if he may go to Hollywood—and he answers, “Well, I bought an elephant so ll have a trunk handy, just in case. And that reminds me, do you know whose baby is being fed on elephant’s milk? The elephant’s baby, of course.” You groan-and try to bring him back to the subject of movies, his career; and ask him if he, like most comedians, wants some day to do dramatic roles. ‘“No,” he answers. ‘‘Once I wanted to write plays. But now I know I'd rather be Jimmy Savo than William Shakespeare. Because Shakespeare, you know, is dead.” You groan again and ask him what he would like to do if he should go to Hollywood, and he says, ‘‘I’d like to become a rhinoceros, so I can horn in everywhere. You know, I hear Holly- wood is a tricky place. They even have a trap set for Mickey Mouse.” If Jimmy Savo does go to Hollywood it won’t 29 | | CONTINUED FROM PAGE from the first discouraging week of her screen career to the day we talked at luncheon. To completely understand it would be to completely understand Margaret Sullavan— and only the gods can dare boast such percep- tion. For she is no ordinary person; on the contrary, she is one of the most intensely in- teresting and individual characters ever to visit Hollywood. However, here is an attempt at least to pene- trate the shell of a psychology which has pro- vided Hollywood with an enigma rapidly be- coming as classic as Garbo. In the first place, all the rich rewards of movie stardom leave her as cold as a casting director’s eye. Money, movie money, big money simply has no lure for her. She doesn’t want mink coats and town cars. Making good in a show world doesn’t lend her the slightest desire to make a show. Last year she drove a small, second-hand medium priced roadster; this year she doesn’t even own a car, but rents a 1932 rattly, two- seater of one of the lowest priced makes. Living in style, wearing sensational, expen- be soon. That is, unless Ben Hecht and Charlie MacArthur, now producing pictures for Paramount in New York, change their minds and agree to return to the Coast. For Jimmy is under contract to Hecht and Mac- Arthur for six pictures to follow ‘Once in a Blue Moon.” They are convinced that the Broadway comedian is going to be a screen sensation, a second Chaplin. They believe that his ill-fitting, patched-up clothes and his always handy bean-shooter will become as famous as Charlie’s big shoes and cane. And if his two directors are silent when Jimmy tells a joke, it’s probably because they’re afraid to open their mouths for fear Savo will make stooges out of them. And he does, too. For example, they were ready to start work on the set when Sayo rushed up to Hecht, saying, “‘Hey, do you know who is in the hospital?” Hecht cast an anxious eye about the set. “No, who?” : “Sick people,” Jimmy answered. “Well, you oughta be there!” Hecht snarled. “Oh, no. Not me, Ben. I just swallowed a mint and I feel like a million dollars! By the way, Ben. You're a great director, and ’m an actor, trying to learn how to speak lines. A guy last night told me it was possible to say ‘What am I doing?’ in five different ways, making five shades of meaning, just by accenting different words. But I don’t believe that, do you?” “Certainly, it is,” the director answered. “Tl show you. What am I doing? What am I doing? What amI doing? What I am doing? What am I doing?” i “Making a sap of yourself, Ben! Well, call — me when the camera’s ready.” ”? sive clothes, putting it on in the grand manner is actually distasteful to her. Last year, again, she took a house in Coldwater Canyon, not @ big house, but a nice house. This year she lives right in the heart of Hollywood, in a small apartment. The address is good, but not ultra- _ ultra. Fame, publicity, glamour, ballyhoo, they make her shudder. I doubt if she has read one | one-hundredth of the stories written about her. — She keeps none of her countless still portraits. She wasn’t enjoying having luncheon with me, — although we are friends, because she knew I was going to write about her. Anything at- tempted in the nature of an interview is ac tually painful to her. Talking about herself J makes her weak inside. She made me promi not to quote her. HE fact that millions of people all over the : world are being entertained and made happy § © by her pictures, the fact that she is succeeding | in what most people consider an immeasurably | great career does not begin to compensate her for what she sincerely feels she is missing be cause of it. To her any career—even the stage, which, \

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PHOTOPLAY MAGAZINE FOR JANUARY, 1935 109 Vivacious little Toby Wing, Paramount feature player, and S. J. Perelman, fa- mous humorist now writing for Para- mount, she loves almost reverently—isn’t worth a snap of the fingers if it in any way bounds her free- dom. If it keeps her from drinking to the fullest of life. In some ways, Margaret Sullavan is a wise old woman; in others, I suspect that she is both vote for the Hawaiian “Here’s How” made with one-third of a glass of DOLE Pineapple Juice, a dash a naive child. Because she eagerly wants, she insists on ' every worth while fruit in the world’s Eden— | not sometime, but ow. She wants a stage career (she wants to “learn | how to act”!!) she wants to travel, she wants marriage, a home, children, she wants leisure —and all pretty much at once. The fact that ' all of these can come in a few years, after she | has made herself independent for life, by a | short prison “stretch” in Hollywood, cuts no figure whatever with her. She thinks that now is the time to be free— not later. | F course, most of us wouldn’t consider the making of two pictures a year (even though | each picture, being the most important on | Universal’s schedule, takes from two to three | months to film) exactly the four walls of a | prison—but to one so geared as Margaret | Sullavan, it is more than a prison—it’s a tor- | ture chamber. | Every day she spends on the set saps her | energy to the last dregs and tires her to nervous ! exhaustion. She goes home in a state of mind | which carries the conviction that her day’s | work has been futile—that she has given a mis- | erable performance—that she has wasted a | precious, irretrievable day of her life—for naught. She can’t bear to view the rushes of her day’s ' work in the evening after the final “Cut” has | sounded. | Director William Wyler asked her as a | special favor to see them on her present pic- | ture, “The Good Fairy.” | He thought it would help her. | She went for two evenings. She couldn’t stand to see herself and begged off; she hasn’t seen them since. From all of it she wants to escape. Weary ‘of the bargain which unsought, unexpected ‘success has forced on her, Margaret Sullavan wants a way out. | Will the marriage that she contemplates help ther find the freedom and the rich experience of _ life she demands, and which, being made as she is made, Hollywood denies her? Will it be the : first step towards her eventually forsaking the screen? R will it change her whole psychology, re- vamp her unusual attitude towards screen Pe iom, give her enough of the extra-studio life she now lacks, and make what now seems full torture an attractive career? | There is only one answer— | She will still be essentially Margaret Sulla- f yan, no matter whom she marries—and so sin- ‘ere is her unhappy dislike of a screen star’s ife, that no mere wedding ring can transform ts aura from gray to golden. , Of course, marriage or no marriage, she can’t ust quit. She’ s a very valuable piece of screen ‘roperty, whether she likes it or not—and Uni- ‘ersal has a contract with her for two more ‘ears. But she is just enough of a life loving, free- om seeking person to go in for this marriage ith her whole soul, found a home and raise a amily! | So take a good look, a long lingering look at Margaret Sullavan in “The Good Fairy,” for pet picture and the one after it might be your st chance to see her for some time. of cider and seltzer and ice. **Here’s How!’’ says Wing to Perelman All over the country they are taking up the new Hawaiian “Here’s How” based on one-third DOLE Pineapple Juice to each long tall glass, seltzer water, ice, plus the infinite variety of other fruits and fruit juices added to your own taste. Pure, unsweetened DOLE Pineapple Juice, vacuum-packed, makes the perfect “ Here’s How.” Order a dozen cans from your grocer today. “ANT BROADCAST? Can you speak, sing, act, write, direct or sell? Then _look into Broade. Sune for your opportunity. New Floyd Gibbons Course trains you at home, spare time. Free bookisege ener alll Give age. 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Brief Reviews of Current Pictures | | LOST JUNGLE, THE—Mascot.—Clyde Beatty gives an exciting performance with both lions and tigers in the big cage. And his South Sea Isle ex- periences add to thrills. (Sept.) LOST LADY, A—First National.—Willa Cather’s novel, considerably revamped. Barbara Stanwyck fine in title rdle; Frank Morgan and Ricardo Cortez satisfactory. (Vov.) LOUD SPEAKER, THE—Monogram.—Familiar story of small-town boy (Ray Walker) who makes good on the air, but can’t stand success. Jacqueline Wells is the girl in this pleasing picture. (July) LOUISIANA—Robert Mintz Prod.—Some of the scenes in this odd film about a group of Negroes torn between their pastor's teaching and Voodooism are really fascinating. Beautiful voices are heard in spirituals. (Sept.) LOVE CAPTIVE, THE—Universal.—A confused issue over use of hypnotism in certain illnesses. Nils Asther, Gloria Stuart and supporting cast fine, but story isweak. (Aug.) LOVE TIME—Fox.—The struggles of Franz Schubert (Nils Asther); his love for a princess (Pat Paterson); her father’s (Henry B. Walthall) efforts to separate them. Lovely scenes, lovely music. (Dec.) MADAME DU BARRY—Warners.—An elabo- rate and diverting presentation of Madame Du- Barry's (Dolores Del Rio) pranks in the French Court. King Louis XV is brilliantly portrayed by Reginald Owen. (Aug.) MANHATTAN MELODRAMA—M-G-M. —Powerful drama about the friendship of two men—district attorney William Powell and gambler Clark Gable—and the tragic climax of that friend- ship. Myrna Loy does fine work. (July) MAN FROM UTAH, THE—Monogram.—Thrill- ing rodeo shots speed up this Western in which John Wayne exposes the racketeers. Polly Ann Young is the feminine interest. (Avwg.) MAN WITH TWO FACES, THE—First Nation- al.—Clear cut character drawing, intelligent direction and Edward G. Robinson make this a decidedly good show. Mary Astor, Ricardo Cortez, Louis Calhern. (Aug.) MANY HAPPY RETURNS—Paramount.—Just a bucket of nonsense, with George Burns, Gracie Allen, Joan Marsh and supporting players causing a riot of fun. (July) MENACE—Paramount.—Mystery. Starts weak, but picks up, and you'll be well mystified. A mad, man threatens Gertrude Michael, Paul Cavanagh- and Berton Churchill whom he blames for his brother's suicide. (Dec.) MERRY FRINKS, THE—First National.—Aline MacMahon, Hugh Herbert, Allen Jenkins, Frankie Darro, Joan Wheeler and Guy Kibbee are all valuable in making up a comedy well worth your time. (Aug.) MERRY WIDOW, THE—M-G-M.—Oper- etta striking a new high in lavish magnificence. Jeanette MacDonald and Maurice Chevalier rate honors for their performances. (Nov.) MERRY WIVES OF RENO—Warners.—This feeble and unamusing tale is too much even for the capable cast, including Margaret Lindsay, Donald Woods, Ruth Donnelly, Guy Kibbee. (Axg.) MIDNIGHT ALIBI—First National.—As_ the gang leader who loves the sister (Ann Dvorak) of a rival gangster, Richard Barthelmess, comes through in fine style. New plot twist. (Aug.) MILLION DOLLAR RANSOM—Universal.—In the réle of a former liquor baron trying to go straight, Edward Arnold is superb. Phillips Holmes and Mary Carlisle do nice work, too. (Oct.) MONTE CARLO NIGHTS—Monogram.—This screen adaptation doesn't do the E. Phillips Oppen- heim story justice. But Mary Brian and Johnny Darrow do their best to entertain you. (July) MONEY MEANS NOTHING—Monogram.—A few dull spots, but on the whole this yarn about the shipping clerk (Wally Ford), who marries the wealthy girl (Gloria Shea) isamusing. (Avug.) MOONSTONE, THE — Monogram. — David Manners and Phyllis Barry do a good acting job in spite of poor direction and a loose screen play. (Oct.) 110 [ CONTINUED FROM PAGE 17 ] MOST PRECIOUS THING IN LIFE—Colum- bia.—Jean Arthur’s superb performance is wasted in this familiar tale of the mother who turns up in the son’s (Richard Cromwell) later life as the ‘‘biddy”’ in hiscollege dormitory. (Avxg.) MRS. WIGGS OF THE CABBAGE PATCH— Paramount.—lInteresting adaptation, with Pauline Lord, ZaSu Pitts, W. C Fields and a host of other fine players. (Nov.) MURDER AT THE VANITIES—Para- mount.—Two backstage murders make the opening night of Earl Carroll’s show a memorable one. Carl Brisson, Kitty Carlisle and a host of well- known players in support. (Awg.) MURDER IN THE PRIVATE CAR—M-G-M.— A riot of thrills and nonsense cover up weak spots in plot. Mary Carlisle, Una Merkel, Charles Ruggles, Russell Hardie all well cast. (Sept.) MURDER IN TRINIDAD—Fox.—While Nige! Bruce investigates smuggling of diamonds out of Trinidad, two men are killed. Exciting melodrama Victor Jory, Heather Angel. (Aug.) MURDER ON THE BLACKBOARD—RKO- Radio.—Plenty of action, suspense and chills, with Edna May Oliver superb in a humorous Philo es role. Jimmy Gleason and Regis Toomey. Aug. MYSTIC HOUR, THE—Progressive.—Crooked- est crooks, fightingest fights, tag with fast trains, middle-aged hero, dastardly villain, his bee-ootiful ward. But no custard pies. Montagu Love, Charles Hutchison, Lucille Powers. (Dec.) NELL GWYN —British & Dominion-United Artists.—Sir Cedric Hardwicke and Anna Neagle in a weak screen story on the life of the lowly actress who became a favorite of King Charles II. (Oct.) NOTORIOUS SOPHIE LANG, THE — Par- amount.—Comedy-melodrama with Gertrude Michael and Paul Cavanagh as crooks vying for first place in their profession. Alison Skipworth. (Sep/.) NOW AND FOREVER—Paramount.— Baby Shirley Temple scores again as vagabond adventurer Gary Cooper’s motherless tot. Carole Lombard is Gary's beautiful love. Principals and support A-1. (Oct.) NOW I’LL TELL—Fox.