Picture-Play Magazine, Sept. 1922
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Vol. xvn MONTHLY No. I -e&cwSi, PICTURE- PLAY MAGAZINE m CONTENTS FOR 17? mm t.» i;im;i ■wix.w cwwffB.wnmi:wo»&Mi;.%»,.vji SEPTEMBER, 1922 l^^iSii iW.i.M i v I'M i>t i iwra rwTMTW.i w t'w i w racv" What the Fans Think .... . . 8 An open forum of discussion about motion pictures. Baby Peggy Sets the Pace . . . Edna Foley . .13 What Do You Call Acting? . . . Gordon Gassaway . 14 A symposium of opinions from many angles. Capillary Attractions and Distractions . May Ridgway . 18 The much-discussed question of to bob or not to bob is here discussed by two popular players. Everybody's Colleen .... Helen Klumph . 20 Some reasons for the universal appeal of Colleen Moore. The Flapper Set in Hollywood . . Grace Kingsley . 22 A humorous and intimate account of the off-screen lives of the younger motion- picture players. The Observer . . . 25 Editorial comment on timely topics concerning the screen. Diets for Art's Sake .... Betty Schwartz ♦ 27 Revealing the heroic sacrifices of some of the stars. A Fan's Adventures in Hollywood » . Ethel Sands . . 28 She has some thrilling experiences in Gloria Swanson's dressing room, and learns how players select their clothes from Agnes Ayres. Two Who Found No Fairy Godmother Constance Palmer . 32 A vivid story of the struggles and disappointments in the careers of ZaSu Pitts and Pauline Starke. Bert Got Away With It •:'."•• • Barbara Little . . 34 But just being a handsome matinee idol didn't satisfy Bert Lytell. Favorite Picture Players .... . . . . 35 Portraits of screen notables in rotogravure. Doris — Twice Over . ♦ . . Emma-Lindsay Squier 43 An unusual pen portrait of the charming and many-talented Miss Kenyon. Is Betty Blythe Really Beautiful? . . Harriette Underhill 44 A novel and interesting analysis of the charm that has caused so much discussion. Over the Teacups ..... The Bystander ♦ 46 Fanny the Fan retails the latest motion-picture gossip. Sham Penitents in Real Shrines . . Caroline Bell . . 49 The picturesque old California missions at last have been invaded by motion- picture companies. Would You Let Your Daughter Go Into the Movies? Helen Christine Bennett 50 A straightforward and unbiased answer. A Man-Sized Fight . . . . Helen Klumph . 53 Lew Cody is putting up an admirable struggle. The News Reel Agnes Smith . . 54 The latest activities, on and off the screen, of the Hollywood film colony. Continued on the Second Page Following frwwpwnroiaifiaj^owaraig^ Sg Monthly publication issued by Street & Smith Corporation. 79-89 Seventh Avenue, New York City. OriiondG. Smith, President: QbOBOBC. Smith, fint Secretary. Copyright, 1922, by Street & Smith Corporation, New York. Copyright, 1922, bv Street & Smith Corporal it " . CkokgkC. Smith. .Ii . __at Britain. All Kinkta Reserved. Publish*, ,. J its Seet.nd- class Matter. March 6. 1916, at the Post everywhere are cautioned jutain.it -uning any of the contents of this magazine cither wholly or in pi Office at New York, N. Y., under Act of Congress of March 3, 1879. Canadian subscription, $2.:tt>. Foreijrn, $2.7*2. WARNING— Do not subscribe throw!) aKcnts unknown to you. Complaints are daily mode hy persons who have been thus victimized, IMPORTANT— Authors, ajrents, and publishers am requested to note that this firm does not hold itself responsible for loss of unsolicited manuscripts while at this office or '* d-for manuscripts for a loniccr period than six months. B " JiTit Kin I rtl\ > — . iiii.nnra, iiKcnis, linn puuiiiincm un; naagnw hu ihiht lii.il liii» iinn uoca iiui ■■< In transit; and that it cannot undertake to hold uncalled-for manuscripts for a I Dosjoc period than s YEARLY SUBSCIIIPTIOrJ- $2.00 f the return of manuscript is expected, postage should be inclosed. SINGLE COPIES. 20 CENTS MBagg
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pp« The touchstone of success in the world9 s new art! A single artist can produce a masterpiece in painting, in sculpture, in architecture. A small company can stage a great play in the theatre. A poor man can write and have published an undying work of literature. But in the art of the motion picture, $100,000 is as $10 in any other art. There can be no success without the power of intricate organization, organization so highly developed that it can command the services of acknowledged genius, and this must be backed by the money power that means absolute freedom of scope in producing motion pictures that will satisfy the discriminating public of today. Such an organization is Famous Players- Lasky Corporation, producers of Paramount Pictures. Independent effort, diffusion of power, scattered attempts to win public approval, can never match the work of an organization that holds to the ideals that have been and continue to be the inspiration of Paramount. That's why '"if it's a Paramount Picture it's the best show in town." Vy/P—- ' ■ — — -- • — ~-~ — .'_■_'. -t:.'_ '-;ff,M" L±-r^r=z=-—-- ---^- ■■--. .- — : .._. ^ \yhramoiint y*ictur&s Paramount Week, Sept. 3-9 ^September RELEASES 'Phone your theatre for date of showing Jesse L.lashy presents tl/x _ Qloria Swanson "her Qilded Cage" A Sam Wood Production Scenario b y lilmer Harris and Percy Heath. Based on the play by Ann Nichols. Cast includes David Powell, Wal- ter Hiers and Harrison Ford. ADOLPH XUHOR. PRESENTS A .William deMUle Production vjs&Sssi** &MKZ wthWqlace Reid Immthe, layby Bebe Daniels. Conrad nagel Rachel Crotheis 6. Julia Faue JESSE LASKY PRESENTS Rodolph Valentino in A Fred Niblo Production JjlOOd Supported bx Lila Lee and Q,7ld NitaSaldi. From the novel Qrintl" by Vicente Blasai Ibane: «JU./M* and the play by Tom Gush- ing. Adaptation by June otalhis. „ FAMOUS PLAV £as -LASKY CORPORATION pmtnts drhe Valley of Silent Men" ALMA fTrom tne story *V-Aw«* Oliver Cur wood. Directed by Fran!: RUBENS Bonage. A Cosmopolitan Production •^STTtieJjiren Call" Dorothlj DaltOnjOavidPowellS.MitthellLewii Supported by Da vid Po well and Mitchell Lewis. Anlrvin V. Willat Production. By J. E. Nash. Adaptation by. I. £ Nash and Philip Hum. Jesse L.Laskv Presents a Peter B. Kyne Special JackHolt ™ "While ' Adapted by Albert S. Levino Sdtdtl from the novel, the "Parson _ of Panamint." Directed by jJ.QQ'DS Joseph Henabery. Mr Wmir^§^i^%>== m famous piayers-iaskv CORPORA! ion ej^HEa . AOOLPM ZUKOR. Pirs.tfrnt ' ■«**'*' =J* Jf- —■.■-•■■■" . ;; tf.^>J?*m% Jesse L. Lasky Presents Cecil B.DeMille's pactum "O^Canslauffhter" with Thomas Meighan, Leal rice Joy and J.ois Wilson. From lite novtl by Alice Duer Miller. Adaptation bv Jeanie Macnherson.
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Contents —Continued Their Red Double Lives Edwin Schallert . The innocent — and profitable — pastimes in which movie players indulge when not before the camera. The Indiscretions of a Star Inez Klumph ilis own story of his fascinating life. Raising a Brain Child Gerald C. Duffy . .vn amusing and tragic account of the troubles of an author who screened his own story. He Makes More Money Than the King The amazing rise of Bull .Montana, newest comedy star. The Screen in Review A critical survey of the film offerings of the month. A Confidential Guide to Current Releases Usually Known as Tony .... A new angle on the personality of the ever-popular Moreno. Behold the Busy Camera Men Some interesting exploits of the news camera men in Washington. For Exhibition Purposes Helene Chadwick proves to he very decorative, as well as a good actress. What Becomes of the Costumes? .... Myrtle Gebhart Those used by the stars of big productions have interesting histories. The Picture Oracle Answers to questions of our readers. Myrtle Gebhart Alison Smith Agnes Smith Charles Carter Barbara Little What Every Extra Knows A1 BOUT getting into the movies — about stay- had she known when she started the things that ing there — and making good, has never she knows now. been told. And the extra in her hours Other girls can avoid her mistakes by reading of waiting about the studios and her determined sieges at the door of the casting directors comes to know much of studio diplomacy and studio demands. Dorothea Knox is excep- tionally fitted to tell the ex- tras' story. She has been working in the studios for four years, and in all that time she has l>een reflecting on the problems an un- trained girl has to face when she enters pictures. And she is capable of telling her story graphically, for before she went into pic- tures she was a writer by profession. Her career in pictures, she says, is typical. The first two years she had a high record for blunders, mistakes, and hard luck. Rut she refused to consider her limitations and forced herself on casting directors until they gave her a chance. Since then she has played everything from nuns to cabaret vampires and doubled for stars. There have been many failures, many disappoint- ments in her career that might have been avoided Dorothea Knox photographs so well that it is hard to belief c that she struggled along as an extra for a long time. her story, the first installment of which appears in next month's Picture - Play. This series will be particu- larly interesting to people who want to go into the movies, but it is an engross- ing narrative for every one. It speaks with authority on the questions that trouble people who want to go into pictures but are unfamiliar with the routine of the stu- dios. It tells concisely just what sort of people are best fitted for the work. That is partly a matter of appear- ance— but more a matter of grit and pleasant disposition, and Dorothea Knox tells just why this is true. She tells what preparation people should have for a career in the movies — what they should know about make-up — and what they should own in the way of costumes. No one who had not herself surmounted the many dif- ficulties of getting into motion pictures and rising from the ranks of extras to dramatic roles could give such a complete exposition of the fac- tors involved. FltnCtf fi/vtl Qfll/C« "* consider 'What Every Extra Knows,' by Dorothea Knox, a L^IIIIUl \-liy II 0«y>. very practica| treatise. It should save many poor little girls from trying to enter a profession for which they are not fitted and prevent those who are eligible from making needless mistakes."
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From a Country Boy. \S a movie fan I am, naturally, a reader of your J-\ magazine, and I note your fairness in printing both sides of every question that arises. That gives me courage to submit the following doggerel: TO DIRECTORS OF RURAL PICTURES. From the village I come to you With my pen point shod with fire And the words I say to you Free a long-suppressed desire. We dislike the type of youth You directors oft portray As a country lad — uncouth, Redolent of new-mown hay. This is what stirs up our ire — The loose-hung jaw — the silly smile That — rather than the "hick" attire. It's true enough, we do lack style, But we don't lack brains, and we love fair play, And we're sick to death of your "country jay." And I hope this verse — though it isn't art — Will be printed and touch some director's heart. Santa Rosa. California. A Country Bo\, Another Player Who Reads This Department. Won't you please assure the person who asked you if any players read the "What the Fans Think" de- partment that I do ? Once in a letter in that department some one criticized me for pouting too much, and I was so impressed by their taking the trouble to write to you about it that I relied on their judgment and made myself get rid of this unnatural mannerism. I love to read the comments in this department be- cause I feel that they are sincere. Collef.n Moore. Goldwyn Studios, Culver City, California. Two Overworked Words. There are two words, used in connection with ac- tresses, which are so overworked that I must offer a protest. The first one is "beautiful" and the second one is "star." Tt seems to me that when one speaks of a woman as beautiful, she should be above the average in appear- ance, not like ordinary women one sees everywhere — but unusually vivid and lovely. I have seen several so-called beautiful actresses, among them Martha Mansfield, June Elvidge, Bebe Daniels. Clara Kimball Young, Olga Petrova, and Hope Hampton. All of them are pretty but not beautiful. They are just everyday pretty girls — except one. To me, she is very beautiful. I refer to Petrova. The word can be applied to her fairly. She also has in- telligence which makes her all the more beautiful. So much for that word ; now for the other. It seems to me that after a player begins to get a little recognition she or he immediately is hailed as a STAR! Some appear as leading players in only one picture and then some producer thrusts them on us as stars. Often they do not know even the first points of acting. For instance, why star Eva Novak, Miss Du- pont, Marion Davies, Alice Calhoun, Jean Paige, Con- stance Binney, May MacAvoy, Gladys Walton. Marie Prevost, Hope Hampton, and Katherine McDonald? (I believe she stars herself. I suppose we all would if we could.) To be sure, some of them can dance around in a sprightly manner, wear clothes, pucker their lips, and even raise their eyebrows — but is this acting? Lillian Gish is our best screen actress. I should like to see her in a modern story, modern clothes and a nice hairdress. If Priscilla Dean had the right kind of stories, she would act wonderfully. Betty Compson is lost unless she can get stories to suit her type — and a director of merit. Gloria Swanson is a figurehead — the story is of little importance with her — but I enjoy seeing her clothes. Lila Lee is glimmering more brightly than heretofore. If some of these so-called stars would follow her example and start all over again, they would probably fill their places better than they dc now. I want to protest also at the country girl's portrayal on the screen. Some of them must keep hairdressers in their homes. And they walk and act and look as if they had just stepped out of a Fifth Avenue drawing- room. When an actress wants to look like a country girl, she just dons a little gingham dress and behold ; we have a little uneducated country girl. G. K. T. Houston, Texas. By All Means Write Again. Please may I express my opinion regarding a few of the players? I have been a fan for a number of years, and since the time when the manager of our little picture show would walk out front and announce that the following evening there would be a Biograph picture with "Little Mary" in it, she has been my ideal. I think she is the sweetest personality and character of the screen. Her Dearest in "Fauntleroy" will live for- ever. That is my idea of the real Mary. I do not like this appeal for new faces. Do they think that any one can take the place of our old favor- ites such as Alice Joyce, Clara Kimball Young. Norma and Constance Talmadge, et cetera? Old friends are best. This has been tried before and with what results? But what is wrong with Anita Stewart? The last pic- ture I saw her in was "Her Mad Bargain" — and it cer- tainly was. I have followed her closely for years and I, for one, do not think she has done anything worth while since she left Vitagraph. The Gishes also are great favorites of mine. Lillian's Continued on page 10
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10 Advertising Sfxtion What the Fans Think Continued from page 8 $95 an Hour! "Every hour I spent on my I. C. S. Course has been worth $95 to me! My position, my $5,000 a year income, my home, my family's happiness— I owe it all to my spare time training with the Inter- national Correspondence Schools!" Every mail brings letters from some of the two million I. C. S. students telling of promotions or increases in salary as the rewards of spare time study. What are you doing with the hours after supper? Can you afford to let them slip by unimproved when you can easily make them mean so much? One hour a day spent with the I. C. S. will prepare you for the position you want in the work you like best. Yes, it will ! Put it up to us to prove it Mark and mail this coupon now I INTERNATIONAL CORRESPONDENCE SCHOOLS Box4557-C,6cranton, Penna. Without cost or obligation on my part, please send me full particulars about the subject before which 1 have marked an X In the list below:— BUSINESS TRAINING DEPARTMENT g Business Management □Salesmanship Industrial Management □Advertising □ IJctter Letters Qi-'oreign Trado □•Stenography anfj Typing □ Uusiness English Business Management .jlndustrlal Management □ Personnel Organization □Traffic Management □ Business Law □ Banking and Banking Law □ AccountancydncludingC.P.A.) □Cirll Service □Nicholson Cost Accounting □llallwny Mall Clerk □ Bookkeeping OCommon School Subjects □ I'rivate Secretary Oillgh School Subjects □ Business Spanish Q French □illustrating TECHNICAL AND INDUSTRIAL DEPARTMENT ^Airplane Engines 3 Electrical Engineering DlCk-ctrlc Lighting 3 Mechanical Engineer ^Mechanical Draftsman ^Machine Shop Practice Mtnihnail l'osltlons UOas Engine Operating JClvil Engineer ^Surveying and Mapping BMlne Foreman or Engineer Steam Engineering fJHadio Name Street Address... City 1 Architect I] Contractor and Builder I] Architectural Draftsman D Concrete Builder ^Structural Engineer I] Chemistry =J Pharmacy I) Automobile Work JAgriculture and Poultry J Mathematics ..State.. Occupation Persons residing in Canada should send this coupon to tka international Correspondence Schools Canadian, Limited, Montreal, Canada. UJH H -•«-"=«»-"=«'"" -"="-•'-•': Short -Story Writing A Course of Forty Lessons, taught by Dr. J. Berg Esenwein, Editor of The iVriter'aMonthfo. One pupil has received over $5,000 for stories and article* written mostly in spare time. Hundreds are selling right along to the leading magazines and the best producing companies. Also courses in Play "Writing, Photoplay Writing, Versifica- tion, Journalism, etc. 150-Page illustrated catalogue free. Please Address ZRe Home Correspondence School Dept73 Springfield, Mass. KSTAOUSHfO I8»T INCORPORATED |0O4 lUMIllWWTi DR. ESENWEIS Dep 1 tSTABU BO Anna Moore will never be forgotten. I was somewhat disappointed in the "Orphans of the Storm.'' I think Dor- othy deserves as much praise as Lillian in this picture. Let us have more of them. Why is it that people rave so over Agnes Ayres? She is so unreal, and to me she 'has no depth. She is beau- tiful and that is all that can be said of her. Wanda Hawley, to my mind, is nil. Outside of her dimples she has noth- ing. What foolish, namby-pamby plays she appears in ! Little Madge Bellamy is a comer. She can act and has great beauty, too. Gloria Swanson is — Gloria Swanson, also Elinor Glyn and Dc Millc. Without them where would she be? She is glori- ous— but who made her so? She reminds me of a Persian kitten "perfumed and fair." Nevertheless, I always break my neck to go and see her whenever she is here. Why doesn't she do "Three Weeks?" She is a typical Elinor Glyn heroine. Xow for the men. Keep Valentino where he belongs. His is a rare and mag- netic personality. Let it shine in its proper setting. Don't make of him a mod- ern hero. We want romance and we want this new hero in romantic and foreign settings. I sincerely hope so much suc- cess and admiration will not turn his head. Lewis Stone is supreme. I can't say much for Wallie Reid. Tommy Meighan is wonderful, sincere, and human. But I think Lloyd Hughes is the one best bet. What has become of Henry Walthall? What a shame that this sterling actor is kept so much in the background. I am glad that dear old Bill Hart is so happy, and I sincerely hope it will be a boy. I wish we could have more of Chaplin. I am afraid the throne is toppling a lit- tle and that Buster Keaton will one day rule supreme. However, after Charlie's trip to Europe he may now wake up and show them who is who. I hope so, any- way. Some day I may write again, if I may, and then I want to express myself on the pictures that are being released. If they would give us more like "The Ten Dollar Raise," and cut out some of the stars, the public would be much better satisfied. People now go to sec a good, interesting story, and not to watch one person alone through six reels. Gladys Dillon. 6i6 Twenty-first Street, Denver, Colo. An Impulse Obeyed. Every time I read this department it makes me itch for my pen. This time it was uncontrollable. One writer may he right about the mov- ies taking too many leading ladies from the chorus, but perhaps he'll agree with me when I say that no mistake was made in picking Jacqueline Logan. The hero in "Molly-O" showed he was almost human — his one fault being choosing Mabel when he could have had Jacqueline. Another letter asks who the public is that is demanding Gloria Swanson. I am one millionth, or a smaller part, of that public. In "Under the Lash" Gloria acted as well in gingham, or whatever it was, as she did in silks and satins. And she can act. Yet another fan speaks of old favorites. Mary Pickford and Charles Chaplin ap- pear so seldom that I go only as a matter of duty. However. I make up for this by my mad rush to see Doug Fairbanks and Kathlyn Williams. I scan every corner of Picture- Play for pictures and mention of Wanda Haw- ley. She combines acting ability with charm and beauty. I think hers is a sad case of stories with no attraction. I was pleased almost to the point of tears when 1 read everybody's opinion that Wanda carried off acting honors in "The Affairs of Anatol." I'm not magnifying the trib- ute, but it was a mention. 1 think she is one of the best actresses on the screen and the best-looking one. Medals should be struck for Lois Weber for her productions and discov- ery of Claire Windsor; W'illiam Fox for bringing out Harry Myers ; Ben Turpin on general principles ; Rex Ingram for some of his productions and for the dis- covery of Alice Terry; Universal for star- ring Marie Prevost, and for giving Von Stroheim a place to produce his pictures but for nothing else; and Cecil Dc Mille for bringing Kosloff into prominence, and for a few of his productions. After seeing "The Four Horsemen" and "Uncharted Seas" I settled back and laughed at admirers of Valentino. I didn't sec "The Sheik" or "Moran of the Lady Letty." But when "The Conquering Power" came along one of my friends persuaded me to go, and now I am one of Rodolph's admirers. Valentino and Wallie Reid are now at the head of my list of men stars. They are neck and neck. Harry Myers is up near the top. I kept passing up May MacAvoy's first pictures and saw her one night when she was the feature and I went to see the comedy. She is now among the first in my list, somewhere near Wanda. Picture-Play has a wonderful battery of writers. The best of them all, in my opinion, is Agnes Smith. When she re- viewed pictures I always agreed with her. I wish she'd write interviews. I must criticize the selection of coming stars, made by the California press agents, which she ran in her "N'ews Reel," which she probably wants us to do. From it should be dropped the names of Helen Ferguson. Louise Lorraine. Mary Philbin, Kathryn McGuire, and Maryon Aye. That leaves the list rather depleted. She should have included Harry Myers. This is my opinion, but if Agnes Smith disagrees, I'll admit she must be right. That shows how I value her opinion. Other splendid writ- ers on your staff are Helen Christine Ben- nett, Malcolm Oettinger, and Grace Kingslcy. These are the ones I like best, but the others are all very good. A Fan. 122 Pleasant Street, Boulder, Colo. From Another Agnes Ayres Adorer. Oh, this blessed department, where we can all unburden our love troubles ! Will you please print this exactly as it is. and, yes, you may print my name and address. Hearken to this, "Agnes Ayres Adorer" of the June issue of Picture-Play. You and I must have been bitten by the same bug, for I, too, am in love with one of my own sex. that beautiful, bewitching bundle of loveliness called Agnes Ayres. I, too know some people who say they do not care for her, but I think they should consult a brain specialist, for there isn't a more wonderful actress on the screen than Agnes Ayres. Occasionally she gets a bad story, but even then she
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Advertising Section 11 always manages to act her pari well, and no one — not even that superb actress, Glo- ria Swanson — can wear clothes belter than Agnes Ayres. I've never missed one of her pictures since she first came into the limelight, and 1 don't intend to if 1 have to go in the ambulance. I'm eighteen and I've never been in love before, and it's — ter- rible— to think that I've fallen in love with a girl! Miss Bebe Pikrce. 408 Ross Street, Fort Wayne, Ind. More About Old Favorites. Three cheers for Mrs. M. Lorenza Ste- vens, of Venice, California, who takes a stand in favor of the old favorites among the movie stars in the May issue of Pic- ture-Play Magazine ! Though I don't agree wilh her in her opinion of King Baggol being the best actor on the screen, still 1 will say he has forgotten a whole lot more than some of these new male stars will ever know when it comes to registering emotions. And Flora Finch ! The welcome news that she was back in a Talmadgc picture certainly pleased many in this city, as she is a great favorite here. 1 am a member of a woman's society with three hundred members in it, and you should hear them discuss the movies. They are practically all movie fans. Let us have some of the old favorites in some good plays and Fll guarantee the box offices will prove whether the public likes the old stars or not! Anna F. Cecil. 509 East Aver Street, Ironwood, Mich. A Plea for Simple Presentation. I think the real slory lover — the real fan — would just as soon go to pictures in a big, plain barn quite lacking in velvet draperies and artistic prologues, if there were comfortable scats on good eleva- tion and a good screen. We want the story — not the trimmings. We pay so much extra for the trimmings that it is cutting us off from seeing as many plays as we would like to see. But perhaps we are a minority — perhaps the greater num- ber love the beauty of the building, the uniformed ushers, the elaborate prologues — so we are just enjoying the luxury of '"speaking out" without much hope of it arpealing to exhibitors. 1 think the day will come, however, when the real story lovers — drama lovers — will have a theater of their own in every large town or city, where they can see the best plays with no stupid comedy thrown in to please the children — and subnormal adults; where they will be able to see a good picture for a moderate price, moderate enough to allow- them to go every night if they so wish and where attention will be focused on the picture — not on the prologue or the orchestra or the woodwork, though these are very prominent at this particular moment. Joy O'Hara. Box 343, Santa Rosa, Cal. A Ray Fan's Complaint. Please, please ask Charles Ray to go back to acting and forget all aibout being a director. "The Barnstormer" was ter- rible. As an actor of juvenile parts Ray is all right and can't be beat, but, oh, Charles, do page Von Stroheim, Griffith, De Mille or Dwan for the other end of the megaphone. A Ray Fan. Coolidge Corner, Mass. Colleen's First Appearance. We read so much about Colleen Moore lately, I thought it not out of the way to tell of her first appearance, which took Continued on page 104 N'en. «'t ar] mnhss ^ai^X^ - pel] sense . Even "avo the sornia „V\e.s of alr iaJ^ ^'de. "a of the "'•aest n, '"T :"' lii^ta«lLiii£r-'!'ii° . s to ''or, Story I °ut Then Thes of the film, but as~the Se~ill,.v nmarilv. however, it is for the Kimball won the first prize of $10,000 in screen. the Chicago Daily Xcws Scenario contest. *,-„« * »,nM t c- » c* Eight other Palmer students won prizes *S0° to $2000 for a Smgle Story in that Greatest of contests in which T'"' ''"'"lor Photoplay Corporation, which cx- m xnai greatest oi contests, in wmui ,sts pphnarU, to sell photoplays to producers. 30.000 scenarios were entered. Ihrcc ,nnst train new writers in order to obtain Palmer students won all the prizes in the stories to sell. The producers are now pay- J. Parker Reade. jr., scenario contest in ^ew'writera *° • ° ""' orisinal storis which 10,000 competed. ' Ah()V(. .„.,,' ,',;„ slmpn., sincere facts. This And the search for Imagination goes advertisement is just a part of the Corpora- ™ tu:„ „j „_*:„„„„.,* „«„_. . .„,,»!,„ turn s search for talent worth developing. It on. This advertisement offers you the ls „ot .,„ unconditional offer to train yon for free questionnaire test with which \\c (lis- screen writing: it is an offer to test vou ab- cover such Imagination as lav hidden in solutcly free, in your own home— to test you 0 tti«,:^^ ..;u-,~„ „„.;i ,..„ "r„.,„,i „„,i for the creative and imaginative faculties a Florida village until we found and which yon may hare, bnt are not consdons of. trained Miss Kimball. When you have passed the test, if you pass it, wr\ ,. • t—.„~:...,*:~.. o tu„ « ,f we shall send vou. without obligation, a com- What is Imagination? The power of pl„t(, cxplanation of the l'almer course and making mental images. It is the inspira- service, its possibilities, its brilliant success tion back of everv big thing ever done. j" developing screen writers and an interest- And it is the very" essence of motion pic- X^Sflnfe todav.° BCed" °f "" m°U'm turcs, because the screen is merely an 1m- wm yoa K|ve Bn evening to this fascinating age of life. questionnaire? Just clip the coupon — and ryt T • £ . ..- . . clip it now, before vou forget. I he Imagination of a hand ml ol men ; ■ equipped the industrv mechanically. Their daiucd nu/->T/-n»i a v /- creative task is completed. But the Im- PALM^ PHOTOPLAY Corporat.cn agination of thousands is necessary to Department of Education. Y-9 keep the industry operating. New 'pic- '24 West 4th St., __ Los Angeles. Cal. turcs — and yet more pictures— is the crv /^\535k im.ease semi me. without cost or ouiiea- of the tho-ilrcs inrl the nnhlir /£SZTS!©\ ''"" ":' '"'• l""' '""r 'lucstlonnalrc. 1 01 im tneatres ana tin puiinc. IPuMiiYWl vvil! lns'ou for analysis, n" 1 pass tho ing everywhere th "iginal story the see- N§S5lpray '"■"'■ ' :,m r" re<,elvp furtln-r Informaiion nario written expressly for the screen with ^^3Jj£py almut your Course ami Service, the screen's wide latitude and its limitations in view? Name The Palmer Photoplay Corporation, tho in- Indicate Mr.. Mm ., or Miss dustry's accredited ageiir for recruiting new scenario talent for the screen, is discovering aa«WM ._ hidden ability in all walks of life, and through its training course in screen technique is dc- - WWVVV«VVVM**»*VHVWHVHV**V»W*t«\»MVVWVMV*«*M**»WMVMW««» Copyright, 1922, Palmer Photoplay Corporation
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12 Advertising Section x6 ^ 8 washings — Tints unchanged This dainty pink Swiss and organdy dress was compared with the original materials after 8 washings with Ivory Flakes, "the colors are iden- tical11, said its owner. Dress and owner's letter on file in the Rocter & Gamble offices. \ &*-y Send for these! A generous sample of Ivory Flakes and a booklet of uses will be sent to you on receipt of your name and ad- dress. Write to Section 47-IF, Dept. of Home Economics, The Procter & Gamble Co., •Cincinnati, O. (^ Jwo generations (i |p%r,;fa? said Safe! "nd your generation says, "Still safest for fine garments'* FOR WOMEN who have gone through agon- ies of doubt before washing their new silk or woolen garments, what a relief it always is when they begin to use — Ivory! Yes ! Just the same Ivory Soap that has com- forted the faces and hands of two generations. But, now see Ivory's new convenient form for quick washbowl laundering. Iklicate flakes — Ivory Flakes — as thin as the petal of a flower, for instant suds. What propitious news for the dainty garments which are usually so timid about soap and water ! What sure protection for the filmy georgette blouses and precious lace collars you now have, and for all those you hope to have ! Of course, Ivory Flakes is excellent for the hardier clothes (it is inexpensive); but it has a generous margin of safety for your finest things. It is the same Ivory which invites use on your face. That is the real test of fine soap — and worth re- membering. We should liketo have your fine garments experi- ence this protection without charge. The directions at the left will tell you how you may obtain a free sample of Ivory Flakes, and a booklet of its many uses. You may buy Ivory Flakes in full-size packages at grocery and department stores. PROCTER Si GAMBLE iMakes dainty clothes last longer Copyright 1922. by The Procter & Gembk Co.. Ctncloohtf
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Baby Peggy Sets the Pace The three-year-old Century Comedy star runs through current film fashions so fast that she has to start new ones. By Edna Foley TAKE it from Baby Peggy, a girl has to keep up with current film fashions, if she is to keep her position in the front rank of stars. So she goes in for propaganda and defies an unpopular law as shown in the lower left-hand corner. Just below you see her as Cinderella, her contribution to the movement to bring old classics to the screen. And in the lower right-hand corner she is standing them up with her vocalizing. Ap- parently she has heard, even if you haven't, that Hope Hampton and Betty Blythe are Photo by Freullch going in for operatic stuff in their recent pictures, and she intends to prove that she can do it, too. So, having run through most of the current film fashions, she's very busy devising some of her own. Thev'll be well wonh seeing.
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One of Nazimova's chief charms, to most of her admirers, is her versatility. rhoto by Hoover Art Co. What Do You An examination of some of the popular By Gordon \ YEAR or so ago, while reading the letters from the fans, printed in Picture- Plav Magazine, I noticed that the majority of these letters touched, in onejiway or another, upon what the writers considered good or had acting. A great divergence of opinion was expressed in these comments. The question was approached from almost as many points of view as there were writers. But the thing that struck me most forcibly was that so many of the fans were thinking about this question, and that though many of them seemed to be grop- ing blindly they were gradually formulating ideas and opinions on the subject. A few years ago, in the days when "a movie was a movie," and no one took any of them very seriously, such discussion could not have taken place. The whole artistic level, if such a phrase can be applied at all to the films of the early days of the industry, was so low that only seldom did an actor have an opportunity to do any really fine work. The pioneer producers of pictures, handi- capped in many ways, and catering to audi- ences that were far from discriminating, began by striving mainly to present the popular conception of beauty, rather than by bringing any high standard of acting. They brought to the screen the fairest specimens of masculinity and femininity they could find. They internationalized physical beauty, talked about it — adver- tised it. They set up idol worship in the flesh — and, parenthetically, it might be said that they have suffered from it ever since. At first, the movie-loving public swal- lowed everything that was thrown upon the screen. Beauty contests were started all over the country because the producers were afraid that some specimens of pulchritude were hiding out on them somewhere. "Give us the beauties," said the producers, "and we'll give you them back again plus whatever amount of acting our high-priced directors can pound into them." But now the fans are raring up on their hind legs and demanding that acting be the result of the actor's understanding, not a her dash and anima- concept superimposed by a director. They tion. have not yet come to a definite agree- ment as to just what acting is, but they are agitating the question, which is the best way of trying to decide it. And now, after sev- eral months of investigation, which included interviews with persons engaged in all branches of picture making as well as many talks with fans and the perusal of hundreds Priscilla Dean ap peals largely through There is the greatest difference of opinion among the fans as to whether Gloria Swan- son can actor whether she is merely a mani- kin.
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Call Acting? ideas of what screen acting should consist. Katherine MacDonald is generally regarded as having more looks than real acting ability. Photo by C. HtMKhton Monroo touching on the other giving some examples Gassaway hi^iiiiiiii.j^iiii'iiiiiiiiiiiiiiiiiiiiiiiiii'ii^iKaiiiiiiiiiiiiiiiiiiiiiiiiiiHiiii-iiiiiiiiiiiiii of fan letters, I have set for myself the task of trying to lay down what seems to be, at present, the jwpular idea of what acting consists. First of all I have found that there are two distinct sides to the question of what constitutes acting: the side in front of, and the side behind, the screen. In other words, the popular and the professional. And since neither side of the question can be satisfac- torily answered without I am going to begin by from the actors' point of view, and I shall offer, as Exhibits A and B, the two who just now are the most-discussed persons on the screen. Rodolph Valentino did not like his work in "The Sheik;" he did not like his role in "Be yond the Rocks," with Gloria Swanson ; he did not like to play the part of the sailor in "Moran ' of the Lady Letty." He did not feel that he gave us his best work in any of these. He did like Julio in "The Four Horsemen," and he thor- oughly enjoyed the Toreador in the forthcoming "Blood and Sand." Obviously, he feels that he should attempt only roles suited to his type and temperament. On the other hand, Wallace Reid does not ^ like the pictures in which he is just "Wallie F Reid." This applies to all the auto-racing pictures. He was not even happy in "Across the Continent." But he enjoyed playing Peter lbbetson in "Forever ;" he enjoyed his role in "Carmen" with Geraldine Farrar ; he enjoyed two Kanuck parts he played in the dim past when he was just starting to be famous, and he enjoyed "Joan the Woman." His chief ambition in life is to raise a beard, forget his looks, and play character parts. Though apparently different, the ideals of both of these players are the same. The one, forced by popular demand to appear just "as himself," aches for a chance to demonstrate that he can get inside of an entirely different character. The other, forced tc play roles toward which he feels unsympathetic, is happy only when he has the chance to put the best he has to offer into his part. In other words, each wants to act. Now what is the professional idea of acting? I have talked to many of the most important and successful producers and directors of pic- tures, and the test of an actor I found to be pretty much the same everywhere. Perhaps this was best expressed by Miss June Mathis. "If a player meets the conditions of his role naturally," she says, "as the character rep- resented would meet them, then he is act- ing. A real actor can make you feel that you are witnessing a transcript from life." That states the case in a nutshell. Wallie Reid wishes the fans would let him play something besides "him- self." Mary Pick ford's fol- lowers regard her as having all of the qualities that make for great acting.
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16 What Do You Call Acting? I'holo by AI.Ij i Norma Talmadgc is generally thought to have both beauty and acting ability. Now let us see what the people who go to see pictures say about acting. Here is a letter from London, signed by Kitty Ben- nett, who says: "Pauline Frederick shows us that tiger skins and peacock feathers aren't necessary in the making of a dramatic- star. In my opinion she is the finest actress the screen has ever given us. She has the power to express any depth of emotion with- out resorting to violent gestures." That is a fairly representative and a very intelligent opinion by a candid follower of the movies. It is just what hundreds of fans are saying about other players, only in a slightly different way. "I think an actor's worth is to be judged by the number of entirely different roles he can play." That is the premise upon which Rosalie Marsh, of Hartford. Con- necticut, bases her remark that she "has such a high regard for Bert Lytell." and also for Viola Dana. Her letter has the virtue of having crystallized her idea of what a good actor on the screen should be — in other words, he should be versatile. Now we are getting at a definite idea. Is Valentino a great actor, or not ? This is a question that the fans are debating more than anv other. There is, however, sometimes a wide divergence of opinion as to whether or not a certain player is versatile. Nazimova, for example, is usually considered to have this quality in a very marked degree. "Each of her roles is an utter stranger to the rest," writes an admirer. "It is no less than a miracle that the same person can create such 'different characterizations, each a living, breathing, never-to-be-forgotten individual." But another writer says, "Nazimova is great, probably the greatest of the lot. But to me she is always Nazimova. No knock intended. Suits me fine. I never miss her plays." I don't know who wrote this, but I am quot- ing it verbatim for it also contains a definite rung for our ladder of final judgment: "Wallace Reid can act. If being absolutely natural, or at least seeming to be so, is one of the requisites of an actor — why, then, Mr. Reid is there a thousand ways." It is signed "A Wallace Reid Admirer" of Brookline, Massachusetts. Here is a corollary statement by another writer who says, " 'The Miracle Man' impressed me. more than any other picture I ever saw. though, oddly enough, none of my favorite stars were in it. But in this picture every player fitted his or her part to such perfec- tion that I felt I was living the story with them." This quality of apparently living the role en- acted has inspired several fans to comment on it in connection with one or another favorite. To quote another example: "Then my star — Mary Pickford, in 'Stella Maris' — faultlessly beautiful — faultlessly ugly — faultlessly being, not acting — both the exquisite child of a refined home and the un- couth child of the slums." Artificiality is condemned by a good many, as in this letter from Emily E. O'Brien, of Savannah, Georgia, who writes : Glo- ria Swanson's gowns were beautiful indeed, but she didn't act naturally. Every emotion seemed to be" stud- ied, and *it seemed as though if she laughed she would break." As you know, the Gloria Swanson fans challenge this charge of artificiality. However, being natural seems to be the greatest de- mand made by many of the picture fans upon the ac- tors. As one fan ex- presses it, "After I've seen a motion picture that was all tricked up with De Mille bathtubs and decorations. I like to go to a Charlie Ray- picture and get a glimpse of a real human being." An admirer of Monte Blue stresses another quality when he refers to Monte's "remarkable appeal to the emotions." And time after time there recurs in fan letters this criticism: "So and so can't act; he just makes faces."
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What Do You Call Acting? 17 The average audience is quick lo de- tect and resent posing on the part of a player. There is scarcely a person to- day who has not at some time or other taken part in a theatrical performance. Perhaps it was in "Pinafore" many years ago at the town hall or perhaps it was in "The Man From Home" more re- cently in the high-school auditorium, but from this brief experience the individual has gained some idea of the difficulties of portraying a character other than his own. But the difficulties of portraying one's own character on the stage or screen are just as great. I know a group of young persons who have formed a theatrical club. These young persons are all engaged in business of some sort. Some of the men are bank clerks ; many of the girls are stenogra- phers and secretaries. Recently they staged a modern play dealing with busi- ness situations, and the clerks found themselves cast as clerics and the secre- taries as secretaries. It seemed to be an ideal arrangement. Rut the professional coach who was brought from the city to direct the rehearsals nearly ruined his otherwise faultless disposition trying to Lillian Gish comes the nearest of any actress to being universally esteemed a great screen actress. Especially does she meet the demand that the player appeal to the emotions. get the clerks to clerk and the secretaries to secretary — on the stage! They simply could not be natural. Each member of this dramatic club now prefers costume plays! It seems a safe bet that any of the members of this club. and of countless similar clubs throughout the country, would recognize and appreciate at once the art which conceals art in just being natural on the screen. To return to Wallace Reid and Rodolph Valentino, they seem to be typical examples of personal exploitation which seems to be what a great many fans demand. For the most part, the public has not required them to act. if acting can be taken at the dictionary term for it, which is "the delineation of character." Rather, the public has cried to them — "Re your- self ! Do your stuff!" The fans do not want to see Wallace Reid in a character part, that is, as an old man or a country lout or a negro comedian. Nor do they want to see Rudy Valentino as a bewhiskered centenarian or in any other role that would detract from his pleasing personal appearance. Many are now demanding that he be given only parts in which he can be the fiery Latin lover. Perhaps these are the fans who insist that Rill Hart should stick to his wild-West-gunman parts, that Charlie Ray should be ever the country boob, that Mary Pickford should not depart from the Polly- Continued on page 89 Bert Lytell has been praised by many of Ms followers for his ability to appear convinc- ingly in many varied roles. Photo l>y Donal'l Hiuillf Koyi-s
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Photo copyright by Kvans Bobbing her hair takes years from a ivoman's life, Marie Prevost maintains. WHY did I bob my hair?" Marie Prevost asked. "For the same reason that most women do most tilings. Just because I wanted to! "Only — unlike many women, I had a lot of good reasons for doing it. "In the first place, it combines beauty, comfort, and time saving. Aren't those three perfectly justifiable reasons for doing anything? Capillary At Distractions By May . . . : :;;iiiiiiii]iiiiiiiiiiiiiiiiiiiiii[iii[i!iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii!iii;iiiiiiiiiiiiiiisi;;i "And yet I understand that it's being said that we do it only because we are light-headed, frivolous, eccentric ! It's too absurd. "I used to have no end of bother with my hair. It's horridly curly and it simply never would 'stay put.' Now it really doesn't mat- ter whether it gets temperamental or not, be- cause short hair can't go far wrong. Or wrong far ! "For a long time my life was just one dis- appointing, thoroughly defeated bathing cap after another, and though I've evolved from the Tadpole-Fish family, I shall always have one secret sorrow. It is that I didn't 'bob' long, long ago. "As a matter of fact, I consider long hair quite antediluvian. To be sure, in the good old days when men approved of clubs for ladies, far more than did the ladies themselves, it seems to have had quite a drag. It used to come in handy for their wooing bees. While now, according to our clever hterary psychologists, the female of the species does her own wooing, so that almost its last vestige of utility is gone. "And my goodness! That's old stuff, too, about hair being a woman's crowning glory. It seems to be a closed season for crowns abroad — they're scarcely being worn at all this year. "Bobbing one's hair takes years from a woman's life. Also it saves her almost as much wasted time and effort. Figure half an hour a day for sixty or seventy years and see if it doesn't. "Why we should be considered absurd, vain, Green- wich Villagy, when all we want is simplicity and com- fort. I can't for the life of me see." • ;-ii!;rii;ii^^--:!-:iu i.i^rii, ■':-iiii'iiii!r:;.1iiiiii|i|irrnMiiiiiii!t;tMi'iiiii!M;nlinii! "r'nii'iuiiriiii'Miii-- i;;!!i;::L:;:i!i':i ^iiiii:'1- ^iniiir:? um::i--i: iiiiiiiiiMiiiiiiiiiiiiiiiHiiiiiiiiimiiiiiiiiiiiiiiiiiffiiiiiiiiiiiiiii \\\\s::r-r ■■•:■•:■■> WALLACE REID Billowing sails under a viking's hand : Night — and the wink of the man in the moon; Apollo in flannels at a boat race; Mistletoe and soft music; Lohengrin playing jazz on the ukulele; A Knight of the Round Table. BETTY COMPSON Prisms in sunlight ; Cool lemon juice on a hot afternoon; Fdelweiss transplanted in a valley ; Passion flowers against The dull beating of a heart ; The soft sigh of a lilac tree rubbing On the windowpane; Polished nails at the Ritz : And the love note of a dove At evening. Impressions MAY MacAVOY Twinflowers carpeting a floor of pine trees; A tapestry woven of dreams; Gossamers spun on cowslips ; A coquette playing on a spinet in the shadows ; Initials on a birch tree; Fudge in a chafing dish; And the allurement of perversity. NORMA TALMADGE A silver maple blowing in the wind : The hushed expectancy which heralds the dawn ; The breast of a robin; Dame Fashion's daughter on Fifth Avenue; Spices and myrrh And the sensuous shuffling of silken-shod feet ; The elusive fragrance of wild cherry blossoms.
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tractions and The old question of to bob or not to bob is answered by Marie Prevost and Mabel Julienne Scott. Ridgway 'iiilll!IHIIIIiMillllllllillll!lilllll1IIIIIIIIIIIIM TO bob — or not to bob ! That is the ques- tion that seems to be setting our femi- nine world by the ears — if any one would admit to such indiscretions as ears nowadays,'' says Mabel Julienne Scott. "Bobbing is like matrimony. All those who have done it, are urging their friends to go and do likewise, but the rest of us aren't so keen about it. "Long hair is essentially feminine. It im- parts a certain tenderness, charm, that no impudent bob cut could possibly do. "Hair may express many emotions, or at least aid in their expression. There is the elaborate coiffure of the society woman, the smoothly dressed locks of the quiet, conservative home woman, the loose-flowing hair of the troubled woman, the severe braids of the convent-bred girl. "I'd be shorn of my strength — my dra- matic strength — if some barber inveigled me into being sheared. "I don't want to be considered old-fashioned. I like futurist paintings and vorticist art and ffee verse, but when it comes to amputating my hair I feel quite early Victorian. "And bobbed hair hasn't even the virtue of novelty : see any of the mummies salvaged from early Egypt, or their prototypes carved in antiquated stone. "The woman of a generation ago who wore short hair was considered distinctly masculine, highbrow! Now abbreviated hair seems to accompany abbreviated skirts, though as skirts are getting longer — they couldn't very well get shorter— who knows how long hair will stay short ? The style very likely will change back before verv long. Photo by Kuckcr Long hair imparts a certain tenderness and charm, according to Mabel Julienne Scott, that no impudent bobbed cut could possibly do. "Bobbed hair is entirely too cheerful, sophisticated, carefree, for the line of serious emotional roles I play, so, naturally. I shall avoid it. Even if the boyish cut has come to stay, I mean to cling to my hair as long as it will cling to me. It may be that, years hence, little children will cry out to their bobbed grandmothers, 'Oh, granny — what has that lady got on her head ?' "As for me, I hope it will be my hair!" MliflllllHIIIIIIIIIIIIIIIIIIIIIIIIH^ OF STARS YOU KNOW By Doris Kenyon KATHERINE MacDONALD An ice pond sparkling in the sun; The white crest of a wave before it breaks; Scarlet berries in a vase in the firelight ; The fragrance of a rose caught In a golden jar ; The charm of frankness with the common sense To deceive simpletons. LILLIAN GISH Solitude in the cool gardens of a soul; Mist on a mountain before rain ; Frost pictures on a windowpane ; Debussy imprisoning a thought In a note of music ; The hooded mm of the forest — the white violet- And the witchery of peace. HAROLD LLOYD Arpeggios on a piano ; Puck full of cocktails ; A frog sitting on a lily pad Winking at a dragon fly ; The school dunce graduating With honors. CHARLES CHAPLIN The sweep of fresh sea air; The loneliness of crowds; Rachmaninoff in a holiday mood; An eagle watching from snow-capped peaks The moles in the valley below ; A king strolling in a beggar's garb; A face of sorrow behind the mask of Comus; Captor of the to-morrow which never comes.
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Every body1 s Great triumphs are predicted for her — and credit for them to almost By Helen Colleen Moore's is an evanescent, many-sided personality. She is appealing in old overalls or fancy costume. A LOT of people have said, "I wish Colleen Moore wouldn't affect this Irish stuff." and when I charged her with it she just said. "Mamma's the one who affected the Irish stuff. You see. she liked papa so well she married him, and here I am, and I can't help being Irish. "And besides," Colleen added, knocking her own first-class defense over with one blow, "my friends like it." There you have Colleen. But there you haven't, for that is a sample only of the sur- face smartness that she indulges in occasionally. Hers is the most elusive, evanescent, and many- sided personality imaginable. I know, for I started to interview her a year and a half ago, and I am still discovering new things about her. In the course of that time she has become my closest friend, so I'll admit from the start that I am prejudiced. I am still puzzled by her sudden impulses, her fleeting moods — but above all I am immeasurably drawn by her unfailing sweetness. If the rhapsodic days of raving interviews only were not past I would write one around Colleen, called either "A Maiden of Tragic Portent" or "The Soul of Smiles." It wouldn't matter much which of those I picked, because there is ample basis for either, and they would both give opportuni- ties to tell of the eerie quality that is the most striking aspect of Colleen. It is that same mysterious quality that Irish poets have that makes you smile and cry at the same time. But souls are not being worn on inter- views this season ; let us get down to height and weight and beaus and those other things The Oracle is always being asked about. When you speak of Colleen's weight, you've struck one of the outstanding features of her career. Ask any of the old Fine Arts directors who knew her as a lanky twelve- year-old. He'll tell you that she had one of those fragile, wistful, starved figures that Lillian Gish made famous and that all of the directors liked to contrast against rugged landscapes. Ask Colleen how she got ready for her part in "The Lotus Eaters." She will tell you it was a matter of putting on ten pounds. Consider her pres- ent story, "The Bitterness of Sweets' ' — a Goldwyn-Rupert Hughes special production. In it she starts out weighing ninety pounds and she finishes weigh- ing one hundred and twenty. Now to all the tragic sister- hood that is trying to get either fatter or thinner— and that includes almost every one nowadays — chang- ing one's weight is not a matter to be considered frivolously. But Colleen accepts directors' dicta that she be a given weight in time to start work on a picture with as much composure as she does their directions as to how she is to dress the part. More composure, perhaps, for dress is a question of vital im- portance to Colleen. . Speaking of clothes brings one inevitably nowadays to a question of modesty — or the lack of it — and incidentally to a story of how Colleen braved a director's wrath. The picture was one of those far- away-kingdom stories where her main part was to look appealing and stand in a good strong breeze that would blow her skirts. As I sat in her dressing room one day watching her get into her costume I noticed her putting on a heavy petticoat.
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Colleen when they come she will insist on giving every one but herself. Klumph "W.hy, Colleen Moore," I protested, "were you born yesterday? Don't you know that they put girls in those Greek things for the same reasons Sennett puts them in bathing suits ?" "Uh-hub." Colleen volunteered, as she paused and deftly rouged her lips into less of a cupid's bow than Providence provided her. "I know what the idea was, but I'm fooling 'em. I sneaked a petticoat on in the first scenes, and now they'll have to let me wear it all through or the scenes won't match." "And why," I asked, a little stupefied at that show of determination, "do you cover up the perfectly good mouth you have with a design of your own that isn't nearly so good?" "Critics." she answered pertly. "When Harriette Underbill on the New York Tribune reviewed 'The Sky Pilot' she said I had the mark of Broadway on my face or something like that. At first I was mad clear through, because I'd never seen Broadway when I made that picture, but when I cooled down a little bit and realized that she meant I looked hard and sophisticated I took my face to the nearest mirror and tried to look at it impartially. It She is expected to make a big hit in "The Bitterness of Sweets." Photo by Evans It isn't the talent or intelligence of Colleen Moore that attracts you to her at first; it is her unfailing sweetness. was difficult because I've had it so long I'm prejudiced against it. but after a while I saw what she meant. My mouth really was too good to be true. Ever since then I've tried to make it a character mouth instead of just an arched one. And if Miss Underbill ever notices it and gives me a word of en- couragement I'll lie so happy the world probably won't hold me. "Critics make me awfully mad sometimes when their criticisms seem unjust, but I read them, anyhow. Perhaps they've had a lot more opportunities than I have had to know books and plays and people, so, no matter how much their criticism hurts, I'll grant they're right. I haven't time to get around and see everything they do; all I can do is plug away at the pictures I'm making and. if the critics and the public don't like the result, try again. But if they ever raved about me the way they do about Lillian Gish, honestly I believe that I couldn't make another picture. I'd be afraid to." "You know perfectly well," I accused her, "that the critics who pan you are in the minority. I've never Continued on page 89
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If. , The Flapper Set in Hollywood There's a "seventeen" crowd among the film players that makes things lively for themselves — and pretty nearly every one else. WA V/ By Grace Kingsley $B* % — -^C.J f^ No chance is overlooked when the younger set can play jokes on each other. T \HERE is a younger set in Hollywood, among the film players, who are exactly like the younger set in your own neighborhood. They may be stars who draw down salaries in three figures a week, but when it comes to the adolescent point of view, they are just like your own seventeen-year-old boy or girl. They are just as full of the iove of romance, of mystery, of the spirit of adventure, of hero worship, as the ones you know. And their reactions and doings are quite as naive as though they lived in some out-of-the-way vil- lage instead of being worshiped by fans all over the world. "Help me out, Helen ! Make Colleen jealous— do ! There's a good girl ! She's such a little rascal to-night ! Just flirting with everybody right and left, and kidding me — me the man she's to marry, as though 1 were no- body! Know what she just told me? That if 1 trisd to run her — yes, she used that vulgar word, 'run' — that she'd send my letters all back. And then she said, 'But. John dear, please be sure they're yours — be a gentleman and don't read 'em if I happen to make a mistake and send some other man's.' " John's cup of bitterness was overflowing. How he wished that he had a mustache ! It would be such a relief to pull and bite it! Never mind, he would have one soon ! "All right, John— anything to help you out !" Helen said it wearily. Bill had promised to come to the party, but hadn't arrived, so what did anything mat- ter? She hadn't been able to eat her ice cream. "Dead Sea fruit" was the tragic way she described it to her- self. Besides she was just a little tired of trying to fix things up between Colleen and John. They seemed always to be scrapping. But she had promised, and Helen is a girl of her word. Well she knew the value to one's character of being tried and true! And. any- way, what was left to her except to befriend lover's, she who had quarreled with Bill, and maybe lost him forever ? So now for this first aid to John and Colleen, who seemed just made for each other, she had often told herself in romantic moments. But there are times when a little diplomacy is not wrong. Such a time had now arrived, she said to her- self. Besides, what right had she to make her bosom friend really jealous? A plan was slowly forming in her mind. John left the room to telephone, and after a moment's deep reflection she went over and said : "Colleen, pretend that you are fearfully jealous of me! I'm going to play up to John now! And I don't mean a thing by it; only you must do your very best acting and let on that you are awfully jealous!" What girl could resist the temptation to play a trick like that on her sweetheart, especially when he had called it down on his own head? Not the mischievous Colleen, anyhow. She grinned and went to it. And she enjoyed herself so much in watching John's elation at his fancied triumph that she finally let him make up with her, which sent him into the seventh heaven. John was so happy, in fact, that he almost forgot to tell Helen that Bill was on his way to the party. How- ever, he remembered in time so that Helen had a chance to arrange things so as to look as though she were simply swamped with admirers ! It never would do for her to look like a wallflower when he arrived late like that. Not that she really cared a bit for voting Rollins, the football captain, or Harry Tompkins, the lawyer. The ouija board is one of the most popular distractions of the Hollywood flapper set.
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The Flapper Set in Hollywood An old Mexican fooled Jack Pickford and George Stewart with a story of buried treasure. evening joy lie- But fate was not with Helen that night. Bill, big, handsome, athletic, appeared at the door. She was talk- ing vivaciously to young Rollins. But Harry Tompkins spotted Bill coming toward them, and hastily excused himself. And then young Rollins saw him, too. Rol- lins had been eating his ice cream while Helen toyed with her spoon, and giving one look of regret at his unfinished dish, he suddenly thought of a deserted part- ner in the other room and tied. Of course a fellow wasn't really afraid of Bill, but still there were other girls in the world besides Helen. Helen could see that Bill was smiling inwardly at his power, and she was furious. And to make it worse, as she and Bill danced away, she saw that young Rollins sneak back and finish his ice cream ! A man with no soul above ice cream! Pah! But next day, which was April i, Helen got even. She had a newspaper woman she knew telephone Bill that she had heard that Helen was engaged to a cer- tain young millionaire, and as Bill was a friend of Helen's, would he please tell her the truth about it! Helen was avenged. Bill got satisfactorily angry ! All of which reminds me that no day is overlooked among the Seven- teen crowd of filmland on which jokes can be played on each other. Hallowe'en is a great night for that crowd. Last Hallowe'en Johnny Har- ron, Marjorie Daw. Mary Philbin, George Stewart, Clara Horton, and Bebe Daniels started out for a wild of frolic. The gan when, having built a straw dummy, they fastened a rope to it. dragged it over to Johnny Harron's house, set it up tgainst the door, rapped and ran away, and let it fall over on Johnny's father when the digni- fied elder llarron opened the door! Then in high glee they rushed over to George Stewart's mother's house. A watchman patrols the neighborhood, which is a select one with many beautiful homes. The revelers put a tick-tack on one of the Stewart windows. Just then the watchman hove in sight. "Beat it!" cried George Stewart, letting force take the place of the usual elegance which characterizes his conversation ; whereupon he and Mary Philbin and Clara Horton ran for their lives. They stopped breath- less around the corner. But the others didn't come! There they waited ten, fifteen, twenty minutes. They felt sure their friends were arrested. Smothered sounds reached them from time to time. George said how aw- fully bad he felt for leading them into this trouble, and Clara said that she would bail them out if they got into jail. Half an hour passed! Weary and chilled and a little cross, they could not wait another minute to see what was happening to their friends. They stole around the corner of the house. There was the watchman whom they had feared, laughing and tying a tick-tack to George's mother's win- dow! He had joined Johnny, Marjorie, and Bebe in their tricks. Traitor! The servants were in as fright- ened a tumult as any one could wish. 23 "And there we have been waiting outside while all '.he fun was going on '." wailed George. Mayl>e the two boys in filmland who are fondest of adventure are George Stewart and Jack Pickford. Jack and George decided once not long ago that they would make a trip by aeroplane to Mexico in search of buried treasure. An old Mexican they had met on location who had the story from his grandmother knew just where it could be found. The boys set out without faying anything to anybody except that they were mak- ing a trip. Their aeroplane carried them to Catalina Island all right. They stayed there overnight. But somehow the news of their whereabouts had leaked out. "Wireless message for you, sir!" a hotel attendant told Jack. How the boys thrilled. The word was probably from Mexico City, where Jack knew a picture director and had written asking him to send word to him at Catalina concerning guides, et cetera. Surely this was going to be a wild adventure ! Jack could hardly open the message, he was so excited. Then his face fell. The mes- sage was from his mother, Mrs. Charlotte Pickford, who is a lady of swift decision and strong determination : "That old Mexican was a fake. You boys come straight home !" Thev went. The' Ouija Club is one of the most popu- lar distractions among the flapper set in Hol- lywood just now. They are presided over by a certain fat gypsy girl, whose presence lends a certain air of mingled mystery and authority which is very intriguing to the youthful imagi- nation. A lot of girls belong to it — Madge Bellamy, Lois Wilson, Marjorie Daw. Colleen Moore, Helen Fer- guson, Clara Horton, Pauline Starke, Laura la Plante, Bessie Love, Edith Roberts, Bebe Daniels and some others. "Oh, we just adore those ouija-board parties!" ex- claimed Colleen Moore, the other day, "they're so aw- fully thrilling. Why, Bessie Love found out where her diamond ring was lost, the other night ! We asked Ouija, and the gypsy and Bessie kept spelling on the board, 'Let me sink ! Let me sink !' The gypsy meant, 'Let me think!' But it came out all right, anyhow, be- cause that reminded Bessie. She had been pulling taffy in the kitchen before the gypsy came, and had left her ring on the shelf above the sink! So she went right out and got it!" You didn't hold these parties, she said, under ordi- nary circumstances. No indeed. They had always to be held in the dark of the moon, in a room facing south, with incense and dim lights, and there must be a statue of Buddha in the room somewhere. One night Bill Russell had found out about the meeting, she said, and had substituted a Billikin for the Buddha, and the most awful things had happened. Bessie Love's car had broken down en route; Helen's cake had burned to a
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24 The Flapper Set in Hollywood crisp while she had heen talking outside the door to Bill Russell ; it had begun to rain and spoiled Bebe Daniels' best hat; Virginia Faire had left her purse in a shop, and the girl had been very mean about it when she went back after it. Altogether there was no doubt that the spirits were angry! But at the next meeting, which was held at Clara Horton's house, the most wonderful things had been found out. Bessie Love, said Ouija, was to be cast in a new picture soon — and she was, too — the very next week. Then Virginia Faire was told she was to re- ceive a proposal from a certain well-known director — and she did ! No, she wasn't engaged to him. She felt that she had so much to do in the world before she married, that her career was an awfully serious thing, and must not be tampered with by anything so banal as marriage. She wanted to put the best that was in her into her work. And besides there was a juvenile who inspired her to do her best work, and how could a person be married to one man while she felt all the while that she was receiving her real inspiration from another ? "Then at the next meeting," Colleen said, "we all felt a tremendous urge from the other world. Edith Rob- erts felt sure that it was the call of her father, who was killed in a wreck in South Africa, but Bessie Love said no. she was sure it was caused by her great-aunt whom she had never seen, but who had left her a dia- mond locket with one diamond missing, and probably she wanted to tell her where the other diamond was. We never did find out what spirit it was that made Ouija act that way, because we all got to arguing about who the spirit was. I felt sure myself that it was the Spirit of Edwin Booth, wanting to tell us silly girls some great truth about acting, and I told the girls so. but he never got a chance to, because just then Helen brought in the ice cream and cake, and we had to comfort Helen on account of the burned cake. But I always felt that if Helen had put off the ice cream and cake a little while longer, we might have had a helpful communica- tion from a great spirit. But that's just the way with Helen. She's so 'sot.' Anyway, she was going to a dance later that evening, so what did Edwin Booth mean to her? "But Em just sure that Clara Horton got her new car through Ouija, and that Madge Bellamy found out the true way to treat adversity, both at the same meet- ing. You see, Clara had been wanting a new car for ever and ever so long, but her mother didn't think she should have one. So when Clara asked Ouija about it, Ouija said, right away: 'Break it ! Break it !' Of course nobody knew what that meant, and Clara was the most mystified of us all. But Clara went out that very aft- ernoon, and something awfully strange hap])ened to her car, which nobody could explain, but the garage man looked suspicious about it, and said it would be hard to fix, and why didn't she trade the car off while the trading was good ? S o ' o f C 0 u Clara went home and told her mother, and her mother let her trade for the new car." Haunted houses are the particular joy of the Seven- teen set. There was one up in Laurel Canon, in Holly- wood, near where Bessie Love lived, and while they never succeeded in tossing the butterfly net over the head of any ghost, still they did get a real thrill out of it at last. Going ghosting was one of the most popu- lar pursuits. They found the supposed ghost at last ! He was just an old tramp who found that a good way to keep other tramps away from the old house which he had come to consider his own was to scare 'em. But he reckoned without the kids. Wesley Barry it was who finally cornered him. But Wesley wouldn't let anybody send him to jail. He gave him five dollars, and told him to keep away. Spiritualistic seances are another source of thrill to the Seventeens. "Oh," exclaimed Mildred Davis. "Harold and Marie Mosquini and a lot of people went to a seance one night. It was so exciting! They put out all the lights. Harold refuses to take these things seriously. He scoffed all the time. Maybe that's why the spirits couldn't do much. I told him that spirits are very sen- sitive. He said they must be to get into a jam like this. He said why didn't they stay and play with the cherubs if they were so sensitive? "I just wouldn't listen to him, he was so mean about the poor old spirits, and neither would Marie. It got awfully exciting after a while, though. That was when the organ played soft music. Cold chills chased up and down our backs ; and even Harold shivered a little — I had hold of his hand at the time — when two pale fig- ures glided from the door in the rear — without its open- ing! Oh, of course there were curtains in front of the door, but Marie and I watched, and we know they didn't come from behind them. They trailed close to the front row where we sat. "But Harold Lloyd had to spoil it all ! He whispered. 'Bootleggers' spirits! I could smell 'em!' "But that wasn't all ! There was a little cabinet that had velvet curtains all around it. Slowly, slowly they drew the curtains back — and a face all luminous showed itself ! "Nobody could go very close to it, the medium said, because it was just a novitiate ghost or something like that — didn't know its way around very well, and was timid. "That's when Harold got perfectly vulgar! He said he was going to see about that ghost if it was the last thing he ever did. He said that maybe there were such things as dis- continued on page 86 One of the girls took a wounded soldier out riding and then found he wasn't disabled at all.
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The Watch For These J£e Qn About this time when we are all fed up with the commonplace offerings that are shown to film fans during the sum- mer, we want to know what hope of better productions lies just ahead. If it were not for the promise of big things to come our interest in motion pictures would perhaps never survive the summer silly season. A glimpse at the coming attractions shows a line-up that would rouse enthusiasm in the most hardened cynic. Never before have so many big stories with exceptional casts been in the making at once. To begin with — look at what the two big favorites are doing. Douglas Fairbanks promises "Robin Hood," which in romantic splendor is said to eclipse anything ever attempted before. And Mary Pickford is refilming "Tess," a big favorite. Norma Talmadge has a fitting successor to "Smilin' Through" in "The Eternal Flame." Rodolph Valentino will be fittingly inaugurated as a star in "Blood and Sand." For those who enjoy gorgeous spectacles, "When Knighthood Was in Flower," with settings by Joseph Urban and featuring Marion Davies, and "Nero," which the Fox company made in Rome, hold out great promise. For the ultrasophisticated audience Nazimova's "Salome" is of the utmost importance, and for those of more wholesome bent "Oliver Twist," with little Jackie Coogan, promises just as much of a thrill. "Under Two Flags," with Priscilla Dean, is another big production that many will be interested in. The star directors are not to be lightly passed over, either. Many of them are at work on pictures which sound almost as interesting as those in which the most popular stars will appear. There is "Lorna Doone." made by Maurice Tourneur, and also "The Christian," which he is making in England with Richard Dix. Mae Busch, and Phyllis Havier in the leading roles. There is "Manslaughter," a Cecil De Mille production with the usual unusual lavish display. From his brother William comes "Nice People," sensationally successful last sea- son as a stage play, and boasting in its cinematic ver- sion Wallace Reid and Bebe Daniels. "Her Man." pro- duced by Marshall Neilan, with Leatrice Jov and Matt Moore in the leading roles, is supposed to have all the merits of the usual Neilan heart punchers and then some. "To Have and To Hold," directed by George Fitz- maurice, and with Betty Compson and Bert Lytell in the leading roles, is a production of amazing beauty. Of course, no mention of star directors should ever be made without their leader, D. W. Griffith, but it is hardly safe to predict that the picture now in the making at the Griffith studios will be finished in time for fall release. "At the Grange," with Carol Dempster in the leading role, may prove to have such great possibilities that he will continue working on it for some time. In addition to these — and of course there are many others of hardly less importance — there are three big events in the film world for fans to look forward to. One is the first production of Lillian Gish's own com- pany made under the supervision of Mr. Griffith ; an- other, a production of "Peg o' My Heart," directed by King Vidor, and with Laurette Taylor in the title role; and the third, "Dear Me," which marks the return of the popular Madge Kennedy to the screen. Look OUt Now that new productions are being por made of many of the classics and old "Weatpl" standard works not protected by copy- £,.. right, it behooves every fan to follow rllms closely what stars and companies are making the new productions, so as to avoid seeing an old version by mistake. For every time that a big new production is made of one of these unprotected works some one always bobs up with the prints of an old picture — usually a very inferior one — based on the same story and bearing the same title, which he places in the cheaper houses on the argument that the exhibitors can get the advan- tage of the new production's big advertising campaign and so catch some of the unwary who do not know that they are to see an old picture until after they have paid their money. So often has this trick been done that Douglas Fair- banks has had to resort to extreme measures to protect his followers who will want to see his forthcoming pro- duction of "Robin Hood" from the "weasel" films, as they are called. Reluctantly he has inserted his own name in the title of the picture so that it will read "Doug- las Fairbanks in Robin Hood," knowing that, if he did net do this, there probably would be clumped onto the market at the time that his magnificent and expensive production was launched, a number of cheap "Robin Hood" pictures, which a good many persons would be tricked into seeing, thinking that they were going to see Doug. When a Until recently the odds have all been ^ against the public. What the public Censor does wanted was of little importance com- Too Far pared to what the censors wanted. But a censor went too far in imposing her ideas on the long-suffering public, and the result is that she is no longer a censor, but just a member of the public, and that makes us hopeful about what may hap- pen to other high-handed censors. The story of her downfall is the first ray of humor that has come out of the censors' headquarters to brighten the lives of the fans. Here is the story. Mrs. Evelyn Snow was the head of the Ohio Censor Board, and in all the ranks of censors it is doubtful if there could be found one who was more disliked by the film men in her State. After a picture had been reviewed and passed by one of her subordinates, and theater owners had spent lots of money advertising the picture, she reversed the decision and recalled the pic-
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26 The Observer ttire. Then Mrs. Snow achieved even greater unpopu- larity by stating that censors didn't need to consider the tastes of the public as seventy-live per cent of the people had the mind of a twelve-year-old child and were unfit to judge for themselves. This autocratic point of view brought her so into the limelight that the Pathe com- pany sent a news camera man to take her pictures. She was willing. But when these pictures came out, with her remarks about the public's ability to judge for it- self quoted in the subtitles, she demanded that her pic- tures be eliminated from the Pathe news. Now it just happens that the regulation under which her censor board works says that it should remove only that part of films which is bad for the morals of the public. And Mrs. Snow's statements could not possibly be judged immoral, even by such a person as herself. So she exceeded her power, and public sentiment forced her dismissal. To the Pathe company, who led the fight against her and brought this signal victory for the pub- lic, the highest praise should be given. The Observer takes the keenest delight in reflecting that Mrs. Snow is now a member of that vast public which cannot decide what it should and should not see. The Goldwyn company has finally se- "Befl-Hur" cured tne screen right to "Ben-Hur" At hast and work on adapting the story for the screen will proceed at once. The picture will be made in Italy, in Palestine, and at the Goldwyn studios in Culver City, California. This settles one of the most-discussed projects in the whole history of the film industry, for bidding on the screen rights of "Ben-Hur" started years ago and has been spir- ited ever since. D. YV. Griffith was supposed to have been anxious to secure this story, but when A. L. Er- langer paid close to a million dollars for the screen rights a year ago. he made no further offers. The Gold- wyn Company is said to have paid Mr. Er'anger an unprecedented amount for the screen rights and one half the dramatic rights to this sensationally popular story. Whatever they paid, they are more or less certain of getting it back with good interest, for the play — which did not circulate nearly so widely as the film will — played to twenty million paid admissions. One of the most interesting things Revivals ah°l't motion-picture fans is that they're TJ7" i J always surprising you. Just as one de- W anted cides that he knows who the popular favorites are — judging by the billboards — and what the public wants — judging by the tremen- dous sums certain types of pictures earn, something happens that shows him his dope is all wrong. Two months ago The Observer told about some re- vivals he had seen and some more that he would like to see. Then he asked his readers what they would like to have revived. What do you think most of them wanted ? Revivals starring Pick ford? Fairbanks? Any other star? That's what The Observer expected. And what he learned was that out of the many people sufficiently interested to write in about their preferences, a great many wanted to see the old Maurice Tourneur productions revived. Here is part of a typical letter — written by Michael Solo- mon of Dayton. Ohio. I don't know what the critics thought of it, because I wasn't reading movie magazines then, but to me one of the most won- derful pictures I ever saw was Maurice Tourneur's "Victory," made from the hook by Joseph Conrad. Since then I have read the story three times, and I would give anything to see the pic- ture again. Of course, the hero and the ending were not the author's, hut the other characters and the picture as a whole were wonderful. It simply transported me to the tropics! I can remember just as though the picture had been a real experience the way Schomberg peddled gossip to his customers. And Ricardo — easily the most evil and sinister character ever seen in pictures. And Pedro — how repulsive he was. Wallace Beery, Lon Chaney, and Bull Montana were certainly tine in those parts. This picture fascinated mc as no other picture ever has. There are others I would like to see revived : "The Copper- head," "Romance," "Broken Blossoms," "Hearts of the World," and another masterpiece directed by the maker of "Victory" — "Treasure Island." In the face of this enthusiasm, and it must be shared by many besides our correspondents, it does seem as though the owners of the Tourneur pictures should revive them. If some of the would-be reformers Reformers °^ niot>on pictures have their way. it . . will soon be more exciting to walk down A gam Main Street and watch a game of rally round the mulberry bush on the village green than to go to the movies. Here is a list of the things one group has pledged itself to have eliminated from motion pictures or withold their attendance: Eternal triangle situations. Out go Adam, Eve, and the serpent, to say nothing of Caesar, Cleopatra, and An- tony. Pictures of women in abbreviated skirts and zi'aists. This looks bad for most news reels of current events. Bandit, death, shooting, and underworld-clwracter scenes. How then will our villains prove that they are villains ? Women and men drinking and smoking. Why not attempt to stop this in all public places first? Films showing criminals in action. One of the most harmless productions to come under this ban would be '"Oliver Twist" with little Jackie Coogan. Now honestly, folks, how many of you would go to see a picture with all these dements eliminated? After years of experiment, color pho- Co/or tographv seems at last to have reached D/ , a stage where it is practical for feature r holography fi]ms j Stuart Blackton's picture. "The Great Adventure." which was marie entirely in Prizma colors, has been so successful that the commodore is engaged in making a second fea- ture picture by the same process. Another process about to be demonstrated to the pub- lic in a new Hope Hampton film. "The Light in the Dark," has been developed by the Eastman Film Com- pany. This one, we think, is eas'ly the most beautiful and natural color process yet devised, and the episodes in which it is used in Miss Hampton's picture are won- derfully beautiful. There are moments in this picture when the image on the screen suggests a Wyeth or a Howard Pyle painting, so vivid and true is the exquisite coloring. Unfortunately, the Eastman process is not yet devel- oped to a point where it is practical for any but studio shots, since its use requires unusually strong lighting. It probably will be used by many of the producers, as it was in Miss Hampton's picture, for historical or vision episodes, for it is at the disposal of any producers who want it. For many types of pictures black and white probably always will prevail. But we can't help hoping that some color process will be perfected which will give a per- fect result, and which will be practical for any kind of scene at not too great a cost. It is a itity that with so much money being lavished on historical-costume stories such as "When Knighthood Was in Flower." "Robin Hood." and "To Have and To Hold," that they cannot be shown on the screen in all the rich colors that were characteristic of those periods and settings.