—An interesting account of the life of the famous gambler, Arnold Rothstein, by his widow. Spencer Tracy is excellent in the lead. Helen Twelvetrees plays his wife. Alice Faye and fine support. (July) OF HUMAN BONDAGE — RKO-Radio. — Deft adaptation of Somerset Maugham’s novel about a cripple (Leslie Howard) hopelessly in love with a vicious woman (Bette Davis). Expert char- acterizations by principals, Frances Dee, Reginald Owen and Alan Hale. (Sept.) OLD-FASHIONED WAY, THE — Par- amount. — Paralyzing gags, situations and lines in this Gay Nineties story featuring W. C. Fields, Baby LeRoy, Judith Allen, Joe Morrison and revival cast of stage play ‘‘The Drunkard.’’ (Sept.) ONCE TO EVERY BACHELOR—Liberty.—A veteran comedy-drama plot, but the cast gives it life and sparkle. Marian Nixon, Neil Hamilton and Aileen Pringle. (Avug.) ONE EXCITING ADVENTURE—Universal.— Striving for suavity robs story of much charm. Neil Hamilton reforms Binnie Barnes, who picks up diamonds hither and thither. Has laughs, and Paul Cavanagh, Eugene Pallette, Grant Mitchell. (Dec.) ONE MORE RIVER—Universal.—Americans will find this account of Diana Wynyard’s affair with Frank Lawton, resulting in a divorce from her cruel husband, a trifle ponderous. (Oct.) NIGHT OF LOVE—Columbia.—An unusual musical romance. With your eyes open or closed, it’s an evening for the gods. Grace Moore's vole is glorious. Lyle Talbot and Tullio Aug.) ONE Carminatti. OPERATOR 13—M-G-M.—Marion Davies does fine work as a spy in this Southern extravaganza with Civil War background. Gary Cooper is a spy for the opposite side. (Axg.) ORDERS IS ORDERS—Gaumont-British.—An amusing skit with all-English cast excepting Jimmy Gleason and Charlotte Greenwood, who are a comedy riot. (Aug.) OUR DAILY BREAD—United Artists ——Frankly communistic, this film portrays community ran life, climaxing with a victory over drought. Kare Morley, Tom Keene and Barbara Pepper fine. (Sept.) OUTCAST LADY—M-G-M.—Every cast mem- ber—including Constance Bennett, Herbert Mar- shall, Ralph Forbes, Hugh Williams—does his utmost. But this rambling presentation of Michael Arlen’s - “Green Hat”’ hampers their efforts. (Nov.) 1 PARIS INTERLU DE—M-G-M.—Good story ide: and setting, but disjointed telling. Hero worship theme—Robert Young’s somewhat shoddy idol bein Otto. Kruger, an adventurous newspaper man. cast includes Madge Evans. (Oct.) OVER NIGHT—Mundis Distributing Corp. Crook melodrama, but no suspense. Story is tel graphed ahead. But, it has engaging Robert Don and beautiful Pearl Argyle. (Dec.) PARTY’S OVER, THE—Columbia.—In this one, it’s anything for a laugh. Stuart Erwin, sati Ann Sothern, William Bakewell, Arline Judge ai quate. (July) PECK’S BAD BOY—Fox.—The story sg many of us have enjoyed in days gone by, effectively screened. Jackie Cooper is the “ba boy,’’ and Thomas Meighan is Mr. Peck. (Nov.) — PERSONALITY KID, THE—Warners.—Not new plot, but it’s well handled. Pat O’Brien, as an © egotistical prize-fighter is okay. Glenda Farrell plays his wife. (Aug.) PURSUED—Fox.—Too hilariously melodrama to be true. Everyone, including cast—Rosem: Ames, Pert Kelton, Victor Jory, Russell Hardi Ue pave been kidding when they made this picture, ov. PRIVATE SCANDAL—Paramount.—Comedy- mystery which doesn’t succeed in being either. Le Cody is murdered and daughter Mary Brian's fiance Phillips Holmes, is the chief suspect. ZaSu Pitts an Ned Sparks. (July) PURSUIT OF HAPPINESS, THE—Para mount.—Hinges on the long-gone custom u to eke out the firewood, ‘‘bundling’’; a Hessian soldie and a Colonial lass in Revolutionary War days. — Francis Lederer, Joan Bennett, Charles Ruggl Mary Boland, Barbara Barondess. Very amusin, (Dec.) ry { RANDY RIDES ALONE—Monogram.—Western ~ devotees will enjoy seeing John Wayne track down a band of outlaws led by George Hayes, Albea { Vaughn. (Sept.) READY FOR LOVE—Paramount— Amusing, ) should please entire family. Richard Arlen, news- — paper owner, mistakes Ida Lupino for the inamorata — of the town’s leading citizen. Marjorie Rambeau, | Trent Durkin, Beulah Bondi. (Dec.) } REDHEAD—Monogram.—Grace Bradley doesn't subscribe to the theory you shouldn't marry a man to” reform him. She does, and it works. Bruce Cabot | the man. (Dec.) [ ! * al.—A chilling mystery that has for itslocalea | sanitarium for the insane. John Halliday, a | Astor and Lyle Talbot are right up to par. Suspense — well sustained. (Avug.) a it * RICHEST GIRL IN THE WORLD, THE— § RKO-Radio.—Miriam Hopkins does grand job in title réle, as girl who wants: Joel McCrea to love her — for herself alone. Fay Wray. (Nov.) RETURN OF THE TERROR—First Nation- | ROCKY RHODES—Universal.—Good fare for Western devotees, with fist fights and lots of fast riding by Buck Jones. (Nov.) ROMANCE IN THE RAIN—Universal.—An | * amusing fantastic semi-musical with oo Pryor, Victor Moore and Heather Angel, handsomely mounted and uproariously funny. (Oct.) 4 SADIE McKEE—M-G-M.—Joan Crawford is in her real dramatic metier, but the film highlighted by Edward Arnold's superb drunk scenes. Gene Raymond and Franchot Tone do fine wor Thoroughly entertaining. (July) : SCARLET EMPRESS—Paramount.—An unin spired presentation of the life of Catherine the Gri with Marlene Dietrich as the princess, and Sam J as Grand Duke Peter. John Lodge, Louise Dres Exquisite settings. (July) “

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} | SCARLET LETTER, THE—Maiestic—A revival ' the classic with Colleen Moore, Hardie Albright Ind little Cora Sue Collins turning in convincing ‘erformances. (Oct.) | SCHOOL FOR GIRLS LIBERTY—Life in a lirl's reform school, in the raw. Sidney Fox, Lois Vilson, Paul Kelly try hard, but it’s a wearisome ‘arn just the same. (Nov.) \,. SERVANTS’ ENTRANCE — Fox. — Janet Ld Gaynor devotees will enjoy seeing her in this 1iry-tale story as wealthy Walter Connolly's daugh- br, in love with chauffeur Lew Ayres. (Oct.) ! |'SHE HAD TO CHOOSE—Maiestic.—After joaxing her old Ford as far as Buster Crabbe’s ‘arbecue stand, there's lots of excitement for Isabel lewell. Good comedy. (Oct.) | gene LEARNED ABOUT SAILORS—Fox.— fast, clean comedy in which sailor Lew Ayres finds ‘lenty of opposition when he tries to get gay with \lice Faye. Mitchell and Durant mix things up ilenty. Harry Green fine. (Sept.) SHE LOVES ME NOT—Paramount.—Smart treatment of the stage success puts this way out ont as clever entertainment. Bing Crosby gives an \-1 performance, and you will meet. a brand-new fliriam Hopkins. (Sept.) | SHE WAS A LADY—Fox.—Just so-so entertain- hent, with Ralph Morgan married to his mother’s haid, Doris Lloyd, and Helen Twelvetrees as their laughter. Excellent performances. (Oct.) ' | SHOCK—Monogram.—A sentimental and im- robable story of the World War, in which officer talph Forbes leaves bride-of-a-day Gwenllian Gill to bturn to the front, only to be shell-shocked. (Oct.) \ ke SHOOT THE WORKS — Paramount. — Heartaches and rib-tickles of ‘‘show business’’ fut to music and woven into a top-notch story. Jack jakie and Ben Bernie excellent. Tragic note is a of the late Dorothy Dell and Lew Cody. epl. { | "SISTERS UNDER THE SKIN—Columbia.— lever dialogue and well-shaded portrayals by Frank florgan, Elissa Landi, Doris Lloyd and Joseph \childkraut makes this worthwhile film fare. (July) \ DAY BIKE RIDER—First National.—Typical lobe E. Brown, plus thrilling racing and good gags. lity slicker Gordon Westcott steals Joe E.’s girl, faxine Doyle. But Joe E. outpedals Gordon and— jrank McHugh good. (Dec.) } i | SMARTY—Warners.—This_ marital game in rhich Joan Blondell switches from Warren William p Edward Everett Horton, then back to William gain, manages to be quite amusing. Claire Dodd Ind Frank McHugh help. (July) \ ' ' SMOKING GUNS—Universal.—Perhaps chil- ‘ren will like this Ken Maynard horse opera, but it’s iretty certain the oldsters won't think much of it. loria Shea. (July) | SORRELL AND SON—British & Dominion- Jnited Artists.—Warwick Deeping’s famous story of lhe love of a father and son is beautifully told. fl. B. Warner splendid. (Awg.) ' SPRINGTIME FOR HENRY—Fox.—Ace high lerformances by Otto Henry Kruger and Nigel _‘ohnny Bruce, both under Spring’s influence. A gay, jaughty whimsey, with Nancy Carroll, Heather _ angel and Herbert Mundin. (July) _| STAMBOUL QUEST — M-G-M. — Myrna Loy _ yell cast as the compatriot of Mata Hari. George brent is an American doctor, Lionel Atwill a Secret _jervice man, and C. Henry Gordon once again the Jillain. Good suspense. (Sept.) —- 5 | STAR PACKER, THE—Monogram.—Discover- ag the identity of The Shadow (George Hayes) is no _asy task, but John Wayne comes through in fine tyle. Verna Hillie. (Sept.) _. STINGAREE—RKO-Radio.—An unusual pro- juction, having Australia for locale. Irene Dunne’s foice is exquisite, and Richard Dix, as the bandit _‘lingaree, ably portrays his character. Conway o." and good support. (July) _ STOLEN SWEETS—Chesterfield.—Pretty poor — fare, with Sallie Blane as the heiress who _an’t make up her mind between the nice boy she’s _ mgaged to and the second-rater she’s ir love with, Pacis Starrett. (Aug.) z STRAIGHT IS THE WAY—M-G-M.—De- lle termined to go straight after a “stretch,” ‘ranchot Tone fights influence of the old mob led by ack LaRue. Powerfully constructed drama. May ‘tobson and Karen Morley. (Oct.) 4 t] STRICTLY DY NAMITE—RKO-Radio.—De- spite the popular cast—Lupe Velez, Jimmy Durante, William Gargan, Norman Foster, Marian Nixon, Sterling Holloway—this is a pretty weak attempt at humor. (July) STUDENT TOUR—M-G-M.—A floating college used for a musical background. Charles Butter- worth, Jimmy Durante, Phil Regan, Maxine Doyle, Nelson Eddy, Monte Blue, Florine McKinney. (Dec.) SUCCESSFUL FAILURE, A — Monogram. — William Collier becomes a philosopher of the air, bringing fame and welcome cash to his surprised family. Lucille Gleason, Russell Hopton, Gloria Shea, William Janney. (Dec.) SUCH WOMEN ARE DANGEROUS— Fox.—Splendid casting, genuine situations, suspense, and deft direction put this up with the best of them. Warner Baxter is a novelist, and Rochelle Hudson the young poetess infatuated by him. Mona Barrie. (July) TARZAN AND HIS MATE—M-G-M.—A breath-taking production that skilfully blends realism and fantasy. Tarzan Johnny Weissmuller, Mauteen O'Sullivan and Neil Hamilton are aptly directed by Cedric Gibbons. Perhaps too gory for young children. (July) TELL-TALE HEART, THE — Clifton-Hurst Prod.—This gruesome Edgar Allan Poe tale is effec- tively screened, but it is not recommended for children. All-English cast. (Sep/.) THAT’S GRATITUDE—Columbia.—An amus- ing story, written, directed and acted by Frank Craven. Helen Ware, Arthur Byron, Mary Carlisle, Charles Sabin in good support. (Nov.) THEIR BIG MOMENT—RKO-Radio.—ZaSu Pitts and Slim Summerville are the only recommenda- tions for this vague and sometimes confusing film. Dialogue mediocre and gags aren't too funny. (Oct.) THERE’S ALWAYS TOMORROW— Universal. —Frank Morgan turns in top-notch job as taken-for- granted father. Binnie Barnes, Lois Wilson. (Nov.) THIN MAN, THE—M-G-M.—See retired detective William Powell fall right ‘‘into’’ the baffling murder case he wouldn't go ‘‘on,”’ and pane ye time of your life. Myrna Loy top-notch. ug. THIRTY DAY PRINCESS—Paramount.— Sparkling humor, with a touch of satire in this yarn about mythical-kingdom princess Sylvia Sidney’s eventful visit to America. Cary Grant handles his role with finesse. (July) 365 NIGHTS IN HOLLYWOOD—Fox.—No justice to its locale. Jimmy Dunn, a _ has-been director, makes a comeback and wins leading lady Alice Faye. Frank Mitchell, Jack Durant bright spots. Grant Mitchell. (Dec.) TOMORROW’S CHILDREN—Bryan Foy Prod. —An argument against the delicate subject of sterilization for the habitual drunkard, the weak- minded and the congenitally crippled. Sterling Holloway. Diane Sinclair. (Aug.) TOMORROW’S YOUTH — Monogram.—Dull. Philandering husband John Miljan. Wife Martha Sleeper. Other woman Gloria Shea. Near tragedy to son, Dickie Moore. He’s touching. (Dec.) TRAIL BEYOND, THE—Monogram.—Sup- posedly a Western, but— Anyhow, gorgeous scenery, beautifully photographed. John Wayne, Verna Hillie, Noah Beery, Robert Frazer, others. (Dec.) TREASURE ISLAND — M-G-M. — A beautiful, moving, inspiring adventure film for children and grownups alike. Lionel Barrymore, Jackie Cooper, Wallace Beery, Chic Sale, Otto Say and Nigel Bruce have the leading rdles. epl. 20th CENTURY—Columbia.—Fast-moving, hilarious comedy, satirically veneered. As the eccentric producer, molding shop-girl Carole Lom- bard into a star, John Barrymore is superb. Walter Connolly and excellent supporting cast. (July) TWIN HUSBANDS—Invincible.—Lots of sus- pense, action and romance, but the story is a bit too melodramatic. John Miljan, as a polished crook, does a good acting job. Shirley Grey. (Aug.) TWO HEADS ON A PILLOW — Liberty. — Smooth, well-rounded, amusing semi-farce, with Miriam Jordan and Neil Hamilton, both lawyers, opposing each other in court over the subject that has caused their separation. (Sept.) UNCERTAIN LADY—Universal.—A comedy of errors, with Edward Everett Horton making most of the errors, and Genevieve Tobin willing to divorce him if he’ll find her another husband. (July) PHOTOPLAY MAGAZINE FOR JANUARY, 1935 III Stop a COLD the First Day! Drive It Out of Your System —Roots and All! AS» once rooted is a cold of danger! Trust to no makeshift methods. A cold, being an internal infection, calls for internal treatment. A cold also calls fora COLD remedy and not a preparation good for a number of other things as well. Grove’s Laxative Bromo Quinine is what a cold requires. It is expressly a cold remedy. It is internal and direct—and it does the four things necessary. Four Effects It opens the bowels. It combats the cold germs and fever in the system. It relieves the headache and grippy feeling and tones the entire system. Only Grove’s Laxative Bromo Quinine sup- plies these four effects and anything less than that is inviting trouble. Get Grove’s Laxative Bromo Quinine at any druggist, 35cand 50c. The 50c size is the more economical “buy.” Ask for Grove’s Lax- ative Bromo Quinine by the full name and ac- cept no substitute on any pretext. GR BROMO QUININE Listen to Pat Kennedy, the Unmasked Tenor and Art Kasseland his Kassels-in-the-Air Orchestra every Sunday, Monday, Tuesday and Thursday, 1:45 p. m. Eastern Standard Time, Columbia Coast-to-Coast Network.

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Name Address Cha ee igi Use Coubon or Send Name and Address on Penny Postcard eS OE | version of Raf UNKNOWN BLONDE—Majestic.—The _fine work of Edward Arnold, Dorothy Revier, and John Miljan is the only thing that makes this yarn about unethical divorce practice worthy of some little men- tion. (July) WAGON WHEELS—Paramount.—Familiar Zane Grey Western plot. But there is a good song—and Gail Patrick. Randolph Scott is hero; Monte Blue, the villain. (Nov.) WAKE UP AND DREAM —Universal.—A field day for June Knight, Roger Pryor and Henry Armetta, despite the late Russ Columbo's unsur- passed vocalizing. (Nov.) WEDNESDAY’S CHILD — RKO-Radio. — A moving preachment against divorce. Edward Arnold and Karen Morley. Frankie Thomas the child victim. Should see him; he was in the stage play. (Dec.) WE LIVE AGAIN—Samuel Goldwyn-United | i But | Artists.—Tolstoi's ‘‘Resurrection’’ again. that simple story is given such a sincere humbleness it plumbs your heart. Anna Sten, Fredric March, PHOTOPLAY MaGAZINE FOR JANUARY, 1935 and an excellent supporting cast give it to you. (Dec.) | WE’RE NOT DRESSING—Paramount.— Sailor Bing Crosby romancing with wealthy Carole Lom- bard, George Burns and Gracie Allen do a knock-out show. Lots of grand songs, too, with Ethel Merman | | doing her bit. (July) WE’RE RICH AGAIN — RKO-Radio. — This merry marital madhouse revolves around a family’s attempt to marry off Joan Marsh to wealthy Reginald | Denny. But country cousin Marian Nixon gets him inthe end. (Sept.) WHAT EVERY WOMAN KNOWS — M-G-M.—Expert adaptation of the James M. Barrie play, brilliantly acted by Helen Hayes, Brian Aherne and capable supporting cast. A sly, human fantasy, delightfully real. (Nov.) WHEN STRANGERS MEET—Liberty.—The Grand Hotel idea, applied to a bungalow court, where two murders occur. Richard Cromwell and Arline Judge supply the love interest. (Awg.) WHERE SINNERS MEET—RKO-Radio.— A bachelor’s hobby of waylaying couples eloping over the Dover Road, provides interesting screen material. Clive Brook, Diana Wynyard, Billie Burke, Alan Mowbray, and especially Reginald Owen give brilliant performances. (July) WHIRLPOOL—Columbia.—Powerful melodrama in which Jack Holt, railroaded on murder charge, fakes death notice to free wife Lila Lee. Later, he makes even greater sacrifice for daughter Jean Arthur. Donald Cook. (July) WHITE HEAT—Seven Seas Prod.—A fistic com- bat between David Newell and Hardie Albright, and a sugar cane fire help to liven this film with Hawaiian locale. Mona Maris and Virginia Cherrill adequate. (Sepl.) WHOM THE GODS DESTROY—Columbia.— Heavy melodrama, impressive because of fine acting of Walter Connolly. Doris Kenyon, Robert Young. (Oct.) WILD GOLD—Fox.—Good cast, but this misses being the saga of the old ghost mining towns by a long shot. John Boles plays drunken engineer in love with Claire Trevor, and Roger Imhof is a desert prospector. (July) WITCHING HOUR, THE—Paramount.—If hypnotism has any appeal, you'll enjoy this screen Augustus Thomas’ famous play. John Halliday, possessor of uncanny hunches, Tom Brown, Judith Allen, Sir Guy Standing all do well. (July) WOMAN COMMANDS, THE—Gaumont-Brit- ish.—An all-English cast, with exception of Edward Everett Horton who has appeared to better ad- vantage. Just so-so comedy. (Avyg.) WORLD MOVES ON, THE—Fox.— Madeleine Carroll, English beauty, begins her American film career in this somewhat uneven picture. Franchot Tone and Dudley Digges turn in suave performances. (Sepl.) YOU BELONG TO ME—Paramount.— Master David Jack Holt manages to outshine troupers Lee Tracy, Helen Mack, Helen Morgan, though they are all in top form. (Nov.) YOUNG AND BEAUTIFUL— Mascot.— Perhaps the array of 1934 Baby Wampas Stars and fact that it is Bill Haines’ ‘‘comeback"’ will compensate for weakness of plot. (Nov.) An Ideal | | GIFT eae are several reasons why a subscription to Photoplay Maga- zine is such an ideal Christmas gift. Not only does it continue its pres- ” ence month after month—long after the holly and mistletoe are forgotten —but its welcome is absolute. You know it will please. @ In these days when everyone is interested in motion pictures, the gift of a magazine that reveals the inside | of the art and industry—every month —is assured the keenest welcome. | ‘ Photoplay has the brightest person- ality stories, the most appealing il- lustrations and the most reliable in- | formation about the stars and their | pictures. BEAUTIFUL GIFT ANNOUNCEMENT CARD | With each subscription you will re- ceive a beautiful card to sign and mail, or if you prefer hand to your friend Christmas Morning. Send— 2.50 for 1 year. 4.00 for 2 years. 4.00 for 2 1-year subscriptions. 2.00 for each extra Gift Subscription. For Foreign and Canada send $1.00 in ad- dition to above for each yearly subscription. MAIL SPECIAL BLANK BELOW PHOTOPLAY MAGAZINE, Dept. ics, | 1926 Broadway, New York, N. Y. | fi | Iencloses Sempeeiee: (J Check [] Money order) | | for. Pe subscription to Photoplay: | ; | Yai MAMIE OOn OG sobaccaoousococc: | ° | | Address ,..s.sessee0c0 se dene een | | | Citys, 2sercne reve tefeqenarot siclergieneteeerenerene State... | | 1) New CO Renewal | | My Name... ....0.2:0, 00:0 cere e1elerererel olelelelete aaa | | Address...) 0s «este elec ee ean | ! | Citys. o.c.0 sicker cirlesernicvel Noleitekaerenets State... .c isin | | New CO Renewal | | Use regular stationery MAKE $50 TO $100 A WEEK! Our simple, proven methods make it easy to learn Commercial Art, Cartooningani = Designing quickly, AT HOME, in spare z~ time.New lowrate.Big new book,’ Artfor | | Pleasure and Profit,” sent free. State age. STUDIO 151, WASHINGTON SCHOOL OF ART, 1115 153TH ST., WASHINGTON, D. C. | | A BLONDE NEW, illustrated 36-page booklet | entitled ‘The Art of Lightening Hair Without Peroxide,’’ gives + v ce j e = E detailed explanation of the safe, effective | method used by stage and screen stars for more than 20 years,—the method by which internationally famous beauties _ AES Se h gorgeous, true-to-nature results. Write for Booklet “P” | MADAME MADELINE Washington Bridge Station URS EXPERIENCED & INEXPERIENCED _ 1 MALE AND FEMALE desiring information regarding | positions in hospitals, sanitariums, and institutions any pact of U.S. or Canada, write NOW enclosing stamp to ck Scharf Bureau, Dept. 1-53, 145 W. 45th St., New Yo P. O. Box 63 New York, N. ¥-

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Salute May Robson! One—a beautiful ingénue, herself. One as Tilly, a slovenly servant girl. The play, “The Hoop of Gold,” opened on September 17, 1883, and in her very first per- formance May learned the most valuable lesson of her whole career. HE audience took the beautiful ingénue for granted. But they shouted with laughter at Tilly. So May decided then and there to play | characters, and only characters. The satisfac- | tion of looking beautiful couldn’t compare with the laughs and the applause one rated for being | funny. It was a smart decision. Her husband died, and several years later she married Dr. A. H. Brown, who was then a | young Harvard medical student. This was an ideally happy association. Always devoted and considerate, Dr. Brown never wished to ‘interfere with his wife’s career on the stage; rather, he encouraged it. He became a surgeon with an extensive practice, and May became a | Frohman star. Dr. Brown died in 1923, after more than thirty years ' of an ideally happy mar- ' riage. Long before this, May’s friendship with | Marie Dressler had been \formed, and once they ,made a memorable trip ‘to England on a storm- | tossed old steamer, quite |positive they would ‘never reach the shore jalive. May played ‘‘The /Rejuvenation of Aunt ‘Mary” over there and 'then for a four-year run without a break in New York. It is one of the \theatrical successes that will go down in history. She never had a failure ‘on the stage and never closed a play with less than a season’s run. In 1924, she starred in several silent pictures ffor Cecil B. DeMille. . Her first starring ound picture was‘ You (Can’t Buy Everything,” but her greatest personal success was “Lady for a Day” made at Columbia by Frank Capra. She has just made another one mene, ““Lady By Choice,” which almost ae the first. She recently finished Woman Aroused” at RKO, and she loved this story of an old- maid school-teacher hose life is wrapped up jn her boys and girls. She will do ‘‘ The Mills bf the Gods,” for Co- jumbia. This time a _trong-willed and deter- nined old lady. ad | CONTINUED FROM PAGE 67 | Then she thinks it will be time to go to New York and take a long rest May’s favorite characters are the inebriated old bats, as in the two “Lady” pictures. “When I go out, I am not ashamed to ask for a glass of tomato or orange juice, when the others are drinking stronger things,” she says. “T am an old lady, you see, so I have to be humored. “But I have observed many inebriates in my day, and my characterizations are taken from them. ‘The business with the hat, in “Lady By Choice,’ was a direct study of a woman I used to know who sometimes took a drink too many. She was never concerned about anything but her hat. ““*Where’s m’ hat, oh dear, oh dear, what did I do with my hat?’ she would moan. Nothing else ever concerned her. “You have to love your work or you can’t do it well. You have to be looking for ways to improve it, and my way is by watching people.” May has a poor memory for names, and she and Miss Harmer have developed a pretty Florine McKinney, feminine lead of “‘Night Life of the Gods,” the story of a museum full of statues on the loose, has a little fun with her plaster double in the Universal production good system on this. Some one comes up to talk with them, and May can’t remember his name. She squeezes Miss Harmer’s arm, and Miss Harmer says, ‘‘We were so delighted, Mr. Splivvits, to read of your daughter’s success,” or some such statement in which she can in- corporate the name. NE recent evening when Miss Harmer wasn’t near, May was certainly in a pre- dicament. She had been to a man’s house where there is a perfectly remarkable parrot. (May is very fond of birds and has hundreds of them.) The parrot had a trick of standing on one’s forefinger and saying “‘tickle, tickle.” One night at a theater, May thought she saw the owner of the parrot. In a panic, she tried to think of his name. That failing, she ad- vanced and squeaked, ‘Tickle, tickle,” think- ing at least that would let the man know she remembered him. He looked at her with a totally blank expres- sion. She tried again. “Tickle, tickle,’ said May, coyly. A look of fear, amazement—acute discomfort spread over the man’s face backed away and quickly disappeared. Miss Harmer re- turned just in time to see his face, and May told her the episode. “Buthewasn’t theman,” explained Miss Harmer. Well, you can’t expect to keep all the people straight, May laughs. She hopes the man, who- ever he was, will see this and find out that she was not loony at the time. as he AY is, surprisingly, only five feet, two inches tall. She weighs a hundred and fifty pounds, and is always beautifully and appropriately dressed and groomed. She lives in a small, comfortable, unostenta- tious house, in a section of Hollywood where you seldom find picture people. The neighbors’ youngsters run in to see the birds, and to hear a story as only May can tell it. She swaps recipes with the neighboring house- wives. Dignity, activity, ability — the dominant factors in May Robson’s life. “Salute,” then, to a grand old girl! 113

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Mr. Broadway Gambles Against Hollywood had written forty plays himself—among them successes such as ‘“‘Get-Rich-Quick Walling- ford,” “ Forty-Five Minutes From Broadway,” “The Miracle Man,” “Seven Keys to Bald- pate,” “The Song and Dance Man,” “The Tavern,” and many others. Whether Holly- wood remembered or not, the script of “‘The Phantom President” was never given benefit of the Cohan touch! N the second place, when Cohan went to Hollywood he took his transposing piano along. But he never had a chance to use it. The whole world had marched to his “Over There,” and his ‘‘ Sidewalks of New York” had become a political anthem. ‘The Phantom President” would have been helped immeasur- ably by a stirring song. And Cohan was hanging around the studio idle, anxious for something to do. But nobody seemed to want George M. Cohan to write music. Added to these situations, Cohan was home- sick for Broadway. It’s been home sweet home to him most of his life. So, if the nation’s movie public is going to get well acquainted with the famous Song and Dance man, it looks like it will have to be in Eastern-made pictures. Not that movie- making, even in the East, is looked upon gladly by Cohan. He isn’t very enthusiastic about facing motion picture cameras any- where. If he were, he’d be a big Hollywood star now instead of Mr. Broadway. Even back in 1916- 1917, when Cohan made his first excur- sion into picture-mak- ing, eventually filming six of his Broadway plays for Artcraft, he wasn’t very enthusi- astic. Well launched then in the first boom days of pictures, he dropped the work and scurried back to Broad- way. Hedidn’t looka camera in the eye until he was talked into the unhappy ‘‘ Phantom President” experience in 1932. Ask him now if he likes working in pic- tures and he’ll answer slowly, ‘Well, I guess it’s that I don’t like getting up so early in the morning. Work over here at the studio, you know, starts at eight A.M.That means rising at six for me.” 114 [ CONTINUED FROM PAGE 38 | But watch him on the ‘‘Gambling” set and you suspect the six o’clock rising is a minor and superficial reason for his lack of enthusiasm. Picture making is obviously a tedious busi- ness for Cohan. The stage is his element. He was born init. He came to the Astoria studio with the applause of many audiences still ring- ing in his ears. His acting for the Theater Guild, in Eugene O’Neill’s “Ah, Wilderness,” probably was last season’s most admired per- formance. He played his first big réle forty- four years ago, as the juvenile lead in ‘‘ Peck’s Bad Boy.” For nearly half a century since he has been working in the theater, and much of that time he has been his own boss. Before he went to Hollywood he was quoted as having said, “I haven’t worked for anybody since I was twenty.” But in pictures—even if you’re a pal of the producer’s—you’re working for several people. Pictures are closely directed. Working in a movie, Cohan must act on a chalk-mark. If he steps off the mark—‘“Cut! Cohan’s out of camera range!” And the scene must be re- 4 % a8 ve ae at at a6 a8 aa an at as r 8 a @ é a a a a a & a a a ¥ 5 | * bg A bicycle that was not built for two. And neither Jack Oakie nor Helen Mack appears to know quite what to do with it. The pair were cavorting around the Paramount lot when surprised by the cameraman taken. Yes, pictures are closely directed. Mr, | Cohan must raise his hand just so high, he © mustn’t take a step on that line, he mustn’t — turn or the shot will be out of focus. Of course, — he wrote the play, but Mr. Cohan must not ad lib. Lines must be followed precisely or the — others miss their cues. But Mr. Cohan, accus- tomed to the freedom of the stage, ad libbed. The scene must be shot again. Over and over © and over. On a narrow set, without an audi- — ence, directions to be exactly followed, lines to © be memorized and repeated precisely. OHAN usually has been his own author, © director, often his own producer. Why, © much of the time he even owned the theater he | was playing in, for at one time he was landlord ot a number of the legitimate houses on Broad- — way. However, throughout the tedium ot filming — ““Gambling,”’ George M. Cohan retained his Irish good nature, his quiet sense of humor. ““T don’t know whether I’ll make } another picture here or not,” he said. “Wait — till I see this one, then | maybe I can tell. Just — now I’m so worried — about ‘Gambling,’ I can’t be bothered with future picture plans.” It’s undoubtedly im- | portant to Cohan that © ‘Gambling’ be a suc- cess. For many years he has been one of the most successful men in the show business. © And the standards he sets for himself are — high. But more than that, Cohan undoubtedly wants to show Holly- wood what he can do, making a movie in a friendly, sympathetic atmosphere. Probably it’s more correct to say he wants to show Hollywood what he can do, making a movie in New York. For Cohan is a man of ter rific loyalties and great — patriotism. He is Cohan, the flag waver, Mr. Yankee Doodle. And his patri- otism is pretty strong where Broadway 1s concerned. ‘‘Gam bling” is a Broadway play; Franklin is 4 Broadway producer. The picture is being made twenty minutes from Broadway, on Long Island, New York. Good? It’s got to be good! It’s Mr. Broad- way’s gamble against Hollywood. And, on | home ground, he’s never lost a bet yet! 1 | ’ § 4 34am em meme we eee eee ee ee 2 = it 2 2s #* = = #® = ee eS ee fi i i ee ee ee ee ee ee ee ee] ee ee ee ee rf