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Diets for Art's Sake Motion-picture players are of two kinds; the ones who want to get thinner and the ones who want to put on weight. By Betty Schwartz Proprietor of "The-Come-On-Inn,'" a popular haunt of the players in Hollywood. I NEVER knew there were so many dissatisfied peo- ple in the movie world until Hattie and I came to Hollywood and opened "The- Come-On-Inn." I found it a very difficult task to feed our motion-picture stars. It seems as though every one wants either to get fat or thin. Very few want to stay just as they are. Lunch starts, and the first customer after looking at the menu says, "I would like the regular lunch, hut I cannot eat potatoes. They are too fat- tening." Then I tell her I will give her a lettuce salad with French dressing instead of potatoes, and, as I leave for the kitchen with the order, I hear, "Betty, be sure and bring me all rye bread and nobutter." Then the next young lady will say, "I will have the whole lunch, lots of potatoes and a glass of milk. I just must get fat — had a good part offered me yesterday, but could not take it because I was too thin." I always try to cheer them all. They are just like a lot of children to me, and I love every one of them. They tell me all their good fortunes and all their trou- bles, but most of their troubles ar.e how to get fat or thin — mostly thin. doing back to the little thin lady, I told her I thought she was just right. "Oh, no," she said, "they want me to wear evening gowns in this part, and my neck and arms are too thin !" So after eating all the fattening things possible she leaves feeling quite confident she has clone her part for one day. Thomas Meighan ate three pieces of pumpkin pie for lunch one day, and Lila Lee, who sat at the next table, just hated him for a minute, because she did not dare eat even one piece. Florence Long of the Christie Comedies, ate salad two times a day without any dressing except plain vinegar. She succeeded in getting thinner and thinner until she got too thin and then tried to get fat again, but she found it harder to put on than it was to take off. Gloria Swanson's favorite dish is chicken salad, and she eats it whenever she wants to. because she doesn't need to diet. Doris May is very dainty about her eating, and her husband, Wallace McDonald, runs a close second. Arline Pretty eats pie. not because she wants to get fat. but because she is one of the fortunate ones who can eat pie and drink milk and enjoy them both with- out worrying. Helen Ferguson pauses for a chat with Hetty and Hattie, proprietors of "The-Come-On-lnn.' Helen Darling came in recently after staying away for a few weeks. "Betty," she said, "I have not been eating lunch ; I have been on a diet. Don't you think I have lost at least three pounds?" Rosemary Theby eats the same thing every day, which consists of stuffed-tomato salad, dry thin toast, and black coffee. Rex Ingram does not get his brains from what he eats, because he does not eat enough. Of course I have heard of people living on love, and charming Alice Terry I should think is quite capable of filling that menu. Even villains have to eat — Wallace Beery may worry about how many people he can kill in his next picture, but he certainly does not worry about getting fat or thin. He eats all I bring him and says nothing. One young lady who wanted to get thin was on a diet of baked potatoes and milk. She had that twice a day for weeks. One day I felt sorry for her and put a little cream in her milk, but she said, "It must be creamless milk and butterless potatoes or else it does fot work," so she ate just that until she was ashamed to look a potato in the eye. Walter Hiers believes in "laugh and grow fat," so he laughs his way merrily all through lunch. Casson Ferguson has a temperamental appetite. He always wants small portions of everything, and for dessert he has a piece of pie one inch wide with one teaspoonful of ice cream nestling alongside of it. His coffee must be strong and hot. Cute, dainty little Josephine Hill came in to-day dressed as Little Red Ridinc/ Hood. She said she was disap- Contiiiued on page 98
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A Fan's Ad Holly She explores some of the intimate alluring to girls — costuming, coiffur round the By Ethel IIIIMIIIIIIll mini Ethel Sands found Gloria Swanson quite as remarkable looking off the screen as she is on and much more cifacious. THERE are two things that fans never get tired of talking ahnut — girl fans, at least. The first is clothes, and the second, naturally, is Gloria Swanson. I realized when I came out to California that the minute I got back home every one would ask me how the different actresses dressed, so I stared and stared at them, trying to remember every single detail about their clothes from hats to shoes. And of course I looked forward to seeing Gloria as one of the greatest thrills of all. Every one wonders, I guess, if she wears the same kind of clothes in real life that she wears on the screen. She is such a distinctive person on the screen that I couldn't begin to imagine what she would be like in real life. There is a mysterious something about her that makes her quite different from other people. Either you are fascinated by it, as I am, or you don't like her at all. People are awfully funny the way they argue about her. You'd think it was a matter of life and death the way the pro-Glorias and the anti-Glorias try to convert each other. "Weird and freakish." some critics dub her style, but those are the very qualities that endear her to the rest of us fans. We like her because she is so absolutely different. Her headdresses have always inter- ested us particularly because we can try to imitate those. Getting anything like her gorgeous clothes is of course out of the question. But how many times after seeing some picture of hers have we fans gone home and tried till our arms ached arranging our hair like hers ! I know I've spent hours at it, and I guess girls are the same every- where. I never quite succeeded in get- ting the effect she gets, though, so I used to imagine how grand it would be to meet her and ask her how she managed to fix her hair that way. And. incidentally. I was dying to see if she went around in real life looking like a De Mille trade-mark. When the great day came and I was taken to meet Miss Swanson she was in her car with a friend — a Mrs. Urson — and she invited me to hop in and go with her while she took Mrs. Urson home. She told me they had spent the morning hunting for Mrs. Urson's husband who was directing a picture out on location somewhere. They were unable to find the company, Gloria told me, so they sat under some trees and ate their lunch. movie player on vacation, going out to with another working company ! You wouldn't think they'd do that, would you? When we had taken Mrs. Urson home — right next door to Miss Swanson's — she surprised me by saying, "Now, would you like to see my baby?" I could hardly believe she meant it. for I knew that Miss Swanson dislikes to have her baby dragged into the limelight of publicity ; but because I know you are as interested as I was in knowing what Gloria's small daughter is like, 1 can't resist telling you. She is the sunniest, friendli- est little girl baby you ever saw, and she makes friends with you immediately. She was just getting all her Think of a spend a day
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ventures in wood angles of stardom that seem particularly ing, and all the little luxuries that sur- feminine stars. Sands teeth when I saw her and just ahle to walk. Her hair is light, and she has Gloria's blue eyes and looks very much like her cele- brated mother. If some people could see Gloria Swanson with her baby as I did they would cease to think she is "an un- real sort of perso'n." On our way back to the studio, some girls waiting on the comer for us to pass gaped at us and finally gasped, "There's Gloria Swanson !" She thrills them, you see, even in Hollywood. She was dressed plainly in a henna-col- ored suit, hat, and veil, but you couldn't help recognizing her instantly. Her eyes are very blue and turn up slightly at the corners, and she has that same odd way of smiling that she has on the screen. As we passed through the gate into the studio, everybody that was waiting there looked at us. My, but I felt proud march- ing right in with Gloria Swanson. One gets used to being stared at after going around with movie celebrities for a while. I get a lot of fun out of it. I know every- body is interested only in the star and probably takes me for a maid or some- thing, but I'm such a dyed-in-the-wool, worshiping fan that I get a great deal of pleasure out of just being near a star. I'm perfectly content to be merely back- ground. When I'm with a movie star I have no eyes nor ears for anything else. I always think, "I may never get this chance again," so I let myself become so impressed that I never for- get the occasion. In that way it enables me to re call almost every one of my adventures from the very beginning and I remember distinctly just what every movie player I've met was like. Now when I go to the movies they all seem like per- sonal friends for I know just what their coloring is and how they talk and everything. When I finally got up my nerve to ask Miss Swanson about how she does her hair she said that not only would she tell me how her hair is arranged in those odd modes, but she Ethel Sands was in the height of her glory when Gloria Swanson shared every- thing in her dressing room with her — from negligees to curl- ing iron. her own special hairdresser — Hattie — fix mine in the same way ! Gloria Swanson's dressing room is set apart from the others, which are in a ram- bling frame building, two-room bungalow Hattie, G'.oria Swan- son's hairdresser, taught Ethel Sands how to arrange the Gloria Sivanson band coiffure. would have Gloria's is a little on the lot, just for herself, with awn- ings over the win- dows and as com- pletely furnished, almost, as a home. Inside it is beau- tifully decorated- in cream and vio- let and an expensive Victrola is included among the furnishings. Two maids assisted me in slipping on a beautiful beaded georgette crepe negligee that I was to wear while I was getting my hair dressed. How would you feel if you were seated before Gloria Swanson's dressing table with Gloria's maid doing your hair, and Gloria herself talking to you? Well, to nie it certainly was a grand and glorious feeling !
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30 A Fan's Adventures in Hollywood Photo by \Y. F. Sce'.y At the photographer's Jane Novak showed her some beautiful batik robes. "Well fix you all up like Miss Swanson. and you can go back to-night and 'sprise all your friends." Hattie chuckled, as she loosened my hair and began to arrange it. "Y' know, Miss Swanson's famous for her hair- dresses, an' so many girls do write in an' ask how to do it. an' now you can tell 'em all." "You see. Hattie and I experiment and think up dif- ferent styles together." Miss Swanson broke in. "and then we generally give each fashion a name." But, though she has all these smart styles to choose from, for everyday wear, off screen, Miss Swanson wears her hair more simply dressed — just waved and tucked under, which gives it the appearance of being bobbed. Hattie was proceeding to arrange mine in the "G. S. band" style, the first of her famous headdresses. She waved the front and side parts of hair and then be- ginning to build up the crown she took a section of hair, rolled it and spread it out like a fan. and pinned it. Next the sides were fluffed over the ears and the ends hidden under the roll. Then came the hardest part — the band. It's the way one does it, I guess. Taking the two remaining sections of back hair she brought them around across the forehead one from each side and pinned the ends securely under the opposite band. Brilhantine was applied to make it smooth and hold together better. Before. she had finished. Mrs. Chaffin came in with her arms full of the most gorgeous raiment for Gloria to try on — beautiful gowns, negligees, and boxes of shoes and slippers. If you imagine Gloria Swanson is wearied or thrill- proof in regard to beautiful clothes, you're mistaken. She was as enthusiastic about them as you or I would be and fairly reveled in trying them on. I noticed her undergarments were not of the frilly, ruffly sort, but simple and smooth, and that is partly responsible for her gowns always seeming to fit so well, giving that effect of her being molded or poured right into them. Gloria Swanson is a very small woman, but her car- riage gives her dignity and there certainly is no denying that she can wear clothes simply marvelously. No one can carry off those bizarre costumes quite so well as the unique Swanson. I watched her as she tried on the most elaborate crea- tions and she looked more stunning in each succeed- ing one. I could see by her expression and manner as she tried on and posed before the mirror that she really enjoyed putting on beautiful clothes. Who wouldn't? While she was trying on the gowns Gloria would call to me to look at each one, so you can imagine the job poor Hattie had trying to fix my hair with me twist- ing and turning, and all the time I was trying to re- member how my hair was being arranged and at the same time see everything Gloria was showing to me. It was all quite distracting. Between gowns Gloria would come over to see how the hairdressing was getting on. "Ah, g'wan away, now." chased Hattie. "Yo' can't help with tliis — g'wan back to your ole clo'es." Gloria teased and Hattie scolded good-naturedly. There is an unexpected vivaciousness about Gloria Swanson that surprised me. I don't know whether she's that way all the time because she told me she just felt
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Ethel Chaffin, who designs the costumes for Lasky stars, showed Agnes Ayres some lovely new gowns made for her next production. in good spirits that day. I imagine she has a tendency to moods, for although she was very sprightly the day I visited her, I thought there was a touch of wistful sadness in the expression of her blue eyes that isn't so apparent on the screen. It gives more depth and feel- ing to her expression and strikes out that bit of cold, artificial look the camera gives to her face. In "Her Husband's Trade-mark" I think Gloria was mostly herself. At least that was the way she im- pressed me the time I met her. Gloria assisted Hattie with putting the hair net — one of her own — over my newly built headdress, showed me how to fluff out the hair with a hair pin after the net was on and placed two little green fans at the very top. She always wears an ornament of some kind in her hair, you know. "Mow. how different she looks," exclaimed Hattie. "My, you wouldn't know it was the same girl !" I looked in the mirror and hardly recognized myself — the headdress made me look so different. Miss Swanson and I went out on the stages then to hunt up the photographer, who said he wanted to take another picture of us together, looking in the mir- ror, and you should have seen the people on the lot stare ! Imagine seeing some one walking across the big stages with Gloria, wearing Gloria's own particular headdress. Maybe they thought she was acquiring a double. I thought it was mighty nice of her to give me all those privileges and let me experience the thrills of being around with her. I still have Gloria's hair net, and now I can show all my friends just what color her hair is, because the net just matches the shade of her auburn hair. Jane Novak called for me before I had talked to Miss Swanson half long enough, so I had to hurry and slip off the negligee and pull my hat over my nice new Gloria Swanson headdress and depart for more intimate glimpses of the doings of the film stars. Miss Novak was taking me along with her while she had some photographs taken. That's another im- portant part of being a movie star. They're kept busy posing for regular photographs almost as often as they are before the motion-picture cameras. Miss Novak told me she had about a dozen important things to attend to that day, as she had only just learned that the company was to go on location to Big Bear the next morning, and she had only this little time to prepare. Think of having to shop for your costumes, have pictures taken, pack, and attend to all the little odd jobs that are bound to come along at such a time, all in one day ! "I suppose I won't get to sleep all night with so many things to be done," said Jane, but she said it compla- cently, not a bit cross or peeved. Jane isn't the com- plaining kind. She is a nice, quiet, gentle girl, and you couldn't help liking her. She is of the fair, ethereal tvpe with natural pale-gold hair and dreamy sort of big, blue eyes. Unlike Gloria Swanson, Jane very seldom gets a chance to wear any beautiful, elaborate clothes in her picture plays. She has worn only two evening gowns in all the time she has appeared before the Continued on page 85
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Photo by C. HciKhton M ZaSu Pitts realices now that her particular niche is in character parts — but she reached that conclusion onls after cruel experiences. IS your favorite movie star a Lady Bountiful — a Fairy Godmother? If you were part of a mob scene in one of her pictures, would she single you out to inquire your hopes, your struggles and your ambitions? At the risk of your thinking me misanthropic, I must tell you that she would not lift a single manicured finger to help you in your career. If you are going to arrive, you will do so by your own efforts, and against every odd that can be put in your way. Your beautiful star worked too hard for her success, and at best she has not many years to enjoy the height of her popularity. She fought every inch of the way she has gone, and will con- tinue to fight for her su- premacy as long as she She came to Los Angeles, a pathetic figure, pre- pared to lay low the motion-picture world in one fell swoop. Two Who Found God The author of this article has tapped a that runs through the lives of the players, she tells a gripping story of two girls' will increase your admiration — not only who, by their own efforts, have fought By Constance n:ii Eiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiii is in the public eye. There are already hundreds of actresses watching for the first sign of her insecurity on the starry pinnacle, and she is not courting additional chance of being supplanted. I have talked with two girls, one of them a character woman whom producers tried to make a star, and the other star material. In answer to my pointed ques- tion, each of them replied after careful thought that, though she had received every courtesy from the stars with whom she had played, she had never, during her novitiate, been given really valuable advice concerning her future. At the instigation of her mother. ZaSu Pitts came from Santa Cruz, a little town in northern California, to lay low at one fell swoop the motion-picture world. It was a high moment in which the idea was conceived that the thin, straight-haired lit- tle hoyden could become the organdie-clad, rescued heroine of a feature picture. But, inconceivably unknowing of the pit- falls and snares in the battlefield, ZaSu came to see and conquer. She rented a tiny downtown apartment, settled her lit- tle belongings, and sallied forth. She was soon back, a little disappointed, but noth- She wrote cheerful letters with the most optimistic phrases. On the clays she was too discouraged to look for work she took her recreation on the escalator in a downtown department store. Elevators in Los Angeles' tallest buildings also afforded her a great thrill. At last Universal saw comedy possibilities in her in a way strangely sugges- tive of "Merton of the Movies." Let her tell you of the test given her: "They didn't tell me I was supposed to be a co- medienne. I thought I was doing heavy dramat- ics. King Zaney — whose songs, 'Avalon' and 'Coral Sea' every one has heard — played the lead in what I consider the most excep- tional hundred feet of film ever run through a ing daunted, home, filled
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No Fairy mother deep vein of intense human interest In this, the second article of a series, failures — and achievements; one which for these actresses, but for all players their way upward against adversity. Palmer !!!!l]llltt:il!!!l!!::illHI!!!(!!llllll!i:illllU!lll!il!ll!i: camera. They gave me a shawl and a ■ rag baby and said to go ahead. "I was rocking my baby to sleep, all happy and peaceful, when in bounded King with the news that mar- riage irked him. He added that he was leaving me flat. I begged and im- plored with all the lungs I had, but he threw me aside with one grand ges- ture and leaped to the door, which he slammed so hard the set nearly fell down. "By this time a discriminating audi- ence had gathered from other stages, and I thought I had at last reached success. "I cast myself against the door with all the abandon of an Olga Nethersole. With the part of my lungs left, I shrieked to him the usual plea: 'Re- member the chee-ild !' But King was outside, too weak to remember any- thing. "I was astonished when they offered me a thirty-five-dollar-a-week contract to play in comedies with Flora Finch. The thirty-five was all right, but I had thought I was an emotional actress. Photo by Edwin Bower Hcsr.cr It seems incongruous now when Pauline Starke is definitely on the road to stardom and is living in luxury to hear Iter tell of the poverty and struggle just past. "Well. I didn't last long. In a few weeks they told me I wasn't funny enough, and fired me 'on the spot. That did get under the skin. I cried on the street car, all the rest of that day, and all that night. The next morning the man who had fired me called me back at the same salary, to Mr. Griffith became interested m Pauline Starke because of the solemnity and grave inter- est with which she regarded everything around her. work by the week." With the same trustfulness and kindness of nature that made her unsuspecting on that Continued on page 87
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Bert Got Away With It That was a frequent comment in Bert Lytell's stock-company days. But times have changed and so has Bert. By Barbara Little THE stage was dimly lighted except for the exact center front where a spotlight burned its full brilliance on an Apollolike head. "I love you ; 1 love only you ; I cannot live without you," the deep, manly voice quavered as he gazed adoringly — not at the girl in the shadows at his side, but right out over the foot- lights. It seemed to every girl in the whole theater that he was speaking just to her. The applause was terrific. "Bert's getting away with murder out there," the man- ager just off stage remarked to the character man wait- ing for his cue. "Yeah," the taciturn individual ad- mitted. "They're eating out of his hand. That boy '11 never be an hon- est actor. He just walks out there and ruins any play by making love to the audience, but the women fall for it. Say" — and the old trouper hesitated before making the accusa- tion— "is it true he cut out all the lines in the next piece that made him anything but a hundred-per-cent hero?" "Sure." said the manager. "He al- ways does. Says the audience likes him that way. And I guess he's right. He got twelve thousand letters last week, begging him to extend his en- Can you gagement one more week beat it?" The time was just a few years ago, the romantic young actor Bert Lytell, and the place Troy. New York. It might just as well have been Los An- geles, San Francisco, Rochester, Albany. Honolulu. Bos- ton, or Portland, Maine. He was equally popular in all those places. And in all of them the wiseacres predicted that he'd never amount to anything dramatically but a lady-killer. But they were wrong, dead wrong. For he became what you know him to be, one of the most inter- esting character actors on the screen — and one who al- ways sacrifices good looks, sympathy — anything, to make a character realistic. Just when the great change came over Bert Lytell that saved him from being a ham actor and made him one of the most versatile young character delineators be- fore the public to-day. no one knows. Maybe the movies did it : in any case the first concrete evidence we have of the reformation of the young matinee idol who couldn't make his eyes l>ehave was "The Lone Wolf." his first motion picture. It wasn't intended that he should be a featured player in this production. He was engaged to support Hazel Dawn. But when the picture was shown, Bert Lytell was quite obviously the star. After that it looked as though his progress would be easy, for the Metro company signed him up as a star on a long contract. And then began a series of pictures which was a series of terrible disappointments to him. For Bert was consumed by a fierce desire to do genuine character work on the screen and his employers seemed consumed by an equally fierce desire to exhibit his engaging profile. He appeared in some pretty bad pictures, but he always managed to make them interesting. "Lombardi, Ltd.," Living Up to Opportunities Few actors have lived up to their opportunities as Bert Lytell has. In spite of being hampered with mediocre stories — unskilled direction — hurried productions, he has made a big reputation as a skilled, conscientious actor. Now in "To Have and To Hold" his real chance has come. Fol- lowing that he will again have all the advantages of a Fitzmaurice special production in "Kick In." His good fortune is the public's, for the greater opportunities he has, the more he can give to them. Now, more than ever, you will want to know Bert Lytell. This story presents him just as he is. Laugh with him at his early pe- culiarities— and glory with him in his achievements to=day. "Boston Blackie," any number of others brought him a huge following. "The Right of Way" struck the ]>ace of what he is capable of doing. Many people remember that as one of the most compelling pictures they ever saw. Recently when the Metro studio closed down for a few months, he went on a personal-ap]>earance tour. Even in this year of many such tours it is unique, and it did more for him than any number of pictures could. He was given keys to cities, parades, receptions, flowers; and tributes of every kind — all the usual prerogatives of a popular star. But that wasn't the interesting part of his tour. It was the little off-stage contacts he established with every one from the baggage men who handled his trunks to the big exhibitors in the town that made him well-liked. One day, thinking himself safe from recognition, he stopped to glance at a poster advertising one of his pictures. As is the way of lithographs, it endowed him with rather pink hair, swarthy complexion, and robin's-egg-blue eyes. "Say, Bert," a boy strolled up and addressed him chummily, "what do you let them do that to you for? I should think you could sue them for libel for making a picture of you look like that." That is the way Bert Lytell affects people. If they know him at all he is a dear friend, not a distant idol. Those of us who have been lucky enough to interview him come away without any material for one of those purple-plush in- terviews that some magazines are so fond of printing — thank goodness Picturic-Pf.ay isn't one of them — but we feel that we've found a friend we'll never forget. There is something oddly boyish about Bert ; he likes to make a party of everything. Getting a good scenario, or meeting an old friend, or finishing a picture in record time, anything, in fact, is cause for celebration. The celebration may consist in the whole company filing out to the studio lunch counter and having a round of hot dogs, but Bert enters into it enthusiastically. Unlike most members of the motion-picture profes- sion. Bert makes no claims to spending all of his eve- nings quietly at home. "Just as long as anybody's having a party, you'll find me there," he assured me when I asked him what he did after he finished his work at the studio. "I should have been a night watchman, because as long as I can find any one in town to talk to I can't give in and call it a day." If Bert Lytell could be granted a secret wish he would probably be made a -citizen of ancient Rome so that all he'd have to do would be to put on a toga and go down to the market place and talk to the boys. And if ever a man loved to talk and had a gift of rambling on easily and charmingly, that man is Bert Lytell. In becoming an actor he hasn't lost any of that engag- ing charm that he had as a stock-company matinee idol. He could still get away with just being handsome if he wanted to.
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I'fu.lu t>t M^llK.nnu St>urr BE 1ST LYTELL has long struggled against the handicap ttf a handsome profile. Just as he tears into a heavy dramatic scene the director is likely to say, "Hold that Bert: the girls'll love it!"
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tltnto >.y Kvana Studio JULIA FAYE, one of the most earnest workers in the l.asky fold, did so well in "Saturday Night" that she was rewarded with another important role in "Nice People."
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Photo t.y Krvultch XT' XCEPT for occasional excursions into dramatic fea- *— • lures, pretty little Bartine Burkett romps daily through Century comedies. Her most recent one was "Ten Sec- onds."
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I'hoto by CUrance S. Bull CLAIRE WINDSOR, who brings a welcome touch of elegance to the screen, will play an important part in "Broken Chains," the Coldwyn prize picture.
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Phuto Ity .Sykea TO Wanda Hawley fell the task of trying to duplicate the popular success of "The Sheik." '"Burning Sands" is the title of her desert picture.
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OUT at the Hal Roach Studios, where she plays in Paul Parrott Comedies, they call Jobyna Ralston "Job" because her work calls for such patience.
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Photu Copyright by Kvan*. I.. A HOPE HAMPTON'S next starring vehicle will be "The Light in the Dark," a story of the discover)' of the Holy Grail in modern times and the miraculous cures it effects.
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WHEN Doris Kenyon received our star interviewer some- thing happened which had never occurred before — Miss Squier was completely swept off her feet with en- thusiasm. The resulting interview on the opposite page is unique. It transmits to you the genuine pleasure of the interviewer at meeting such a charming and gifted girl. Photo bj HwrirtGoWbtif
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Photo by Capitol Photo Service Doris Kenyan has a direct, unflinching way of looking at you that makes you feel that she is earnest, purposeful, as well as charming. Doris — Twice Over One interview with charming Miss Kenyon wasn't nearly enough for the interviewer. You will understand why when you read the story. By Emma-Lindsay Squier THE first interview with Doris Kenyon went something like this: I (completely submerged in tea and sandwiches) : Well, we've talked for an hour, and still I haven't asked a single question that the fans would like to know. Let me see : what do you think of the future of the motion Doris (from behind a cup of tea) : Who cares? Did you say you thought I could get material for a Chinese poem from the Oriental room of the public library ? I (forgetting the interview for the eleventh time) : I really think so. And speaking of poems, I loved that one of yours that And so on, ad infinitum. Am I to be blamed be-ause at the end of a perfect day I wrote an interview that sounded like a book review? It mentioned all the maga- zines in which Doris and I have appeared together in print, listed all the authors of whom we jointly approved, gave short synopses of the plays we discussed and the looks we had read. It was a most enthusiastic sym- posium, but it wasn't an interview. I had forgotten to ask where she was born. What pictures she had been in. Who her favorite leading man was ; and had she a philosophy of life. Not that I minded. Because the paucity of facts I had gleaned gave me an excellent excuse to see her again. And yet again. There was always something I had overlooked, something that the fans would like to know. So I am in position to state, after seeing Doris on numerous occasions, that she is one of the most charming persons whom I have ever had the pleasure of meeting. She is, first of all, a regular human being, and it was owing to this virtue — or defect, as the case may be — that the first interview was a failure. I couldn't seem to remember that she was a movie star. Or an actress. There is nothing theatrical about her. no hint of affectation or temperament. She impresses one as a very pretty, exceedingly intelligent girl, one whose chief interests in life are books, writing, riding, and her home. Of course you know — if you know anything about Doris Kenyon at all — that she has, for six years, been a popular leading lady of ihe screen and that she was starred in a series of productions. That she has played opposite George Behan in "The Pawn of Fate," with George Arliss in "The Ruling Passion." and in Cosmo- politan's "Get Rich Quick \\ "allingford," to name but a iew. You probably know that she was starred in "The Girl In the Limousine," and recently appeared in a Broadway stage success, "Up the Ladder." But what you may not know, is that music and writing are among the list of her many accomplishments ; that her first
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44 Doris — Twice Over stage work was urged upon her by Victor Herbert, who had heard her sing, and who gave her a small part in "Princess Pat;" that she is studying music indefatigably with a view to light opera, or perhaps — a cherished am- bition of hers — some day, grand opera. She has written delightful poems that have appeared in many of the lending magazines, and has published them in book form under the title ot "Spring Flowers and Rouen." 1 imagine that one of her chief difficulties in life hai been to concentration one thing instead of spreading her talents. On that iirst memorable interview, I went to see Doris at her home, a lovely, yet unpretentious apartment just off of Fifth Avenue. I found that her eyes were a ciear hazel, that her smile was the prettiest 1 have seen in New York, and that she wore sports clothes with an air of being utterly at home in them. Also I dis- covered that she had a father, a person with whom I proceeded to fall desperately in love at first sight. A kindly, understanding sort of father, who is, in addition to being Doris' paternal parent, a well-known publisher of verse and essays. Some of the poems in Doris' volume are his. It is easy to see where the literary part of her many- faceted talents came from. The next time I saw her was in the dressing room of the Playhouse Theater, after a performance of "Up the Ladder." Then I discovered that she had a mother, not the usual type of "movie mother," with which some stars are afflicted, but a real, honest-to-goodness mother, who would rather button up Doris' frocks than play 'ridge, and who would rather sit in the wings, watching her daughter, than to go to see other plays. Our next meeting was at the Claridge, for luncheon, and it approached more or less the sort of interview it should have been the first time. I had to know some- thing definite about her, and told her so. She tried to side track me by making a date for dinner in China- town, but I was firm. "Well," she said, with something like a sigh, "I was born in Syracuse, and I always thought I'd like the stage, but I had no definite ambitions. Mother and father didn't have a great deal of money, but they gave me every advantage, they gave me music, and had me take language lessons — well, it came to me when I was seventeen that I must really do something, not just spend all my life letting them pay out money for me. At that time I had only music in mind as something to earn a living with. And when Victor Herbert heard me sing, he encouraged me to go on with it. and gave me a part in 'Princess Pat.' I suppose that should have started me off in musical comedy, but about that time, along came an offer for movies — at one hundred dollars a week! I was getting thirty-live at the time, and the difference seemed too wonderful for words. "Later on I began to long for the stage again. I have always made pictures here in the Fast, you see, so it was possible for me to do both. I accepted a part — I might as well give you a glimpse of the skeleton in my mental closet — in 'The Girl in the Limousine.' "You needn't hold it against me. because I think the same of the play that you do. It wasn't easy to play- in such a risque farce, but it seemed the one way of getting back on the legitimate stage. I like 'Up the Ladder' immensely, because it's such a clean, whole- some sort of play. Mr. Brady has another one for me in the fall, and in the meantime. I am to do a series of four pictures " Continued on page 102 !ll!!IIIIIIIIIll!!:il!i!i:iilllllll!IIIIBI!!!:':"ll!w,i iiiiiuiMiwiiiiiiiuiuiiniiiii i:l!!::i!li!ll![i[!i!i!!li:!!!i!ili!lll!llll!illl!llllllllll!lill!Hli;!llli;illl!lil!Kiiil!:li!il!l Betty Blythe has style and if a woman has that she doesn't need anything else. Is Betty Blythe Really Beautiful? Her friends, as well as fans who adore her from afar, are divided on that question. Here is the real answer. By Harriette Underbill PROBABLY no other star who ever paced in front of the camera has aroused more discussion than Betty Blythe. And by that we do not mean that there has been any discussion of her morals and man- ners. Indeed, no, for Miss Blythe was one of those screen players to whom the colony could always point with pride and say "Refute that if you can" when wise men from the Fast came out to poke around in darkest Hollywood. The discussion started about five years ago when Betty first became a screen actress. Before that she had studied voice culture and had sung at concerts and between times had played in stock, and every one agreed that she was pretty good at all of them. And then she went into pictures. When her first picture for Vitagraph was released Miss Blythe had only a very small part. But that made no difference. With her first appearance the discussion began. Some one said. "Who is that tall, beautiful girl who wears the riding habit?" and some one else said, "Petty Blythe wears a riding habit, but 1 shouldn't call her beauti- ful," and then the first speaker looked around for an ally and found plenty of them, and the second speaket had plenty of defenders, so before long people were divided into the B. B.'s and the antis.
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Is Betty Blythe Really Beautiful? 45 When you would go to luncheon at the Algonquin, along with "Did you hear that Constance Talmadge was en- gaged?" and "Did you hear that Geral- dine Farrar was going to leave Lou Tellegen?" you would hear "Do you think Betty Blythe is beautiful?" Time passed. Miss Blythe became a star. She made "The Cjueen of Sheba" for William Fox and still peo- ple were saying "Do you think Betty Blythe is beautiful?" Now the answer to this is that Betty Blythe isn't beauti- ful, but she looks beautiful, and we can prove it. It happened like this. When Betty was born all of the fairies whose duty- it is to endow new infants with gifts to make life's pathway easier gathered about her cradle. Now, one of Betty's ancestors — probably her great-grand- mother— had once offended these fair- ies by having a boy when they thought she should have had a girl, and they resolved to take it out on Betty. One of them said, "I shall give her a' turned- tip nose. No woman likes that," and the next one said, "I shall give her a mouth that won't please her at all," but before the next fairy could speak there was a flutter of wings, and the preceptress of the fairies alighted in their midst. "And I," she said se- verely, "shall frustrate all of your evil designs. I shall give her chic. It's what you call style, and I learned while in Paris on business, that if a woman has that she doesn't need anything else. Every one will call her beautiful." So Betty grew up with the gifts that the fairies had bestowed on her, and when she had grown as tall as she was going to, along about her sixteenth birthday, people began to call her beau- tiful, just as the last good fairy had foretold. Furthermore, style is "some- thing like magnetism, it must come from within and not from without. Of course, now that Miss Blythe is doing society melodramas for' Whit- man Bennett she has to wear purple and fine linen. Her raiment in "Fair Lady" cost thousands of dollars, and that silver wedding gown which she wears is probably the most elaborate sartorial decoration that anv camera ever has immortalized. But 'he strange part of it is that Miss Blythe looks quite as stunning when her gowns cost five dollars as she does when thev cost five hun- dred dollars. The first time we ever met Miss Blythe was when she was playing in "Over the Top" with Guy Fmpey. She had a small part and a small salary, seventy-five dollars a week, I think she said it was. "However, the role called for a lot of good clothes, and Miss Blythe had to furnish them. When we arrived at the studio she was wearing a rose-and-gold brocade dinner gown with a lon£ train. The director called for the gown she had worn the day before to retake a scene. "Come in my dressing room." said Miss Blythe. "it will take only a moment." We accompanied her and watched her change her gown. First she took out a few pins, then she unwrapped the gold and rose-colored Photo by Konnoth Alox: She is one of those persons who is always falling into graceful poses. brocade, and it was in one big square. Underneath she wore a gold-lace slip. "See," she said, "isn't this an idea? I wear this slip under nil my evening gowns and then I just drape them on with pins. That rose-and-gold piece I bought in the upholstery department. This piece of blue velvet I got there, too. and then I have a black velvet one and a couple of chiffon squares and a white satin, and there you are, all fixed for dinner and ball gowns, and none of them cost more than five dollars. It takes only a couple of minutes to pin them on. and. with an artificial rose or a rhinestonc buckle to finish off at the wraist they look fine. Every one says they have good lines." "And how about hats? You have to have a lot of those." "For my small effects I achieve a turban out of velvet like this, by winding it around my head," and Miss Blythe suited the action to the word. "Then I have one Continued on page 99
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Over the Fanny the Fan finds no sermons in stones By The I'hoto by I'renlieh It's good new >• to every one that Eileen Percy is playing "The Flirt." I TAKE it all back," Fanny declared dramatically as she rushed in and ap- propriated my seltzer lemonade. "All is forgiven the Universal casting director, and I humbly beg his pardon." "What for?" To say the least, I was surprised to find Fanny admitting that she was wrong. She is one of those persons who always says, "Imagine mc being wrong," whenever any one proves that she was. irrefutably. "I've been raving and raving against Helen Jerome Eddy playing 'The Flirt' and now I find it was my mistake. It's Eileen Percy who plays the title part ; Helen Eddy is just among those present. Of course, I think Helen Eddy's an infinitely better actress than Eileen — probably couldn't start an argument over that with any one but Eileen Percy's husband, who thinks she can do anything better than any one else can — but Eileen is really much better suited to this part. "And speaking of Madge Kennedy's come- casting — — "I wasn't- interrupted. but il had no effect on her back in "Dear Me" promises to be a glori- ous one. Pboto by Kenneth Alexander "The Fox company deserves a medal of honor." she went on. "They've cast Percy Marmont to pla\r Mark Sabre in 'If Win- ter Comes.' and Ann Forrest to play Nona. They couldn't have done better. Over at the Lambs Club they say the men simply swarm around Mr. Marmont congratulat- ing him, and naturally he's rather pleased over the honor himself. Seven hundred thousand — or is it million — copies of the novel have been sold, so it's quite an honor to play in that story. Wonder who'll play 'Main Street.' "Mr. Marmont and Ann sailed for Lon- don last week, and they're going to start work on the picture right away, under the supervision of the author. It seems as though Ann just got back from abroad yes- terday. But this trip of Percy Marmont's is the oddest thing. He started from Australia about six years ago, meaning to stop in the United States just a few weeks on his way to England, but out on the Coast some one persuaded him to stay and play in stock for a while. Then when he finished that engagement and came East he was offered a leading part in 'The Three Bears' on the stage, and Marguerite Clark did the play in pic- lures and engaged him for the same role. As soon as that production was released, be was kept busy making one picture after another until finally be just about gave up ever getting over to Lon- don. And along came this offer from Fox! Isn't that thrilling? "And as for Ann For- rest! You'd think that rushing to finish a pic- ture with George Arliss, and packing to go abroad, and going to the opening of the Follies with Lew Cody would be enough excitement for her. but no— just before she left she had to grow careless with her jewels, and of course they were stolen. There were about two thousand dol-
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leacups Since finishing "Married People," Mabel Ballin's main ambition in life seems to be setting a record for buy- ing hats. l'h.>to !»>• Viclor Georz or any of that stuff, but she does find gossip in everything. Bystander ■iiiiiiiiiiiiiiiiiiiiii hiiiiimii ii'iiiiiiiiiiiiroiimiiiiiiiy iiiiiiiiiiiiiiiiiiiiiiiiiiiill ■ .• lar.s' worth of diamonds and a lot of quaint little things that Ann prized highly. One of the maids at her hotel was arrested and charged with the theft, but that wasn't much consolation to Ann." "If you've quite finished," I told her, trying to act as though I wasn't thrilled over what she had told me, "will you tell me where you got that hat?" "I don't just remember," she assured me, "but mayhe Mabel Ballin will. I went shopping with her, and I don't half remem- ber the places we went to. Her chief ambition since she finished 'Married People' seems to be to own the world's largest collection of hats. The futile part about Mabel buying them is that she can make so much prettier ones. After she'd bought enough to fill one person's life we passed a counter where they were selling gorgeous Spanish lace, and the temptation was too much for Mabel. She bought some to make still more hats. I tried to interest her in making me one, but I couldn't quite put it over. "And that reminds me, I've been doing Marion Davies an injustice all these years. Whenever any one told me that she was an aw- fully clever designer and made lots of her own hats and dresses I said, 'Bunk.' And now I've found out it really is true. Pictures don't give any idea of what an entertaining girl Marion Davies is ; maybe that is why she is going back on the speaking stage this fall. "She'll leave pictures in a blaze of glory, and that will be nice. 'When Knight- hood Was In Flower' prom- ises to be perfectly gor- geous. When they were, making some of the big court scenes where they all wore elaborate gowns, the star was the only one who didn't grumble about being squeezed into one of those wasp-waisted affairs. The extras protested vehem- ently. They might as well get used to it, though, as there will be several more big costume pictures made here in the East. Madge Kennedy's starting 'Dor- othy Vernon of Haddon Hall' very soon. "And that reminds me — pictorially Marion Davies will be Madge Kennedy's grandmother." "That's too much," I protested. "Have you been feeling the heat lately?" m V ^^2 .^* '* 4 1 m '** ' *"> Mabel Nqrmand finally sailed for abroad just as her friends began to be- lieve that her threats would never be carried out. "No," Fanny insisted reflectively, "it's this way. In 'When Knight- hood Was In Flower' Marion Davies plays Mary Tudor, the sister of Henry the Eighth, who married the French king. After his death she mar- ried John Manners, the man of her choice. And that Sir John Manners was the grandfather of the one Dorothy Vernon married. And Madge plays Dorothy." "How is Madge?" I inquired, trying to distract her from her study of cinematic genealogy. "That's a silly question," she retorted. "Madge is always beautifully serene and happy and gracious and thoroughly in love with her husband. She is mak- ing 'Dear Me' now, you know. It's the story of a poor little slavey who writes letters to her- self and speculates on the day when her dream ship will come in. She is darling in the role. I was up at the studio the other day when they were making some scenes in the little slavey's attic bedroom, and Madge couldn't even come off the set to talk for a while because she had electric wires fastened to her arm with adhesive tape, and the wires were all attached to some electric con- trivances. It was awfully un- comfortable for her, but the ef- fect they're getting will probably be worth the effort.
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48 Over the Teacups i'hoto by Alfred Cheney Johnston In the whole cast of "When Knighthood Was in Flower" Marion Davies was the only person who didn't f> rumble about the tight, hot costumes. "Henry Kolker is directing her, you know. He used to be on the stage and then lie played in Metro pictures for a while, but always with the idea of being a direc- tor. And Monte Blue and Vincent Coleman are in the cast. "I stayed up there watching Madge as long as I could, and then, as she was busy when I was going. I just left a note for her like the ones she writes her- self in the picture. 'Dear me,' it said, 'you must not lose your temper just because you have to leave in the midst of one of Madge Kennedy's darlingest scenes. She is a lovely, thoughtful person and will probably ask vou to her studio again. Hopefullv. Myself.'' "Hut Madge saw me going and got detached from the electric-light cords somehow and rushed out to say good-by to me. And she did ask me to come again." "And I suppose you went the next day." I cut in jealously. "No ; I wish I could have. But there are so many things to do. Corinne Griffith has a baby monkey from South America. I want to go up and play with him. Betty Blythe has been elected by unani- mous vote the favorite movie star of Western Reserve University in Cleveland, and I want to go up and persuade her that the least she can do in return is to learn to sing their college yell. And so many people are here from the Coast! Marie Prevost's contract with Universal is up, and she is here considering some other offers. Alice Lake is here. And, of course, Marshall Neilan and Blanche Sweet are the center of attraction everywhere. Wasn't it funny the way they fooled every one about their wedding? Mickey Neilan's friends camped on his trail with bags of rice and bunches of orchids when they heard that Blanche had started East, but he slipped away, took a train for Chicago, and met her and married her there. Then they came here for a short visit. The Chicago censors simply cut his last nicture to ribbons. That's gratitude for you after he brought the city a lot of publicity by getting married there. "I wish I might nave bought up at reduced rates some of those flowers purchased for Marshall Neilan's wedding. I'll be bankrupt soon if any more of my favorite players go abroad. Mabel Normand has finally gone after threatening to go for over a year. Her friends had begun to think that her threats to go would never be carried out, so there wasn't half the crowd at the dock to see her off that you would expect. Constance Binney is in London already ap- pearing in a picture version of 'A Bill of Divorce- ment.' And Elsie Ferguson has gone over for a short vacation before filming 'Outcast.' Bull Mon- tana has gone back home to Italy to give the old home town a thrill ; Jean Paige and her husband have gone over on Yitagraph business, and Harry Myers has just gone to make 'Ivanhoe' for Universal in Vienna. "Nazimova's here now, you know. She showed 'Salome' the other night at the Ritz, and before even one reel had been shown the film had caught lire twice. Nazimova was screaming hysterically, and peo- ple were as excited as though there was an earth- quake. Every one was terribly disappointed because reports from the Coast were so thrilling that they all wanted to see that picture before the censors got 'Salome' may be Nazimova's last picture She is going on the speaking stage if she can find a suitable play. Sessue Hayakawa's going to be starred on the stage when he comes back from a va- cation in Japan, and I've heard that Lew Cody may emote vocally again this fall. Of course, you've 1 heard that Eugene O'Brien is going back to play opposite Norma Talmadge in The Voice in the Minaret.' But I hope he reduces a little first. Somehow I've never felt the same toward him since the outlines of his chin became rather vague. Continued on page 100 hold of it. for a while. Percy Marmont and Ann Forrest were the lucky ones chosen to play the leading roles in "If Winter Comes." Photo copyright by Evtins
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Sham Penitents in Real Shrines For the first time a motion-picture company has been permitted to use the historic San Gabriel Mission in California as a setting. By Caroline Bell iiiiiiiiiiiiiii'iiiiMiiiiiiiiiiiffliiiiimiiiiiiiiiiiiiiiiiiiiiu^ 4f STAINED glass windows shimmered in a luminous glow as in the San Gabriel Mission a brilliant light played about the serene heads of the wor- shipers. But as I looked at them I wondered what the people of early California would think could they live to-day and see these pseudo holy men garbed in the garments of the religious past, praying silently be- for the altar. For the first time in the one hundred and fifty years of its existence the interior of this historic church — "The Mother of the Angels," it is called — has been photographed in a motion picture. "Slippy McGee," an Oliver Morosco play of human salvage and a soul's awakening. Despairing of duplication faithfully, the producer obtained permission from the bishopric to use the Mission, one of a chain of early California sacred landmarks ; and powerful generators were brought, with Kliegs and arc lights, to illuminate the interior — strange contrast to the altar's dim candles. When California was in its infancy, the San Gabriel Mission was the cradle of its faith. Beneath the arches of its hand-hewn doors passed gallant dons and lovely, dark-haired seiioritas to penitent worship ; about its altar, moving in silent benediction, were its black-robed priests. The scenes which take place in the church were di- rected under the guidance of the Mission Fathers. In one stage, the camera activities were stopped to permit the baptism of a babe by one of the Fathers, at the historic old hand-hammered copper font where more than twenty-eight thousand infants have been baptized. While scenes were being made in the Mission the fa- mous old bells brought from Spain more than two centuries ago tolled the passing of the hours as they have done so faithfully for the last one hundred and fifty years in the storied companile. So it has come to pass that the Angelus rings and hooded padres move again among the old cloisters. Mass again is chanted, and silent figures kneel in prayer before shrines honored in prose and rhyme — that the pictures of a soul's regeneration may bring some mes- sage of truth to the spectator in the theater far away.
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Would You Let Your Daughter Go Into the Movies? That is the question hundreds of mothers are asking people in the motion- picture business. Here is a complete, unbiased and authoritative By Helen Christine Bennett Every girl who goes into the movies ought to be able to stand cold baths, exposure and chilly weather. BUT now honestly, would you let your daughter go into the movies?" I wonder how often I have been asked that question since I began studying the motion-picture studios and the conditions here in Hollywood. Young mothers, whose daughters are mere mites in long white frocks, older ones who look on their growing girls with anxious eyes, fathers of all kinds and ages issue this challenge to me and expect me, ap- parently, to wilt under it. Somehow people will not believe that you are giving a true picture of the motion- picture industry. They keep on suspecting you of eva- sions, of concealments, of dark places cunningly hidden. Especially during the last year has suspicion run riot. And when I answer cheerfully : "Yes, if she wanted to go and had the health to stand it." they continue to look on me with suspicion and doubt. And usually they say : "Well, maybe you'll change your mind by the time she grows up." Maybe 1 will. I am certain of one thing that will be changed and that is the whole status and method of the motion-picture industry. But I also feel certain that the new conditions are going to be infinitely better than the old. Meanwhile I stick to my decision. "If my daughter has health and wants to go I will certainly not stand in her way." Health seems to me the first asset of a motion-picture actress. How the girls ever stand the chill of the stu- dios alone, is a mystery to me. Those huge, barnlike places ha\e beaters here and there, the kind you used to see in old-fashioned schoolhouses. where you are nice and warm on one side, the side next the heater, and cold as can be on the other. California is not a tropical climate, it is a temperate one : it is never very warm except for a few hours at midday. But the girls in the same thin clothing work for eight hours, often in decidedly cool places. The outside work is apt to be still cooler. I had an ambition to play as an extra, and my first call came one afternoon by special delivery. "Be ready to leave for Pasadena at six to-night, from studio. Wear evening dress, dark, suitable for outdoor bazaar scene and be sure to take heavy wrap to put on between scenes." I looked at the thermometer. It was about forty-six and the evening would be still cooler. And I figured that ambition might rest. Just imagine posing in a bazaar scene in the open with the temperature around the freezing point — in an evening dress. There might be hours of arrangements before the "heavy wrap" speci- fied could be used. Yet the scenes were taken and none of the cast died of pneumonia, proving to me that they were hardy beings suited for motion-picture life. And this is the mildest sort of exposure. Any day in the year a company will go to the shore and take bathing scenes or ship scenes. The foliage here being green all the year around and the deciduous trees and shrubs comparatively few, a "summer" scene can be arranged at any time. You may be posing in a filmy dress under a beach parasol in a temperature of fifty and appear quite natural on the screen — for all the flowers are in bloom and all the trees in leaf. The water here is never warm, even in midsummer. But the motion-picture peo- ple go into it any day, even in midwinter. Some of the wreck scenes you have looked at are staged right on the rocky shores in which California abounds. I don't remember ever seeing any one chafe a heroine's hands and feet when she was rescued, but. with the water and air as cold as they have been this past winter, she cer- tainly needs it. when she comes out. All this means actual discomfort and a real danger to the girl or young man who catches cold easily, whose lungs are not strong, who has any heart weakness, or who is not in robust health. Yet in all the talk I have heard about girls and boys going into the pictures no one points out this very vital bealth need. The girls and men who simply "can't stand it" don't talk, of course ; they go back home or get other work here, and say little. But there are many of them. And if my daughter wants to go
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Would You Let Your Daughter Go Into the Movies? 51 into pictures she will have to prove to me that she can stand exposure, cold, and cold baths before I give my con- sent. Horribly prosaic of me, and yet I venture to prophesy a strict regime of cold baths would go far toward convincing many a girl and boy that movie life was not for them! Next! I would try to make my daughter understand the limitations of a motion-picture career. One of the biggest drawbacks for girls at the pres- ent time is that they undoubtedly stand a much better chance of success if they begin very young. Men who enter the movies at twenty-one are far more ac- ceptable than girls at that age, so that the matter of age does not concern them so much. (No, I have no sons, but I can't quite leave the boys out of this article.) Rut girls, barring regal beau- ties and geniuses of which there are so few that they are not worth con- sidering for practical purposes, ought to, for success, Ijegin at fifteen, six- teen, or seventeen at the latest. This means an arrested education. I know very well that beside the glory of being a motion-picture star this matter of education will seem small, and yet if it were my daughter. I would give it most serious thought. And as in all probability as many girls as mothers are reading this article I will here pause to deliver a little ser- mon. It will be very short. Please read it. An education is something you never appreciate when you are in process of getting it, but which makes your whole life after bigger, brighter, happier. You are cheated out of half of life without it. You actually live harder ; you are more alive, for every bit you get. You may be just like my sister who couldn't see any use in going to school longer as the girls who went through didn't seem to make much more money than those who left early. And later you will be just like her, for five years after graduation she thanked our mother for keeping her at it. "Wasn't I a little fool?" she asked, with the calm disdain of the twenties for the teens. "I didn't know what it meant." So just believe this, girls who read. The sermon is over. You can get an education while you are working for the screen. When children work, the board of education compels them to take Ies- ,^^ sons on the davs thev are ^™ J * working And about I Wreck scenes mean discomfort and real danger to the girl who catches cold easily. every studio you find from time to time teachers trying to make a solitary child take a vital interest in twenty-five times five or the discovery of America. Some girls have private tutors to help them complete their education but they have to work after work is over, a poor time for study. Colleen Moore who began in the pictures at fifteen has had a tutor every year but this year, four years of working at studies after work at the studios. And she admits she missed the fun of school and of schoolmates. Some of the stars really study after hours, but they, too, have a hard time; study is a hard habit to acquire and an easy one to lose. There is a lot of time wasted in the studios when one might read. Rut as far as I can see no one does. The place is too alive with interest to be conducive to reading. If my daughter went into pictures I would certainly want her to go on studying, and. that health asset comes in here again, she would need enough vitality for study and work both. I am materialistic enough to admit that if you become a star of the first water there might be compensations for the loss of education. Rut supiwse you don't. Suppose you have a charming young face and body which will last, as most girls last in pictures, ten years at most. What then ? Probably you will settle the matter in your own mind by deciding you will marry. And you may of course. But in this business you grow ambitious. Never in all my experience have I seen such fiercely ambitious girls and men as are in the motion-picture industry, ambitious in that they want to get to the top. You can't generate an am- bition like that and kill it off when you don't want it. You don't lose it when you marry, witness the hundreds of married girls working in the industry who are as ambitious as ever. And just at the time when your experience and knowledge of the work count most you begin to lose out because you are losing your most vital asset, youth. Bathing scenes are taken even on bitter cold davs.
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52 Would You Let Your Daughter Go Into the Movies? To me this is the biggest drawback of the pictures as a ca- reer for women — the acting end of course. ] n most businesses you grow, and the rewards come as you grow, and there is no end while life lasts. But looking at acting in the pic- tures as a career you can figure accurately on rising and frill- ing. I don't like that for my daugh- ter. I like a busi- ness where you can go on and on with- out any such insur- mountable limitation. For the aftermath is one of bitter disap- pointment. I know more than one star who is now trem- bling for her future. They know they can- not last much longer on the screen, and what are they to do? They have painfully acquired knowledge of screen technique; they know they are at their best as ac- tresses, but they can- not hope to keep on. This is real trag- edy such as no one w i s h e s for her daughter. Men stand s o much better chance than girls. Men can keep on the screen acceptably un- til they are fifty. But the women who are playing star parts at forty can be counted on your finger tips and you will have some over. The stage is far kinder than the screen, illusion lasts longer. And audiences for plays are more sophisti- cated than motion-picture audiences, they will receive an actor and actress even when illusion is gone. If any one contemplated working on the screen not as an end, but as a means, it does offer possibilities of a great deal of money for a few years' work. But 1 would want my daughter to see this clearly. And I would want her also to know the intimacies of the profession. In all the months of my association with motion-picture people I remember just one conversation that did not pertain to the business of making pictures. People who work for the pictures seem to live in a picture world ; they associate mainly with people in the same industry, and their lives come to be centered on the industry. I have often wondered what the world would be like if all the soap makers and the corset manufacturers and the paving contractors mixed socially in clans as the motion-picture folk do. Pretty soon we would be talking different languages. When any one drops out of the profession it means a bigger hole in life than dropping out of most other kinds of work. It means not only losing one's place in the profession, but one's niche in life. This is one of the things that will have to alter before pictures generally become much bet- ter. Picture mak- ers must mix all the time with those of us who make up the rest of the world if they are to depict us with any faith- fulness. But this is true now, the pic- ture people are clannish, not in the sense of excluding outsiders, but of preferring the pro- fession. Now as to mor- als, the question that seems to con- cern most parents who talk with me, to the exclusion of everything else. Before I moved into Hollywood, one mother in a near-b\r town told me in horrified ac- cents that she had heard that the girls here were so movie struck that they be- gan "at thirteen and fourteen using lip sticks and rouge and shaving their eyebrows." Some of them do at that age. and pretty aw- ful-looking sta- mens of girlhood they, usually succeed in making them- selves. But if she traveled very far she would find those same girls at the same age in every town in the country. Hollywood itself is not so much different from any suburban part of a city. It does have some distinctions, but they are minor. In the fifteen months that I have spent here I have not only visited the studios, but I have lived next door to actors and actresses and direc- tors and scenario writers and the people of moviedom. I have seen things both inside and out of studios that I did not approve. But before I came here I investi- gated many lousinesses and in them I also saw many tilings I did not approve. I should not put the motion- picture industry in a class that excluded my daughter. But as in matters of health and education and the chance of a career I want her to come in, if she comes in, clear- eyed. Most of the girls and men who come into motion pictures have never had a parental word as to sex morals, as to what they may expect if they violate natural or conventional rules. And experience costs them dear. Girls as young as those who come into pictures need not only information, but full information, so that they can be neither shocked nor surprised into standards Continued on page 99 Studios arc huge, barnlike places, cold most of the time.
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A Man- Sized Fight Lew Cody is struggling against big odds for your favor, and even if you've never cared for him before, you'll admire his grit now. By Helen Klumph 1EW CODY was reeking with whisky when I met him. A moment later when he was called on the set a camera man came over and ex- plained about it to me. "It's all on the outside, not on the inside." he said. "The director said Lew ought to have an alcohol rub after he'd got chilled from mak- ing rain scenes in a cold wind for about live hours. His valet didn't have any alcohol, so some one in the studio dug up a bottle of bootleg whisky which had nearly poisoned the first per- son who had sampled it, and they used that for the rub. That was an awful look you gave Lew. Rut it's a whale of a joke, because you see nobody can get him to take a drink when he's working on a picture, not even when we were stalled up in Canada during a bliz- zard." So when Lew Cody came back to chat with me I felt a little less critical. But when he began telling me about the personal-appear- ance tour that he recently spent a year in making. I couldn't resist asking him. a little maliciously. "How did you like going to Rotary Club luncheons and trying to make a hit with business men ?" "Great," he re- plied. "But " "Not so easy as making a hit with the women in the audi- ence." I finished for him. "You don't think that's easy, do you? If there's any one who thinks it is, I wish he'd show me. I've worked hard to en- tertain audiences — men or women, it doesn't matter. You have to make them laugh, and if that's easy why does a great co- median like Jolson pay two hundred dollars for a joke? I tried to put something for every taste into my act " "With no view to showing your versatility, I suppose." The awful trick that Fate played on Lew Cody in bringing him success and then knocking him down with an advertising man's slogan hasn't ruffled his poise or ruined his sense of humor. "I went out before a bored or hostile audience and told funny stories and cracked a few local jokes — there's always a new court- house or something you can spring a gag about if you look around and find out what that particular town is interested in — and re- cited a poem of Robert W. Service's and gave a dramatic sketch " "And I suppose the orchestra played 'Hail, the Conquering Hero Comes' for your entrance. 'Hearts and Flowers' for the sobby part, and a few measures of the Pathetique Symphony when you finished." Our conversation was growing spirited if not friendly. "Well, suppose some of it •ii.a.i- hokum," he said. "It isn't the easiest job in the world for an actor to go to a luncheon and a dinner party and give three or four performances a day besides. You can't expect much spontaneity when you're racking your brains every minute for new stuff and hoping that just once you'll have an audience that isn't prejudiced against you." I was frankly skeptical about their being sufficiently interested to be prejudiced, so Mr. Cody told me a story of what happened out in Seattle. When he had finished his act he made a little speech in which he told the audience that he hoped that after having seen him in person they didn't think he was quite as bad as he had been painted in the old advertising that styled him a male vamp. Let He has a strong 111e digress for a moment to tell you that that appealing part in male- vamp stuff was never Lew Cody's idea. The Valley of Silent Men." Continued on page 101
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The News Reel Glimpses of popular players here and there in Hollywood. By Agnes Smith The Desert Despotism. IT'S rather funny to see 'every company, director, actor, and actress trying to duplicate the popular success of "The Sheik." You know, the book was turned clown by most scenario departments as "silly, trashy, and a foolish duplicate of other desert stories." Now the motto is, "take 'em to the desert and treat 'em rough." Milton Sills and Wanda Hawley, while making "Hunting Sands." went to Oxnord, where "The Sheik" was made, in search of the paprika. It was awfully cold all during their trip. And then what happened? When they reached the studio, it turned hot. In her little desert tent, surrounded by naming lights, Wanda Hawley was seen eating an ice-cream pie. "Now run out and get a lot of animal trainers and another bear before we lose our picture." As a fighter, a lion is a failure. In those comedies that make a specialty of wild-animal stunts, the poor directors have a hard time getting the lions to perform. In one scene it was imperative that the lion chase a girl around the set. The girl was willing, but the lion wasn't. He was sleepy. So the director gave the girl a slice of raw meat, hoping to arouse the lion's interest in art. Unfortunately, the girl could run faster than the lion. The lion would start bravely to catch the meat, but then, when the girl would outdistance him, he'd just naturally lose heart, roll over, and fall asleep. Traveling Stars. Jackie Coogan has postponed his trip to Europe. It is getting to be' so commonplace to go abroad that many screen stars have decided to stay at home and work. But I'll bet that when Jackie does go he'll write a book, thus putting himself in a class with Claire Sheridan, Margot Asquith. and Charlie Chaplin, Mary Pickford and Douglas Fair- banks are said to be already at work on a book about their travels. Speaking of Jackie Coogan ami infant prodigies. Teddy, the second Great Dane — , Hamlet was the first — takes part in "Man- slaughter." the Cecil B. De Mille production. Out at the Zoo. Here are some animal stories that should be re- served for Emma-Lind- say Squier: At the I nee studio they are making a circus story called "Some One to Love." The production staff has been busy collecting the animals for the zoo. As the animals are obliged to play with the actors, they must be trained. (I mean, of" course, the animals.) But one day a bear got loose, and the plavers did some plain and fancy tree climbing. Clark Thomas, the studio manager, counted ten, con- trolled his temper, and sent for the casting director for air'mals. "Where did you get that tear?" he exclaimed. The assistant was in a panic. "It's a good bear. Here is its record and some fine stills of him. I in- vestigated him before I hired him." "But he's out there threatening to tear up our best Philbin cast." Movies Cheer Yale. The assistant stuck to his story. "Must be some- Metro is signing 'em up while they are young. John thing wrong. He eats out of your hand." Harron will be seen with Viola Dana in "Page Tim "He bites off your hand!" shouted Mr. Thomas. O'Brien," and so will Cullen Landis. Malcolm Mac- Photo by LurmVre Wesley Barry has progressed "From Rags to Riches," but he prefers the rags. Reminiscences. Ethel Sands, when she was entertained by Olive Golden, who is Mrs. Harry Carey, remembered that her hostess played with Mary Pickford in the origi- nal production of "Tess of the Storm Country." She took the part of the un- fortunate girl, and she gave a beautiful per- formance. Speak up, boys and girls, how many of you know the original casts of these popular revivals? Also do you remember when Owen Moore played opposite Mary Pickford in the story of Nell Gwynne? Whitewash. Paul Bern, Gokhvyn's editor, gave a birthday party for Estelle Taylor. Charlie Chap- lin and Norma Talmadge were present, so what more could you ask? The guests received pretty favors and dinner cards. Miss Tay- lor was "mentioned." as the newspapers say, in Seena Owen's divorce suit against George Walsh. George has gone East to appear in vaudeville. Film folk have voted Miss Taylor entirely innocent. She may appear in some Goldwyn pictures. Married Life Among the Ingenues. These ingenues who appear so girlish always have a husband hanging about somewhere. First Miss Dupont — nee Margaret Armstrong — figured in a domestic dis- agreement, and now Gladys Walton, whose married name is Liddell, sues her husband for nonsupport. In- cidentally, the Miss Dupont with the silly name is really Mrs. Patsy Hannan. And. speaking of all these go- ings-on. reminds me that Eric von Stroheim. the model husband and villain, lias written several stories for Mary
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The News Reel 55 Gregor, who plays a prominent role in Goldwyn's pro- duction, "Broken Chains." will also go to Metro. Mac- Gregor made a hit in "The Prisoner of Zenda." He is a Yale athlete, and Rex Ingram met him when they both held down the fence in New Haven. It's great to be a Yale athlete because even if you can't beat Harvard or Princeton, you can always get a job in the movies. Consider the case of Lefty Flynn! Some One to Hate. Do you remember the big brute in "Tol'able David?" His name, in case you have forgotten it, is Ernest Tor- rence, and he will continue his brutal way in "Broken Chains." Mentioning Helen Ferguson. Helen Ferguson has turned newspaper woman, and she likes it fine, because, as some one has said, "One meets so many interesting people." However, Helen refuses to print my name in her "Diary of a Movie Girl" unless I give her some pub- licity. Very well, then. Helen bobbed my hair with the Goldwyn publicity shears. That is to say. she bobbed one side. Then she was called back on the set. leaving Edie, the ward- robe mistress, and Jim, the barber, to complete the job. Do you call that good publicity. Helen ? The Season's Disappointments. Norma Talmadge did not play in "The Sheik." Will Rogers didn't play "Rip Van Winkle. Harold Llovd is not going to act in "Clarence." ' , s*r It took one million dollars for Eric St von Stroheim to make a picture like \gp "Foolish Wives." "Pay Day." Good News for "Main Street." Agnes Johnson Dazey and her husband. Fraak Dazey, are going to adapt "Main Street" for the screen. You will be glad about the news when you learn that Agnes g£ Christine Johnson, who is the lady above I mentioned, prepared "Twenty-three and a fc Half Hours' Leave" for the celebrated silver m sheet. i What Every Fan Should Know. James Young is filming "Omar the JE Tentmaker." /' Rex Ingram's next will be "Toilers t^ of the Sea." It may be made in the I East. The new Agnes Ayres picture is called "Borderland." Ben Turpin and Phyllis Haver have returned to the studio after a vaudeville tour. Phyllis will plunge into drama as Polly in "The Christian." but Ben thinks he'll stick to comedy. Tom Forman. director of Katherine MacDonald's him. "White Shoulders." is also the juvenile. Remem- ber when Tom used to act? Bryant Washburn and Nigel Barrie are also in the cast. Lois Zellner wrote the story. June Mathis says her mother has heard so much about art that she now refers to movies as "photo- dramas." Wallace Reid is starring with Lila Lee in "The Ghost Breaker." In the novel, "Manslaughter," the heroine has two dogs. In the De Mille version they are Bengal tigers. Fashion Note. Some weeks ago Gloria Swanson returned from Eu- rope with those sensational Paris clothes. Her next picture will be "The Impossible Mrs. Bellew." William Fox probably will revive his production of "Salome" with Theda Bara about the time the Nazi- mova picture is released. So there will be two "Sa- lomes" before the public. Take your choice. Sight unseen. I have made my selection. Need I tell you? William H. Crane won't play in "The Old Home- stead," after all. But I can't complain because Theodore Roberts, George Fawcett, and T. Roy Barnes are in the cast. Two of Booth Tarkington's stories are being made into pictures. Hobart Henley— -whom Lucille Ricksen tells me is the handsomest director in the pictures, and she ought to know — is directing "The Flirt," with Eileen Percy in the title role and with Helen Jerome Eddy an important member of the cast. Wallace Reid, May MacAvoy, and Agnes Ayres will be seen in "Clarence." Harold Lloyd once told me that he would like to play "Clarence" on the screen. Since then I have never been able to see any one else in the role. However, what's L the use of panning a picture be- fore it's completed ? X Lucille Ricksen shocked and surprised the teachers of her school by appearing one morning with a . copy of "The Sheik." When she came home for lunch- eon, her mother grabbed the book, jened it at the page marked by .ucille and gave a sigh of relief. Lucille had not yet reached page fifty-seven. Cheerful Gloom. On picking up the Eastern news- papers, I find that hard-hearted the- atrical managers are capitalizing lollywood's little scandal season »y presenting revues like the "Hollywood Follies" and by ad- vertising "The Original Holly- wood Bathing Girls" as a cabaret attraction. The only thing for Hollywood to do is to stage a musical comedy and call it the "Sins of Decatur. Illinois." and to start a tea room and advertise the wait- resses as the "Original New- port Divorcees." With the threatening to become an eight- o'clock town, it must give the motion-picture people some satisfaction to know that the reputation of Holly- wood shines out like a naughty deed in a good world. For Hollywood is enjoying its usual slump. There is always a slump going on somewhere, and each one is greeted with great enthusiasm. Every time a studio closes or cuts production, it adds something to the dinner-table conversation. Reopenings are looked upon with suspicion. If you point to the fact that two direc- tors are at work on the Goldwyn lot, which has been deserted all winter, the slum]) boaster will counter with the information that Thomas H. I nee has closed his Continued on pnjje 91 The luxurious pointments of Lasky studio were , never properly ap- preciated by Jacque- line Logan until she returned from working in "Burning Sands." nine-o'clock town
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If the kennels for Theodore Roberts' wire-haired terriers aren't just right, it isn't his fault. YOU'VE heard something, no doubt, about people leading double lives in Hollywood. I have, I know, from time to time But I never found out until lately just exactly what this means. It was one day when I was making a tour of the studios, per hired taxi. I was exchanging chat with the driver as we went, and, as taxi pilots occasionally will, he was confiding to me some per- sonal reminiscences. Suddenly he said: "You 9 know I used to be in the pic- I ture game myself." I "Oh, yes?" I answered, j mildly anticipating his telling me of locations he had been on. "Have you driven manv stars?" Their Real You might anticipate a scandal By Edwin ~~ : : . . : ,: 1 1 ....;:.. i .: : ■ ■ . : ; i i i ! ■ huh iiiiiiiiiiiiiiiiuni urn iiimii "I wasn't driving then. I was di- recting." At the word directing I looked at him in astonishment. He was a trim sort of man with a small mustache, rather neatly dressed — and not at all the usual type of taxi driver. "I had to quit," he volunteered. "Money ran out." My curiosity now thoroughly- aroused. I questioned him about it. He told me, with some reluctance, that following an apprenticeship as technical assistant and gag man, he had made one-reel comedies during the flush picture times, and that later he had gone to San Diego with a wild- cat concern to film a feature. "Then the slump came along." he said, "when we were about halfway through. We tried to cut the picture to make something out of it. but it wouldn't work. After that I couldn't get a job in motion .pictures, so I took up taxi driv- ing for a meal ticket. "But," he concluded, his eyes narrowing, "I'm going back into pictures again some day." I meditated a moment. The incident was pecu- liar. It struck me forc- ibly because taxi driving seemed so far removed from picture making. I felt, knowing as I did that the bonanza days of film making were over, that this incident might be the key to manv other similar instances. When I investigated I found the result was not exactly what I had anticipated. Some players and direc- tors there were who had decided to pursue other lines during the period of depres- sion. But the majority had stuck to their profession, and were rinding their faith somewhat rewarded by a more optimistic outlook. What I did discover was that a great number of cinema people of prominence have developed remunerative side lines. By this I mean that they invest their money to advantage or put it away safely. Some actually conduct some business of profession during their spare time which brings them a re- turn. Nearly all have their "keepsakes" and their "nest eggs" hidden away for the rainy day. and though many have had to draw heavily on resources for recent productions, they have shrewdly kept certain assets intact. Even D. W. Griffith who has sunk huge sums of money in some of his spectacles has always held on to some ranch land near Los Angeles. It may be worth a lot of money some Jack Donovan is a buildrr of bungalows when he is not busy playing.
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Double Lives ous story from this title, but Schallert IIIHn'l:i"ll!!lllll'iill'!lll!:!liilllllllHlllllllllllllllllllllllllllllllll day, and meanwhile, it yields a return principally from oranges. Others, like Mary Pickford, Charlie Chaplin. Nazimova, and Douglas Fair- banks have steadily put away money in sound securities and property. Sometimes, they've used these as col- lateral to tide them over a big feature or so, but in general they've always left a little surplus to the good, which has in time mounted up into a much larger surplus. Chaplin, it is known, has grown rich in this manner. What is more he has had luck in real-estate investments. The piece of property on which his studio stands he purchased for forty- ^ three thousand dollars, and it is reputedly five times that value now. Ruth Roland, the seria' star, is noted for her success in property interests, and herself has given close at- tention to investments. Mary Pickford's mother J has long looked after Mary's business affairs, with the aid of counselors and advisers, both in New York and Los Angeles. Mary herself pays close at- tention to her investments, for she is given to practical thoughts, as well as artistic. Douglas Fairbanks lets his brother John take care of his busi ness interests. "My object in life is to make features," Doug told me once. "I a-r, haven't time to dabble in other enter- Harry Carey's ranch interests prises. Most of my money goes right are highly profitable. back into my new productions." You never can tell, though, when and how the bug of enterprise and speculation is go- ing to sting the picture player. Take those adventurous spirits, the comedians. They laugh at danger. They're used to dealing with peril- ous situations in the slapstick, and a long chance occasionally in investing worries them but little. Mack Sennett, the comedy producer, has taken various and sundry leaps into gold min- ing and oil. "Every time a new oil well is discovered any place, all the land agents in the country come to visit me," I heard him declare one time. "Once in a while I take a chance. Then I swear 'never again.' I've got a number of certificates and deeds as souvenirs." While he may laugh at the long chances he takes, Mr. Sennett has more than once regis- tered sincere joy over hitting it right. to profit by raising police dogs. Louise Fazenda used to dabble a little on the Change. She's pretty careful, though, and has made a number of choice buys in real estate and solid stuff, that will insure her an income. Her latest activity has been to start putting up apartment build- ings on some of her city lots. Ben Turpin, of course, as you might anticipate, does not run true to form. Ben banks his money in the good old-fashioned way. For he wants to see what he is doing. Harold Lloyd sticks to a safe Mr road and buys securities. J Western heroes are great for Br keeping in the right atmosphere ■' on all occasions. Nearly all of them have ranching as a side enter- prise. And if they don't actually go nching, they at least own a country estate which passes for a farm. Continued on page 96 ^ Phnlo hv Blavk I). I'lioto Servicw Eugenie Besserer, at the right, teaches fencing when she is not at work in pictures.