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PHOTOPLAY MAGAZINE FOR JANUARY, 1935 Sereen Memories From Photoplay | 15 Years Ago Tees issue printed a daring | * photograph of a bathing girl, sight in the roto section. She wore high-laced bathing shoes, ‘silk hose, a satin-skirted bathing ‘suit, and a tam-o-shanter. The lady, ready for her swim, was (Phyllis Haver. She married Wil- liam Seeman, wealthy New Yorker, in 1929 and retired. ‘There was a story about the happy married life of Wanda ‘Hawley and Burton Hawley. (She divorced him in 1921, shortly before his death. The last jwe heard of her she was demonstrating cos- metics.) Harrison Ford, a favorite leading man of the day, confessed that he could not dance, but insisted he could cook like a French chef. There were lots of photographs of the child wonder star of the time, little Frankie Lee, who made a name for himself in ‘‘The JOSEF VON STERNBERG ‘had just finished directing “The Salvation Hunters,” featuring George Arthur and Georgia Hale. The movie, considered a knock- put by critics, cost only forty-five iundred dollars. (“Scarlet Em- Ey Josef’s latest film, cost wo hundred times that amount.) o studio was interested in “‘ The Salvation Hunters,” and it had 0 be financed by selling shares. Doug Fairbanks was a major shareholder. Mary Pickford was so impressed by the film jhe wanted Von Sternberg to direct her next licker. He has never directed a Pickford novie, however. The stars were all busy inaking New Year’s resolutions. Among those hat were kept was Norma Shearer’s resolution jot to marry during 1925. (Her marriage to Chalberg was in 1927.) Fortunately, Ben i ———— } GILMDOM was breathing * more easily — Garbo passed ‘er voice test, and work could jegin on her first talkie, “Anna vhristie.” An article, ‘Garbo- Maniacs,” discussed the public’s raze for the Swedish star. Those vho said her strange fascination yould be short-lived were cer- ainly mistaken! Polly Moran nastory, “Fifty Years of ‘IT’,” onfessed the facts of her love fe. At that time she said her current flame as Bill Haines. Bill refused to make a state- tent, denying everything in pantomime. (In 933 Polly married Lawyer Martin Malone.) ill, incidentally, was just launching on his uterior decorating career, changing his Spanish ungalow into a Colonial house. It’s hard to elieve, but on a fashion page titled ‘Fashions Tots,” one of the tot mannequins was Anita | 4 { Phyllis Haver Josef Von Sternberg Polly Moran Miracle Man.” Proof that mo- tion pictures were beginning to be taken seriously was evidenced by an announcement that Columbia University had estab- lished a Department of Photo- play Composition for college stu- dents who wished to become scenario writers. It was revealed that Harold Lloyd’s specs didn’t contain any lenses. Another illu- sion smashed! camera, a new invention, was being used in treating crippled soldiers. The slow movement enabled physicians to detect the cause of faulty limb movements. Best movies included the Douglas MacLean comedy, “‘ Twenty-three and a Half Hours’ Leave’; “In Old Kentucky,” with Anita Stewart; “Strictly Confidential,” with Madge Kennedy; Dorothy Dalton in “L’Apache.”” Cover—Norma Talmadge. 10 Years Ago Lyon didn’t keep his resolution to shoot every reporter who rumored him engaged. The rumors continued until his mar- riage to Bebe Daniels, five years later. Incidentally a story titled ‘“Hollywood’s New Heart- Breaker” meant Ben. Richard Dix, just starred by Paramount, wrote an article for this issue called ‘How It Feels to Become A Star.” Gist was, it felt okay. A current thriller was “‘The Lost World,” with Bull Montana in a King-Kongish role. Favor- ite films of the month included Pola Negri and Adolphe Menjou in “Forbidden Paradise’; Lon Chaney’s ‘““He Who Gets Slapped’; Richard Barthelmess in “‘Classmates”’; Richard Dix in “Manhattan”; ‘The Siren of Seville,” starring Priscilla Dean; and Harold Lloyd’s “Hot Water.” Cover—Betty Bronson. | 9 Years Ago Louise, in half-socks and a school dress. Anita is now featured in grown-up roles, and rumored en- gaged to Tom Brown. My, my! How time does fly! The issue carried a lovely picture of Ann Harding, husband Harry Ban- nister and their year-old daughter. The Bannisters were divorced in 1932. A chap named Don Jose Mojica was being hailed as the new Valentino. Wonder if they’ll ever find one? Films of the month included Ronald Colman, Ann Harding and Dudley Digges in “Condemned”; “ Dulcy,” with Marion Davies and Donald Ogden Stew- art; Warner Baxter and Mona Maris in “Romance of the Rio Grande”; John Barry- more and Marian Nixon in “General Crack”; Constance Bennett and Eddie Lowe in “This Thing Called Love.” Cover—Billie Dove. The slow motion | NOW—Relief From Ugly Skin Blemishes, “Nerves” and Constipation with Yeast in This Pleasant, Modern Form O UGLY pimples and other skin blem- ishes embarrass you? Does constipa- tion drag you down, rob you of strength and vivacity? Do you often feel nervous, fidgety and irritable? For all these troubles doctors recommend yeast. Science has found that yeast contains precious nutritive elements which strengthen your digestive and eliminative organs and give tone to your nervous system. Thousands of men and women have found this simple food a remarkable aid in combating consti- pation, “nerves,”’ and unsightly skin erup- tions. And now—thanks to Yeast Foam Tablets —it’s so easy to eat yeast regularly. For here’s a yeast that is actually delicious—a yeast that is scientifically pasteurized to prevent fermentation. You will enjoy munch- ing Yeast Foam Tablets with their appe- tizing, nut-like flavor. And because they are pasteurized they cannot cause gas or dis- comfort. This yeast is used by various laboratories of the United States govern- ment and by leading American universities in their vitamin research. Any druggist will supply you with Yeast Foam Tablets. The 10-day bottle costs only 50c. Get one today. See, now, how this cor- rective food helps you to look better and feel better. YEAST FOAM TABLETS 1 [FREE|s MAIL THIS COUPON TODAY | You may paste this on a penny post card | | NORTHWESTERN YEAST CO. P-1-35 | 1750 North Ashland Ave., Chicago, III. | I Please send free introductory package of Yeast | | Foam Tablets. I | Nae eee ae one ees Gee ae eo | AdGTeSS geese = ee ee a = eee eek | | city. 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Movie Fill-in Contest Winners | be receiving checks to help them with their Christmas shopping—cash awards totalling $500.00 for their prize-winning solu- tions in the PHoropLay Movie Fill-in Contest, TT kseamne a movie followers will soon offices of the Puzzle Contest Editors, at Chicago, from all over this country and foreign lands. Weeks of work were necessary to carefully check each and every one for accuracy in listing method of submitting the solution also was con- sidered—one of the contest rules. From this tremendous array of solutions, | first, were selected what, in the belief of the judges, were the outstanding ones, under the which appeared in the July, August and Sep- tember issues of PHoropLay Magazine. Many thousands of solutions poured into the FIRST PRIZE—$125.00 Mrs. Joun W. Umstep Brownsville Rd., Jackson, Tenn. SECOND PRIZE—$75.00 JOSEPHINE WERNER 1017 North 25th St., Kansas City, Kan. THIRD PRIZE—$50.00 Mrs. F. E. NimMIcKE 11 Elliott Place, West Orange, N. J. FOURTH PRIZE—$25.00 Maovrice Nemoy 104 West Queen St., Inglewood, Calif. TEN $10.00 PRIZES Ipa E. Jackson 202 St. Philip St., Baton Rouge, La. Miss LyNpDELL SCHWARTZ 19 Howe St., New Haven, Conn. Mr. & Mrs. R. TYLER Prize 1765 Peachtree Rd., Atlanta, Ga. Mrs. R. F. Jounston 2461 North 40th St., Milwaukee, Wis. Dorotuy D. Heatry 177 Prospect St., Cambridge, Mass. ELsIe SPERRY 1266 Fernwood Ave., Toledo, O. their proper solution ballots. Mary PENCE 2381 Neil Ave., Columbus, O. Mrs. W. H. GotpsmitH 1319 West 8th St., Anderson, Ind. ETHEL GATES TASKER 5006 Dorchester Ave., Chicago, Ill. Mary WInirrepD KEEFE Middlesex County Sanatorium, Waltham Mass. TWENTY-FIVE $5.00 PRIZES Lots SmirH 147 Keil St., North Tonawanda, N. Y. RutH ScaIson 4S East Lincoln Ave., Mount Vernon, N. Y. Mrs. CELIA Power 1083 Fourth Ave., Woodcliff, N. If ANNA VAN DEUSEN C. 23, Box 38, Orlando, Fla. EDNA SADLER 1731 East Commerce, San Antonio, Tex. Mrs. Rovatta Moonte 33 Noe St., San Francisco, Calif, Laura A. WEIKEL 105 Ryers Ave., Cheltenham, Penna. HELEN FAIRBAIRN 5400 Queen Mary Rd., Montreal, Canada MILpRED G. MILLER Bennett Hall, Philadelphia, Penna. Marjorie C. Lawson 126 Florence Ave., Detroit, Mich. the missing words in the three sets of Fill-ins in Neatness and simplicity in the contestants’ rules of the contest. on their individual merits, and the awarded as follows: AGNES Hannay 2013 New Hampshire Ave., Washington, D.C, — BEADA BATTERTON 1830 Grant St., Denver, Colo. ETHEL S. SHERWIN Bismarck, N. D. Mrs. ErHet PAur 842 Madison Ave., Evansville, Ind. James W. BLanton Box 115, Glenshaw, Penna. GEORGE C. GLIDDEN 6 Percival St., Dorchester, Mass. Ir1s MARSHALL 2804 East 132nd St., Cleveland, O. Mrs. S. B. BatLey 39 Hillside Rd., Northampton, Mass. Mrs. E. F. Bamprick 3831 Chapel St., Ottawa, Canada Dorotuy Dorey SuLtrvan Scarboro-on-Hudson, New York Lucretia MCALLISTER 616 Bell Building, Montgomery, Ala. INEZ SCHACKEL Luling, Texas YVONNE FRASER East Burnham Grove, Farnham Royal, Bucks, England Mrs. PETER SCHUME 118 Superior Ave., Youngstown, O. Mrs. Greorce Carson 1309 North 180th St., Seattle, Wash. The “Rediscovery” of Bill F rawley MacLean were leading men with the old Mo- rosco stock company; when Bill Hart founded the Round Table at the old Bohemian café, the Hoffman, run by Dorothy Arzner’s dad; when Gloria Swanson, Marie Prevost, Phyllis Haver, Mary Thurman, Viola Dana and Shir- ley Mason, Bebe Daniels and Barbara La Marr might be seen at Vernon, the Ship, Sunset Inn, or the Tavern, with Mickey Neilan, Lew Cody, Harold Lloyd, Ford Sterling, Roscoe Arbuckle, Norman Kerry, Jack Mulhall or Rudolph Valentino. Bill can even remember back to the days 116 [ CONTINUED FROM PAGE 58 | when Santa Barbara, now the swankiest mil- lionaire’s playground in the West, threatened Hollywood as the film capital. Bill Frawley can remember all these things because Bill was once a movie actor in the old American Film Company in Santa Barbara, and because he was once a song and dance man entertaining in Al Levy’s Spring street café. Hollywood pioneers can never forget Bill Frawley and Louise. His partner was a beau- tiful red-headed girl, his wife. They rank in cherished Hollywood memories with Paul Whiteman, the Lyman boys, the Sennett bath- ing beauties, the Keystone Kops, the wild West cowboy stars, and the above-mentioned hot _ spots. Yes, indeedy, folks, Bill Frawley knew Hol- lywood when motion pictures were just in their infancy. (Some say they are still in their infancy.) During the last ten years that he has been building up a reputation on Broadway as a_ graduate from the song and dance men ranks, — the Bill Frawley of the Hollywood pioneers has been forgotten. He is well known for his _ i press-agent in the stage presentation of j Then these were judged prizes — { } : i if y

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PHOTOPLAY MAGAZINE FOR JANUARY, 1935 7 “Twentieth Century,” and for his performance _ with the late Jack Donahue, another song and dance star, in ‘Sons O’ Guns.” [will admit that Bill has changed somewhat —but only in looks. He still has those Irish _ blue eyes, but he has widened out a bit, fore and aft. | He still talks out of the corner of his mouth | and greets old pals with a warm grin and that | rich baritone voice. PEAKING of that baritone voice, the new | “Hollywood picture producing moguls, who knew nothing of Bill’s pioneer days, have just | “discovered” that the character actor can warble like a baritone canary. If there is such }a bird. Henceforth, William will be called | upon to lend his distinguished vocal talents to | pictures, even as Bing and the rest of the | warblers. | “Bill”? I asked, “how did you happen to |come to California?” “T was born in Iowa!” | Well, we certainly don’t have to go any further into that. | A brief biographical revelation shows that jhe was born in Davenport, of a highly re- \spected, substantial family. | The males of the family ran mostly to rail- lroads. Work, I mean. | When Bill had managed to get through high school, he became a traffic inspector on the Burlington at the age of nineteen. And he used to entertain the boys on Saturday nights with those good old barroom ballads. The sobs in that baritone voice won Bill a pass on levery railroad in the country. One night in a Chicago cabaret, a vaudeville booker heard Bill playing on the customers’ heart-strings. After he had enjoyed his cry, too, he crooned a siren song in the railroad man’s ear. | What was he doing working on a railroad? Why, boy, across those footlights you’ll panic them and lay them out in the aisles. You know chose ten per centers! | Anyway, Bill left the luxury of the Pullmans lat. _ How could he know that a few months later te would be riding the rods under the same cars vhere he once rolled in ease and comfort? | His boss predicted jail or worse. There was _ yeeping and wailing in the Frawley homestead 1 Burlington. ' His mother took on so that even after Bill ad miraculously landed a singing réle in a chicago musical comedy, “The Flirting Prin- ess,” he quit the stage as abruptly as he had "uit the railroad. GOR nearly a year the broken-hearted bari- + tone pored over musty books in his uncle’s uilroad office in East St. Louis. He saw only tes in the dry traffic words. Finally he grew p indifferent that his uncle fired him. Within few hours the escaped prisoner had fashioned \vaudeville act, persuaded his brother Paul to / in him (Paul sang tenor), and jumped head- ng into a precarious stage career. Eventually tey played Burlington—for three days—and ‘hen Mother Frawley was persuaded to see hd hear them in person on the third and last ‘ght—she broke down and cried right out ud in the theater. 'The boys were delighted with their mother’s action to their renditions—until she got back | the dressing-room. “Boys, I knew you were bad,” she said be- ‘een sobs, “but I never dreamed you were is bad. For the love of the saints, will you ‘me back home and get a job on the rail- ad?” Except to say that they didn’t take mother’s advice, we will pass very quietly over the next two years of hit and miss. Bill “pioneered” night club singing in such towns as Denver, Salt Lake City, and San Francisco, where he became a favorite. He would send for Paul, and Paul would follow him right in. It was a swell brother act. In Denver, Bill met a beautiful red-headed girl named Edna Louise Bloedt, and persuaded her to take a chance in marrying an itinerant troubadour. Out of this marriage a famous vaudeville team was born—Frawley and Louise. One time when Bill and his Louise were trouping through Texas, he found himself booked into Juarez, Mexico. Rather a quaint idea, too, even for a booker, as the Mexicans didn’t understand English, and Bill couldn’t speak Spanish. N less time than it takes to say “Adios, amigos,” the Frawleys found themselves tem- porary residents of El Paso, without benefit of money. Bill ran into an old pal, Jack Curley, who was then trying to promote the Jess Willard- Jack Johnson fight in Juarez, with the favor of Pancho Villa. If you want to know why Bill Frawley scored a hit on the New York stage as the rough, tough, cynical press-agent in “ Twen- tieth Century,” I refer you to the days when he became press-agent for the fight and secre- tary to Jack Curley. Only, the fight never came off—that is, in Juarez. The promoters folded their tents, as it were, and faded away into the night, Havana-bound. They forgot to take Bill with them, so the bud- ding p.a. was left holding the sack with the El Paso Chamber of Commerce. So, Bill and the Chamber of Commerce head man got together and put on a whale of an Elks’ benefit, which pleased the Elks so much that they presented Frawley and Louise with enough money to get to Santa Barbara. Why Santa Barbara, you say? Oh, just another one of those optimistic vaudeville bookers. At this point Bill got smart. He put his beautiful wife in the act, as the piano player had departed eastward. Louise didn’t know the wings from the flies, but she was game. They opened in Santa Barbara and knocked them hotter than a Harlem dancing contest. Next day the movie gang from the American Film Company called in a body at their hotel. They had heard Bill sing and they had seen Louise. ILL claims that all they really saw was Louise, but he rented a dress suit and became a movie actor, too. For a year the Frawleys acted with Frank Borzage, then a juvenile; the late William Russell, Harold Lockwood, May Allison, Roy Stewart, Neva Gerber, and other favorites. But their fame as a song and dance team brought them so many more lucrative offers from Hollywood that they soon found them- selves hobnobbing with the great and near- great in the favorite night spots of that pioneer day. Many years later, in 1927 to be exact, the team of Frawley and Louise split for keeps. She went her way and he went his way. Now that the new Hollywood has found Bill Frawley out, they can take it from another remember your face? Men are impressed more by a beautiful skin than by any other feature of a woman’s face. A satiny, radiant skin lingers in their memory! SATINMESH if used faithfully, gives a woman that satiny, radiant skin because it combines—én one preparation—the four steps necessary to create the youth and glamour of an exquisite complexion. 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They help to eliminate the poisons without bad after-effect. A compound of vegetable ingredients, known by their olive color. They have given thousands glorious health. Take at night. All druggists, 15c, 30c, 60c. AT HOME: Learn easy Koehne Method of color- No ng photos and miniatures in oil. New! D art talent needed. ig demand. Send for free booklet. Make Money At Home. ATIONAL ART SCHOOL 3601 Michigan Ave. Dept.1251 Chicago Musical Comedies, Oper+ ettas, Vaudeville Acts, Minstrels, Comedy YEARS OF HITS, pioneer that he wears the same hat. I knew sim when! DENISON’S Songs, Make-up Goods. PLAYS a T. S. Denison & Co. 623 S. Wabash, Dept. 76, Chicago