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The Indiscre- tions of a Star A fascinating and colorful story of the real life of a motion-picture star. As Told to Inez Klumph Illustrated by Ray Van Burcn ~.~.~" :...■ .:.-.!: ~~~~~" ■„:■, , ■. ~~" .. . u i. BY WAY OF EXPLANATION. Barry Stevens would be the same as dozens of other attractive but unextraordi- nary motion-picture actors but for one thing — he has a quixotic soul, which is forever getting him into the most amazing situations. Barry can never resist an ap- peal for help from a pretty woman, and he seems fated always to be the means of gaining fame or renown for some one at the expense of his own reputation. Barry always swears off helping people, but in almost the very next breath he is pledg- ing his • aid to a new damsel i:i distress. You have read in the preceding chapters of his adventures with various feminine lights of the movie world, and last month you read how, while in a little town on location, apparently far from his old friend Trouble, Barry came upon Suzanne Ncvin, a poor but ambitious stage player in a stock company trying to persuade the station agent to lend her his overalls for a part she had to play. CHAPTER XIX. I WAS just trying my hand on the baggage man,' Suzanne told me." Barry went on. "'HI could make him lend me his overalls, I was going to speak to an usher in the church I go to here, and see if he'd let me take his frock coat. He only needs it Sun- days, probably, and I don't play then, so if he ' " 'Ye gods, you can't go around a town this size bor- t owing men's clothes,' I told her. 'New York would be bad enough, but in a little town ' ' T can do anything when I'm almost starving,' she answered, and then I noticed how terribly pinched and wan she was. She looked like a freshly hatched sparrow that had fallen out of the home nest. " 'Come on over here and have lunch with me,' I urged her, starting across the street. 'That looks like a good restaurant.' "But she pulled back, hungry though she obviously was. " T can't go there.' she explained at last. 1 borrowed a sports dress of the head waitress — I'm wearing it this week — and last night the leading man spilled ginger ale on it, and she was in the audience and saw him. Way up on the stage I could hear her say "Great Scott, would you look at that !" I wonder that she didn't come right up and snatch it off and run for the cleaner's. And — well, I'd rather not see her just yet, not till I've tried to wash it.' " 'All right — we'll go somewhere else,' I told her, and headed for the hotel. But just as we started the bag- gage master hailed us. " 'If the young lady wants these yet she c'n have 'em.' he told me, looking down at his overalls. 'Just tell her to give me time to go home and get my other pair. 1 f she'll tell me her name, and let me bring 'em to the stage door ' "/ felt a sharp pain in my leg and whirled to find the baggage " 'Sure I will,' she cut in, running back to him. 'My name's Suzanne Nevin ; what's yours ?' " 'Henry — Henry Plimpton,' he told her. beaming. " 'All right. Plenty — come over to the theater at seven c'clock, and I'll lie there,' she said, and we went off to luncheon. "She was a plucky little thing; she'd tried her best to get into the movies, but couldn't even get a start, so she'd somehow managed to get on the stage. She'd begun as just part of a mob, but somehow she'd yanked herself up to a place where she had small parts. Then she'd got this chance to play ingenue in a little stock company, for the summer, and taken it. "She was all grit. I went to see her play that night, and my heart went out to her. She was fighting against such big odds. She didn't know how to act, you see, didn't know what to do with herself. Sometimes she just blundered onto the right gesture or intonation; sometimes she imitated actresses she'd seen. She was a good mimic. But her pluck and eagerness and that gamin quality in her carried her through. " 'How'd you like to go into the movies now?' I asked her. the next time she had luncheon with me. " 'Fine, when my contract here runs out,' she told me. 'This is awfully hard work, but I'm learning all the time. Don't you think I've improved?' "I'd been going to see her play pretty regularly, you see ; we were doing some location stuff, and had to stay on there in the town, and anything was a relief.
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The Indiscretions of a Star 59 master raving and commanding me to marry Suzanne on the spot.' "Well. I hadn't seen much improvement, but of course I told her I had, and we arranged that she was to come out to the Coast when her engagement in stock was tip, and I'd help her to get something to do." "Barry Stevens." I began severely, "does your whole life consist of helping some pretty girl and then getting into trouble over it? Can't you ever help deserving young men instead?" "Lord' — the times I've helped men I've got in worse than ever," he exclaimed, shutting off his engine so that we could coast down an enticing hill. "Fate's made a shining mark of me from the very beginning — but I'm still going! And, anyway. Suzanne wasn't pretty — she was just cute." "All right — have it your own way. What happened — did you lend her your clothes and have it get into the papers?" "Not exactly — I lent her my reputation," he answered, with that likable grin of his. "You see, we used to have supper after the show, pretty regularly, after we got acquainted. She'd have just time for a bite to eat before she had to rush back and rehearse — they'd re- hearse every night after the regular show for the one they were going to put on the next week. And people saw us. and began to talk- — and finally she came to me about it. "'They're gossiping about us — do you carer' she asked me. • " 'Not a whoop ; do you ?' I answered. '"Me— I like it! Why, don't you see that having supper with you makes people think I really amount to some- thing?' she demanded. 'Only yester- day "I heard two of the young men here in town talking about what they'd do that night, and one of them said, "Let's go to the Orpheum and see this Nevin girl ; they say Barry Stevens is crazy about her, and if a man like him can see anything interesting in her, she must be worth while." ' "I nearly keeled over at that, but she was perfectly serious about it. " 'If you don't mind, really, it'll help me a lot. to be talked about with you.' she said. Somehow, I was reminded of the day I heard her trying to per- suade the baggage master to lend her his overalls. 'I don't believe it would do you any harm.' " 'Oh, I'm too far gone for any- thing to hurt me,' I assured her. Of course, that was a joke to me — know- ing all too well that my reputation for depravity was based on thin air. But she didn't understand that, apparently. "So we began going out more than ever — which wasn't much, because she didn't have much time. She had to make her costumes, you see. and re- hearse a part, and learn another, while she was playing still another. How these people live through stock engage- ments I don't see! But I always saw her at least twice a day — my own work took some time, naturally, but it didn't interfere much. As a rule she ate a!l her meals with me. She'd protested, along at the beginning, but I told her that when I was making so much more money than I needed, and she was making so much less than she abso- lutely had to have, it would be silly for her not to let me buy her meals — especially when they were so cheap. Quite characteristically, she said that was all right, then, since I felt that way about it. "And so things went along, just amusing me, till something happened." "She fell in love with you?" I asked. "No — Henry fell in love with her," he answered, rather grimly. CHAPTER XX. "Henry — the baggage master?" I repeated incredu- lously. "Why -" "That same Henry," declared Barry Stevens, chuck- ling. "You see, after he lent her the overalls he never broke away. He went to the theater every night of the week she wore them — sat in the front row and applauded like mad. For weeks after that he used to bang around the stage door, begging her to let him lend her something else — he couldn't seem to understand that she didn't pick her parts herself. " 'I've got a brand-new shirt, miss,' he'd say. 'Don't you want to borrow it for the show?' Or, 'Miss Nevin. I got a green hat from the mail-order house yesterday — can't I lend it to you?' "Suzanne was awfully nice about refusing, and tried to explain why she no longer needed his clothes, but even so he'd hang around ; we'd often see him nights when we were going out to supper after the play.
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60 The Indiscretions of a Star "We used to eat in all sorts of places during the day, but at night Suzanne's favorite eating place was the all- night lunch cart down near the railway station. She liked to climb up on the high stools at the counter, and have Hamburg sandwiches and coffee and pie, and joke with the young chap who ran the place at night. "One night she only had a little while in which to eat, and we raced down there for a sandwich and then hurried back again. It had been raining all evening, but had just cleared ; the air was cool and damp, but fresh and rather invigorating, and she was in wonderful spirits. " 'Let's run,' she suggested, as we tumbled down the crazy little steps that led from the cart and started home. And she snatched hold of my hand and we ran for blocks, past the nice, comfortable houses where the community was sleeping. "When we got back to the theater, we found that Suzanne wouldn't be needed for half an hour or so, so we went over to the little public square and sat clown on a bench. I rather hoped that she'd tell me some- thing about herself; people are likely to burst into confidences at that hour of the night, you know, and she'd told me just enough about herself to in- terest me. "But Suzanne, as usual, was bent on success in her work and on noth- ing else. " 'I know I'm doing something wrong in that scene I have with Billy.' she told me. Billy was the juvenile lead. 'It's the one where he begs me to elope with him. and I refuse for a long time, and finally he pulls a lot of cave-man stuff — grabs me by the shoulders and shakes me, and all that. Couldn't we run through it now? — it's so quiet out here — and mavbe you could suggest something that would help.' "I was perfectly willing, of course, so we began. I didn't know the lines, of course, but I'd watched them rehearsing the night before, and knew the general drift of the scene. So we ran through it once, and I thought of a change or two that she could make, and we began again. Only that time she took the man's part, and I took the woman's, so that I could show her more clearly what I meant. % "That was where Henry came in. We'd reached the place where she was saying, 'See here, you can't treat me like that ; I've got some rights, and now I'm going to have them. Either you go with me to-night or I'll ' " "And right there Henry appeared, I suppose." I cut in. "Right there he did." laughed Barry Stevens. "Just as she said 'I'll.' I felt a sharp, shooting pain in the calf of my leg. I whirled around, just as Suzanne screamed — and there was Henry, the brave baggage master, brandishing an army revolver. "My leg sort of crumpled under me, and I grabbed hold of the bench and slumped down on it. Suzanne had hurled herself upon Henry, but he made no effort to shoot again. He took to words. "He told me I was a dirty dog; that he'd heard the scandal that was going around about me and Suzanne, and that I'd got to marry her if she wanted me to; that he'd see to it that I did, even though he was in love with her himself, and a lot more of that sort of thing. He just stood there and raved, while Suzanne wailed, and I prayed that the whole town wouldn't arrive be- The Pinch of Poverty Perhaps it was just a petty economy on your part when you stopped going to the movies so often a year or so ago. But that petty economy of yours when mul- tiplied by millions — meant such a tremendous loss of revenue to the motion-picture producers that ruin stared them in the face. BUT THEIR MISFORTUNE WAS YOUR GOOD FORTUNE. Pictures have become better, and you fans are responsible for it. Your influence and the way that it has worked is an amazing story. Helen Christine Bennett will tell it in the next number of Picture-Play. fore I could get over to the hotel and have my leg patched up. I felt pretty sure that it was just a flesh wound, but it was a darned nuisance, anyway, and I wanted to have it taken care of. " 'I don't want him to marry me, you idiot,' Suzanne cried. 'We were just rehearsing — haven't you any sense at all? Come on and help me get him home — and for Heaven's sake throw that gun away.' "Henry was all for being heroic at first — wanted to go on shooting and declaiming, and march us off to a minister's, but she finally persuaded him to come down to earth, and together they helped me to the hotel, and I got up to my room and had my leg fixed." "And the next day?" I asked, as we swung into the road that led to a favorite tea house of mine. "The next day the newspapers got hold of the story," he answered, "and Suzanne took hold of the lever with which she pried her way into the movies and became a star." CHAPTER XXI. As Barry Stevens and I entered the tea house, I noticed that two girls at one side of the huge room stared at him intently, and then began to whisper eagerly together. They were charming-looking girls; doubtless the pretty little sedan I had noticed stand- ing outside belonged to them. And quite obviously they had recognized Barry, and were speculating as to my identity. He grinned when I called his at- tention to them. "They're probably considering coming over and asking for an autographed picture." he said, "or else one of them has written a scenario, or her friends have told her that she really ought to go into pictures, or something like that. Some day I'm going to try again doing what I did not long ago — changing my name and character, as much as possible, and pretending I'm somebody else, who can't do any- thing for any one, and see how it works. Well, now for the rest of the story about Suzanne : "As I told you, the reporters got the story the next day. The local correspondent of a city newspaper wired it in, and the first thing I knew, a flock of reporters ap- peared in my room. "One of them had a copy of his paper — it had scooped the others on the story, and carried a grand line — all about how I had come to the quiet little hamlet where a young girl was struggling hard to earn a living and had come between her and her honest country lover — just pause and recall the first time Suzanne and Henry met, please, when I stepped l>etween him and disgrace, so to speak ! There was a lot more of that sort of thing, and pictures of me plastered all over the sheet. "The newspaper men were good scouts, and I ex- plained the thing to them as it really was — not in detail, of course, and not telling the whole truth, but just enough of it to clear me up, as I thought. Then, as I couldn't work any more till my leg. healed, I got out of town ; went off to a little shack I have in the country, and swore I'd never look at a woman again. "Suzanne had told me good-by in a matter-of-fact way. and reminded me of my promise to get her into pictures when her engagement with the stock company expired. " 'Do you think that would be wise, after all this has happened?' I asked her. Continued on page 92
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Raising a Brain Child If you think that the days of adventure and daring are over, read this story of how two young men, an author — on the left — and a studio manager — on the right — made and marketed a picture which, though not a great success as great pictures go, repaid them for their efforts and made them producers. By Gerald C. Duffy R AISING a brain child is a la-k attended by more crushing responsibilities, more personal incon- veniences, more financial fatigue than the nur- turing of an infant of the flesh. The mere conception of an idea is an accomplishment reflecting no credit upon the parent. It is usually an accident. But to foster a child of the imagination through all the perils of its infancy, to bring it up so that in due time it shall go out into the world and be a credit to its father, this is an achievement exhausting and exasperating. Until a year ago I had always evaded the more har- assing parental duties. I brought my ideas into the world and turned them over to the care of the doctors — who in the picture world are called directors — and 1 never saw them again until they were fully developed, and I happened to meet them some night when I went to the theater. Seldom did they satisfy me, but I felt no shame; always I blamed environment, not heredity, for their failures or their partial failures. But when a certain pet brain child was born one day I decided to undertake the raising of it myself. So now, with experi- ence to underline my words, I can tell you what some of us must suffer so that you may enjoy yourselves for two hours every evening or so. Children of the imagination, like other children, have all the molesting habits and all the dis- You who walk leisurely around the corner once or twice a week, look at a picture — some one's brain child — and walk leisurely home to blandly criticize it and then forget it, you have not the faintest conception of what some one has gone through to give vou that entertain- ment. Perhaps vou will see the infant of fancy which 1 nursed; perhaps you have already seen it. It should be interesting for you to follow its growth, so I shall take you into the chaos of the nursery. I had the name for my child before I had the child. It was to be called "Where Is My Wandering Boy To- night?" As children are often named after saints, prob- ably in the hope that they will themselves become saints, my child was named after a hymn in the hope that it would become as well liked and do as much good as the hymn. I was not the one who selected the name : it was chosen by a doctor — or director — James Patrick Hogan, who has saved several sickly brain children and who has killed none. So the idea was born and christened. Its godfather was Bennie Zeidman, then manager for Mary Pickford; and another sponsor was Bernard Fine- man, vice president of the Katherine MacDonald com- pany. The four of us had the notion — or rather the nerve — to try to raise the idea into a full-grown motion-picture drama. We thought it eases r a m p - ant. A brain child, f r o m the moment it born, will keep you awake o' nights. You walk the floor with it, you sit up with it, you put it brutally aside, but you cannot sleep. You show it to others who know nothing of how to handle ii. They play with it and maul it, and it is returned to you beaten and mangled almost beyond recognition. You must nurse it back to health, and the malefactor who mistreated it must be repri- manded and kept away from it in the future. As it grows older it Incomes tiresome ; it gets on your nerves, yet your interest must not lag. In time, as it meets with outside influences, it acquires bad stories, it steals things from other brain children, it threatens to lose its individuality, and, finally, it grows whiskers. A care- less barber, who is rightfully called a cutter, shaves it, and slashes its pleasing features. You must patch it up and continue to nurse it until the day you shall send it forth to bring you perhaps renown, perhaps disgrace. Only the intense excite- ment over the checks saved Bennie from embraces by the other three of us who knew ffl not to would be easy, but l>efore we were through Bennie Zeid- man and Ber- nie Fineman a n d myself had to resign our other jobs and attend to nothing but our unruly W a n d.e.r - ing Boy. Ho- gan had suf- ficient sense at- tempt any- thing else from the start. W i t h a r i d i c u - lously optimistic spirit, we rushed recklessly into the enterprise of making our own productions. It seemed as if nothing could stop us from producing the greatest picture of all time, the biggest show on earth, the stu- pendous drama of the ages, and all that nonsense. We had my story, which I insisted and the others admitted was a heart wrencher ; we had Bernie's studio ; we had Bennie, unquestionably one of the l)est studio managers; we had Jim, an excellent director. We seemed to have everything we needed. Wouldn't you think so, too? But we did not have everything we needed. One of the essen- tials we had carelessly overlooked was money. We had to have money. It was a dismaying but inescapable truth.
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62 Raising a Brain Child Each of the three directors began clamoring for actors the others were using. Our composite wealth reached minutely over four thousand dollars. But four thousand dollars to us. who were all so young that we had but recently ceased com- plaining of growing-pains, seemed a bulbous fortune. Certainly it was a better start than the shoestring with which so many millionaire producers first tied their wag- ons to a star. Dauntlessly, enthusiastically, we plunged. The cyclone velocity of our start left us breathless. Within eight days the three stages were cluttered with sets completely built and "dressed ;" we had engaged a cast of excellent and expensive players, headed by Cullen Land'is ; we had installed a staff of assistants, camera men. carpenters, accountants and architects, and my brain child was beginning to grow. At this juncture some one was visited by the original thought that if one director can make a picture in six weeks two directors could make it in three weeks. And, carrying this plan further, three directors should be able to make it in no time at all. So we added two men to work with Jim Hogan. but with confusing re- sults. We had not enough actors to go around, and each of the three directors began clamoring for players the other directors were using. We disposed of one of them, and managed to arrange the work of the remain- ing two — Hogan and Millard Webb — so that their scenes didn't conflict. From then on, for a full week. scenes were made and disposed of like policies in Russia. Everything was serene and joyous. Success seemed to smile upon us. But happiness among the parents of ideas is short-lived. Ours lasted one week, and then we learned the horrible things that a man must suffer to gain success. There came the dull awakening, followed by a crash, and then collapse — and out of the chaos we had to build the future. Had any one of us known what awaited us he would never, never have entered the venture. Had I had the slightest warning I assure you that I should have slaughtered my brain child imme- diately it was bOrn, torn it savagely apart, page from page, and thrown it in the bottom of a trunk. The first blow was a cash casualty. Four thousand dollars is four thousand dollars ; but it is only four thousand dollars. In less than two weeks it had lived its life; it had weakly expired. Our auditor told us we had less than two hundred dollars left. We could not believe it. We checked up the books. We discov- ered that the auditor had not mack a mistake. We did have less than two hundred dollars left. We were two hundred and seventeen dollars overdrawn. Besides this item of indebtedness there were a few enormous bills and another salary list coming due in seven days. Something had to be done. Bennie did it. I didn't know what it was. but it was something. Sunday I spent in worrying and searching for Bennie, who had van- ished. I wondered if he had left town, if he had deserted the picture, if he had committed suicide. At eight o'clock Monday morning I was at the studio. At eight-twenty Bennie came in with dragging steps, tired eyes and thirteen thousand dollars in checks ! Only the intense excitement over the checks saved him from embraces by the other three of us who knew the secret of our financial insecurity. As it was, we did a war dance for joy. Those checks served the double purpose of paying our bills and of lending dignity and impor- tance to our production, for they were autographed by men prominent in finance and as shrewd as they were prominent. The willingness of such men to risk their money in our project made us feel that it was not a risk. I promptly turned everything so convertible into cash and put it in the picture. I invested my money, my time and my Sunday clothes. Suddenly to my dismay and discomfort. 1 found that I was penniless — a self- ruined man. 1 bad voluntarily stopped riding in auto- mobiles and indulging in luxuries ; now I was forced to stop other things, including eating three times a day. Heartlessly my landlord raised my rent. I didn't. My comrades were comrades, even in misfortune. Still, though we suffered from pains in the stomach, we felt a certain self-importance, a certain Spiritual sat- isfaction that fed the souls our ill-fed bodies contained. There was vanity mixed up in it. On the street we were stopped by ambitious actors and excitingly pretty girls who wondered if we couldn't give them parts. We were becoming producers! There was grandeur in the undertaking, and so brave was it that there would have been yrandeur even in its failure.
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Raising a Brain Child 63 Financial obstacles having been removed, at least tem- porarily, from the path of production, other things com- menced to happen. You have no idea, and we had no idea, either, of all the misfortunes that can occur to a brain child in the course of its rearing. One dismal morning, when twenty-five extras had been engaged, a telephone message curtly informed us that Cullen Landis' automobile had turned turtle and that Cullen had sustained three broken ribs. It looked as though our picture would turn turtle also, so far as speed in production was concerned. Cullen certainly did not suffer from that injury as much as we did. For three weeks we were without our leading charac- ter. It was an accident to the young star, but to us it was a catastrophe. I happened to pass the laboratory where our film was being developed one morning, on my way to the studio, and I had a great laugh with the superintendent who told me that a camera man with some company had sent in after a day's work eight hundred feet of negative that had come out completely blank after having been de- veloped. The man had forgotten to open his shutter, or had made some other technical photographic error which I don't understand. It was such a foolish mistake that it was funny for us. though we admitted that the camera man's employer would probably be frantic. The camera man's employer u<as frantic. This I dis- covered the moment I arrived at the studio ; for Bennie Zeidman rushed me into a corner of his office and told me in a woeful voice that eight hundred feet of film, taken the day before, had come out blank because the camera man had forgotten to open his shutter, or had made some other photographic error. That error cost us a day's work ami the price of a host of extras and rented props, which, when figured in terms of money, meant that it cost us a heavy amount ; exactly how much I dare not even now remember. An endless number of just such maddening things happened continually during the entire filming of the picture. I shall not speak of them all. for they would become tiresome to you, and the mere recollection of them would be painful to me. But somehow we staggered through production, and, though we did not lose a single day because of financial depression, at no time did .we bulge with wealth. After the timely thirteen thousand dollars had been brought in other thousands followed, all invested by men of standing and common sense and an astonish- ing amount of confidence. The reason our project seemed so alluring is simple and irresistible. People are all faddists on the subject of money, just as col- lectors of paintings and foreign postage stamps are fad- dists. A collector of bugs will devote and risk his life to get more bugs. A collector of money is even more of a fanatic. Not only will he risk his life, but he will risk what money he already has collected to get more money. And so finally the torture of production pussed and the agony of editing commenced. Before continuing I shall ask. in fairness to myself, one question. It is this: Would you seize a child from the arms of its father, step on its face, pull it out of shape, dissect it. and put it back with parts — vital parts — of its anatomy missing? If yo;t answer that you would not I shall tell you definitely that vou will never make a successful motion-picture producer. My brain child endured all of these horrible cruel- ties. Before we were finished I became callous to the point of inflicting them myself. There were reasons. We had started out determined to make the greatest picture ever made. With this invigorating resolve, I had written a ten-reel picture. When it was finished we discovered that the cutting room was clogged with film. If we used it all we would have a feature that would run continuously for a week. So practically every one with any authority at all went into the cutting room with scissors and no conscience. When the picture was down to thirty-one reels I looked at it. I was bewil- dered, dumfoimded. furious. So this was my brain child ! I protested to Bennie with violence and without discretion. "Look here," I told him. "You've emasculated the thing. I won't stand for it. We started out to make this the biggest picture ever made." "Well." he answered frigidly, "we sure did. It's a hundred and ten reels long." It was. In that cutting room we had one hundred and ten thousand feet of film from which we had to excavate our story. I had written a ten-reel picture; we had made a hundred-and-ten-reel picture, and we could not market more than a seven-reel picture ! By miraculous and pitiless surgical operations, ihe directors amputated all but eighteen reels, and then sur- rendered. It was turned over to me. Viciously I at- tacked with sharp weapons, but with a faint heart. After I had tenderly cut out half a reel, I Continued on page 88 Every one with any authority went into the cutting room with scissors and no conscience.
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aSftSaSSm Discussing his next story with Hunt Stromberg, his manager. He Makes More Money Than the King Bull Montana, now a star, is justly proud of his success. By Myrtle Gebhart I WAS on the Limited, en route from Chicago, couple of years ago. A gruff, booming voice en the observation platform drew my at tention. "How dey make-a dose-a mountains, huh?" Bull Montana, then not quite the celebrity that he is now since being starred in comedies, was gazing in wonder at th vast Sierras — and asking how they were made ! Bull has learned a number of things since that day, for instance, how to be a movie star and save your money and have all the women run after you; but I can't find out whether Bull has yet learned how mountains are made. Whenever I mention the subject, he shuffles his feet, grins, and leaves me fiat. I can talk my head off on other matters and Bull listens attentively, injecting a "Sure!" in his rumbling bass ; but mountains are taboo. When his first starring comedy, "A Ladies' Man." was shown in Los An- geles, the theater was crowded with such personages as Charlie Chaplin and Douglas Fairbanks, marking his debut with applause. And sixteen years ago tie came to this country as an immi- grant laborer ! The blooming hero of to-day was, a decade ago. a quarry worker and a wrestler. There is in his rise to fame food for much thought. Native sons who are kicking about their own lack of opportunities might learn a lesson from this uneducated foreigner who, not even speaking our language for many years, has captured those elusive goddesses, fame and for- tune. He tells it thus: "I work in stone quarry. Then I go to factory. When the factor)-, she shut up, I go back to quarry. My boss he say, 'Bool, look-a who's got your job.' I look-a. By gol. a horse, she have my job ! "When I leave my Italy I work-a hard— you don't know-a work here, miss — in shoe factory. I make-a five-a cents week. Beeg mori', huh?" Bull's tiny black eyes gleamed at his own wit — he is never happier than when telling his own story to a willing audience. He is easy to interview — all you have to do is poke a question at him now and then when he shows signs of running down. Noticeable about him. too. is his ever-present can- dor and simplicity : he tells you all about his troublous days, for he •^ is not ashamed of them ; he is proud of his achievement. And happy because the old folks back in Italy are proud of him. "I go home soon. What-a splurge I put on. by gol. Old folks, dey think-a I'm great guy when de see me in fine clo'es on screen in Continued on 4§\ m-d ~'*~ I VA W GET '24 ■;■*■ page 88 r.moyn" OlYNfc l.«.s"\p.iii-l^ Record f* CLAIM BANDITS SLEW KENN . .... ;,<; Photo by Ries and Von Roascn Bull has finished his second starring picture.
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The Screen in Review Critical comment on the latest re- leases. By Alison Smith OXE of the best-known theatrical producers in New York said to me the other day, "The movies have taken the greatest liability of the stage and turned it into an asset." He meant the old-fashioned, spectacular melodrama; the "Face to Face With Death" sort of thing where the heroine is saved from everything from a crocodile to a buzz saw. There has always been a demand for these melodramas and there always will be. says my authority. But, even at their best the stage was hardly equal to them. You can make a great noise with thunder ma- chines and canvas waves, but after all they don't often fool an audience. Most of these stage "superproduc- tions" were rather sad affairs until the movies arrived with nature herself as the scenic artist. Then, immedi- ately, the demand was transferred from the stage to the screen, to the great relief of the stage property man who could go back now to designing beds for Al- Woods farces. So it happened that the most universal demand on the screen to-day is for the natural scenery melodrama. Every one enjoys it : even the brute who refuses to be thrilled by an ingenue's round, blue eyes, can be relied upon to fall for a flood or a forest fire. Of course all melodramas must have actors, so we get the round-eyed heroine and the dashing hero and the black-hearted vil- lain thrown in for good measure. But, for many peo- ple in the audience, it is the scenery which is the real star, and the wild behavior of the elements which car- ries the big scene. Often the living actors are only incidental to their background. At least this is the way I felt about "The Storm," which is one of the most spectacular dramatizations of the weather produced this season. When it appeared on Broadway as a stage play, the interest was not concentrated on the scenery. Thev had, it is true the "storm" scene which was accomplished with much flapping of scenery and banging of weather machines back stage. But the real attraction of the en- tire production was the beautiful blond heroine, played by that excellent emotional actress, Helen MacKellar. You followed the plot with interest chiefly because you really cared whether or not she was saved from her many dangers. The screen version is quite as interesting, but for different reasons. Here you are swept at once into a natural setting of fir trees and mountain passes, vast and beautiful enough to carry the picture alone. But there is the human element and a plot. A young French Canadian orphan. Manette, is suddenly parked in a cabin with two handsome young men — a woodsman and a city feller. T don't need to tell you sophisticated movie fans the result. In half a reel, the two young men are snarling at each other as if they had never come out into the wilds in a spirit of brotherly love. After vari- ous adventures — through which the girl is rescued from every variety of backwoods danger, the best man wins. "When you come back, bring a priest with you," says Mancttc coyly, and once more the forest frames the ever-lovin' close-up. Virginia Valli plays this wild child of the Xorth. and Matt Moore is the sjick lad from New York, and House Peters is one of those stern, silent men who swallow twice before speaking. All three played their parts ac- cording to the best traditions of old-fashioned screen acting which is not, we may add, as close to realism as it might be. But you couldn't get closer to nature than the background, and. as we have said, in this film the scenery is the real thing. What with the forest fire, the mountain blizzard, the avalanche, and no end of
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66 The Screen in Review dor. The audience at the Capitol Theater here went wild about it. I've never heard more enthusiasm, even at a "superpicture" opening, with five villains and a helpless heroine. "Nero." We drift down now from the North into the balmy current of Italian atmosphere*. "Nero" is an- other film of spectacular scenery, but this is mixed with a somewhat sensational and romantic history of this emperor who is always oblig- ingly dramatic even in the dullest textbooks. It is a Fox picture filmed in Rome with some scenes that are glowing and beautiful and others that resemble the bright- colored chrotnos which decorate the walls of your favorite Italian boot- black stand. Its plot is drawn partly from "Quo Vadis" and partly from the wild imagination of some Fox scenario writers. It has calamity piled on violence in such a mounting crescendo that it is no wonder Vesuvius rebelled and erupted with an awful burst of flame. Then of course Rome big winds, rapids, and cataracts, this film has an extra burns in a ferocious manner, and Nero fiddles and the thrill every time the scene changes. They simply Christian maiden is restored to the arms of packed the big Capitol Theater to see it. and ,^^g Hfekv ^ ner converted lover after many miracles One of the features of "One Clear Call" is the ride by the Ku KIux Klan I predict that a good many other theaters will be packed where it is shown. "Nanook of the North." Here is another Far North melo drama, but this time it is all truth and no fiction. And I may add that this scenic has more drama in it to the square inch than any fiction plot ever filmed, even though there's no love story woven into it — no final close-up clinch. It is merely a record of twenty-four hours in the life of an Fs- kimo. a genial, leather-faced squinty-eyed g-e n 1 1 e m a n wrought by the sign of the Cross. Vio- let Mersereau plays this fair one ; she is the only American in the cast which is made up of Italian stars who cultivate the grand manner in acting. The Italian actors did not respond to the direction of J. Gordon Fd- wards as did the Germans under Lubitsch or our own actors under our own Mr. Griffith. But they have the scenery and a certain smoldering zeal for action that goes with it, and they make the most of both. called Nanook, who guides himself and his sturdy little j"^^ !,•■"▼''«■ "Sonny." family and his band of wolf \ ^fc ^3 tc^Wi I This 11H,ntns nst seems dogs through the ice floes of r / to be featuring scenery the Hudson Strait into Baffin L > k I ! almost exclusively. Rut Land. In this game of living, * " r^^ there is one quiet, home- the Fskimo laughs last, for %ij K town little film which with every possible element of « I "'a makes its impression solely nature against him, he manages JRy JH / through the work of one to get mon vKSjfl / young actor and what is spearing and walrus hunting and ^B WrM Br known as "human interest" blubber eating than any Fifth ^B ^T R ^V without any help from bliz- Vvenue millionaire with his indoor ^B^ m .\y zards, earthquakes, or volcanos. sports. The pictures were taken by \ m / This is Richard P.arthelmess in Robert Flaherty on one of the Mac- \^B / the screen version of "Sonny" kenzie expeditions and are the most won- *^B Sr which was made from Hobart Bos- derful things of their kind I have ever seen. ^^B s^ worth's stage play. Now the play — 1 E you want a real thrill, pass up "She Loved ^^^Bi B^^" which deals with two soldier lads who look And Lost," for an evening, and /},.//,. Compson exactly alike and a blind mother watch this real-life melodrama plays her role of the bootlegger's beautiful daughter and no end of heart throbs was of the barren lands of Labra- in "Over the Border" with her usual dash and spirit, very unkindly received by the
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The Screen in Review 67 Broadway audiences. It didn't matter how sweet and pathetic the mother was or how noble both the heroes — they would have none of it. But Dick Barthelmess gets hold of the role, plays it with that sort of straightforward, ingratiating simplicity of his, grins once or twice in the right places and presto! you have a film that the fans are going to love. It's the greatest possible triumph of personality over a feeble plot. Now we know that Dick is scenario proof ; he can make a moving and genuine story out of anything. Despite the fact that it is an inferior story, a great many persons will like this every bit as much as "Tol'able David." "Salome." If you've read much of Os- car Wilde in the best editions, you know the strange, sinuous, black-and-white illustrations by Aubrey Beardsley which decorate its pages. In this version of "Salome," Alia Nazimova has dramatized the all that Wilde and Beardsley said she was. Tt isn't a Bible story exactly — at least I never was taught anything like that in Sunday school. But as an exotic and sophisticated fantasy, it is )ne of the most perfect things of its kind that has ever reached the screen. "Sonny" with Dick Barthelmess, is a picture that the fans are going to love. illustrations rather than the text of the Wilde play. It is a series of startling, fantastic ^^^MB pictures linked together by the bizarre ^—^k tale of the little hussy of Judea. ^^] You will remember thai -4BP''^I ceives a sudden passion for the AW^iM^^^t, Bw imprisoned John the Baptist. M JL Bjf^l |k "The Top of New York." demands hi- head from the AV^S^m Bk What has happened lecherous old Herod and mm ■ *%■ Bl aPPeaun." Grizcl of "Sentimen- dances madly about M A B^^^^^^^^k tal Tommy?" When the hero- a frenzy of love and ^T ( . .^^^t ^^* me "! this penny-dreadful hatred. It isn't a pretty / ^ api l :Jj3 Mm)mm\ ta'e was flasnecl on the tale, and, if you belong / \ Jm fc^^~ SlLiB, screen, we refused to be- to the Polly anna t- % /trf *$&§& J& ',eve tnat n was really the school, you won't find \ qtw ■ ' ■» B ^'av ^ac ^voy wno c''c* anything to glad Bw u:;h. if you arc fund f the costumes and settings wj ^-«8KiSM^ ^M 'Way MacAvoy you will find goes to Natacha Rambova. BJ J£ W it rather painful. Moreover, the much-discussed bride of \M WA "^BBSA Br f'le ;lct'on °f the story is as Rodolph Valentino. Mitchell WJ %j£S. Br artificial as the false hair. It Lewis makes Herod a gro- ^B BB Br is all about a poor little shopgirl tesque clown without a beard, ^B B^ and her crippled brother and the and Nigel De Brulicr is the emaci- ^BJ B^ noble artist who lives on the rooftop ated John the Baptist. (I don't know ~->'- B^^ across the way. They don't even spare who play'ed; the head, for it wasn't shown. ^^BBBI B^^^ us the department-store villain. The pic- much to my relief, because that scene always tare was directed by William A. Taylor, but makes me turn a sickly green when Katherine MacDonald it certainly is not a good example Alary Garden dances it in the may be seen trailing through a vapid plot of his restrained and imaginative opera.) Nazimova makes Salome called "Domestic Relations." work. As for little May MacAvoy,
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68 The Screen in Review "Yellow Men and Gold'' is an exciting melodrama full of buried treasure and secret islands and murder trails. we wish Mr. Lasky could see his way clear to let her do something real and human and sweet again. "One C!ear Call." Claire Windsor. Milton Sills, and Henry Walthall are engaged here in a live-reel struggle with an impossible plot. Miss Windsor's beauty helps some, and Milton Sills usually brings some sense into everything he does, but he can't do much for this story. And as for Henry Walthall, his vivid personality and real ability were com- pletely submerged in the absurdities of the play, which is based on a rambling, incoherent tale about a bad man who repents because he has only a few days to live and who tries to make up for lost time in a moral way, as it were. One of the features of the picture is a ride by the Ku Klux Klan. "Over the Border." Now we have the romance of Jen, the bootlegger's beautiful daughter. This picture is hard on the thirsty souls in a prohibition audience, for the best brands of moonshine ooze all over the action. Its heroes are our old friends, the Northwestern Mounted Police, who gal- lop here and there capturing the wicked rum makers. The heroine is the sister of the chief bootlegger, and her adventures are many and thrilling in her efforts to be true to family traditions and at the same time to keep the love of the handsome Hibernian sergeant. Tom Moore plays this worthy with an Irish twinkle which makes you wonder if he would l>e quite as hard on the booze smugglers as his part requires. Betty Compson plays Jen with her usual dash and spirit. The action includes a particularly realistic blizzard. "My Wild Irish Rose." Dion Boucicault's play, "The Shaugraun." has been made into film romance. It is the story of a young Irish landowner whose property has been confiscated by the crown and who puts up a lively battle in the inter- ests of the "Fenians" as the Sinn Feiners were then called. An attempt has been made to bring it up to current events, which is difficult in the light of the pres- ent settlement in Ireland, and especially when you con- sider that the original play made its first hit years ago — probably before you were born. Pauline Starke makes a plaintive Irish girl. The leading man is appropriately named Pat O'Malley. "False Fronts." This film is one of those things which makes its ap- peal by showing the wild life of the upper classes. The object, ostensibly, is reform, but we have always noticed that in such plays there are ten scenes of the maddest dissipation to one of pious reflection on the error of such ways. Edward Earle has the role of a gay young- husband who mistreats his rich young wife and then chooses the oil fields of the South as an excellent spot to reform in. Barbara Castleton is the wife who indi- cates her affluence by a headdress of paradise plumes and who has grown quite plump and prosperous to fit the role. "Golden Dreams." There is more oil in this picture; that is to say there is a hero with an unerring nose for sleuthing down oil wells. It is not the most exciting theme in the world, and the picture drags until the big scene when a whole menagerie is turned loose on the cast. I was afraid that exceedingly pretty young actress, Claire Adams, was about to end her screen career in a lion's claws, but the beasts only chewed up a few extras, leaving the princi- pals to live happily ever after. "The Glory of Clementina." Pauline Frederick plays the heroine of this tale, which is William J. Locke's version of the "Cinderella" story. Clementina is a man hater and a cynic, but worse than Continued on page 90
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A Confidential Guide to Current Releases Note: Only distinctive pictures appear in this list; it does not aim to be a comprehensive survey of all pictures being shown. Program pictures are included in it only when there is something unusual about them, such as a marked departure from the featured player's usual output, and pictures reviewed elsewhere in the same issue are not included. With these exceptions this list comprises those generally considered the most important of the current film offerings. WHAT EVERY FAN SHOULD SEE. "Orphans of the Storm"— D. \V. Griffith — United Artists. A compelling and beautiful presentation of a famous old melodrama, enhanced in typical Griffith fashion with the carnage of the French Revolution, the beauty of' noble hearts and impressive land- scapes, a last-minute rescue, and the heart-rending pathos of Lillian and Dorothy Gish. "The Four Horsemen" — Ingram — Metro. The frailties of human hearts laid bare mercilessly and beautifully. Even the fact that this picture was the making of Rodolph Valentino does not outshine its other glories, and that is saying much. "Smilin' Through"— Talmadge — First National. What Norma Talmadge's admirers have long hoped for. If you don't believe that a motion picture can make you cry, try this one. "The Prisoner of Zenda" — Ingram — Metro. An old romantic favorite come to life with flashing swords, draw- bridges, dungeon keeps, and the pomp of royalty playing quite as important parts as the extremely personable cast. Lewis Stone, Alice Terry, Barbara la Marr, and Malcolm Macgregor all present. "Grandma's Boy" — Lloyd — Pathe. Harold Lloyd can be forgiven oc- casional lapses into overworked pathos for the sake of the few really hilari- ous incidents in this picture. If you're sentimental about grandmothers, you'll think this a knock-out, but you'll en- joy it in any case. "The Good Provider" — Cosmopolitan — Paramount. The story of a father's devotion simply told and boasting the presence of Vera Gordon, Dore David- son, and Miriam Battista. "Saturday Night"— Cecil De Mille— Paramount. A pleasant surprise for the people who aren't enthusiastic over Cecil De Mille. and equally at- tractive entertainment for his admir- ers. A story that emerges strong as ever after each encounter with a wel- ter of chiffon and scenery, credit for which is largely due to Leatrice Joy and Edith Roberts. THE BEST OF THEIR KIND. "Trouble" — Coogan — First National. Jackie Coogan is in this: that is all any one needs to know. "The Crossroads of New York" — Sennett — First National. No one knows whether or not this was really supposed to be funny, but it is. It has all the faults of the usual movie melodrama in such exaggerated form that it makes uproarious entertain- ment. "Fascination" — Tiffany — Metro. An irresponsible young person played by Mac Murray in the most gorgeous blaze of lights ever seen on the screen. Her bull-fight dance is a triumph. Of course, she changes in the end, but you can go home before that. "Lady Godiva" — Wistaria. Tf you want to be shocked by the famous nude rider, stay home from this pic- ture. But if you enjoy authentic Oh! World settings and skilled actors this will appeal to you. 'His Wife's Husband" — Whitman Bennett — American Rel. Corp. An- other of those arguments over whether a wife should tell or not, but this one has Betty Blythe in its midst, so all is forgiven. "The Cradle Buster"— Tuttle-Waller — American Releasing Corp. A taste- ful comedy about a desperate young man nicknamed "Sweetie" who tries to live it down. "Silver Wings" — Fox. The survivors of the tearbursts attendant upon "Over the Hill" are having another good cry over this one. Mary Carr is interesting as ever as the mother but she has two of the most uninter- ! esting sons on the screen. "The Glorious Adventure"— Black- I ton. The first feature film in color. A thrilling story of early London with beautiful Lady Diana Manners acting — no, appearing in — the leading role. "Reported Missing" — Selznick. An amazing jumble of comedy and melo- drama in which Owen Moore disports himself. "The Ruling Passion" — Arliss — United Artists. A tasteful comedy drama boasting the suave talents of George Arliss. If you know any be- nighted souls who consider a monocle and evening dress essential to Arliss' charm, take them to this picture. "A Doll's House" — Nazimova — United Artists. Not one of those freakish affairs that Nazimova seems to delight in, but a genuine transcription of Ib- sen to the screen. "The Five-dollar Baby" —Metro. After years of valiant service in non- descripts, Viola Dana has a thoroughly amusing story. It is as good as Fill in witli the name of one of your favorite comedies. "Across the Continent" — Paramount. Another of those automobile pictures of Wallace Reid's, and the best one. If you haven't decided where to spend your vacation you might find this more illuminating than studying a map. "North of the Rio Grande" — Para- mount. Bebe Daniels and Jack Holt are mentioned on the program as the stars, but the real stars are the most impressive lot of mountaintops and valleys 3rou've ever seen outside of a self-confessed scenic. "The Loves of Pharaoh"— Para- mount. Ancient Egypt brought to life vividly. More mobs and scenery and thrills for your money than elsewhere. "The Fatal Marriage"— R-C. Just because it was mr'dc years ago and Lillian Gish and Wallace Reid play the leading roles. The story was adapted from "Enoch Arden." WORTH THE PRICE OF ADMISSION. "Watch Your Step"— Goldwyn. A pleasant little story of a city feller who gets into disgrace and flees to a hayseed town. Cullen Landis makes him human. You can take all the young folks to see it. and it won't bore you. either. "The Primitive Lover" — Talmadge — First National. One of our most pop- ular plots this season — "The Taming of the Shrew" one, you know — but witu Constance Talmadge and Harrison Ford in the picture, almost any o.d plot will do. "Missing Husbands" — Metro. This is a weird and fantastic affair with much humor in it that was never intended as such. Some of the scenes are beau- tiful. "The Man From Home" — •Paramount. This ought to be a great deal better than it is, with a Tarkington story, Fitzmaurice directing, and Anna Q. Nilsson, Norman Kerry, and James Kirkwood in the cast, not to mention a dazzling lot of Italian palaces. It's better than most, at that. "The Beauty Shop" — Cosmopolitan — Paramount. A new face — Raymond Hitchcock's — but old comedy. The Fairbanks twins and a number of other stars enliven the occasion as much as the story permits — which isn't much. "Find the Woman" — Cosmopolitan — Paramount. The perils of the great city, including Harrison Ford, Norman Kerry, and Alma Rubens. One of those things where you figure out wdio killed him and then find you're wrong. "The Seventh Day" — Inspiration — First National. Richard Barthelmcss never should have wasted his time on it, but he did and he is such an en- gaging young man that at moments you'll like it. "The Trap" — Universal. Lon Chaney in a tale of the great Northwest in which his pal done him wrong and he set out to wreak vengeance. And peo- ple like that always get punished and reformed — in pictures — don't they? "When Romance Rides" — Hampton — Goldwyn. One of those thrilling affairs where the girl impersonates a jockey and wins the race. Zanc Grey wrote it, and Claire Adams plays in it, but it is the horses you will like. "The Bachelor Daddy" — Paramount. One of the best reasons for casting Thomas Meighan and Leatrice Joy in the next De Mille special was their scenes together in this one. It's just full of romping kiddies, but if you can overlook them you'll like the picture. "Beyond the Rocks" — Paramount. Gloria Swanson exhibits an amazing array of clothes and Rodolph Valen- tino shows off a great variety of hair cuts in settings representing nearly every part of Europe and Africa. Rec- ommended highly only to fervent ad- mirers of these two stars. "FAIR WARNING." "The Deuce of Spades" — Raj' — First National. Another of those awful dis- appointments to Charles Raj' fans. His charming personality cannot redeem anything so utterly flat as this. "The Wife Trap"— Mia May— Para- mount. You just wouldn't believe how frightful this is, so I won't bother to tell von. "The Ordeal"— Paramount. This is another of those dramatic affairs that the audience thinks is funny. Agnes Ayres hasn't starred in as many poor pictures as Charles Ray has. but her percentage is higher as she hasn't been making them so long.
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Usually Known as Tony He was once a star, but now he's doing real acting and Antonio Moreno is as glad of the change as the fans are. IT was all neatly ar- ranged— my interview with Antonio Moreno. We were to have dinner at the Los Angeles Athletic Club and then go to see Leo Ditrichstein in "The Great Lover." What could be better than to watch "The Great Lover," in company with Antonio? But these stars are so distressingly human. Mr. Moreno wanted to go to Victor Hugo's because it is one of the restaurants in Los Angeles where the food is excellent and served in large quantities. More- over, we both decided that a vaudeville show would he much livelier than "The Great Lover." With Mr. Moreno looking the per- sonification of romance we talked about the difficulties of being an acrobat, soft- shoe dancing, and how to catch an iron ball on vour head without being killed. And then we talked about Picti-rf.-Play Magazine's Handsome Man Contest, and Mr. Moreno said he was glad to be among those present. "That reminds me of a funny story." he said. "You know. Tommy Meighan was winner. When Frances Ring, his wife, bought the magazine, she went to Tommy's- dressing room and wrote him a note. I forget the exact wording. but she said. 'Now that you're the prettiest feller in the movies. I don't suppose you will care to eat lunch- eon with your wife.' " From that we fell to talk- ing about interviews, inter- viewers, and persons inter- viewed. "Once some one quoted me as declaring that I preferred a foreign to an American wife," Mr. Moreno said. "That was quite wrong. I never made such a statement. American w omen are chic and clever. They have a sense of humor. The foreign woman is obliged to marry to get her freedom. Here it is not so. I am at present a bachelor, hut suppose that some day I shall marry an American woman? And suppose she should discover that I once said I wanted a foreign wife? It would be a very bad situation. "I was bom in Madrid. Perhaps that is why I like By Agnes Smith Phot., by ('. Hcn-hN.n Monroo On the streets of Los Angeles every one hails him with "Hey, there, Tonv!" brunettes — although I have known some charming blondes." And then he laughed. ''Put it is all foolishness to talk about women." Carefully purloining an ash tray from the next table, he continued: "All this talk ahout women shows a lack of respect. There is my mother in Spain. I have been home to see her, and I am going back again, I hope. Al- though she is not old, she seems older than an Ameri- can woman of her age. It is a question of convention. And yet she is charming and beautiful." He talked, eventually, a little about his work. "In severing my relations with Yitagraph I am mak- ing a new start." he told me. "It isn't a question of being a star, it is a question of being an actor — of find- ing the right roles. I have been in the movies a long time and, for the most part, I have been happy in my business associations. But now I feel that it will be a good thing for me to put my ability to a test. '"In Mr. Hughes' story 'The Bitterness of Sweets,' I played a role with char- acter. I was an Italian dancer. Let me tell you the dancing scenes were real. I had to take lessons and go in training. But it was a great relief to me after straight American hero roles — the conventional thing. I believe that the public is getting tired of the eternal hero. He fits into the dime novel, but it seems to me that the screen has outgrown that phase. "Mr. Hughes has an amazing sense of humor — and a sense for fun. And I enjoyed playing -a foreign part. I came to America when I was young. I played in pictures in the days when no one dared film a foreign story. I have been Americans and Spaniards and Italians. Sometimes I cannot place my own nationality. But the Spaniards know that I am Spanish. I receive letters from Buenos Aires. Do they say that I am their hero? No. They ask for passage money to the United States so that they, too, may make money. [Continued on page 96
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There are twelve news camera men in Washington all of the time, and the White House lawn is where much of their work is clone. The third motion-picture camera man from the left is Henry De Seina of Pathc, of whose adventurous spirit this story tells. Behold the Camera Men Busy Shooting the news under the capltol come is the favorite assignment of news camera men, and no wonder, for it is a dull day when famous potentates and politicians, prima-donnas and social leaders don't pose for them. By Charles Carter THIS is man's right," motion-picture man who had the camera paradise all remarked a news camera only recentlv come to Washington. "Why, there's always something do- ing, and I'm getting that fa- miliar with the White House I'll be slapping the president on the back one of these days." "If you did, he'd only slap you, too," murmured the blase one who had been photograph- news events in Washing- for three years. "Give a place where there are and wrecks and disas- I'm tired of celebri- mg ton me floods ters. ties." But the public and most camera men are not with him in that. They like the celeb- rities. And that is why there are twelve motion-pic- ture camera men stationed in Washington all of the time, and considerably more than that at the time of any special event. Much of the camera men's work is done on the White House lawn, but visi- tors in Washington soon get accustomed to seeing motion- picture cameras erected any- where and little groups of prominent men posing for photographs. Most of them are gracious about posing — not because they like it, but because it is good publicity for them. Washington is a town of people who are trying to pull strings, and one way of getting in touch with the public that holds those strings is through motion-pic- ture publicity. So they smile and bow as the motion-picture camera records them. Probably there is no one more photo- graphed— unless it be the president — than William Jennings Bryan. He always chaffs the photogra- phers, and even those who can't agree with his political views ad- mit that he's an awfully good sport. William Jennings Bryan is one of the most photo- graphed men in Washing- ton. "Get a good picture Tain at the next election."
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72 Behold the Busy Camera Men old U. S. S. Revenge, there was a striking climax to the incident that neither camera men nor any one else anticipated. While cameras were grinding, and President Harding was telling how honored he felt at being the first to occupy this ''editorial chair," his dog, Laddie Boy, crawled in through the crowd and usurped the honor that was to have been the president's. Laddie Boy is now the favorite star of the news camera men ; he gave them a real story when all they expected was another photograph of the president. There are few places in Washington that haven't been photo- graphed numberless times. Those, of course, are the places that interest the camera man most, and it takes a wily guard to protect his domain against them. Until about two years ago, the Senate chamber had never been pictured in a news reel. This irked Henry De Seina of the Pathe news forces, who had photographed almost even- one and everything in Washington, particularly when he read that Champ Clark's body was lying in state there. So, taking his ever-present camera, he briskly walked past the guard at the door, saying, '"Kelly said for me to go right on in and wait for him." Kelly is the superintendent of build- ings. That sounded reasonable, so the guard let him proceed. Once inside the Senate chamber, he worked fast, and got pictures from several different angles. When an irate and puffing Kelly entered, De Seina had his camera all packed ap, and was trying to look as much as possible unlike the cat that had just swallowed the canary. "Oh, I thought I'd fooled you that time !" De Seina said disgustedly. "Thought sure I was going to get some pictures in here." But Kelly was in no mood for airy conversation. He ordered De Seina out, and favored him with several remarks about what would happen to him if he ever came snooping around the government buildings with a camera again. A few days later the amazed Kelly saw pictures on the screen of his long-protected Senate chamber, with Champ Clark's body lying in state. De Seina was the hero of the Washington camera men for his accomplishment, but his days in Washington were over. Soon after that he was transferred to New York, where there is no Kelly to seek revenge on him for his nervy ruse. One of the most difficult men to take pictures of in all Wash- ington is "Uncle Joe" Cannon, for he always insists on smoking a big black cigar. "He'might as well hide behind a smoke screen," one photographer remarked disgustedly. "All you get is a blur." But that black cigar is almost a trade-mark for Uncle Joe, so he hates to give it up. Brigadier General Dawes for a long Here is one of the few pictures on record of "Uncle Joe" Cannon without his big black cigar, his "smoke screen" the camera men call it. Hardly a day passes that President Harding isn't photographed; this time he turned the tables, and told the photographers, "Now I'll take you for a change and see how you like it." "Be sure to get a good picture of this hat, boys," he told them once when they hurriedly . assembled to get his picture. "It may be in the ring again next election." Hardly a clay passes that President Harding isn't photographed. He is always good-natured about it, and Mrs. Harding always has a cheery "Hello, boys '" for the camera men. Recently, when the newspaper editors of the country presented President Harding with a chair carved from the
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Behold the Busy Camera Men 73 time cherished the distinction of being the most prominent man in Washington who had never appeared in the news reels. He threatened to break the neck of any man who pho- tographed him, but finally even he was "canned" for pos- terity by the news camera men. He was attending a meeting at the White House, and when President Harding announced that the meeting would adjourn to the lawn and ]X>se for the motion-picture cameras the irate brigadier general could not refuse. How the camera men chuckled that day ! After his first few weeks in Washington a news camera man finds little to excite or thrill him, but his exploits frequently thrill the crowds. Once mounted on the flimsy platform that has been erected for his use at the time of big parades or other ceremonials, the The hardest part about being a camera man in Washing- ton is getting through the crowds. Everywhere that Viscount Grey went in Washington he waiting to snap him. found a battery of cameras news photographer forgets everything but the picture he is after. But sometimes the crowd, too, forgets everything but what is happening down in front and surges against the camera man's platform with great force. Once a camera man who was leaning far over the railing of his platform got such a jolt that he fell clown in the midst of the crowd. "And we didn't get a picture of his fall !" the camera man of a rival company complained. One of the most remarkable feats ever accom- plished by a screen news service was the show- ing of the inauguration pictures by Pathe in Xew York six hours after Harding took the oath of office in Washington. In that case get- ting the pictures was only the beginning of the excitement. Al Richard, one of the camera men who took them, had to fight his way through the crowds, jump in the car that was waiting for him. drive at terrific speed through the city, and deliver the films to the mail plane which was to carry them to Xew York. Plans had been carefully laid — but one small item was overlooked. The films had to be wrapped and stamped in accordance with post-office regula- tions in order to be carried by the mail plane. The wrapping was provided for — Richard ac- complished that while tearing through the streets out toward the flying field at fifty miles an hour — but the stamps had been forgotten. He stopped at a postal station, and in his excitement forgot that there were stamps of conveniently large denominations. He bought two hundred two-cent stamps and pasted them on the package before he reached the field where the plane was. The taste of glue is a memory that will always stick to him. To the men in other professions who plug along with men of their own kind mostly, and rarely get more than a bird's-eye view of a real celebrity, the work of a news camera man in Washington seems wonderfully glamorous. Hardly a diplomat, a financier, society leader, or actress comes into prominence that the Continued on page 86
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For Exhibition Purposes Helene Chad wick does all her acting on the screen; in real life her beauty and poise are unruffled. By Barbara Little HELENE CHADWICK was enjoying a ten-day vacation in New York, far from the grinding camera, and wasn't in the least interested in being interviewed. But Goldwyn officials decided that she should stay over an extra day or two to have some photographs taken, and I'm one of those persons who likes to go along and find out. if possible, how the star got that way. So the Goldwyn press agent arranged it. It was all — or mostly all — the press agent's fault, for she had confided to me the day after Helene Chadwick's arrival in New York that she was the most per- fectly beautiful thing she had ever seen. It was after five o'clock at the time : the hour at which a press agent's remarks are made is always significant. Be tween the hours of nine and five everything they say should he discounted at least half. If after five o'clock cne should happen to say a n y thing complimentary about the stars it is her duty to tell the world about, the praise isn't half high enough. And she said that Helene Chadwick was the most beau- tiful thing she had ever seen! I didn't quite agree with that press agent when I met Helene Chadwick. but I was mighty glad to be sitting at a conspicuous center table at Delmonico's with her ! For that is the sort of looks she has ; you hope that every one you know — particularly the conservatives ■ — will happen along and see you with, her. She is deliriously pretty, with deep-brown eyes and white skin and dimples that twinkle about her mouth. And, although she wears conservative styles, she gives the impression of being extremely mod- ish. The significant thing about her looks, though, isn't what nature and a big salary have given her — it's what she has done with it. And by that I don't mean paint and powder; for Helene Chadwick's beauty seems en- tirely natural. It is that her beauty is mostly a matter of poise. "It's bunk." the cynical young man told me when 1 raved to him about Helene Chadwick. "Just because the scenarios always lix it so that her charm wins out in the end, you expect it of her in real life. You can't tell me. I met Helene Chadwick a couple of years ago when she was playing a small part in one episode of a Pearl While serial, befor she had a reputation. She was just n>*obyAbb. one more girl — pretty, in a way, but Helene Chadwick wears conservative sort of square-faced and dumpy at styles but she gives the impression of that." being extremely modish. I capitulated, "but you "She may have been then.' ought to see her now." - This is not going to be a story of how she got thin in twenty lessons or how she grew beautiful by read- ing philosophy and surrounding herself always with beautiful things. What happened in those two years to bring out such amazing beauty and poise in this girl is all the more re- markable because it was not deliberately sought. She simply did her work — and tried her best to do it well — and the beauty came to her. She doesn't read philosophy, or at least if she does she doesn't talk about it. She reads the more serious of the recent novels, such as "Brass," and she is as much interested in authors as you probably are in mo- tion-picture stars. I discovered that when I arrived with her at the photographer's. James Abbe was trying to make a somewhat scared-looking young man take on a semblance of naturalness. "It's Johnny Weaver," an assist- ant announced in awed tones. "Who's he?" asked Helene. "A young literary light." we cho- rused. Whereat the beauteous Helene took another peek at him. "I'll have plenty of time to read on the train going back. What's he written? Who is he? What else should I read?" And once she was well launched on the subject of what to read, it was hard work getting her back to motion pic- tures. I remembered having heard thai the title of Rupert Hughes' next story was "The Perfect Wife," and that sounded like Helene Chadwick so I asked her about it. "Yes, I'm to play the lead. I sup- pose because I've played wives so much that they think I ought to have some idea of what a perfect one should be like. I've mothered so manv Hollywood children on the screen that I feel responsible toward half the growing population of the town. Soon I'd like to play a real flap- ™ per part with frizzy hair and exaggerated clothes and pert manners. I've been watching them since I've been in New York, and I think they're too amusing for words. "We don't really know what flappers are out on the Coast. We've heard about them and read about them and tried to be properly shocked at the younger gen- eration, but we don't really know what it is all about. All the girls 1 know work so hard they haven't time to be like the girls in modern books. I suppose we're really old-fashioned. "I wish I had more energy; there are lots of things I'd like to do. I'd like to study dancing, for instance. Every one says it gives you so much more ease and Continued on page 95
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When one has been photographed as often as Helene Chadwick has, life begins to seem just -one succes- sion of profile, head and shoulders, or full-length-portrait sittings. So an ingenious photographer devised some new imaginary roles for her to play before his camera, costume parts such as her motion-picture ca- reer has never given her. These charming pictures are the result. n the donning of a costume she be- comes in the photograph above a dapper early Colonial with a swag- gering, insouciant mannei quite for- eign to her. And in the picture at the left she adopts a manner befit- ting the brocade billows of the twelfth century. History tells that the beauties of that time were as Hirtatious as they were fair, and so Helene cast off her usual dignity.
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i wo of the most interesting character studies in George Fitzmaurice's production of "To Have and To Hold" are contributed by W. J. Ferguson, who plays Sparrou; shown above, and Theodore Kosloff, who plays Lord CurnaL, shown at the left W. J. Ferguson has fifty years of stage experience to His credit and has appeared in several motion pictures, and Theodore Kosloff, who is fast developing into one of the most versatile character actors on the screen, is well known as a dancer. Pfaoto by DonaM Biddl* Ker«»
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In "Tess of the. Storm Country" Mary Pick- ford years ago scored one of her biggest suc- cesses, so now thai she has all the advantages of improved photog- raphy it is only natural thai she should want to play the part again. This little fishing vil- lage where much of the action takes place was built on the shores of Lake Chatsworth, near Los Angeles. The new version of the story will be known simply as "Tess."
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Dotty Ik-ale, of the Mack Sennett Comedy forces, has adopted the current fashion of Spanish effects in pic- tures. What more than a headdress is needed? Supplanting Now that bathing beauties no longer dazzle introduced to provide the decorative element A pirate bold, in fact almost brazen, is Cecile Evans, of Mack Sen- nett Comedies. Photo J>rC E. Dn Vera Steadman, of Christie Comedies, introduces this dashing Romanoff costume in a recent picture.
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Bathing Beauties us, these bizarre character creations are being without which no comedy is complete. Alice Maison, of Chris- tie Comedies, asks noth- ing more of a costume than that it he dashing. I'hoto by C. E. Itar Perhaps no troubadour of old ever appeared like this.but Natalie Johnson, formerly of the Follies, makes this her contri- bution to the new-style Christie Comedies. rhurr, bjr C. E. Day Isabel Bryant is another Christie Comedy girl who follows no set rules in evolving her costumes.
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In the Days of Chivalry Douglas Fairbanks in "Robin Hood*' will bring to the screen the glories of heroic days and magnifi- cent surroundings. Enid Bennett as Mai </ Marian and Douglas Fair- banks as Robin Hood have some charming scenes together.
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The massive walls of a great palace lighted fitfully with gpoulS of flame from torches rise above a scene of great magnificence in the banquet ball. Like figures from old tapestries come to life, Douglas Fairbanks and the support- ing actors in this production swagger through vast scenes of splendor.
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Gloria Swanson wore this beautiful gown in only one picture, but its career in the movies was by no means ended then. The story on the opposite page tells of the many changes it underwent, and how many bits of finery it provided for other pictures after its star appearance in "The Great Moment.''
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What Becomes of the Costumes? Though a star never wears a gown or a wrap in more than one picture, those same articles of attire often appear again on the screen. By Myrtle Gebhart HAVEN'T you often wondered, upon seeing the marvelous clothes the stars wear — a succession of new garments for each pic- ture, each gown seemingly more costly than its predecessor — what happens to them when the pic- ture has been finished? It isn't often that you see a motion-picture ac- tress of any prominence wear the same gown in more than one picture. Were ^he to do so for reasons of economy, what a storm of protest would greet her from indignant fans. You who pay your money feel that you want to see Gloria Swanson in an entirely new wardrobe in each picture; and you are right. Duplication of clothes would result, for one thing, in con- flicting characters — a certain monkey-fur coat or a pearl wedding gown, mayhap, sug- gests the character who wore it so strongly that it becomes a part of that picture and that characterization in memory. And so. for the birth of a new heroine a new wardrobe must be pro- vided. I shall never forget how Madame Petrova used to wear what appeared, at least, to be the same hat, with its plume identically placed, in practically every picture. And how tired I did get of that majestic feather — oh, if she would at least move the plume, I used to think, I might be able to endure seeing the hat over and over again. But that seldom hap- pens nowadays. for with the studios footing the costume bills, stars are only too glad to don new raiment with each picture. It is the stu- dios, therefore, who must stand this expense, and having good business men at their helms, they have reduced this expense to a minimum. And so a costume hav- ing been worn by a star is never discarded when she has finished with it. In the case of costume plays — by that I mean historical or period spectacles — the gar- ments either are kept for Above is the gown shown on the opposite pane, disguised by a pair of new sleeves. It was worn by Maude Wayne, in "The Bachelor Daddy," in which she also wore the cape, shown at the left, the collar and panels of which were made from the sleeves of the • original garment. use in future pictures, if the studio is one where a great deal of varied production goes on all the time, such as Famous Players-Lasky — or sold at a slight discount for wear to some costumer, who rents them out or sells them to some other producer who is making a play laid in the same locale and period of history. Only the second-rate producers, of course, buy used clothing. In the case of a star's modern wardrobe, when the picture is completed, these gowns, wraps, and negligees are remodeled for the actresses who are to play small parts in future productions; or for extras. Occasionally a bit of camouflage is indulged in, changing a ribbon
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84 What Becomes of the Costumes? By draping the gown with another pair of sleeves, Ethel Chaffln, the Lasky costume designer, made it serve again as a costume for Ann Legendrc, an extra, who also wore another cape with a collar made from the orginal sleeves, and carried a queer parasol and a hand bag made from the same material. bow, putting on a new lace overdrape, little touches which serve to conceal from an ob- servant public that the dress was worn by So-and-So in her last picture. At the Goldwyn studio the gowns are sel- dom changed, as it is their contention that a dress is likely to lose its individuality through remodeling. Claire Windsor wore, in "Grand Larceny," a lovely coat of gray- green duvetyn, w'th collar, cuffs, and wide hem of black fur, which was worn later by Eve Sot'nern in "Remembrance." A gown of silver metallic cloth which served to enhance Helene Chadwick's charm in "The Dust Flower," is now adorning Eleanor Boardman in "Brothers Under Their Skins." It is also customary, when a studio worker admires and covets a particular gown, to sell it to her. For instance, a lovely Helene Chadwick frock was sold at a fraction of its original cost to one of the women writers in the Goldwyn publicity department. In this way, many of the stenographers and girl clerks about the studios acquire wardrobes which they never could afford if they had to buy them at the regular downtown shops. At Lasky's the gowns of the principals invari- ably are made over for actresses playing small parts in future productions. Here, however, the entire garment is torn up, the materials cleaned and pressed and refashioned. Among the extra tribe it is considered a mark of special honor to be allowed to wear a gown made sacred in the eyes of the sisterhood by having adorned the per- son of Gloria Swanson. And it is whispered that Gloria dislikes very much to see an extra parading about in a shimmering evening gown or monkey-fur coat identified with one of her for- mer productions. But she cannot very well avoid doing that, as the pictures illustrating this article show. Each marks a step in the progression of one of the gowns which Gloria wore in "The Great Moment," and I presume that, by this time, as many more adaptations have been made of this gown and the material from which it was fashioned. Norma and Constance Talmadge usually give their clothes outright to members of their com- pany, particularly to prop boys and electricians to take home to their wives. Perhaps this ac- counts for the fact that they boast practically the same happy organization with which they started out as stars a few years back. The period costumes for "The Duchess of Langeais" were stored away in moth balls for possible future use, with the exception of two of Norma's choice ballroom gowns, which were given to members of her company as souvenirs. The majority of Mary Pickford's costumes are sold at a reduction, the proceeds going to some worthy charity. Nazimova sends a great many of her garments over to the Studio Club, selling them to the girls there at a small price. The other day I saw about twenty of them fighting politely over a box of shimmering silks and chif- fons. Hats also are dis- posed of in this way by a number of well-known women players, thus en- abling the struggling ex- tras who call the club their home to appear smart and well dressed at minimum cost. Several of the "flapper stars" — Doris May, Marie Pre- vost, and Gladys Walton — give their finery, or Continued on page 100
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A Fan's Adventures in Hollywood 85 Continued from page 31 camera. However, if she always dresses anything like the way 1 saw her arrayed, she makes up for it off the screen. She was all in brown, her coat being of mink, and her gown of brown velvet. Her hat was brown satin with the upturned brim in front embroidered in gold threads, and she wore bronze slippers and stockings. And she wore the most beautiful jewelry ! Her wrist watch, rings, and bar pin were all made of platinum and diamonds. The photographer's studio was in the most out-of-the-way place in Hol- lywood, where you'd never expect to find anything of any importance. No signs or display of any kind. The studio itself would be "taken at first glance for a rambling sort of barn. Inside it was the oddest and quite attractive little place, though. The walls and floor were covered with matting and some beautiful pieces of batik drapery were hung over screens or on the walls. I thought that these big photogra- phers used a great many props, but Mr. Seely doesn't seem to, for he didn't have many around. He seems to lie able to make the most artistic settings out of a vase and a few stalks of flowers, or a drapery. He pho- tographed Miss Novak in a few plain poses just sitting on an ottoman, and then she changed into a lovely batik robe and had the rest of her pictures taken in that. I was told that Mr. Seely is considered one of the most artistic photographers in Los Angeles and that he takes photographs of many of the film players. Jane Novak was one of the first to go to him, and he took such splendid pic- tures of her that ever so many other stars followed her lead. The movie players are always trying to discover some new photographer, and when one starts all the stars seem to follow. These photographers, once they get established and have a big reputation, get awfully big prices. I overheard one movie actress say she had to pay two hundred dollars for one dozen of the very large-sized photographs. Just think of that next time you think it's asking too much of you when you are requested to inclose a quarter with a request for a movie star's pic- ture ! Since I have seen the little side occupations of motion-picture stars I think they are just about the busiest people you could find. I often marvel how they ever accomplish everything and manage to find any time at all to play. True, some of their occupations are such pleasant ones that after our commonplace. everyday sort of jobs theirs seem more like being paid for doing things we'd gladly pay to do. However, I suppose that no matter how pleasant a thing may seem as a diversion, once it becomes a necessity, you can't help feeling the burden of it. Few fans ever realize that the movies are a busi- ness. They take the saying, "play- acting," literally. I know I held fan- ciful ideas about pictures being a grand sort of game more than any- thing else and never gave a thought to their being made on regular busi- ness lines. I remember I had quite vague notions about the working hours, vacations, and such things. I was under the impression that stars came to work whatever time they wanted to and that they could take a vacation any time they wished. So I was more than surprised when I repeatedly ran up against the fact that the majority of the movie play- ers must be on time while they are working on a picture and can seldom get a day off during that time. Even when they go to some big party or affair and it keeps them up half the night, they must report to work the next morning. When there is a brief respite between pictures, it is gen- erally taken up by giving interviews, buying clothes or having photographs taken. The most important duty seems to be the selection of clothes for their forthcoming pictures. I had got an idea of that when Elsie Ferguson took me around New York with her to show me how it is done when the star furnishes her own clothes. It was Agnes Ayres who showed me what it is like when stars have their clothes selected for them. Famous Players- Lasky seems to be the company that has the most extensive wardrobe de- partment and furnishes the most lux- urious and fashionable apparel for its players. No wonder most of the actresses would like to be De Mille heroines. I would, too. I had expected to find the heroine of "The Sheik" lovely, but not quite so lovely as she actually looks in real life. I'll never forget what a picture she made when I first saw her, as she stood in the doorway of the pub- licity office. She fairly took my breath away ! She wore an enveloping black coat and a red turban hat with a high red comb in front of it : a perfectly straight-l'ned dress that was of some sort of Chinese design. Her eyes are verv wide, appealing. and gray. She is fair, both in com- plexion and hair which is a much lighter blond than the camera shows. All this I took in at first glance. We went to her dressing room and sat and talked for a while. T no- ticed several elaborate costumes hang- ing up that Miss Ayres had worn in some of her pictures. My eyes caught, especially, a lovely picture hat of pale-pink georgette with a wide brim turned up in back and a cas- cade of pastel-shaded feathers hang- ing from it. Oh, it was a dream ! Meanwhile, Agnes was explaining to me just how they went about se- lecting the clothes for her pictures. "Mrs. Ethel Chaffin who is the head of the costuming department, selects and chooses the costumes and then the star and director pass on them," she told me. "The script of the story is taken for reference, you see, and from that we see how many changes are needed fo.r the entire picture. Another rea- son for using the script is that it en- ables us to try and select the differ- ent types of clothes to suit the action. For instance, if a scene is to be very emotional or appealing, the best type of costume to be in keeping with it is something somber or quiet. If it is to be. a love scene in the moonlight, the gown selected is usually some- thing shimmering that throws off the light well. When I have the part of a young married woman as I have taken so often in my pictures, the clothes I wear must be conservative as well as youthful, so as to suit a young married girl with a certain amount of dignity. The gowns can be fluffy, but not too much so, do you see?" This was all perfectly new to me. I had never given a thought to their using any sort of philosophy in the choosing of costumes for picture plays. But it is natural when you consider it. She has a plaintive, slightly drawl- ing voice and has that same way of half smiling that we fans have begun to associate with Agnes from her pic- tures. Agnes Ayres reminds me of Co- rinne Griffith in some respects — in her more or less calm, languid man- ner. I couldn't imagine her ever get- ting ruffled or excited over anything. I think if she found herself in a pre- dicament of any sort she would be more likely just to wring her hands in a helpless, appealing way and win her point that way. "Now. I'll take you over to the wardrobe department and show you around," Miss Ayres offered. The wardrobe department is a whole big building in itself and has ever so many different departments. There is the stock room where bolts and bolts of every kind of material are kept — just like a regular small drv-goods store. Then there are the sitting rooms and workroom where several women were sewing and Continued on page 102
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86 Behold the Busy Camera Men Continued from page 73 Washington camera man doesn't meet him. And with the ease of manner that is acquired only by mingling with the great, a camera man who started out in life as plain Bill Jones, son of a village photographer, gets to be on joking terms with all the great and near great of Washington. Sometimes foreign diplomats so appreciate the work of the camera men, who follow them about and pre- serve in gelatin the great moments of their careers, that they want to show their appreciation in some way. One who recently returned to Europe decided that there would be no better way than to divide his cellar among them. Calls went out to all the news- reel offices that there was something important to cover up at this diplo- mat's house. Karl Fasold, of the Pathe office, was in another section of the city at the time, and didn't get the message until later. Hurrying to the consulate then, he found that the spoils had all been divided, and not a single bottle of Haig & Haig had been saved for him. "Oh, well," said Fasold philosophically, "the dog-gone bottle wouldn't have fitted inside my camera, anyway, so what's the use." The ordinary run of news events comes to the news photographers in such a systematized way that they have few surprises. Each govern- ment agency keeps the offices in- formed of the events in their de- partments that would be worth pic- turing in the news reels, and fre- quently a news camera man knows what his assignments are to be for days ahead. But some months ago, when a week-end promised to be un- eventful, and Karl Fasold, of the Pathe forces, planned a vacation trip, a secret-service man warned him not to leave his post of duty. Sure enough, on Saturday Fasold received word that the president was going camping with Mr. Firestone, Henry Ford, and Thomas Edison. He wouldn't have missed taking pictures of that trip for anything. You may have seen his pictures of it, but his description adds color to them. "President Harding accepted the invitation on condition that the camp would be located in a secluded section so that there would be no visitors," Fasold says. "We're not even considered visitors any more, the president is so used to seeing us around. That trip was my idea of camping de luxe. The tents were all painted green so that the glare of the sun wouldn't bother the distin- guished campers. They were all electrically lighted, equipped with the most modern electrical cooking ar- rangements, and a sanitary expert ac- companied the party. "The table in the dining tent was equi piied with an arrangement in- vented by Mr. Edison, whereby the food was distributed on a little table mounted on top of the regular table. This revolved when a button was pressed, and the food was carried to each diner in that fashion. Many a joke was passed on this contraption's likeness to the Ford car, until some one reminded the crowd of Mr. Ford's favorite joke. 'Have you heard the latest Ford joke?' the story goes. 'I hope so,' is the answer with which Mr. Ford heartily concurs." There are hardly enough such par- ties to enliven the work of the Wash- inton news camera men, however, and so a part of every man's time is spent on "negative" duty. This duty has nothing to do with film negative, as one might suppose, but is dedicated to the negative in universal use — that is, just plain "No." There are dozens of publicity seekers in Washington who bother the news-reel offices day after day, asking to have a news cam- era man sent to cover some pet proj- ect of theirs, and it is the painful duty of the camera man to see some of these people occasionally and turn them down. They are unassuming men, these camera men, and yet their work has a far-reaching effect. They are the mirrors of the nation's capital, whose reflection, cast upon thousands of screens the country over, teach the people who our big men are and what they look like, teach our girls what the nation's society and political lead- ers are like and what they wear, and, most important of all, familiarizes the entire country with the activities of the men who in three years' time may come before the voters of the coun- try as presidential timber. The Flapper Set in Hollywood Continued from page 24 embodied spirits, but that they didn't hang around these joints. So he grabbed me by the arm, and we went right up front. Somebody grabbed me by the ankle as I was go- ing up. I screamed, but Harold kept right on, just sort of creeping along low down. Suddenly he reached out and put his hand right on the ghost's face. And it wasn't a face at all. It was a foot, draped in cheesecloth ! And that broke up the meeting." A couple of years ago there was a Bachelor Maids' club. The club was formed at Carmel Myers' bouse, and everybody took the oath never to marry. "The girls wanted to sign their names in blood." explained Colleen Moore, who told me about it, "but Mrs. Myers. Carmel's mother, is a practical soul, and said they weren't going to do any signing with blood in her house and make the place look as though a murder had been com- mitted there — that it would make her blood run cold, so it would, and be- sides some of the girls might get blood poisoning from it, and that would be worse than marrying, any day. So we had to be satisfied with red ink. Bessie Love belonged to it and Helen Ferguson, Helene Chad- wick, Pauline Starke, ZaSu Pitts, Edith Roberts, and myself, and. of course, Carmel. Carmel Myers was the moving spirit in it — and then she was the first to go and get married. And then ZaSu and Helene went back on their solemn vows, and Edith and Pauline and Helen are all engaged or supposed to be." And so is Colleen herself, if the reports are true ! Just now all the younger set are keen on uplift clubs. One has just been formed with some of the nicest tjirls in the film world as members. They're going to do a lot of nice char- ity things. One is the contributing of a fund to care for any leading lady who finds herself in needy circum- stances. The other is to help the boys of the Wounded Soldiers' Hospitals. "But," confided Lois Wilson to me, "while I think it's perfectly lovely, and those boys are dears, still some- thing awfully funny happened to one of the girls, last week. No, I won't tell you which one. But it seems that the girls go and take the boys riding in their machines. One day this girl met a soldier with his arm done up in a sling, and limping along with a cane, just outside the hospital gates. She invited him to ride with her, he turned out to be awfully clever and nice, and they had a wonderful time, until, away cut on the road, the ma- chine stalled for some reason. The girl fixed it. and they were just start- ing away when along came a bum and tried to hold 'em up. "And what do you think? That soldier forgot all about his wounded arm. He hopped out and knocked the bum down. Then he hopped into the machine, grabbed the wheel, and they were off! His arm wasn't wounded at all. He confessed he just wanted to get a chance to ride with her!"