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Kitty Crashes Fame as bubblingly refreshing as Dry Monopole, he set about the baffling business of trying to con- vince a career-minded rich girl that she should hearken to the tap of opportunity, when she wanted to but was still afraid to. Well, Kitty finally gave in, and when the show closed its run on Broadway, she made her first trip to California for a part in ‘“‘ Murder At The Vanities.” But Hollywood dates her from the time she went to town with Bing in “ Love in Bloom.” a song seems like a child of mine or something,” Kitty confessed in the privacy of her brand new and very fancy blue dressing- room, which still reeked of turpentine and white lead. ‘I mean, it keeps following me around.” She nodded across the studio to the music department where Bing Crosby’s recorded split-larynx was crooning: “Can it be the spring—” A passing bicycle messenger joined in whistling the chorus, and the carpenters on a nearby set kept time tapping home nails. But the strangest thing about Kitty’s suc- cess and her songs, is that she has clicked rendering popular numbers, after devoting years to a study of classical music abroad. After childhood schooling in Switzerland and her society début in Rome, she deserted the gaiety of the Continental social whirl to devote herself seriously to becoming an opera singer. Cunnelli of Paris and Mme. Kaszowska of London groomed her for an European operatic career, and practically disowned her when she decided to come to America and get a job ina show. Though Kitty was born in New Orleans, Catharine Carlisle (‘there were fifteen ‘Cath- arines’ in the first schoo] I ever attended, so | CONTINUED FROM PAGE 43 | they had to call somebody ‘Kitty’,”) grew up abroad, learned to speak French, Italian and German like a native, and probably would to- day be singing arias from “Rigoletto” in London if England hadn’t gone off the gold standard. “T don’t know that that had anything to do with it,” giggled Kitty, ‘but in order to sing in London, I had to get a labor permit. I asked for it the day England went off the gold standard, and they turned me down—said I’d be taking the money away from English singers—so I’ve always blamed it on the gold standard.” That amazing, paralyzing, hypno- tizing laugh again. America, even for an expatriate, was still the land of opportunity—especially Hollywood, although at first Kitty was a bit wary of how she and the movies would hit it off. “You know, I’m not beautiful,” she insisted, “and I wasn’t so sure I could act very well. At first my face twitched—every time I came any- where near a camera it twitched. It’s a little disconcerting trying to act with a twitching face. And when I finally got over that I started worrying about singing with Bing.” Doesn’t she like Bing? “T’m mad about him—I mean about work- ing with him. But you know he simply won’t rehearse songs. Not even once. Says he gets stale—and I’m just no good at all, at im- promptu singing. So when we sing together, I start worrying. About everything. I worry about the harmony. I worry about the tempo. I worry about the key. I ask Bing if such and such a key is all right and he says, ‘Oh, sure,’ just like he isn’t giving it a thought—so I know we'll be singing in entirely different keys when we start. “Of course, everything comes out all right, but at first it made me nervous just to walk right up to the camera and start singing with- out any rehearsals at all. The first few times I’m afraid we went goggling off in entirely different directions. But I’ve got used to it I’ve had to, because Bing just won’t rehearse.” Just at this point Bayard Veiller, the play- — wright, looked in on the elegant blue dressing room and after recovering from its splendor, the turpentine and white lead, and Kitty’s electric charm, he wanted to know when “the beau” was coming out. “Soon,” said Kitty, “any day now.” The beau? : “Don’t tell a soul,” said Kitty, sotto voice, after he had left, “but there zsn’t any beau! You know, everyone here at the studio believes I have a mysterious sweetheart in New York. He’s always ‘coming out.’ Really it’s a grand | idea; it makes me very intriguing, and exciting. But really, I haven’t any sweetheart.” What, no sweetheart? H, I have had,” admitted Kitty, dimpling her pretty brown eyes with a tremendous grin. “In Rome I fell in love with the son of the Brazilian ambassador, but ‘Mummy’ stopped that. He wasn’t the right man. “But right now I think I’m in love withmy _ work Honestly, J’m crazy about it. I get yy at six in the morning and just can’t wait to get started. I love every minute of it.” “Here Is Your Heart?” I asked. “Here Is My Heart,” smiled Pretty Kitty. “‘Perfect—but honestly, nobody’s in love with me.” ; Of course, that’s where Miss Kitty Carlisle is wrong. Because everyone in Hollywood, includi me, is simply crazy about her. Tom Meighan Is Restless delineator of character. Butitisalsomore. It is an indication of the thoroughness of Thomas Meighan. Nothing but the best will do. You see, first, Meighan has picked himself an original character. (This writer, when the name was whispered to him, breathed his amazement that it had been overlooked. It’s what is called a natural.) Then, secondly, Thomas wants that character at his best ad- vantage. Thus the importance of the writer. OMMY MEIGHAN, aboveall, insists on his characters being themselves, natural. And he has his reasons for all this. “T can’t,” he said, “play anything unless it is believable. It causes me actual agony. I know. I’ve tried to do it. In addition, let me add, a part must not be merely believable, it’s got to be interesting.” So much for the story Tom has in mind. For the success of the screen version, he rates a director as top man there. “I would rather,” he said, “work on a second rate story with a first rate director, than on a first rate story with a second rate director. And yet,”’ he quali- 118 | CONTINUED FROM PAGE 83 | fied, ‘‘no individual is wholly responsible for any particular picture.” Now, during all this discussion, there was nothing said by Thomas Meighan about Thomas Meighan’s ability. Getting self-praise out of this man is like trying to turn a well inside out. It may be possible, but I have my doubts. Whoever coined the word “modesty” must have used Thomas Meighan for his model. And Tommy will like that, should he read it, because he insists he’s the most boring gabber on the subject of Meighan that ever came along the pike. But it isn’t necessary for Tommy to talk about himself. Others have done that very nicely, and with enjoyment. For instance, here’s one writer on Tommy’s acting ability: “. . . as true in his depiction of emotion as Tellegen used to be when he played on the stage with Bernhardt.” For good meas- ure, here are a couple of other remarks culled at random from volumes of comment about him: “‘... second to no man in popularity,” and . career unparalleled in his profession.” Just to heap up that good measure on this “e b =} ”? oring” person, here are some of the namesof J} producers, writers, actors and actresses, with | whom he’s been closely associated on and off stage. This is not a full list, mind you, merelya | few plucked here and there from the records: — David Warfield, George M. Cohan, Henry Savage, William H. Crane, William Collier, Sr., Booth Tarkington, George Ade, Grace George, Pauline Frederick, Blanche Sweet, Billie Burk Valeska Suratt, ee Hope Crews: Lois Wil — son, Lila Lee, Norma Talmadge, Elsie Fer 4 guson, Betty Compson, Gloria Swanson, Ma Pickford— Enough? One more. Frances Ring. Eo Miss Ring-goes top billing, because sheis_ | | still he leading lady. In fact, she has been since she and Mr. Meighan met in George Ade’s — first play, the first of a number the noted hu-— morist has writtenfor Tommy. The play was th well-known, three-seasons success, ‘‘ The College Widow.” It was during the run of that play Miss Ring became Mrs. Meighan, and theirs is — still one of the few stage and screen romances — with any permanence. “ But, some more about the interview with Mr. Meighan. Naturally, I ePgE: of “Peck —— e- = .. e rs

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PHOTOPLAY MAGAZINE FOR JANUARY, 1935 11g Bad Boy.” And, after again trying unsuccess- fully to get something out of him about him- self, other than that he enjoyed the part and the company, I asked about Jackie Cooper and Jackie Searl. sated | Then he flashed the Meighan smile and talked. | Suffice it to say that Tom sees them kLoth as grand fellows, both real boys. | He also praised them right up to here as actors of definite ability—and their own ability, he emphasized. ‘| FRoM there, I went somewhat reminiscent. * TI mentioned “The Miracle Man.” Who \vouldn’t talk about that great picture with Thomas Meighan? In fact, that was probably ‘om’s greatest picture. Julian Johnson, writing . PuoropLay Magazineat the time,saidof‘‘ Thd Miracle Man” and of Lillian Gish’s “Broken Blossoms” “. . . the screen has not only failed to furnish their equals, but nothing which in y way compares with them.” Also I mentioned another great picture of his, based on “The Admirable Crichton,” which came out under the title of “Male and Female.” Gloria Swanson was the feminine lead. } Iasked Tommy if he’d like to do again either of these two. The answer was another insight into the character of the man Meighan. “T never,” he said, “try to play anything younger than I feel. Those two pictures were done some years ago. Also, I don’t like to go back to anything.” Yet, in how “The Miracle Man” came to life as a movie at all serves as an illustration of Mr. Meéighan’s ever-present determination to carry out a particular idea as he sees it. It is typical of his present directed rest- lessness. E read “The Miracle Man” as a magazine story. He saw init a perfect movie. But he was alone in this thought. But that was no drawback to Tommy Meighan. He was con- vinced he was right. So, he organized an independent company and produced the picture. What happened is glorious history. And, the possibilities are strong that history is just about due to repeat itself. Because Tommy Meighan is restless with an idea he knows is good. And, he’s gone to Holly- wood with it. | The Fan Club Corner EMBER clubs of the PHotopLay As- Meevsation of Movie Fan Clubs, atten- . tion! All fan club correspondence, and matters pertaining to the Association, should be addressed to the New York offices of PHoto- bray Magazine, 221 West 57th Street, New York City. Club secretaries should, hereafter, send all reports, inquiries and news bulletins to the above address. TANS everywhere will be happy to learn that ™ the international Francis Lederer Fan Club _/s now a member of the PHoropray Associa- tion of Movie Fan Clubs. The purpose of the club, as stated by the president, is “To put chinking people all over the world in touch iwith one another so that they may exchange ‘deas, broaden their views, and improve their _snowledge of how the rest of the world thinks, acts and lives.” The club paper is called “Czechago” and appears monthly. Head- fuarters of this fine organization are at 4341 North Albany Ave., Chicago, Ill. Miss Beatrice Kramer is acting secretary. She will de glad to answer all inquiries from fans regard- ing the club. Foreign inquiries may be sent to their British representative at 67 Hodford ee Golders Green, N. W. 11, London, Eng- and. om Bergstrom, 6805 S. Artesian Ave., hicago, Ill., reports that the Barbara Stan- wyck Buddies have received some beautiful new photographs of Miss Stanwyck. Many out of town “Buddies” have visited president Bonnie lately, she writes. rt 'HE Billie Dove club celebrated its sixth birthday at a party in the home of president cenore Heidorn, 5737 S. Artesian Ave., Chicago, on Nov. 4th. Many plans for future Activities of the club were discussed at the meeting. ' Lillian Conrad, busy president of the Ruth Roland club, won the contest for naming the lub news bulletin of the Ginger Rogers club. she was rewarded with a gorgeous personally ‘ q i { autographed portrait of Miss Rogers. Those interested in joining the Ginger Rogers fan club should write to Marion L. Hesse, presi- dent, 154 Elm Street, Elizabeth, N. J. A report of the activities of the Ramon Novarro Service League for the past year shows the wonderful progress this group is making. All inquiries regarding this progressive organ- ization should be addressed to Ethel Musgrave, general secretary, 6384 Elgin St., Vancouver, B.C., Canada. Foreign inquiries may go to L. Margiocchi, 3, Allington Road, Hendon Central, London, England. "THE Lanny Ross League, Catharine Mac- adam, P. O. Box 164, Wilmington, Del., president, announces that the club will begin a big membership drive around Christmas. There will be special prizes to the winners. Fans interested in Lanny Ross should write Miss Macadam. The news bulletin of the Gloria Stuart club is filled with interesting items and member gossip again this month. “The Gloria-ous News”’ is its name, and it goes to all members of Miss Stuart’s club. Estelle Nowak, 3223 N. Central Park Ave., Chicago, is president. Ek interested in the newly formed Pat Paterson club are invited to write the club’s headquarters at 955 N. Central Ave., Chicago, for information. Neil Hamilton’s host of fans will be glad to read of his fan club organization, The Hamil- tonians, 4254 Normal Ave., Los Angeles, Calif. Those wanting more information are invited to write John G. Whidding, president, at the above address. Phyllis Carlyle, president of the Franchot Tone club, invites all interested fans to write to her at Portland, Maine. Trene G. Rourke, 7908 S. Ridgeland Ave., is president of the Douglass Montgomery club. The Movie Club Guild, of Chicago, held another penny social sale, a big success, late in November. How to Gain Beall Stu in 10 minutes hair life and lustre immediately @ Will you do one, easy thing to give your hair beauty you did not dream it possessed? A single shampoo with Mar-O-Oil will instantly restore alluring lustre, color and softness. Mar-O-Oil is not only easier to use and easier to rinse out—not only rids the hair of dirt and dandruff more thoroughly than old-fashioned methods— but it is actu- ally a scalp treatment and tonic as well. That is why the hair is so radiantly beautiful and soft after a Mar-O-Oil shampoo. Why, also, waves last 3 times longer. Obtain Mar-O-Oil at all drug or department stores. It must de- light you, or your money back. Or, mail the coupon below with 10c for a generous sized bottle. MAR-O-OIL Soapless Oil Shampoo MAIL COUPON WITH 10c FOR GENEROUS, SIZED_ BOTTLE J. W. Marrow Mfg. Co., Dept. P-1 3037 N. Clark St., Chicago, Illinois BY THE DAY, MONTH OR YEAR at the SHERRY-NETHERLAND + A residence of quiet, private-home charm ...individually decorated rooms and theadvantages of Sherry-Netherland service. Tower apartments, and suites of one to four rooms. Boudoir dressing- rooms, serving pantries. Fifth Ave. at 59th St. on Central Park, New York.

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ENTER MADAME—Paramount 1 spite of a brilliantly vital performance by Elissa Landi, and some rollicking comedy, this is spotty entertainment. It’s well worth seeing, however, for Landi, as a capricious prima donna, is at her best. Cary Grant, as her bewildered spouse who escapes briefly to the arms of a quieter lady love, is fascinating in both his comedy and romantic moments. Frank Albertson, Lynne Overman and Sharon Lynne top the support. FUGITIVE LADY—Columbia TAGE star Florence Rice makes a successful film début in this picture. It’s the story of a woman who is sentenced to the penitentiary after being double-crossed by a jewel thief (Donald Cook). A melodramatic train wreck results in a case of mistaken identity that puts her in the réle of the estranged wife of another man (Neil Hamilton). Plenty of action, a fair story, good direction. Florence Rice will go far on the screen. CHEATING CHEATERS—Universal CTION and suspense, aided and abetted by comedy and gags, guarantee this to please if you like the mystery and crook type of picture. Complications arise when two gangs of crooks bent on the same mission, cross one another. Fay Wray is convincing as a girl crook, and Henry Armetta and Hugh O’Con- nell provide the comedy, while the snapper twist that made this a stage success adds zest to the entertainment. THE GAY BRIDE—M-G-M OLD digger de luxe goes on a rampage! Carole Lombard, chorus girl out to get a husband, becomes involved with a crowd of racketeers who obligingly kill off each other in order to please her. Nat Pendleton, Sam Hardy and Leo Carrillo pay; while Chester Morris, who behaved himself, wins the prize. A good story loaded with plot complications and blurry character drawings. Even ZaSu Pitts seems more bewildered than usual. WITHOUT CHILDREN—Liberty THERE'S lots of heart appeal and some grand family scenes in this picture, but the plot is antiquated and the acting too often un- convincing. Bruce Cabot and Marguerite Churchill let a fascinating siren break up their happy home. Then their kids grow up, go flaming youth, and eventually bring about a reunion. Dorothy Lee and William Janney as the scorching youngsters, and Dickie Moore and Cora Sue Collins as the tots, steal the show. SECRETS OF HOLLYWOOD— Scott-Merrick Prod. Ae HOUR of howls with the old movie plush-bound album. It’s a weak story, but priceless when Mae Busch, as the star, shows a collection of old pictures with Eddie Lowe, Wally Beery, Enid Bennett, Florence Vidor, and other veterans, emoting in scenes from the nickelodeon days. The modern part is unimportant. But you won’t want to miss those museum flashbacks. The “secrets” is just a come-on. 120 The Shadow Stage [ CONTINUED FROM PAGE 75 ] TRANSATLANTIC MERRY-GO- ROUND—United Artists jE galaxy of starsisthis picture’s chief draw- ing power. The story, beginning with a murder on ship board, is none too intriguing. But radio entertainers Jack Benny, Sid Silvers, and the Boswell Sisters are good. Dramatic load is carried by Nancy Carroll, Gene Ray- mond and Sidney Blackmer, with Gene way out in front. Mitzi Green helps the entertain- ment. Picture has its moments, but not many. THE RETURN OF CHANDU— Principal POOKY music, ghost drums, and thrills! A Hindu secret society must have an Egyptian princess (Maria Alba) as a sacrifice to their god. And it’s all Chandu (Bela Lugosi) can do to foil them—even with genii, magic charms and self-steering automobiles to help him. It’s good entertainment for the kids. And if adults leave their credulity at home and go to hiss the turbanned villain, they’ll have fun, too. LOST IN THE STRATOSPHERE— Monogram STORY with a good idea that went rather weak. Eddie Nugent and William Cagney, air service pals, differ for the first time over June Collyer, Eddie’s girl who William swipes. Enemies now, the two boys are sent up to- gether on a stratosphere flight. Fourteen miles up the balloon goes haywire. Pauline Garon and Lona Andre appear briefly. Edmund Breese is a good commanding officer. This is one for the kids. LOYALTIES—Harold Auten Prod. AN adaptation of John Galsworthy’s play of the same name, this is a story of a wealthy Jew robbed by a British Army captain at a house party. Class and racial prejudice enter into subsequent justice for the Jew, over-played by Basil Rathbone. An all British cast, the accent is practically unintelligible for American audiences. With clearer dialogue it might have been more entertaining. GIRL O’ MY DREAMS—Monogram OTS of rah-rah and collegiate confusion centering about a campus election and fra- ternity pin engagements. In spite of the dev- astating humor of Sterling Holloway and breezy, refreshing student characterizations by Mary Carlisle, Eddie Nugent, Arthur Lake and Creighton Chaney, you’ll find this an old story. Better decide how much collegiate at- mosphere you can stand before seeing this one. LIGHTNING STRIKES TWICE— RKO-Radio jF YOU can be entertained by a mystery built on a murder that didn’t happen, inter- mixed with mistaken identities, you'll be amused. Ben Lyon and Skeets Gallagher are funny as the befuddled young men-about- town, and Pert Kelton is good as the fan dancer. Laura Hope Crews, John Hale and Thelma Todd also turn in able performances. But the cast can’t surmount the weak and incoherent story. I SELL ANYTHING— First National OU’LL be talked to death in this gabby monologue delivered by Pat O’Brien, an_ auctioneer out to gyp the public. Spurred on by a Park Avenue gold digger, Claire Dodd, Pat moves into society and the shady business. of selling faked antiques. But when Miss Park’ Avenue walks off with the money, Pat goes back to Second Avenue and Ann Dvorak, sad-’ der and gabbier. Fair comedy in spots, it’s’ mostly dull and heavy. LIMEHOUSE BLUES—Paramount INISTER business in this one, with lurking Chinese, thugs, dopes, and Scotland Yard inspectors. George Raft tilts his eyebrows asa half caste Oriental, and desires Jean Parker’ who loves Kent Taylor. Somehow the chills” and thrills fall flat. It’s a bit gruesome for the kiddies, and old stuff for the grown ups. Anna May Wong is fascinating in her Hollywood return role. ELINOR NORTON—Fox oj peeuts attempt to photograph the strange” quirks of a diseased mind is hopeless from the start. It is an unbelievably dull picture. Taken from Mary Roberts Rinehart’s story, : “The State Versus Elinor Norton,” there is’ nothing left of ““The State” and very little, of the audience after the first reel. Claire Trevor, Hugh Williams, Gilbert Roland, Nor man Foster and Henrietta Crosman can’t lift’ it from complete boredom. ; AUTUMN CROCUS—Associated Talking Pictures ERE is a picture as quiet and leisurely asa ; walk in the country. To the soft accom- paniment of Tyrolian folk music unfolds the story of the schoolmistress (Fay Compton) who, touring the Alps, falls in love with the |} young inn-keeper (Ivor Novello) before she } learns he is married. Adapted from the stage success, this is beautifully photographed, but rather slowly paced for the average movie-goer. j NORAH O’NEALE—Clifton-Hurst | Prod. RELAND’S Abbey Players, justly famous on the stage, fail dismally in their first movie. Handicapped by a seeming lack of direction | and with a trite, unconvincing story, they do not bring to the screen any of the spontaneity and charm which has endeared them to play- goers. Shots of the Irish country-side and village scenes featuring folk dances and Irish | music are the only bright spots in the film. GREEN EYES—Chesterfield 4 , UST another murder mystery—the usual i i stereotyped story, with killings, false clues | and suicides. An old man is murdered at a masquerade party and suspicion is instanth thrown upon his granddaughter and her young |}, sweetheart; it’s the writer of detective stories, } Charles Starrett, who outwits the cops andy solves the mystery. Claude Gillingwater, q Shirley Grey, William Bakewell, John Wray i and Dorothy Revier are all adequate. a.

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Copperfield in Quest of His Youth its own expense, a Camera crew in every prin- cipal point throughout the whole of the United States. Men who waited for a word to dash into a neighboring state, a nearby city or an | obscure hamlet and test a David. A writer from the studio, who was planning a trip to Europe, was detoured through Canada by M-G-M to see what he could find in the way of a Copperfield. He found nothing. All this time, remember, would-be Davids were pouring through the gates of the studio in Hollywood. Testing went merrily on. Well, no, |not merrily, for by this time everyone was | pretty well convinced that no David existed, or jever had existed, and they might as well give up and jump in the ocean. And one or two jactually did, so it’s hinted. August loomed. \Letters by the ton poured into the studio. From every country in the world they came. } And letters, everyone of them, had to be janswered or helpful mothers might accept jsilence for consent and bring on their offspring. \And goodness knows, things were bad enough. | When enclosed photographs looked at all promising, scouts were immediately sent to investigate. Not one bet was overlooked. But alas, all these Davids proved to be false alarms land August, sad as I am to say, was drawing to a close. “Let’s try California again and not leave a single stone unturned,” was suggested. Adver- tisements appeared in every newspaper through- out the state of California. Announcements jvere made in every theater. Arrangements were ‘made with a local broadcasting station which, every hour of the day beginning at twelve o’clock inidnight, sent out calls for a David. ‘| “Do you have a David Copperfield in your home?” “ Do you know of a David Cop per field?” _The plea rang out over the air again and again. 5tartled groups of young folk paused in their jancing to listen. Lonely visitors in hotel rooms ooked up in amazement at the plea. The ill, in lospital rooms, pondered over the quest. | “David.” “David.” “David.” Up and down the land, the cry rang out. A writer at the ‘tudio tells of going home that evening and yeing met at the door by her father who was nore than a little deaf. “Well, them kidnap- ‘ers have been at it again,” he said excitedly. |'They’ve been yelling for the boy on the radio Il day. ‘David,’ they said his name was.” And he writer practically swooned to the floor. _ As many as three thousand boys were seen in | CONTINUED FROM PAGE 69 ] | the north and south of the state in one day. | Talent scouts all over the state sent back to the | studio a total of sixty or seventy prospects. But none qualified. It looked absolutely hopeless and the studio | knew it. And they were ready to admit defeat. | David Selznick, the producer, was ready to give up as he sat at his desk. Nervously, he whirled about in his chair to speak. And then sat motionless. Frozen. Unable to say a word. For, in the doorway stood David’ The little boy. The lad for whom they had searched so long and faithfully for almost a year. *You’ve come,” the producer said. “Ves,” the lad said simply and that was all. Without a test of any kind, Mr. Selznick knew that here, indeed, was his David. Little Freddie Bartholomew had traveled seven thousand miles in answer to the plea of a great studio in far off Hollywood. At the time the director and producer had been in England conducting their search, he had been unable to get to them. But so sure was his aunt that Freddie was the one and only David, she packed up and, with Freddie in tow, boarded the ship for America for the first time. HE New York offices of the studio weren’t so sure about Freddie as David, so at the aunt’s expense, the two traveled over the vast and strange land of these United States to Hollywood. And to ‘David Copperfield.” A bit of a lad is Freddie, with the same ethereal sweetness in his face that belonged to the youthful Philippe DeLacy. The ‘“ David Copperfield” crew, happy and working at last, look after the lad as if he were the long lost brother. As, indeed, he is. Freddie must have his milk at a certain time. Freddie must have his rest. Freddie must be watched every min- ute, every second, lest he disappear before their eyes and they’re right back where they were all those long, hectic months. And above all, Freddie must be protected from American chil- dren and their American twang. That precious English accent must be guarded carefully. The day Freddie announced to his director, “Gee, ain’t it a hot-diggedy day,” practically threw the studio into a breaking out all over. After all, the search was too long and fraught with too much bitterness to be spoiled now. So, until after “‘ David,” little English Freddie, is being just one person. And that is Master Copperfield. SS re Could You Love, Honor and Obey These Men? artnoone. Andif you tried to dominate him, ou might be disappointed in him and in your- if. So if you’re one of those women who are stermined to have their own way, there’s ‘at problem to ponder. Tenderness and /oughtfulness about little things, birthday ‘esents, anniversary gifts, flowers, perfumes, the things that make married life a continu- ‘ion of two lovers’ dreams, would come from vanchot. You could depend on that. | CONTINUED FROM PAGE 32 ] So here we have them. The most fascinating men on the screen. The men who have lived at some time in every girl’s heart. Here they are—sweethearts by proxy. Look them over, girls, make your choice, and then answer to yourself this question: “Could I love him, honor him and obey him through sickness or health, through poverty or wealth, through success or failure until death do us part?” PHOTOPLAY MAGAZINE FOR JANUARY, 1935 I2I 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 SINGLE $5 00 Each additional person $1.00 $125.00 per month (single) ($25 per mo. each add. person) Largest Single Room in $3 50 New York ~~ per day single 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. Write for details. Telegraph reservations (Collect) ENJOY NEW YORK’'S FAMOUS COCOANUT GROVE AND TIC TOC CLUB VarkEatral 56th St. at 7th Ave. New York City