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Two Who Found No Fairy Godmother 87 Continued from page 33 other day, she fails still to grasp the cruelty of those studio roisterers who made her ridiculous to furnish their daily laugh. She left Universal again some weeks later — this time of her own accord — and went over to the Mack Sennett studio. She inquired politely of the gateman: "What chance do you think I have as a bathing beauty?" He looked her op and down slowly and then pronounced: "Not — a — chance." That settled, she thanked him, turned, and plodded unabashed straight to the Charlie Chaplin stu- dio. Funds were low. Fortunately for the Pitts ex- chequer, Mr. Chaplin put her under contract — but unfortunately for her artistic development did not call her for work. For six months she sat in her dressing room day after day. waiting for the word that did not come. It was very lonely. The lead- ing woman. Edna Purviance. had the next dressing room, but did not vouchsafe the little player a casual "Good morning." ZaSu. reticent and ill at ease, did not make advances. She had much time for thought, and at the end of six months she came to the conclusion that time spent in a dressing room was never going to put her before the public. She left the dull harbor she had found and again went on to seek her fortune. She had one failure and one suc- cess before she finally signed with the Brentwood Film Corporation, now extinct. Her failure was with Griffith. When she went to his studio, he was making "The Greatest Thing In Life," and ZaSu was signed to play the Lillian Gish part. Having felt that she had at last arrived, ZaSu got a violent shock when she was told that, after many weeks of re- hearsal, she was too much like the Gish girls in type, and that, with Mr. Griffith's sincere assurance of her ultimate success, her part in the picture was ended. But she was again restored to the heights of her buoyant confidence when she contracted for the part of Becky in Mary Pick ford's produc- tion of "The Little Princess." Brentwood, a company with King Vidor at its head, then signed her on a two-year contract to play leads in small-town comedies. The pic- tures were cheaply made, but the sto- ries were more or less suited to ZaSu's peculiar type. Because she exercised a pathetic sort of heart ap- peal, her following grew steadily in volume. She became, for the time being, a star. At the end of the two years, a mushroom motion-picture company signed her on a long-term contract, at a weekly salary of a thousand dol- lars. She was to play, not in small- town pictures for small-town the- aters, but in features, as an ingenue heroine, with frilly dresses, back- light and all the paraphernalia of the sugar-and-water actress of which the public is heartily tired. The fans, however, were not even told this. All they knew was that ZaSu was to get a thousand dollars a week. Somehow they didn't asso- ciate her with that much money. The reaction against high-salaried picture players had set in, and the gossip about Hollywood, which culminated in the spring of 1922, was increasing like a snowball rolling downhill. ZaSu received her thousand dol- lars for a few weeks, then her backers dissolved. Not of a provident na- ture, she had bought a car. many clothes, and much powder and per- fume. When her bubble burst, she was left to regard her recent acquisi- tions with a contemplative eye and to wonder what she would do next. After having made up her mind that she was a star, it was hard for her to realize that she did not have the making of a luminary in her. Quite slowly she came to the conclu- sion— a correct one — that she was a character woman. Upon arriving at this conclusion, after nearly a year, she prinked her hair, put on some of the clothes her thousand dollars had bought, and went out to look for any sort of acting job she could get. She was considered for the part of Miss Lulu Bctt, but the failure of her thousand-a-week contract to re- sult in actual production — a circum- stance in no way her fault — reacted against her. She and her husband, Tom Gallery, gathered together some money sparingly provided by San Francisco backers, and made a pic- ture called "Peter-Jane." which will soon be released. It took them ex- actly two weeks to make it. working under the direction of John MacDer- mott. They had in the cast such per- sons as Marjorie Daw and Wallace Beery. Then Paul Powell engaged her to play a character part in "For the De- fense." the last picture Ftbel Clay- ton made for Famous Players. James Cruze, on the same lot. u^ed her in "Is Matrimony a Failure?" with a featured cast. She is now in retirement following the birth of a daughter, but as soon as she is able to, she plans to continue the career that has had so many ups and downs. She has realized at last just what her particular niche is, and will work whole-heartedly to fill it. She is just another girl in pic- tures who has refused to recognize failure. It took her some time to grasp just what it was all about, but now that she has grasped it, she will hang on tighter and longer than would Patsy, her English bulldog. In contrast with ZaSu's rather wistfully light-hearted attitude toward her rocky road to success, is Pauline Starke's truly serious one. Unlike ZaSu, she is definitely and positively on the road to stardom. It seemed incongruous to hear her, exquisitely gowned and living in a luxurious apartment, telling me of her poverty of only a few years back. She and her mother came from Joplin. Missouri, ten years ago. Far from affluent, Mrs. Starke managed to scrape enough money together by sewing and playing atmosphere at the Griffith studio to send Pauline to Egan's Dramatic School. Pauline had always been curious to see the strange place where movies were made, so one Saturday her mother took her over on the lot. Griffith, his eye caught by the little girl's bright-green sweater and white dress, watched her during the making of a mob scene. She regarded the hustle and bustle about her with such solemnity and such grave interest that the director's interest was in- trigued. He told her to report for work the following Monday. She played extra parts intermit- tently for some months, most of her work consisting in being padded out to fill the grown women's clothes given her. As she was only a very small atom in a very large mob. the discrepancy between her childish face and the long dresses was not caught by the camera. But all this time Griffith had been watching her. At last his confidence in her possibilities resulted in his put- ting her in stock. Mildred Harris. Carmel Myers. Bessie Love, Mary Alden. the 'Gish sisters. Mae Marsh, and Constance Talmadge were her companions. These girls were guar- anteed a minimum of two days' work a week at five dollars a day. It was to their advantage, of course, if they worked additional days. Mrs. Starke played atmosphere some of the time in pictures produced on the same lot. and. with Mildred Harris' mother, spent the rest of her time sewing in the wardrobe. Tt was through the efforts of their mothers, through their love and care and de- votion, that these two girls have reached the positions they now hold. Mrs. Harris and Mrs. Starke worked all day in the studio wardrobe Continued on page 98
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88 He Makes More Money Than the King Continued from page 64 Italy. I make-a more mon' than king. Sure! First time 1 send mon' home, old folks think-a I rob a bank, get scared. Ha! When, I go home, some spaghet1 parties, I promise. Dey talk about 'Hollywood parties.' You wait. I give-a old folks real party — plenty spaghet'. Some class to Bool, by gol!" Since he donned the Iwxing gloves, life has been kinder to the ex-quarry laborer. And even the pugilists lul- lahied by Bull's ham-sized fist will say that he deserves all the good things that have come to him — "the plenty spaghet'," which sums it up for him. A few years ago, Douglas Fairbanks saw Bull standing in front of the Astor Hotel in New York fighting a verbal duel with "Spike" Robinson. "Just the man I want for the tough part in 'In Again, Out Again,' " Doug said to John Emer- son. But let Bull tell it: "A man, he say to me, 'Bool, Doog Fairbanks want-a meet you.' I say, 'Who's Doog Fairbanks?' Man say, 'You crazze keed, he's beeg peecture star.' I say, 'I don' know what peec- ture star is, but I meet heem. I can lick heem.' So I meet this here Doog. He give-a me job. I take heem. I think maybe some day I be beeg star like this here Doog. I get-a seven'-five dollar' week to start. Some class, by gol. Now I get-a over thousand — more than king." He has appeared in "Manhattan Madness," "Treasure Island." "Crazy to Marry," he was the gorilla in "Go and Get It," and played in "The Fool- ish Age" with Doris May. Hunt Stromberg is now starring him in his second comedy. "Sure, 1 got-a lots-a girls," Bull confessed, when I twitted him about the way these Hollywood Hollies fol- low him around. "But I'm a smart chap. Bool's no-a fool. Those girl, she want-a thees," showing the head- light diamond which, in fact, you spy long before you see Bull himself. "And she want-a new car and-a lots a theengs. But I tease 'em all. I say, 'Sure, you my girl, sure-a.' But I leave-a women alone. I stay-a out of moonlight." There was a shrewd, humorous twinkle in his black eves. "Bool's no-a fool." And he isn't. He's a canny soul who has known poverty and there- fore saves against it in the future. Continued from page 63 suddenly realized that my brain child was licking its father ! It was mas- tering me. It had become too big for me to handle. My parental pride was in peril. Grimly I resolved to make it do my bidding. No one shall ever know the ordeal I underwent that week in the cutting room. No one shall ever know the agony, the distress, the despair, the heartbreaks that I suffered. But at last the thing was done. I had trimmed the rebellious infant — to seven reels. Victorious. I emerged from the stuffy cutting room and summoned my anxious and dubious confreres to view it. Unanimously they acclaimed their approval of the work. "Now," said Bennie, "dress it up with titles, and we're through." Buoyant with confidence and ec- stasy. I locked myself up again and wrote titles. My first set were de- liberately humorous. I finished them and submitted them to Bennie. He pronounced them verv bad. They were too funny, he said. Funny titles would ruin the tender pathos of the picture. We must have something sentimental. So I wrote a set of sentimental titles. T filled them with poetry of tears. When they were finished. I read them over and tore them up. They were too mawkish. Then, for another week, during which Bennie and Bernie and Jim were frantic, I grappled with a set of titles — just plain, simple titles, with perhaps an occasional inspira- Raising a Brain Child tion hidden among them and one or two salvaged from the first and sec- ond sets. I turned them over to the others to read, and they met with general favor. I was relieved, and I might well be ; for I had written over three thousand titles before I had satisfied myself. At length, however, the final titles were printed and photographed and inserted in the picture. Then came disaster. It had occurred to no one that titles consumed space. Our sev- en-reel picture, with titles had be- come a nine-reel picture again ! I surrendered weakly. To go through that drudgery again was more than I had the courage to meet. There were also three other cowards, and the work was given to another, a sympathetic friend whose editing ability is profound. With the mys- tifying genius of a magician, he made two reels disappear, and my brain child was ready to go forth into the world to meet its fate. Bennie and Bernie took the picture to New York to confront the most difficult task of all — selling it for re- lease. I waited anxiously and trem- blingly for word from them, and after three months of silence I fol- lowed to the metropolis. My trip across the continent was one of men- tal torment. I calculated our chances. I knew that an average of only one out of every eleven or twelve inde- pendently produced pictures is a suc- cess. I despaired. In the bad lands of Colorado our train was wrecked while we slept, and I might have been killed without knowing it, but I was not. I was sure then that I had been maliciously spared just so that I might go on to New York and die of a broken heart and starvation. There was something heartening, something vivifying in the handshake Bennie gave me when he met me at the train. And there was reason for it to electrify me. After four months — four aeons during which we im- agined that the universe hung motion- less and expectant in the void — the impossible had happened. The pic- ture was sold — we had become pro- ducers ! And that was not all. Over the entrance to the Criterion Theater was a big sign from which flashed the title of my brain child. We were starting out with a showing on Broad- way ! You can't imagine the relief it was. It meant not only that we would get financial reward for our risks and our labors, but that we were no longer merely financial dare-devils ; we were real producers. We had made and marketed a picture that was actually shown in theaters throughout the country. "But. after all, it's nothing," we say with the genuine and unoriginal humanity which distinguishes all of us. Deep clown in our hearts, though. we are really amazed and a little chagrined to discover that we feel no thrill in looking at ourselves in a mirror, and that a producer is in es- sence the same thing as a butcher — or a duke. "COMING TOMORROW" Is the title of an unusual and engrossing personality sketch of Cullen Landis. written by Gerald C. Duffy, which will appear in next month's Picture-Play. The speed— the daring— and the likable swagger of this young player are shown in this article just as his friends know them. His appearances on the screen have made him one of the rising favorites of the fans. This story will give you a glimpse of the greater glories the future promises for him.
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What Do You Call Acting? 89 Continued from page 17 anna type. As Rose E. Ward, of Ithaca, New York, says, "Mary Pick- ford is the only one who can play child parts, and I hope she keeps on playing them." To some extent, of course, these different opinions are based on differ- ences in personal taste — in personal preferences. For this reason we shall always have different types of actors, just as we have musicians for every taste. In very few instances has the world as a whole agreed in acclaiming any actors as artists of the first rank. Bernhardt is one of these; Mrs. Fiske is another, and so was Modjeska, in her day. But to these the palms were awarded only after a long career, ex- tending over many years. Almost all the world loves and enjoys Maude Adams, but there are many who claim that she is not a great actress. Can you name any popular actress or ac- tor on the stage to-day who is uni- versally hailed by critics and public alike as great? That being the case, what, then, can be said of the movie players who have l)een with us but a few short years? What is the standard by which we are to judge them? It must be a standard coined in the motion-picture theaters of the present time. We fans are helping to mold future opinions,- and these opinions are often formed rapidly. When we write a letter to Picture-Play say- ing that we think Dotty Dimples is very beautiful but a very poor actress, we are sowing a seed which may cause a sudden whirlwind, for at once people are going to stop and think about Miss Dimples' acting the next time they see her. The opportunity for forming new opinions about motion pictures is very great. Never before has the whole amusement-loving world had a similar opportunity to make immedi- ate comparisons between different types and qualities of acting. In the days when Rejane, Modjeska, Bern- hardt, Duse, Mrs. Fiske, and Ellen Terry were the undisputed queens of the stage there was no city in the United States, with the possible ex- ception of New York, in which the critically inclined could go from one theater to another, night after night, and draw comparisons between the abilities of players such as these. But now, every city in America boasts the appearance during a single week of several such players as Lil- lian Gish, Mary Pickford, Wallace Reid. Rodolph Valentino, Viola Dana. Bert Lytell. and many other favorites. Thus, with the tremendous weight of this constantly changing opinion made up from the composite mind of almost the entire nation, is it any wonder that the popularity of a star is an uncertain and a changing thing ? And now, let us check up the re- sults of our investigation. Granting that the opinions I have quoted are typical, we find that a consensus of them demands that the actor should be sincere, natural, and capable of giving the impression of living each role, and capable of appealing to the emotions. That he should not be stagy, flip- pant, a poseur, a clothes hanger, a face-maker. The most disputed question seems to be whether the best acting is ob- tained by the player's sticking to one single type of role, or whether his characterizations should be varied. Probably this question never will be settled one way or another. Or, rather, it will continue to be settled both ways. In conclusion. I can only say what others have said before me: If you have any definite ideas on this sub- ject, write letters — lots of letters ; tell just what you think is the matter with the players on the screen, and some- thing will be done about it. For the producers are making pictures to please you and not themselves. You are the real directors after all. Continued from page 21 seen such raving ecstasies as some of the reviewers indulged in over your 'Wall Flower' and that old 'When Dawn Came' and 'Dinty.' " "Wasn't it funny." Colleen chuckled — it was the little girl Col- leen speaking now, not that trouper experienced beyond her years — "they raved so over those things where I really wasn't so much that if I ever do anything awfully good and they praise me it will be like crying. 'Wolf! Wolf!"' That "something awfully good" which almost every one expects her to do may be "The Bitterness of Sweets," a Rupert Hughes picture she recently made, in which she plays a dancer. Or it may be "Affinities," a Mary Roberts Rinehart picture, which she made for Ward Lascelles between her Goldwyn engagements. Or perhaps "Broken Chains," the ten- thousand-dollar-prize story, in which she is .playing the leading role, will be the one to bring out the full flow- ering of her talent. The film indus- try looks on Colleen as one of its big bets, and expects one of these pictures to prove it. Now Colleen — like most girls — is supersensitive about certain things. Everybody's Colleen but I'm going to speak of them, any- way. She has big hands and feet, and her eyes are not alike. One is gray, the other brown, and I speak of them only because her triumphs are much more important when you consider these drawbacks. Her in- domitable spirit makes you forget everything about her eyes except the expression in them, and the size of her hands and feet are unnoticeable. for they have undergone such rigor- ous ballet training that they are amaz- ingly agile and graceful. At the Biograph studio in New York — where for a time she occupied the beautiful dressing room that has belonged to Clara Kimball Young, the late Olive Thomas. Lillian Gish, and other famous stars — and at the Neilan or Goldwyn studios in Cali- fornia she is quite a personage. Di- rectors are always praising her to other members of their companies, for she is as willing a worker as she was the day she started. But at home she is just the twenty-year-old daugh- ter who gets kidded unmercifully by her brother and scolded good and hard by her mother if she stays late at a dance. Outside of the studio she is a little flapper, dressed ahead of the stvle more often than not; at a matinee she is one of the most ar- dent hero worshipers I ever knew, you could set her down among a crowd of girl fans and she would rave about the players just as they did, and you'd never know that she was a player herself. She doesn't put you in your place — as she has every right to do — by saying, "I know what I'm talking about because I played with so and so." But some day when the laurels are being showered on Colleen, she will forget her usual diffidence and tell about the people she most admires and bow much they have done for her. There will be Lillian Gish first of all, for it was Lillian whom Col- leen amply worshiped in those form- ative years back at the old Fine Arts studio, and I suspect that it was from Lillian that she got the prim dignity that clings to her even through her bursts of typically Irish merriment. There will be many others who were so drawn to this ingratiating little girl with the tremulous smile on her lips that they wanted to play a part in the molding of her career — Mar- shall Neilan. for instance, and John Barrymore. But most important of them are Blanche Sweet and Rupert Hughes. Mr. Hughes did his part
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90 by giving her big roles and working over them with her — and by bringing her much valuable publicity — an item not to be scorned. He remarked one clay that whereas most successful ac- tresses were marble to mold and wax to retain, Colleen was wax to mold and marble to retain. And this re- Everybody's Colleen mark of his was picked up by news- papers and magazines all over the world. But Blanche Sweet's gift to her has been an even greater one. Out of her own skill, her own experi- ence, there is no resource that she has not wanted to share with this younger player. She has advised, and encouraged Colleen every step of the way. And it is all because of that little indefinable, endearing sweetness of the girl that you, or I, or any one would give her anything we had. And so you see why I say she is everybody's Colleen. The Screen in Review Continued from page 68 all this she is dowdy until Edward Martindel appears and she suddenly discovers the magic of well-hung ear- rings and a marcel wave. The sce- nario maker hasn't done much for the story, but, as usual, Miss Frederick shows herself quite capable of sav- ing the plot. She is always interest- ing and magnetic even when half smothered by banal subtitles. "Our Leading Citizen." Here is a comedy masterpiece which proves the advantage of hav- ing one man at the helm, especially if that one man is George Ade. He wrote the story, most of the scenario, all of the titles, helped in the direc- tion, and, for all we know, doubled in brass in the cast. The result is one of the most amusing films of many months. It's the Indiana type of story — almost suggestive of Tark- ington's early work- — one of those small-town idyls where a lazy, no- 'count lawyer wins out in a political battle, gets the beautiful heiress, and is elected to Congress. Thomas Meighan is at his best as the re- formed loafer, and Lois Wilson puts more vivacity than usual into the clashing role of the girl. (This young woman is getting more versa- tile with every picture.) Then there is Theodore Roberts and Charles Ogle and many excellent character sketches in an unusual cast. But most of all, there is George Ade. I hope he won't rest on his laurels, but will go on and make several dozen comedies with the broad humor and sly satire of this one. If your father, brother, or sweet- heart is the sort of person who stays away from the movies because of the "slushy, silly stories." and you want to convert him, see if you can't wheedle him into seeing this picture. It ought to bring him around if any picture will. "The Woman Who Walked Alone." Dorothy Dalton marrying a wicked old rich man "for the sake of the family." This plot always irritates me. When a woman exploits a mil- lionaire solely for his money, even to support a few starving relatives. my sympathies are all for the wicked old rich man. You can't help feel- ing sorry for the old boy when he attempts to pat her hand and she shrinks and hisses, "I loathe you !" I have often wondered what these wives thought they were giving as their part of the bargain. I notice they never shrink from the jewels and laces. So I hadn't much sympa- thy for Dorothy even when she was turned out of her home and worked as a barmaid among the Boers. She never seemed to "walk alone," not so that you could notice it; there was always a line of men close on her trail. Miss Dalton puts much energy and fervor into her role and some- how manages to be convincing, though her role is not. Milton Sills, as the inevitable "other man." is very stern and very noble, as usual. Wanda Hawley plays one of those little sisters who are continually get- ting themselves and the entire cast into hot water. Three Foreign Films. Of the foreign output this month, a play called "At the Stroke of Mid- night" is the most interesting. It is a Swedish film and full of gloom. But the strong point of the "Mid- night" film is not its gloom, but its ghost story. There is an incidental story told in a graveyard which will send shivers up your spine whenever you think of it. I enjoyed it im- mensely, although I had to sit through reels of endless dreary moralizing to get to the spooks. I've always felt that the screen was the place for a great masterpiece in the ghost-story line. This film isn't it, but it certainly suggests its possibili- ties. Doctor Selma Lagerlof wrote the tale, and Victor Seastrom is im- mensely impressive in the principal role. For entertainment T cannot recommend this film to American au- diences. As compared to the average film play this one has an extremely dull story, and I have yet to find an American who felt moved by it, or sympathetic toward the characters. For the thoughtful student, however, who is interested in something about the manner of thought and the points of viVw of races other than his own. I should say that the picture might be interesting in the extreme. Also on the foreign list we have "The Devil's Pawn" and "Retribu- tion." The first is a Pola Negri pic- ture and about as bad as they come except for the always interesting act- ing of this extraordinary star. But the pictute is stagy and absurd, and somehow I resent the assumption of these producers that since her success in "Passion" they can dump any old thing on the American public. I don't believe the Germans would stand for these pictures in their own theaters. We have had four of them now, and thev get worse and worse. Yet "Passion." "Deception," and "Pharaoh" were so beautiful ! "Retribution." This picture professes to give the inside dope about Lucretia Borgia. This cruel vamp of the Italian Renais- sance is whitewashed until she ap- pears as a sweet-faced saint, which is tough on her brother Casar, who gets blamed for all her poisoning par- ties. Most of the picture is naively absurd, but there are scenes of great beauty, particularly the one showing the election of Rodrigo Borgia to the papal throne. Enrico Piacentini plays the brother Borgia, and Lucre- tia Borgia is none other than the Countess Irene Saffo Momo. Among Other Things. Also in the memories of the month we recall "Yellow Men and Gold," with Helene Chadwick and Richard Dix, a clashing, exciting melodrama full of buried treasure and secret islands and murder trails; Katherine Mac-Donald, gracious and decorative, trailing through a vapid triangle plot called "Domestic Relations" and "South of Suva." an interesting mari- tal drama with Mary Miles Minter as the wife, and most beautiful Fiji Island scenery for background. We were much impressed, moreover, by the new dance pictures made by Ted Shawn and Claude Millard. With the right music thev can bring the living presence of Pavlowa. Isadora Duncan. Ruth St. Denis, and any other famous dancer with all the charm of their original production.
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The News Reel 91 Continued from page 55 studio. Metro promises to be busy, but there is little doing at the Yitagraph plant. And so it goes. The wor- ried actor thinks that something ought to be done about it and says his prayers at night to Will Hays, who looms over Hollywood like a cross between a censor and a Salvation Army lassie. A curious superstition has grown up in many of the studios. It is that a picture must be awfully good or frightfully bad to be a success. The producers think that the fans are tired of light comedies and just-soso movies. And so they are going in for heavy melodramas and stories that have exotic and colorful settings. Even Constance Talmadge. the flapper queen, is going to desert farce comedy. No longer will she be the great American girl. She is now completing "East is West." Two stories of India are now in the process of pro- duction. In "Amos Judd." Rodolph Valentino has a new type of role to play. Norma Talmadge's next picture will be "The Voice from the Minaret," by Robert Hichens. It, too. is a story of India. Richard Walton Tully is produc- ing "Omar, the Tentmaker." with Guy Bates Post and Virginia Brown Faire in the leading roles. Incense hangs thick about the studios, and pro- ducers are looking for more stories with that weird fortune-telling parlor at- mosphere. Leave it to Universal and Fox to supply the melodramas. They say that Jack Gilbert is going to enact the great drama of the ten, twenty, thirties. "St. Elmo." Having seen Corse Payton in the role. I wish him luck. Every one is waiting for the arrival of Lau- rette Taylor and her husband. J.' Hartley Manners. They are coming to the Metro studio to convert "Peg o' My Heart" into a screen heroine. As you probably know, the play was filmed by Lasky with Wanda Hawley as Peg. Mr. Manners and Oliver Morosco became involved in a law- suit over the screen rights to the play. Mr. Manners won. and so we shall see Miss Taylor, who makes her screen debut in this picture, as Peg and not Wanda. Because of the lawsuit, the Lasky produc- tion goes on the shelf. Miss Taylor has been lucky enough and wise enough to engage King Yidor as her director. At present. Rex Ingram is keeping the home fires burning at Metro, and Viola Dana, who has returned after a season of personal appearances, will soon be asked to report for work. Metro also plans to introduce a new star. She is Billy Dove of the Ziegfeld Follies. Apparently Mr. Priscilla Dran Ziegfeld has nothing to do but train future movie nas finished stars. romping through "Under Two Travel Notes. Flags." Have you ever noticed that wherever Con- stance Talmadge goes there are rumors of marriage? In fact, the whole Talmadge family manages to keep things going. They have a way of being the life of anv party. Connie, you know, is divorced, and I am glad because I never was able to spell her husband's name. And now every one is wondering whether she v/ill marry again or not. Her beaus are too numerous to mention. Irving Berlin is said to be in her good graces again, but then Mr. Berlin is several thousand miles away. Working with her daily is John Considine. Tr.. long a faithful follower of the Talmadge family. Late in the summer all the Talmadges — and that in- cludes Norma's husband, Joseph Schenck — will go to Europe, and Mr. Considine will go with them. Natalie, of course, will stay at home and take care of the baby, little Joseph Buster Keaton. Natalie is the most do- mestic girl in the world. She has turned down plenty of opportunities to follow in the footsteps of her sis- ters. But she didn't turn down Buster, and she is glad to he a devoted wife and mother. All the other mem- bers of the busy family look at Natalie with affection and pride. Sessue Hayakawa and his wife, Tsuru Aoki, are in Japan. It's their first visit home in thirteen years. I haven't heard any accounts of their welcome there, but I am sure that they will move in the most distinguished circles. Mrs. Hayakawa's aunt, Sadda Yacca, was the first Japanese woman to go on the stage. And Mr. Hayakawa has achieved considerable recognition in Japan by translating the plays of Shakespeare into his own tongue. What is De Milk- Doing ? You cannot crush the proud spirit of a De Mille. Not content with filming "Manslaugh- ter" as a straight story, Cecil B. has staged a Roman orgy wherein the girls are dressed in stencil patterns and chiffon. The elabo- rate scene will be used as an episode in Alice Duer Miller's story. Anyway, there was wild excitement on Vine Street while the scenes were being taken because every- one in town heard that C. B. was whoopin' iS it up again with big-spectacle stuff at the Lasky studio. The answer is that you cannot keep them down on the farm after they've seen Paree. Star Stuff. Does William Russell throw his money away on palatial homes and autographed limousines? He does not. Recently Mr. Russell bought himself an office building as a sound real-estate investment. Now bring on your slumps! Score Two for Tony. Antonio Moreno has been reengaged by Goldwyn to play the leading role in "Captain Blackbird." The picture is directed by R. A. Walsh. Tony wants to prove to Yitagraph that he is looking for good stories and not merely the honor of being a star. Here and There in Hollywood. Frank Case, proprietor of the Hotel Algonquin and host to all Broadway, visited Hollywood as the guest of Mary Pickford and Douglas Fair- banks. Mr. Case ''s an old friend of Mr. Fair- banks tecause Doug used to make his headquar- ters at the Algonquin when he was merely a stage star. For the first time in its history, there will be dancing in a Hollywood restaurant. Although the charter of the town says that food and jazz must not be served together, the managers of the Assembly Tea Rooms persuaded the authorities to change their minds. How- ever, the dancing must stop at midnight and there will be plenty of policemen on the premises to see that the gayety is limited strictly to food and dancing.