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Casts of Current Photoplays Complete for every picture reviewed in this issue “ANNE OF GREEN GABLES”—RKO-Rapio. —Based on the book by L. M. Montgomery. Screen play by Sam Mintz. Directed by George Nicholls, Jr. The cast: Anne, Anne Shirley; Gilbert, Tom Brown; Matthew, O. P. Heggie; Marilla, Helen Westley; Mrs. Barry, Sara Haden; Mr. Phillips, Murray Kinnell; Diana, Gertrude Messinger; Mrs. Bluett’s daughter, June Preston; Dr. Tatum, Charley Grapewin, Mrs. Bluett, Hilda Vaughn. “AUTUMN CROCUS” — AssociATED TALKING Picrures.—From the story by C. L. Anthony. Di- rected by Basil Dean. The cast: Andreas Steiner, Ivor Novello; Jonny Gray, Fay Compton; Miss Mayne, Muriel Aked; Edith, Esme Church; Herr Feldmann, Frederick Ranalow; Alaric, Jack Hawking; Audrey, Diana Beaumont; Frau Feldmann, Mignon O'Do- herty; Reverend Mayne, George Zucco; Frau Sleiner, Gertrude Gould; Minna, Alice Fandor; Lenchen, Pamela Blake. “BROADWAY BILL”’—Cotumsia.—From_ the story by Mark Hellinger. Screen play by Robert Riskin. Directed by Frank Capra. The cast: Dan Brooks, Warner Baxter; Alice, Myrna Loy; J. L. Higgins, Walter Connolly; Margaret, Helen Vinson; Eddie Morgan, Douglas Dumbrille; Colonel Pettigrew, Raymond Walburn; Happy McGuire, Lynne Over- man; Whitey, Clarence Muse; Edna, Margaret Ham- ilton; Ted Williams, Frankie Darro; Collins, Charles C. Wilson; Pop Jones, Harry Todd; Morgan's hench- men, Ward Bond, Charles Levison; Joe, George Cooper; Henry Early, George Meeker; Arthur Wins- low, Jason Robards; Mrs. Early, Helen Flint; Mrs. Winslow, Helene Millard; Jimmy Baker, Ed Tucker; Presiding Judge, Edmund Breese; Whitehall’s Jockey, Bob Tansill; Mrs. Peterson, Clara Blandick; Mae, Inez Courtney; Chase, Claude Gillingwater; James White- hall, Paul Harvey; Interne, James Blakely; Orchestra Leader, Alan Hale. “CAPTAIN HATES THE SEA, THE’’—Co- LUMBIA.—From the story by Wallace Smith. Screen play by Wallace Smith. Directed by Lewis Milestone. The cast: Schulle, Victor McLaglen; Mrs. Jeddock, Wynne Gibson; Mrs. Magruder, Alison Skipworth; Steve Bramley, John Gilbert; Janet Grayson, Helen Vinson; Danny Checkelt, Fred Keating; Caplain Hel- quist, Walter Connolly; Gerta Klargi, Tala Birell; Orchestra, Jerry Howard, Moe Howard and_ Larry Fine; Laylon, Leon Errol; Joe Silvers, Walter Catlett; Judge Griswold, Claude Gillingwater; Mrs. Griswold, Emily Fitzroy; Miss Hackson, Geneva Mitchell; Mr. Jeddock, John Wray; Josephus Bushmills, Donald Meek; Juan Gilboa, Luis Alberni; Salazaro, Akim Tamiroff; Major Waringforth, Arthur Treacher; Flo, Inez Courtney. “CHEATING CHEATERS” — UNIVERSAL. — From the play by Max Marcin. Screen play by Gladys Unger and Allen Rivkin. Directed by Richard Thorpe. The cast: Nan Brockton, Fay Wray; Tom Palmer, Cesar Romero; Mrs. Brockton, Minna Gombell; Steve, Hugh O'Connell; Tony, Henry Armetta; Dr. Brocklon, Francis L. Sullivan; Mr. Palmer, Wallis Clark; Ira Lazarre, John Ts Murray; Holmes, Morgan Wallace; Phil, George Barraud; Finelli, Harold Huber; Police Capl., Reginald Barlow. “COLLEGE RHYTHM’’—ParamountT.—From the story by George Marion, Jr. Screen play by Walter DeLeon, John McDermott and Francis Mar- tin. Directed by Norman Taurog. The cast: Joe, Joe Penner; Larry Stacey, Lanny Ross; Finnegan, Jack Oakie; June Cort, Helen Mack; Mimi, Lyda Roberti; Gloria Van Dayham, Mary Brian; J. P. Stacey, George Barbier; Peabody, Franklin Pangborn; Peggy Small, Mary Wallace; Coach, Dean Jagger; Spud Miller, Joseph Sauers; Jimmy Pool, Julian Mad- ison; Whimple, Robert McWade; Whimple's Secre- tary, Harold Minjir; Sonny Whimple, Bradley Met- calfe; Timekeeper, Lee Phelps; Stacey Quarterback, Eric Alden; Ist Substitute, Alfred Delcambre; Colton End, Howard Wilson. “ELINOR NORTON ’’—Fox.—From the novel ‘“‘The State Versus Elinor Norton’’ by Mary Roberts Rinehart. Screen play by Rose Franken and Philip Klein. Directed by Hamilton MacFadden. The cast: Elinor Norton, Claire Trevor; Rene Alba, Gilbert Ro- land; Christine Somers, Henrietta Crosman; Tony Norton, Hugh Williams; Bill Carroll, Norman Foster. “ENTER MADAME’’—ParamountT.—From the story by Gilda Varesi Archibald and Dorothea Donn- Byrne. Screen play by Charles Brackett and Gladys Lehman. Directed by Elliott Nugent. The cast: Lisa Della Robbia, Elissa Landi; Gerald Fitzgerald, Cary Grant; Mr. Farnum, Lynne Overman; Flora Preston, Sharon Lynne; Bice, Michelette Burani; Archimede, Paul Porcasi; The Doctor, Adrian Rosley; Aline Chalmers, Cecilia Parker; John Fitzgerald, Frank Albertson; Tamamoto, Wilfred Hari; Carlson, Torben Meyer; Bjorgenson, Harold Berquist; Operator, Diana Lewis; Scarpia, (on stage), Richard Bonnelli. “EVELYN PRENTICE'"’—M-G-M.—From the novel by W. E. Woodward. Screen play by Howard 122 Emmett Rogers and Lenore Coffee. Directed by William K. Howard. The cast: John Prentice, William Powell; Evelyn Prentice, Myrna Loy; Amy Drexel, Una Merkel; Mrs. Harrison, Rosalind Russell; Law- rence Kennard, Harvey Stephens; Judith Wilson, Isa- bel Jewell; Delaney, Edward Brophy; Chester Wylie, Henry Wadsworth; Dorothy Prentice, Cora Sue Col- lins; Mrs. Blake, Jessie Ralph. “FIREBIRD, THE’’—Warn_ers.—From the play by Lajos Zilahy. Screen play by Charles Kenyon. Directed by William Dieterle. The cast: Carola Pointer, Verree Teasdale; Herman Brandt, Ricardo Cortez; John Pointer, Lionel Atwill; Marietta, Anita Louise; Police Inspector, C. Aubrey Smith; Jolan, Dorothy Tree; Mile. Mousquet, Helen Trenholme; Emile, Hobart Cavanaugh; Halasz, Robert Barrat; Asst. State Manager, Hal K. Dawson; Slage Manager, Russell Hicks; Max, Spencer Charters; Professor Peterson, Etienne Girardot; Thelma, Florence Fair; Alice Von Altern, Nan Gray. “FLIRTATION WALK” — First NATIONAL. — From the story by Delmar Daves and Lou Edelman. Directed by Frank Borzage. The cast: Dick ‘‘Canary” Dorcy, Dick Powell; Kit Fitts, Ruby Keeler; Sgt. Scrapper, Pat O'Brien; Oskie Berry, Ross Alexander; General Fitts, Henry O'Neill; 2nd Lieut. Biddle, John Eldridge; Sleepy, Guinn Williams; Eight Ball, Glen Boles; Spike, John Arledge. “FUGITIVE LADY’’—CorumsiA.—From the story by Herbert Asbury and Fred Niblo, Jr. Directed by Albert Rogell. The cast: Donald Brooks, Neil Hamilton; Ann Duncan, Florence Rice; Jack Howard, Donald Cook; Aunt Margaret, Clara Blandick; Mrs. Brooks, Nella Walker; Steve Rogers, William Demar- est; Rudy Davis, Wade Boteler; Joe Nelson, Ernest eee Sylvia Brooks, Rita LeRoy; Mrs. Clifford, Rita sould. “GAY BRIDE, THE’’—M-G-M.—From the story by Charles Francis Coe. Screen play by Bell and Sam Spewack. Directed by Jack Conway. The cast: Carole Lombard, Una Merkel, Chester Morris, Nat Pendleton, Leo Carrillo, Arthur Jarrett, ZaSu Pitts, Louis Natheau, Walter Walker, Ray Mayer, Garry Owen and Norman Ainsley. “GENTLEMEN ARE BORN” — First Na- TIONAL.—From the story by Robert Lee Johnson. With plans for a Christmas wedding, Maureen O’Sullivan should be Mrs. John Farrow when you read this. But we’re not betting Screen play by Eugent Solow and Robert Lee John- son. Directed by Alfred E. Green. The cast: Bob Bailey, Franchot Tone; Tom Martin, Ross Alexander; Joan Harper, Margaret Lindsay; Susan Merrill, Ann Dvorak; Trudy, Jean Muir; Fred Harper, Jr., Robert Light; Fred Harper, Sr., Henry O'Neill; Smudge, Nick Foran; Stephen Hornblow, Charles Starrett; Mrs, Harper, Marjorie Gateson; Al, Bradley Paige. “GREAT EXPECTATIONS” — UNIVERSAL. — Based on the novel by Charles Dickens. Screen play by Gladys Unger. Directed by Stuart Walker. The cast: Magwitch, Henry Hull; Pip, Phillips Holmes; ~ Estella, Jane Wyatt; Miss Havisham, Florence Reed; Joe Gargery, Alan Hale; Mrs. Joe, Rafaela Ottiano; Herbert Pocket, Walter Armitage; Young Herberl, Jackie Searl; Sarah Pocket, Eily Malyon; Molly, Vir- ginia Hammond; Young Estella, Ann Howard; Young Pip, George Breakston; Uncle Pumblechook, For- rester Harvey; Orlick, Harry Cording; Compeyson, Douglas Wood; Drummle, Philip Dakin. “GIRL O’ MY DREAMS”’—MonocramM.—From _~ the story by George Waggner. Directed by Ray Mc- Cary. The cast: Gwen, Mary Carlisle; Larry, Eddie Nugent; Don, Creighton Chaney; Bobby, Arthur Lake; Spec, Sterling Holloway; Mary, Gigi Parrish; | Kittens, Jeanie Roberts; Smiley, Tommy Dugan; Coach, Lee Shumway; Nip, Beverly Crane; Tuck, Bettymae Crane. ; “GREEN EYES” — CHESTERFIELD. — From the ‘ novel ‘‘The Murder of Stephen Kester’ by H. Ash- brook. Directed by Richard Thorpe. The cast: Jean Kesler, Shirley Grey; Bill Tracy, Charles Starrett; Stephen Kester, Claude Gillingwater; Inspector Crof- ton, John Wray; Cliff, William Bakewell; Mrs. Pril- chard, Dorothy Revier; Mr. Pritchard, Alden Chase, “HELL IN THE HEAVENS’’—Fox.—Based on | the play ‘‘The Ace’’ by Hermann Rossmann. Screen | play by Bryon Morgan and Ted Parsons. Directed — by John Blystone. The cast: Lieut. Steve Warner, Warner Baxter; Aimee, Conchita Montenegro; 2nd Lieut. Hartley, Russell Hardie; ‘‘Granny” Biggs, Herbert Mundin; Sergeant ‘‘Ham"’ Davis, Andy De- vine; Corporal Teddy May, William Stelling; Lieut. “Pop” Rogel, Ralph Morgan; Ace McGurk, Vince: Barnett; Captain Andre DeLaage, William Stack; Sergeant Chevalier, J. Carrol Naish; Clarence Perkins, Johnny Arthur; Baron Kurt Von Hagen, Arno Frey; © Lieut. Schroeder, Rudolf Amendt; Sergeant Corlez, | Vincent Carato. 7 “T SELL ANYTHING” — First NATIONAL. = From the story by Albert Cohen and Robert T. Shannon. Screen play by Brown Holmes and Sidney Sutherland. Directed by Robert Florey. The cast: “Spot Cash,’ Pat O’Brien; Barbara, Ann Dvorak; Millicent, Claire Dodd; Monk, Roscoe Karns; Three Stooges, Hobart Cavanaugh, Harry Tyler, Gus Shy; Pertwee, Leonard Carey; Smiley, Russell Hopton; Barouche, Ferdinand Gottschalk; McPherson, Robert Barrat; Peley Vangruen, Clay Clement. ; “KENTUCKY KERNELS” — RKO-Rapio. — From the story by Bert Kalmar and Harry Ruby. Directed by George Stevens. The cast: Willie, Bert Wheeler; Elmer, Robert Woolsey; Gloria, Mary Car- lisle; Spanky, Spanky McFarland; Colonel Wakefeld, Noah Beery; Hannah Milford, Lucille LaVerne; Buck- shot, Sleep 'n’ Eat; John Wakefield, William Pawley; Colonel Ezra Milford, Louis Mason; Jess Wakefield, Frank McGlynn, Jr.; Hank Wakefield, Richard Alex- ander; Jerry Bronson, Paul Page. “KID MILLIONS"—Samuet GoLpWyNn-UNITED | ARTISTS.—Story and dialogue by Arthur Sheekman, Nat Perrin and Nunnally Johnson. Directed by Roy Del Ruth. The cast: Eddie, Eddie Cantor; Jane Lar- yabee, Ann Sothern; Dol, Ethel Merman; Jerry Lane, George Murphy; Ben Ali, Jesse Block; Fanya, Eye — Sully; Colonel Larrabee, Berton Churchill; Louie the — Lug, Warren Hymer; Sheik Mulhulla, Paul Harvey; | Khoot, Otto Hoffman; Tools, Doris Davenport; Her man, Ed Kennedy; Oscar, Stanley Fields; Adolph, — John Kelly; Pop, Jack Kennedy; Stymie, Stymie Beard; Tommy, Tommy Bond; Leonard, Leonard Kibrick; Slade, Guy Usher. “LIGHTNING STRIKES TWICE’’—RKO-R&A- plo.—From the story by Ben Holmes and Marion Dix. Directed by Ben Holmes. The cast: Stephen Brewster, Ben Lyon; Wally Richards, Skeets Gallagher; Marty Hicks, Chick Chandler; Fay, Pert Kelton; Delia, Margaret Armstrong; Judy Nelson, Thelma Todd; Gus, Walter Catlett; Captain Nelson, U.S. Ny John Hale; Aunt Jane, Laura Hope Crews; Phillips, John Davidson; Dugan, Fred Kelsey; Police Lieut. Foster, Ed Deering; Casey, Roger Grey; A Policeman, Walter Long. “LIMEHOUSE BLUES”’—ParamountT.—Fpm the story by Arthur Phillips. Screen play by Arthur Phillips and Cyril Hume. Directed by Alexander Hall. The cast: Harry Young, George Raft; Toms, Jean Parker; Tu Tuan, Anna May Wong; Eric Ben- | ton, Kent Taylor; Pug Talbot, Montagu Love; Herb, j

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| PuHoToPLAY MAGAZINE FOR JANUARY, 1935 Billy Bevan; Rhama, Louis Vincenot; Ching Lee, E. Alyn Warren; Inspector Sheridan, Robert Lorraine; ‘McDonald, Forrester Harvey; Smokey, John Rogers; \Ass't Commissioner Kenyon, Wyndham Standing; ilfred, Robert Adair; Policeman, Keith Kenneth; Davis, Colin Kenny; Slummer, Eric Blore; Constable, Desmond Roberts; Maggie, Tempe Pigott; Man, (Colin Tapley; Wife, Rita Carlyle; Woman, Eily /Malyon. “LITTLE FRIEND’’—Gavumont-BrITISH.— From the story by Margaret Kennedy and Christo- bher Isherwood. Adapted by Berthold Viertel. Di- fected by Berthold Viertel. The cast: John Hughes, Matheson Lang; Helen Hughes, Lydia Sherwood; Felicity Hughes, Nova Pilbeam; Hilliard, Arthur Margetson; Miss Drew, Jean Cadell; Leonard Parry, jimmy Hanley; Thomson, Gibb McLaughlin; Maud, Diana Cotton; Mason, Cecil Parker; French Gov- lymess, Marcell Rogez; Mrs. Parry, Clare Greet; Veffries, Jack Raine; Grove, Finlay Currie; Colonel \mberley, Allan Aynesworth; Hal, Robert Kay; Peggy, Joan Davis; Judge, Lewis Casson; Dol, Ve- fonica Vanderlyn; Mrs. Amberley, Margare Halstan; Uncle Ned, Robert Nainby; Shepherd, Atholl Fleming; Doctor, Basil Goth; Solicitor, Charles Childerstone; Buller, Gerald Kent; Boy at party, Hughie Green; Cab Priver, Malcolm Rignold; Policeman, Horace Hunter. | | “LOST IN THE STRATOSPHERE’’—Mono- ;RAM.—From the story by Tristram Tupper. Screen lay by Albert DeMond. Directed by Melville Brown. Phe cast: Lieut. Cooper, William Cagney; Lieul. Wood, QOdward Nugent; Evelyn, June Collyer; Sophie, Lona kndre; Col. Brooks, Edmund Breese; Worthington, frank McGlynn, Sr.; Hilda, Pauline Garon; O'Toole, Matt McHugh; Enfield, Russ Clark; Sgt. Byer, Jack Mack; Gretchen, June Gittleson; Ida Johnson, Hattie “McDaniels. i] | “LOYALTIES”—Haroitp AuTEN PRop.—From he play by John Galsworthy. Directed by Basil Dean. The cast: Ferdinand de Levis, Basil Rathbone; YWargaret Orme, Heather Thatcher; Captain Dancy, files Mander; Mabel Dancy, Joan Wyndham; Major jolford, Philip Strange; General Canynge, Alan Na- jier; Charles Winsor, Algernon West; Lady Adela, lecily Byrne; Lord St. Erth, Athole Stewart; Sir irederic Blair, Patric Curwen; Lord Chief Justice, farcus Barron; Gilman, Ben Field. , “MAN OF ARAN’’—Gaumont-BritisH.—Editor ind scenarist, John Goldman. Directed by Robert laherty. The cast: A Man of Aran, ‘‘Tiger’’ King; jis Wife, Maggie Dirrane; Their Son, Michael Dil- ine; Shark Hunting Crew, Pau Mullin, Patch Ruadh, fatcheen Faherty, Tommy O'Rourke; Canoe Men, ‘Big Patcheen’’ Conneely; Stephen Dirrane and Pat IcDonough. {“MUSIC IN THE AIR"”—Fox.—From the op- fetta by Oscar Hammerstein, II, and Jerome Kern. treen play by Robert Leibmann, Howard I. Young ad Billie Wilder. Directed by Jerome Kern. The st: Frieda, Gloria Swanson; Bruno, John Boles; Jarl, Douglass Montgomery; Sieglinde, June Lang; ly. Lessing, Al Shean; Weber, Reginald Owen; Upp- ann, Joseph Cawthorn; Cornelius, Hobart Bosworth; Yartha, Sara Haden; Anna, Marjorie Main; Burgo- ‘aster, Roger Imhof; Kirschner, Jed Prouty; Zipfel- wber, Christian Rub, Nick, Fuzzy Knight. “NORAH O’NEALE"’—Cirrton-Hurst Prop.— dapted from the novel ‘Night Nurse” by J. John- on Abraham. Directed by Brian Desmond Hurst. he cast: Fitz, Lester Matthews; Norah, Nancy Burne; Otway, Molly Lamont; Pip, Patrick Knowles; Hackey, Torren Thatcher. “PAINTED VEIL, THE’’—M-G-M.—From the story by W. Somerset Maugham. Screen play by John Meehan, Salka Viertel and Edith Fitzgerald. Directed by Richard Boleslawski. The cast: Katrin, Greta Garbo; Walter Fane, Herbert Marshall; Jack Townsend, George Brent; General Yu, Warner Oland; Herr Koerber, Jean Hersholt; Frau Koerber, Bodil Rosing; Mrs. Townsend, Katherine Alexander; Olga, Cecilia Parker; Amah, Soo Yong; Waddington, For- rester Harvey. “RETURN OF CHANDU, THE’’—PRrINCIPAL. —From the story by Harry Earnshaw, Vera Oldham and R. R. Morgan. Adapted by Barry Barringer. Directed by Ray Taylor. The cast: Chandu, Bela Lugosi; Princess Nadja, Maria Alba; Mrs. Doroti.y Regent, Clara Kimball Young; Bob Regent, Dean Ben- ton; Betly Regent, Phyllis Ludwig; Vindhyan, Lucien Prival; Bara, Cyril Armbrister; Voice, Murdock Mc- Quarrie; Caplain Wilson, Wilfred Lucas; Tyba, Jo- seph Swickard. “ST. LOUIS KID, THE’’—Warners.—From the story by Frederick Hazlitt Brennan. Screen play by Warren Duff and Seton I. Miller. Directed by Ray Enright. The cast: Eddie Kennedy, James Cag- ney; Ann Reid, Patricia Ellis; Buck, Allen Jenkins; Farmer Benson, Robert Barrat; Judge Jones, Arthur Aylesworth; Muzzledopp, Spencer Charters; Farmer Brown, Addison Richards; Louie, Harry Woods; Joe Hunler, Wm. Davidson; Gracie, Dorothy Dare; Other Girl, Gertrude Short; Richardson, Hobart Cavanaugh; Harris, Charles Wilson; Pete, Eddie Schubert. “SECRETS OF HOLLYWOOD "—Scort-MeEr- RICK PrRop.—From the story by Betty Burbridge. Directed by George M. Merrick. The cast: Mae Busch, June Walters, Wally Wales, George Cowl, Norbert Myles, David Callis, Ernie Adams and Tom Francis. “TRANSATLANTIC MERRY-GO-ROUND "'— UNITED ArTISTs.—From the story by Leon Gordon. Directed by Benjamin Stoloff. The cast: Jimmy Brett, Gene Raymond; Sally Marsh, Nancy Carroll; Chad Denby, Jack Benny; Dan Campbell, Sydney Howard; Mitzi, Mitzi Green; Shortie, Sid Silvers; Lee Lother, Sidney Blackmer; Herbert Rosson, Ralph Mor- gan; Anya Rosson, Shirley Grey; Jack Summers, Sam Hardy; Joe Saunders, William Boyd; Inspector Mc- Kinney, Robert Elliott; Frank, Frank Parker; Ned Marsh, Carlyle Moore; Jean, Jean Sargent. “WHITE PARADE, THE''—Fox.—From the novel by Rian James. Adapted by Sonya Levien and Ernest Pascal. Directed by Irving Cummings. The cast: June Arden, Loretta Young; Ronald Hall, III, John Boles; Ziia Scofield, Dorothy Wilson; Glenda Farley, Muriel Kirkland; Gertrude Mack, Astrid All- wyn; Doctor Thorne, Frank Conroy; Sailor, Jane Dar- well; Doctor Barnes, Frank Melton; Doctor Moore, Walter Johnson; Miss Harrington, Sara Haden; Una Mellon, Joyce Compton; Pudgy Stebbins, June Gittelson. “WITHOUT CHILDREN’’—LiBeEerTyY.—Sug- gested by Mrs. Wilson Woodrow’s “Eyes of Youth.” Screen play by Gertrude Orr. Directed by William Nigh. The cast: David, Bruce Cabot; Sue, Mar- guerite Churchill; Shirley, Evelyn Brent; Phil, Regi- nald Denny; Baby Carol, Cora Sue Collins; Sonny, as child, Dickie Moore; Carol, Dorothy Lee; Sonny, William Janney; Mr. Carr, George Cleveland; Frieda, Lillian Harmer. In 1915 Henry B. Walthall and Mae Marsh played together in ‘‘The Birth of a Nation.” They did not meet again until recently when assigned man and wife rdles in ‘Bachelor of Arts’’ at Fox r i 123 CHAPPED ShkIN To quickly relieve chapping and roughness, apply soothing, cooling Mentholatum. MENTHOLATUM Gives COMFORT Daily Brand New tyw 72 —_— & UP 'Y PEWRITER PORTABLES. Aha 10¢ aDay- Easy Terms a REMINGTON-UNDERWOOD, ETC. and easy terms on limite: supply only. Allbrandnew,up-to-date —4drowkeyboard. Fully Guaranteed. —— SEND NO MONEY—10 Day Trial - Send for special new literature and money-saving, easy pay plan with 10 day trial offer, Also amazing bargains in standard size, rebuilt office models on FREE trial offer. 231 W. Monroe St. International Typewriter Exch., Dept. 162 Chicago Lighten Your Hair Without Peroxide « - «- to ANY shade you Desire - - - SAFELY in5to15 minutes Careful, fastidious women avoid the use of peroxide because peroxide makes hair brittle. 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~ ALABAMA Van Ritch Co., Inc., Dothan ARIZONA Co-Ed Shop, Tucson CALIFORNIA The May Co., Los Angeles The Emporium, San Francisco CONNECTICUT Howland Dry Goods Co., Bridgeport Scott Furriers, Inc., Hartford Style Millinery Shop, New Haven Sugenheimer Bros., Waterbury DIST. OF COLUMBIA The Hecht Co., Washington FLORIDA Turner’s, Marianna Yowell-Drew Co., Orlando Sam’s Style Shop, Pensacola Rutland Bros., Inc., St. Petersburg Steyerman’s Style Shop, Tallahassee GEORGIA Michael Bros., Inc., Athens Davison-Paxon Co., Atlanta Kiralfy & Company, Columbus R. L. Stephens, Dublin Leopold Adler, Savannah IDAHO Helene Shop, Idaho Falls ILLINOIS Hollywood Shops, Benton A. Livingston & Sons, Bloomington W. A. Carpenter Co., Champaign Mandel Brothers, Chicago Banks & Co., Moline The D. W. Klein Co., Peoria Newman’s, Waukegan INDIANA Wolf & Dessauer Co., Fort Wayne Blackstone Shop, Gary Fashion Shop, Lafayette The Schmitt-Kloepfer Co., Logansport IOWA Abraham Brothers, Inc., Davenport The Pelletier Co., Sloux City KANSAS Bon Marche, Emporia Lewins Fashion Shop, Wichita KENTUCKY The John R. Coppin Co., Covington - Kaufman Straus Company, Louisville LOUISIANA The Dalton Co., Baton Rouge The Parisian, Crowley Belle Scherck Davidson, Monroe 124 ollywood Cinema FASHIONS "s4*% 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. La Parisienne, Inc., Lafayette Lord's, New Orleans MAINE Chernowsky’s, Augusta Unobskey’s New York Store, Calais B. Peck Co., Lewistor MARYLAND Lazarus, Cumberland Fashionland, Hagerstown MASSACHUSETTS Alexander's Fashion Shop, Brockton Forbes & Wallace, Inc., Springfield Gross Strauss Co., Wellesley Gross Strauss Co., Worcester MICHIGAN The J. L. Hudson Co., Detroit Kobacker Furniture Company, Flint Village Women’s Shop, Grosse Pointe Fred Mahoney’s, Kalamazoo The Winkelman Co., Port Huron MINNESOTA M. C. Albenberg Co., Duluth The Dayton Co., Minneapolis MISSISSIPPI Field’s Women’s Wear, Jackson MISSOURI W. E. Blattner & Son, Fulton Kline’s, Kansas City The Paris, St. Joseph Stix, Baer & Fuller Co., St. Louis MONTANA Stiles Style Shop, Great Falls The N. Y. Dry Goods Co., Helena’ Epstein & Katz, Miles City NEW JERSEY M. E. Blatt Co., Atlantic City L. Bamberger & Co., Newark Claire Shop, Plainfield Lillian Charm, Trenton NEW YORK Kalet’s, Auburn Hollywood Fashions, Binghampton E. Jacobson, Cooperstown W. Scott Argersinger & Sons, Gloversville Parisian, Inc., Ithaca The Abrahamson-Bigelow Company, Jamestown Idamae Shoppe, Johnstown John Schoonmaker & Son, Inc., Newburg RH. Macy & Co., Inc., New York City M. J. McDonald & Co., Oswego McCurdy and Company, Inc., Rochester The Carl Co., Schenectady Flah & Co., Inc., Syracuse Doyle-Knower Company, Utica Mabel Bentley Shoppe, Watertown NORTH CAROLINA Bon Marche, Inc., Asheville Lucielle Shops, Inc., Charlotte The Fashion, Durham Hurdle’s, Elizabeth City, N. C. Ladies’ Sport Shoppe, Gastonia Neil Joseph, Goldsboro E. L. Brownhill, Inc., Greensboro Purcells, Kannapolis The Ladies Shop, Kinston The Corner Shop, Mount Airy Purcelle Modes, Salisbury Dressmaker Shop, Wilmington Lucielle’s Dress Shop, Wilson W. Robin Co., Winston-Salem NORTH DAKOTA G. M. Black, Fargo Heller's, Grand Forks OHIO Spring-Holzworth Co., Alliance The W. M. Norvell Co., Chillicothe Irwin’s & Kline’s, Cincinnati The Higbee Co., Cleveland F. & R. Lazarus Company, Columbus Elder & Johnston Co., Dayton Simon’s, Findlay The Leader Store, Lima The King Dry Goods Co., Newark The Atlas Fashion Co., Portsmouth La Salle & Koch Co., Toledo OKLAHOMA Froug Co., Inc., Tulsa OREGON Akey’s Inc., Pendleton Meier & Frank Co., Portland PENNSYLVANIA Hess Bros., Inc., Allentown H. B. Siegal & Sons, Bethlehem W. &. HALL PRINTING CO. Feldman’s, Bloomsberg Fashionland, Chambersburg G. C. Davidson, Connellsville Bush & Bull, Easton Keefe & Johnson, Erie La Rose Shop, Greensburg The Leader Store, Hanover Bowman & Co., Harrisburg Kline’s, Johnstown Gimbel Bros., Philadelphia Joseph Horne Co., Pittsburgh A. G. Rosenthal & Co., Punxsutawney Croll & Keck, Reading Goldberg’s, Shenendoah Hal Lewis, Washington Hollywood Apparel Shop, Wilkes-Barre Bells, York RHODE ISLAND Scott Furriers, Providence SOUTH CAROLINA J. W. Haltiwanger, Columbia The Aug. W. Smith Co., Spartansburg SOUTH DAKOTA Olwin-Angell Co., Aberdeen New York Store, Deadwood The Style Shop, Mitchell Schaller’s, Watertown The Style Shop, Winner TENNESSEE Anderson Dulin Varnell, Inc., Knoxville J. Goldsmith & Sons, Memphis Loveman, Berger & Teitlebaum, Inc., Nashville TEXAS Goodfriend Specialty Shop, Austin Knobler’s Style Shop, Brownwood Herzstein’s, Dalhart Robt. L. Cohen, Galveston Sakowitz Brothers, Houston VERMONT W. G. Reynolds Co., Inc., Burlington Economy Store, Inc., Rutland VIRGINIA Claire’s Fashion Shop, Galax Jonas Shoppes, Inc., Richmond WASHINGTON The Palace Store, Spokane WEST VIRGINIA The Women’s Shop, Beckley The Vogue, Bluefield Jolliffe’s, Grafton F. S. Emmert & Son, Martinsburg The Hub, Inc., Wheeling WISCONSIN E. L. Chester Co., Beloit C. & S. Newman's, Green Bay Wm. Doerflinger Co., La Crosse Ed. Schuster & Company, Milwaukee BRITISH WEST INDIES Bronia & Co. Kingston