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92 The Indiscretions of a Star Continued from page 60 " 'Oh, of course,' she answered, opening her eyes very wide and look- ing innocent as could be. 'People will be more interested than ever in me now.' "I decided right then that they wouldn't be if I could help it, but little did I know Suzanne. "I'd been back at work for about a month when she appeared on the scene with the cream and rolls one morning, her suit case in her hand, and business in her eye. " 'Here I am,' she announced. 'I read in the paper that you were just going to begin a new picture, and I'd like a part, please.' " 'Everything's full,' I told her, not even feeling guilty at the lie. 'Not a chance in the world, but I'll see if Bill Desmond hasn't a chance for you in the picture he's beginning ; he's got a peach of a story, and he — - — ' " 'Oh. you can find me a part — write one in, if you have to,' she urged, sitting down across the table from me. 'I don't care if it isn't so very big — I need a chance to learn the game — haven't ever done any pic- tures, you know.' "Her nerve rather got me — she was so little, and looked so plucky, somehow. So I decided that I might as well give her a chance, especially as I evidently couldn't get out of it. I took her over to the studio, and we fixed up some stuff for her in the picture, and I thought everything was right. But I soon found out that Su- zanne wasn't to be slipped into the background. She was living at a club for girls, where a lot of awfully clever girls who'd made a start in pictures, lived, and about the first thing the fair Suzanne did was to tell at least three of them, in strictest confidence, all about the excitement that Henry had created. She didn't tell them the whole thing -just showed them newspaper clippings, and said I'd left town at once. Ap- parently she painted Henry in glow- ing colors, too — he was quite a hero, instead of a baggage smasher. "My manager heard about it first, and came to me looking like a thun- dercloud. I spent at least three hours on explanations. Then a couple of reporters showed up, and I had to harangue them. Finally Suzanne telephoned me. She didn't see how it could possibly have happened, but people were talking about us — didn't I think I'd better come over and we could talk about it and see what was to be clone? " 'Not on your life !' I told her. I had a hunch that she'd started this new version. 'The best thing for us to do is to tell the truth and not be seen together.' "She was inclined to argue, but I cut her off, and thought I'd settled things. That was at ten in the eve- ning. At twelve the phone rang and my man said I was wanted — that the message was urgent. I was having a quiet game of poker with three of the fellows, and told him to take the message. He came back a few mo- ments later and said that he couldn't. So I went. " 'Won't you please come over immediately?' urged a sweet female voice. 'Suzanne Nevin's terribly ill, and she keeps calling for you. We think she's going to die!' "I felt like a balloon that's had a pin stuck into it. I couldn't ~ee myself trotting over there, and I couldn't see myself letting the poor, lonely little thing die without me if she wanted me there. I went back and told the fellows about it — had to tell some- body, and they were all good friends of mine. T told them the whole thing — all about how alone she was, and everything. And then I wound up with the tale of the telephone call. When I'd finished one of them leaned back in his chair and fairly yelled with laughter. " 'That girl isn't any more sick than you are.' he told me. 'She's been talking to — well, a sweet young thing who tried that stunt on me no more than a year ago. I was scared till I found that she'd also tried it on somebody else. She used to faint, and have one of her friends telephone for me, at all hours of the night. I fell for it just once — went over and found her lying on a chaise longue, limp as a rag and becomingly pale, wearing her best friend's best negli- gee, which the best friend had worn in a picture in which she appeared as my younger sister. I recognized it at once. " 'She came to in time to reach out her arms to me and murmur my name, while her friends all stood around and exclaimed sympatheti- cally. I suddenly fell for the whole thing, and ran for the door, saying that a doctor ought to be called at once and I'd go and get him. And I did not go back. " 'Now. you stay where you are. Let her phone. Let her sav she's go- ing to die — -she won't. You could go over there and help the girls bring her back to life, and have them telling all their friends about it to-morrow — and where'd you be? You pass this up, young fellow my lad !' " "And you did — oh, surely you knew enough to take his advice," I interrupted. "I did — and she was furious. But she kept right on playing with me — I couldn't put her out of the picture. And she was always underfoot till I got two or three people I knew to go around town, talking about what a wonderful actress she was, and how I knew enough not to let any one else get hold of her. That way enough interest was aroused to get her a con- tract with some one else — before she'd even been seen on the screen, if you please, and the other day I saw an interview with her in which she begged the interviewer not to mention my name in connection with her start in pictures, as really I'd had nothing to do with it. This in spite of the fact that she'd stopped telling people about our mix-up in that little town only on condition that I'd keep her working in pictures for at least a year. The young black- mailer!" "What's she doing now?" I asked. "Starring — married a rich husband who sees to it that everything people want on the screen is put into her releases — and then tucks her in, too. Not a good leading man with a fol- lowing escapes. Sets, costumes, sto- ries— everything is used as a back- ground for Suzanne, and they let her play the society roles that she loves, instead of the gamin stuff that she's cut out for. Ah, well — she'll always get what she wants in life in some way, just as she got Henry's over- alls." "She wanted you and didn't get you." I reminded him. "She didn't really want me — she wanted a chance in pictures." he re- torted. But he had the grace to blush — and I knew the truth, anyway. "Those two girls are coming over," he remarked, changing the subject abruptly. "Wonder what they want — want to guess?" "They want to meet you." I an- swered promptly. "That's easy." "No — they want to get into pic- tures; that's still easier to guess," he declared. "Or possibly one of them has written a scenario that she wants to submit to me personally. Strange, how almost every one in the world seems to have written at least one. And they always seem to expect me to act surprised when they announce that they're scenarioists. Still, these girls are almost too pretty for that. I guess my first hunch was best; they want to get into the movies." Thev came toward us slowly ; charming things they were, in their verv smart and correct cloth gowns and little fur scarfs. When they in- troduced themselves my mind flew to the social register; when they told why the\r had dared to come, Barry grinned at me. They wanted to get into the movies — wouldn't he please help them? TO BE CONTINUED.
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\fou Give $1 97 ~to Lose 30 Pi Miss Morse before she used this new, easy, pleasant way to reduce. She weighed 230 pounds. Miss Morse after losing 80 pounds and regaining, new health and vitality thtough this method. Loses 80 Pounds — Looks 10 Years Younger I weighed 230 pounds. I was continually sick and would have to rest after walking a single block. I had tried many remedies in vain. I finally sent for your books and on reading them I realized that never before had 1 tried the right method. Today I weigh only 150 pounds— a reduction of 80 pounds. I feel better than I have in many years. People whom I have not seen for some time hardly recog- nize me. I look younger than I have in 10 years. I am greatly indebted to you for your wonderful and pleasant discovery. (Signed) Miss Laura Morse. 2TI IV. 119th St.. New York City. Mrs. Denneny before she used the new method. Weight 240 pounds. Mrs. Denneny after she used the new method. Weight now 166 i>ounds and she is stili reducing. 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RODOLPH ADMIRER.— So you're "wild, simply wild," over Rodolph? Well, you're not alone — I've never read such hectic praise in all my life as I have this past mouth about this actor. I've written Rodolph's history so often that I can rattle it off by heart, but so many fans keep asking to know "all about him" that I'm giving the whole story here again. Mr. Valentino was born in Castellancta, Italy, May 6, 1895, and was christened Antonio Valentino Gugliclmi. He at- tended first a military academy, then an agricultural college, intending to become a landscape gardener. Valentino came to this country about eight years ago, couldn't find a job at landscaping, so took up dancing in New York City as a means of livelihood. He danced in cabarets, in vaudeville with Bonnie Glass and Joan Sawver, and spent two seasons in musical comedy. Then he went to the coast, danced in one of the hotels out there, and finally secured a job in the movies. He has been in pictures about four years, but for a long time could secure only bits and small parts, so that he was practically un- known until a little over a year ago, when "The Four Horsemen" was released. Since then he has played in "The Con- quering Power," "Uncharted Seas," "Camille," "Moran of the Lady Lctty," "Beyond the Rocks," "The Sheik," and "Blood and Sand," which will be released in September. And two old productions in which Valentino appeared when he was not so famous are being revived by Uni- versal. Thev are "The Delicious Little Devil," with "Mae Murray, and "Once to Everv Woman," with Dorothy Phillips. Rodolph married Jean Acker, a screen actress, in November, 1010, and was di- vorced from her several months ago. Then he wedded Xatacha Rambova, art designer for Nazimova, whose real name is Winifred Hudnut. Valentino is five feet eleven, weighs one hundred and fifty- four pounds, lias black hair and dark- brown eves. There you have it all; clip it out aiid paste it in your Valentino gal- lery. You have one. I suppose. A LOVF.R OF PlCTURK-Pl.AY.— You SCCm concerned mostly with pronunciations this time. See if you can make anything of this: Thomas Mcighan's name is pro- nounced "Mec-an," accent on first syllable, short "a," as in "man." Lois js pro- nounced "Lo-is." long "o." "s" as in "sis," accent on first syllable. Thomas' eyes are blue and his hair black. So you'll always be loyal to Tommy? He seems to be keeping his following, all right. "Our Leading Citizen," the George Ade story in which he appears, has been finished and Tommv will next devote himself to mak- ing life miserable for Leatrice Joy in "Manslaughter." A Movie Pianist. — I never said I didn't like girls ! Can't you give me credit for a little diplomacy? "The Man Who Mar- ried His Own Wife" is Frank Mayo's lat- est. Gaston Glass plays in "I Am the Law" with Alice Lake and Kenneth Har- lan. No, he did not appear in "Greater Than Love." "Reported Missing" is Owen Moore's latest and Harrison Ford is in "The Primitive Lover," opposite Constance Talmadge. Frank Mayo, Gas- ton Glass. Owen Moore, William Duncan, Niles Welch, Wallace Reid, Richard Dix, T^HE ORACLE will answer in * these columns as many ques- tions of general interest concern- ing the movies as space will allow. Personal replies to a limited number of questions — such as will not require unusually long answers — will he sent if the request is ac- companied by a stamped enve- lope, with return address. Inquiries should he addressed to The Picture Oracle. Pioture-Play Magazine. 79 Seventh Avenue. New York City. ThcOraclc cannot give advice ahout becoming a movie actor or actress, since the only possible way of ever getting such a job is by direct personal application at a studio. Questions concerning scenario writing must be written on a separate sheet of paper. Those who wish the addresses of actors and actresses are urged to read the notice at ihe end of this department. Tom Moore, Thomas Meighan, Herbert Rawlinson, Pat O'Malley. and Tony Mo- reno all had stage experience before en- tering pictures. But Tom Mix and "Hoot" Gibson went direct from their cowboy ac- tivities in real life to the screen. "Hoot" was in a circus for a while, too. Si"»s. — I'm answering you as quickly as possible, because I know it must be dull and dreary in the hospital, and that a let- ter, even if it is a tiny one wedged in be- tween a lot of others in a column, is a great event. Johnny Hincs is the name of the actor who plays in the Torch v com- edies, and he is still making them. Cas- son Ferguson is with Paramount now. "The Truthful Liar." with Wanda Haw- lev, is a recent release of his. Glad to hear that Picture-Play is such a cheer bringer, and hope you'll soon be fit again. Catharyne. — I do not recognize the girl whose picture you sent as a screen actress, at least not a well-known one. She may lie in pictures, but she certainly isn't a star. So you win. Gladys Walton is fond of sports, especially swimming. She is seventeen. Wallace Reid really plays all those musical instruments you see him photographed with. It's not press-agent stuff at all. Mary. — Thanks for your interest and information. Mother Mary Maurice and Pauline Bush are not in pictures now. but Ella Hall is reported to be returning to the screen to play in pictures made by her husband, Emory Johnson, and Spot- tiswoode Aitken has been playing right along. He appeared in "The Unknown Wife" with Edith Roberts and "Reputa- tion" with Priscilla Dean. Hash. — Thanks for your nice letter. It is a very auspicious beginning. You arc one of us now, and I hope you'll write as often as you want to know anything with- out worrying about how much trouble you're going to be. Lloyd Hughes plavs opposite Mary Pickford in "Tess of the Storm Country." The picture will prob- ably be released under the plain title of "Tess." You have to write to the play- ers personally for photographs, including a quarter to cover cost of photo and mail- ing. There was a story about Nazimova's "Salome" in the June issue. Hii.nF.fiARDE. — Richard Bartheht;ess' first screen appearance was with Nazimova in "War Brides," released in I0t6. It was while he was attending Trinity College that he got a bit in this production dur- ing a summer vacation. So Dick left col- lege, because he couldn't wait to gradu- ate, to take up motion-picture acting. He free-lanced for a while, then became a leading man in Paramount pictures. He played opposite Marguerite Clark in "The Valentine Girl." "Bab's Diary," and sev- eral others, and with Dorothv Gish in "The Hope Chest." "Boots." and "I'll Get Him Yet." His first work under Griffith was as the Chink in "Broken Blossoms." made in 1910. Then followed other Grif- fith productions, "Scarlet Davs." "The Girl Who Stayed at Home." "The Idol Dancer." "The Love Flower." and "Way Down East." Now Dick has his own companv and lias released Tol'able Da- vid," "The Seventh Day." and "Sonny." Richard was born in New York City in 1895. He is five feet seven, weighs one hundred and thirty-five pounds, has dark hair and brown eyes, and is married to Mary Hay. So there it is. Hildcearde, all in a nutshell. (Continued on pace 1081
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Advertising Section So For Exhibition Purposes Continued from page 74 grace on the screen, and I believe it. But if I tried to take dancing lessons, tired as I am after a day's work, I'd look like an old woman the next day. Besides I have a naturally placid dis- position. That's why I'm inclined to get fat." She chatted on politely, but her eyes were wandering about, noting the books on the table, the people in the studio, the pictures on the wall. Helene Chadwick is one of the play- ers who does all of her acting on the screen. Off screen she is more beau- tiful, but less magnetic. Unlike nice motion-picture stars who are simple and unassuming I am impatient and on occasion can fling bursts of temperament about. I threatened to go home if the photog- rapher kept us waiting any longer, so Miss Chadwick obligingly acted the way I thought any one of her impor- tance should. "Just one minute more." she an- nounced with offended dignity, "and I'm going. My time's valuable." And then she added to me in a whis- per, "Is that enough, or " That was the end of our waiting. Leaving the self-conscious young au- thor sitting in a glare of lights. Mr. Abbe clutched a hat and rushed us out to a taxicab. "We're going to get some costumes, and photograph her in them." Mr. Abbe confided to me. "What kind of costumes?" I asked, somewhat avidly I'll admit, as I thought Miss Chadwick's appearance couldn't be improved upon. I had been eying her trim little black frock and sable neck piece enviously for some time. "Almost any kind of costumes." Mr. Abbe announced casually ; "she'll look well in them." I disagreed with him ; Miss Chad- wick smiled at me graciously with that you're-the-onlv-person-who-nn- derstands-me air that is the greatest gift of woman. I decided that living in Hollywood, the show case of America, was the nearest we had to a school for diplomats. When they selected a twelfth-cen- tury billow of brocades and pearls and an early Colonial costume of white satin, t was depressed beyond words, for I thought they were going to rob Miss Chadwick of all her per- sonality. But you can see by the ac- companying pictures that I was wrong. She doesn't lose her temper: she looks beautiful in anvthing whether it is her type of clothes or not ; surely she was made for exhibition pur- poses. They Fight Film- They who have pretty teeth Note how many pretty teeth are seen everywhere today. Millions are using a new method of teeth cleaning. They re- move the dingy film. The same results will come to you if vou make this ten- day test. Why teeth are cloudy lour teeth are coated with a viscous film. It clings to teeth, gets between the teeth and stays. Film absorbs stains, then it often forms the basis of thin, dingy coats. Tartar is based on film. Old brushing methods do not effec- tively combat it. So most teeth are dis- colored more or less. Thus film destroys tooth beauty. It also causes most tooth troubles. It holds food substance which ferments and forms acid. It holds the acid in contact with the teeth to cause decay. Germs breed by millions in it. They, with tartar, are the chief cause of pyor- rhea, now so alarmingly common. Now a daily remover Dental science, after long research, has found two ways to combat film. Author- ities have proved their efficiency. Now The New-Day Dentifrice Endorsed by modern authorities and now advised by leading dentists almost the world over. Used by careful peo- ple of some forty races. All druggists supply the large tubes. leading dentists, nearly all the world over, are urging their daily use. A new-type tooth paste has been cre- ated to comply with modern requirements. These two film combatants are embodied in it. The name of that tooth paste is Pepsodent. Its unique effects Pepsodent, with every use, attacks the film on teeth. It also multiplies the starch digestant in the saliva. That to digest the starch deposits which may cling to teeth and form acids. It multiplies the alkalinity of the saliva. That is Nature's neutralize!- for the acids which cause decay. In these three ways it fights the enemies of teeth as nothing else has done. One week will show Watch these effects for a few days. Send the coupon for a 10-Day Tube. Note how clean the teeth feel after using. Mark the absence of the viscous film. See how teeth whiten as the film-coats disap- pear. Enjoy the refreshing after-effects. Do this to learn what millions know — the way to whiter, cleaner, safer teeth. Cut out the coupon now. 854 4 10-Day Tube Free THE PEPSODENT COMPANY, Dept. 190. 1104 S. 'Wabasli Ave.. Chicago. III. Mail 10-Day Tube of Pepsodent to ONLY ONE TUBE TO A FAMILY
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96 Advertising Suction WOMEN ADMIRE MEN ior their strength—— Man was meant to lie woman'.* protector. The better lie can meet this Qualification, the more will he be admired. Head hack through the ages and you will find this has always been true. There was a time when men fought with each other to decide who would own u certain woman just as they WOUld light over a pot of gold. Civiliza- tion and culture soon overcame such savage con- ditions, hut the man of strength and power has continued to have the advantage. Ivanhoe de- scribes the knights entering into combat, after which the conqueror would kiss the hand or show respect in some manner to the buly he held in highest regard. The Man of Today What must womanhood think of the present day man': Statistics show that over i»5 per cent of us are suffering from some ailment. Our indul- gence in worldly pleasures has made us a race of amemlc, flat chested dyspeptics. It is no won- der that man's years on earth have been shortened. What can he expect when he wastes the very strength that God gave him. I heard one girl say the other day: "Of course I admire a strong, healthy man. hut the men I meet are so weak-nneed they can barely stand up straight." It is true. The strong man of today Is the exception. And that is my t.;s;. To make the exceptional man. Do You Seek Admiration? Do you wish to he one of these weak-kneed dyspeptics? Or have you enough manhood left to say: "I will he strong?" I don't care what your present condition is. If you have a spark of will power left, 1 can make you a mnn to be admired by all. .lust think! I guarantee to put one full inch of muscle on your aims in thirty days. Yes, and two full inches on your chest in the same length of time. Rut that is only the start. From then on you will notice a complete change In your phys- ical make-up. You not only develop big, brawny arms and a full chest, but a complete armor plate of muscle surrounding a body that lias been re- built inwardly as well. Yon will have the flash to your eye and the spring to your step that shows you to ho a human dynamo. You will be admired and sought after in both the business and social world. You will be a leader of men. All these things and mere arc awaiting you. It is now up to you to decide just what manner of man you will be. Come then, for time flies. Send for my book "MUSCULAR DEVELOPMENT" It is choc!t full of photographs of mvse'f and my numerous pupi Is. A!so ronta ins a treat ise on the human body and what can he done with it. This book is bound to interest you and thrill you. It will he an impetus — an inspiration to every red- blooded man. All I ask you to cover is the price of wrapping and postage — 10 cents. Remember th's does not obligate you In any way. Don't delay one minute. This may be the turning point in your life to-day. So tear off the coupon and mail at once while It Is on your mind. EARLE E. LIEDERMAN 305 Broadway, Dept. 1409, New York City EARLE E. LIEDERMAN. Dept. 1409, 305 Broadway, New York City Dear Sir:— I enclose herewith 10 rents, for which you are to send me. without any ohli-iatlon on my part whatever, a copy of your latest hook, "Muscular Development." Name Street City State Usually Known as Tony Continued from page 70 'One time at the Athletic Club, the taxicab starter told me that two Span- ish women had been inquiring for i me all day. To be truthful, I was ! flattered. He had told them to come back at half past six. Meanwhile, the taxicab driver had volunteered to ride them around Los Angeles — at so much a mile. The women came back at half past six, and I was interested. And every one spoke to him and called, "Hey, there, Tony !" At the theater we both applauded Mrs. Sidney Drew, and Mr. Moreno remembered the time when she and her late husband made such wonder- ful and clean comedies. But aside from that we couldn't agree. Mr. Moreno insisted on staying to the very end to see some acrobats. I They had taken so much trouble and didn't like one woman and remarked gone to so much expense to see me. But what did they want ? With tears in her eyes, the mother asked me where she could find her Jesus-Marie, who had left home and worked in one of my pictures. He had written her about it, and she was sure I knew where he was. Now, many Span- that she ought to have a permanent wave. Mr. Moreno gave me a look as much as to say "Cat !" A come- dian made a censorable joke. Mr. Moreno diverted my attention by say- ing, "There's Syd Chaplin and his wife." Another comedian sang a blue song, and Mr. Moreno again came iards have played in my pictures and to the rescue by remarking. "There's most of them are called Jesus-Marie. What could I do? The poor ladies were bewildered." When we finished dinner. Mr. Moreno undertook to escort me to the theater. The traffic was tangled beyond hope. But it is convenient to be a movie star ; Mr. Moreno rushed to the curb and saved the situation. Incidentally we trot across the street. Eileen Percy and her husband." And, after that, he had the nerve to tell me he didn't approve of censorship. At the end of a perfect evening, Mr. Moreno asked me if I had any questions to ask him. I couldn't think of a question. So I said: "What do you think of bobbed hair?" After a careful survey, he cautiously hailed a passing taxi. Their Real Double Lives Continued from page 57 Harry Carey is among those who champion Duroc herd of the State, ply the business on the side. He At three different hog exhibits last lives on his ranch all the time, drives year, he captured fifty-eight ribbons to the studio from it every morning with nine head of hogs, when he's working, and tends the cows and sheep when he returns home at night. "Bill" Hart has ranch property, too, which he visits frequently. He's strongly fortified Mr. Mong is not overlooking any bets in picture work, either. He is busy at the studios practically all the time. He writes continuity, too. "Shattered Idols" was filmed from financially with Liberty Bonds and his script, and he also played in the like securities, but he needs the ranch picture. Both his picture work and for "atmosphere." Same is true for his hog-raising have been productive Buck Jones. Tom Mix. and others, I of large income. believe, although Mix uses his prop- erty largely for location work. Naturally you would expect to find screen villains addicted to some dark and mysterious pursuit. But, as it happens, screen villains in private life are usually very estimable citi- There are many players who make money out of their hobbies. Some- times these lines, entered into for pleasure, become actual businesses. This is true of Theodore Roberts and his hobby for raising wire-haired fox terriers. At least, it promises to zens. The nearest to an instance of be. Recently he sold King Vidor, the one being a hold-up man that I can director, a puppy for a large sum of find is Noah Beery who has stock in money. Roberts hasn't shown any a garage. profit yet, because his ornate kennels William V. Mong. the Merlin of have cost so much to build. "A Connecticut Yankee," does some Majel Coleman who played the lead killing on the side. At least he in- opposite Bull Montana in his first stigates it. But he cleverly avoids starring picture also hopes to profit any penalties, and gets paid very well besides. You see, he raises hogs. He's notably successful, too. And there is by raising dogs. She has some fine police dogs which she trains when she is not at work in the studios. Sometimes a player will originate no joking or press-agentry about it, an idea for a bungalow court or either. Mr. Mong possesses the other construction of this kind, which
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Advertising Section 97 will "take" quite generally, and he'll have more orders than he can fill. Jack Donovan, who plays juvenile leads for First National had an experience something like this. He designed and built a picturesque court called "Winged Victory Gar- dens" of especial appeal to picture people. His tenants include Rex In- gram, director of the "Four Horse- men," and Alice Terry, his wife. On the strength of his attractive design- ing, he assisted Clarence E. Badger, formerly Will Rogers' director, Ches- ter Franklin and Maude Marsh, sis- ter of Mae in building their homes. ; One of the most interesting accom- plishments among the women is that of Eugenie Besserer, who appeared in mother roles in "Molly O" and "The Rosary." She teaches swim- ming and fencing. The latter is her forte, for records show that she held the ladies' fencing championship for a number of years in this country. Born in France, she studied under a French master of the art. She now imparts her knowledge to classes of young women in gymnasiums. She was at one time professor of fencing at a school for girls. The pursuits of motion-picture folk, the way they occupy their spare time, all tend to show an astonishing stability in the life of Hollywood. They have a chance to settle down, make homes, and accumulate prop- erty, and thus add to their resources, gaining an increasing prominence in the business life of the community. I could even cite a few instances where they have become identified with civic bodies, improvement asso- ciations and the like. Several promi- nent men. like Cecil De Mille. are also directors in banks and investment companies. Perhaps you recall Wedgwood Nowell who appeared as Kragstad in "A Doll's House." Nazimova's recent picture. He also played Arsene Lupin in the crook mystery story "813." if you remember it. Among many other activities in whch he en- gages, he is a director in the Holly- wood Chamber of Commerce, and therefore has considerable to do with the welfare of the picture colony. A curious incident of a man be- coming identified with a business or- ganization is supplied in the case of J. Frank Glendon. who played leads for Clara Kimball Young and also for Marie Prevost in her new picture "Kissed." He was invited to become a member of the Progressive Busi- ness Club some time ago. and he made such a good speech before that body that they elected him a district gov- ernor. I'll bet his experience in get- ting points over before the camera had a lot to do with it, too. 2400 telephone wires in a cable little larger than a man's wrist Science keeps down costs When the Bell System in- stalled its first successful tele- phone cable, fifty wires was the largest number that could be operated in a single cable without "cross-talk" and other interference. Today it would require 48 cables of the orig- inal type to accommodate the number of wires often op- erated in one cable. Without this improvement in cable, the construction of new underground and aerial lines would have cost the Bell System upwards of a hundred million dollars more than has actually been spent. In addi- tion, the cost of maintenance would have been greater by eighteen million dollars a year. These economies in the Bell System mean a saving in telephone rates to each in- dividual subscriber. In all branches of telephone practice science has similarly contributed to economy. Even in such a comparatively small item as switchboard cords, im- provements have reduced the cost of renewal by four mil- lion dollars a year. Every new telephone added to the Bell System increases the usefulness of all telephones, but this multiplication tends like- wise to increase the complica- tions and the expense of ser- vice. The scientists of the Bell System, to offset this tendency, are constantly called upon to develop new devices which simplify complications and keep down costs. By virtue of a united system the benefits of these improve- ments are shared by all sub- scribers— and the nation is provided with the best and cheapest telephone service in the world. " Bell System" American Telephone and Telegraph Company And Associated Companies One Policy, One System, Universal Service, and all directed toward Better Service FRECKLES Don't Hide Them With a Veil; Remove Them With Othine — Double Strength There's no longer the slightest need of feeling ashamed of your freckles, y-jf7 as Othine double strength is guar- ZJ anteed to remove these homely spots. '/S" Simply pet an ounce of Othine douhle strength -from any druggist and apply a little of it nisht and morning and you should soon see that even the worst freckles have begun to disappear, while the lighter ones have vanished entirely. It is seldom that more than an ounce is needed to completely clear the skin and gain a beauti- ful clear complexion. Be sure to ask for the double strength Othine. as this is sold under guarantee of money back if it fails to remove freckles. Reduce Your Flesh in Spots Arms, Legs, Bust, Double Chin In fact the entire body or any part without dieting byweann,- DR. WALTER'S Famous Medicated Reducing RUBBER GARMENTS For Men and Women Anklets for Reducing an> Shaping the Ankles. 57 00 perpair. Extra high. 59.00. nd ankle measurement when ordering. Bust Reducer. S6.00 Chin Reducer, S2. Send for /tVws- trated Booklet Dr. Jeanne G. 353 Fifth Avenue
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S3 Advertising Section Dr. Lawton's Guaranteed FAT REDUCER FOR MEN AND WOMEN Will Show Reduction Taking Place in 11 Days or Money Refunded Results conic usually in three or four days, but if you ilo not see poatuffl reduction taking nlnee in 11 days (the full trial period) return the Hedurer at once together with the instruction hook that ac- companied it and your $5 will he refunded. Dr. Law ton, shown in picture, reduced from 211 to 152 pounds in a very short time. The Reducer is nor electrical; made of soft rubber and weighs but a few ounces. Whether you are 10 ur 100 pounds OvermtgaC you can reduce any part you wish quickly, safely and permanently by using Reducer a few minutes night and morning. Ry a gentle manipulation the Reducer breaks down and dis- integrates fatty tissue which becomes waste matter and is carried out of the system through the organs of elimination, thereby the blood circulation Is Im- proved. For years Dr. Lawton's Fat Reducer has been successfully sold and is used by thousands. It is ENDORSED BY PHYSICIANS and Its use requires no dieting, starving, medicines or exercise. Sold generally by druggists everywhere or will be sent direct to your home in plain wrapper upon receipt of $5 plus 20c to cover cost of Parcel Post and Insurance. ($5.20 In all.) Send for your Fat Reducer today. Remember It Is guaranteed. Or If you prefer, tend for a free booklet. DR. THOMAS LAWTON 120 W. 70th St. Dept. 186 New York A. New Perfume As a lover of rare perfumes, you will be charmed by the indescribable fragrance of Kieger'a new creation — Honolulu Bouquet Perfume SI. 00 per oz. Toilet water, 4 oz. $1.00. Talcum. 25c. At druggists or de- partment stores. Send 25c (silver or stamps )for generous trial bottle. Made by the originator of — PER n*WE * TOILLJ-'wATtR HowotEtops I Flower Drops is the most exquisite perfume " ever produced. Made without alcohol. Bottle I with long glass stopper, containing enough 1 fort* months. Lilac or Crahapplc SI .50; Lily j of the Valley. Rose or Violet $2.00. At drug- gists or by mail. Send 20c stamps for miniature bottle. Send $1.00 for Souvenir Box of five 25c bottles— 5 different od'»rs. PaulRiegerCo. (Since 1S72) 188 FintSt.,San Francisco Two Who Found No Fairy Godmother Continued from page 87 in order to keq) homes together for their daughters. To the mothers, each home was usually just another place in which to do more work. Mrs. Starke and Pauline lived in a single small room in a third-rate hotel four blocks from the Biograph studio. Each morning after cooking their meager breakfast over a little alcohol stove in their room, they walked to work. The only beauty they saw was in the loveliness of the orange blossoms of a grove which they passed. At night they returned home, tired after their day on the hot. dusty lot. Sometimes they were too weary to go toward the hills in the cool California evening to seek quiet in the gather- ing shadows and peace in the lights twinkling, one by one. in the valley below. On great occasions they would take their dinner at a near-by restaurant — a cheap one — but most often they made the best of a frugal meal in their combination living-din- ing-bedroom-and-kitchen. When Triangle broke up. Pauline was retained by I nee. who at that time had just built his magnificent ' motion-picture producing plant at Culver City. It took two hours to go j from her home to the studio. She I was due at nine, so it meant a six- ! o'clock alarm every morning. She ! reported for work every week day for six months without as much as a chance to play atmosphere being j given her. Every day. rain or shine, ill or well, she boarded the car at the cor- ner, transferred twice, and at nine o'clock reported to the casting direc- tor. Already tired from her tire- some ride, she stayed around the stu- dio all day. watching the actors on the set. studying make-up. lighting, the tempo of action, and other fine points of screen technique. At six o'clock she forced her way into a car crowded with laborers even more tired than she, and stood up all the way back into town. At the end of the six months she was rewarded with a bit a.- maid in one of the late Olive Thomas' pic- tures. Then followed more weary weeks of going to the studio only to be denied work. Mrs. Starke still played extra parts during the day, returning home at night in time to have a hot dinner awaiting her dis- couraged daughter. There were clothes to be patched and mended, fresh costumes to be put together out of the pieces of the old ones, and a thousand little economies to be prac- ticed to swell the little hoard for the first payment on a cheap car. Long hours and the street-car ride were be- ginning to tell on Pauline's health and her appearance. Little by little she was put into bits, then small parts which gave her op- portunity to practice the things she had been studying so quietly and un- obtrusively during her weary time of waiting. Then came the big jump to suc- cess— a success which many people say came overnight. She signed a two-year contract as the featured player in Frank Borzage productions. Since then she has played the lead- ing role in "Salvation Nell" and "Wife Against Wife," among others, and a featured part in "The Connecti- cut Yankee." She has gone steadily upward. If her path in the future is strewn with roses, she may degenerate into the silk-clad, posing heroine of program pictures. I am not hoping that sor- row and misfortune will be her lot, in order that the American public may gain another great artiste, but I do hope that there will be some great impetus — from within or from with- out— that will spur her on to supreme artistic endeavor, which for Pauline Starke will mean supreme artistic achievement. Here at 60% ^of Market Price This snappy perfectly cut dia- mond 7-8 - 3-32 ct. at 352.50 among bargains we list. Many other big valuesinourlists. Buy HERE. Loan values the price basis, not market values. Thia 75 year old diamond banking firm has thousands unpaid leans and other bargains mast soil NOW. Why Pay Full Prices Anydiamomi sent for absolutely free ex ami na- tion atourriaK. No obligation. No cost to you. Send for Latest List MlinuVi ill. Tcltsaf i Bargains d:«.u>UtlUof free examination. Send noic. JOS. DeROY & SONS . 2990 DsRoy Bids- Only Opposite Post OlfiCC, Pittsburgh. Pa. Diets for Art's Sake Continued from page 27 pointed because she did not have a again: Oh. Adam wolf, but she did have a wolf's appe tite. For a little girl she eats more than any one I know. Eileen Percy eats combination salad with French dressing — mayonnaise is fattening — and drinks weak iced tea with lots of lemon. Miss Percy is not too fat. but she is not taking any chances. Carmel Myers is always hungry when lunch time comes around. She very often flirts with a piece of pie although she knows she should not eat it. Temptation ! There it is and Eve, why were you tempted — to make us pooi weak mortals suffer forever after! And now that Lulu Hunt Peters has come out with her book, "Die! and Health. With Key to the Calo- ries." all T hear morning, noon, ancl night is: "I can't eat that — it has too many calories !" and, "I can't eat thai — it has not enough calories !" When night comes I can't go to sleep for worrying as to whether I have fed the fat ones too many calories and the thin ones not enough.
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Advertisino Section Is Betty Blythe Really Beautiful? Continued from page 45 bird of paradise, and I pin it on dif- ferent hats as I wear them. I alter- nate with this tasse! and this buckle. The big shapes you can turn up in back or in front or in three places like this and make a Colonial. 1 have two sets of furs and a fur coat which is reversible so you can turn it inside out and make believe it is a brocaded evening coat." And at that time Miss Blythe was achieving her reputation of being one of the best-dressed young women on the screen. She loves beautiful, ex- pensive things to wear, and she looks stunning in them, but she was just as happy and quite as stunning when she wore five-dollar gowns and two-dol- lar hats. That is because the good fairy endowed her with style — that inimitable gift. And if any one richly deserves her stardom it is Betty Blythe. She is the hardest-working girl I know. Her contract calls for personal appear- ances, and when she isn't making a new picture up in the Whitman Ben- nett studios she is flying across the continent to New Orleans or Galves- ton, Baltimore, or St. Louis. Just after she finished making "Queen of Sheba" William Fox con- ceived the idea of having her make some personal appearances. It was a brilliant idea, for Miss Blythe is even more decorative off than on. Then, with the success of "Fair Lady" Mr. Bennett asked her to make some more personal appear- ances, and now it is nothing unusual for Miss Blythe to work at the studio until five or six, then hustle home. and prepare to take the midnight train to some far-off city where "Fair Lady" is showing. One day last week I took dinner with her, and she was getting ready to leap away at midnight. As I went into the library there was Betty in a white embroidered tea gown seated directly in the center of an enormous white linen divan. If she had been expecting me or if Miss Blythe were in the least theatrical I should have accused her of premeditation. But she is just one of those people who are always falling into graceful poses, so that you feel like shouting, "Hold it, hold it !" "in five hours I've got to be on the train," she said, "and look at all these wonderful books that I never have a chance even to open. It's dreadful to be so busy working that you never have a chance to learn any- thing." "Where did you get such a splen- did collection? It must have taken you years." But she shook her head. ■'They aren't mine, they are Fannie Hurst's. I took her apartment while she was- away, and I never have a chance to enjoy it — I'm never here." I looked around curiously, not so much impressed with the beauty of the surroundings as I was by the fact that in this very room Miss Hurst sat and wove such things as "Humor- esque" and "Back Pay." Miss Hurst once told me that she had her first twenty-six stories re- turned and that she was not in the least abashed — she kept right on. "Shades of Stardust." exclaimed Miss Blythe. "what courage and de- termination !" And the Madonna who gazes down from the heavy gold frame smiled serenely, and all of the little candles twinkled. And I laughed because Miss Hurst hasn't a bit more courage and deter- mination than Miss Blvthe herself. 99 Women Who Shave or use harmful depilatories can destroy the heaviest growth with the roots absolutely without harm, by using ZIP., Depilatories and razors merely take away surface hair?, leaving the roots to thrive and often create heavier growths. ZIP absolutely lifts out the roots with the hairs, gently, quickly and painlessly and thus destroys the growth without electricity. Used by women of discernment, actresses and Beauty Specialists for face, arms, underarm.-*, limbs, body, perfect hair line back of neck, and new arched brows. When in Nno York, don't Ntfi lerl to call nt mil Sttlon for FRF.E DffMOXSTit AT/ON Treatment. Thia convi-'*" .nont't/cejttical. * GUARANTEED. ITSGrT&ca^lTSOUT At All Stores or Direct by Mail ■ Types of Superfluous Hair. i Type Have You ? Write for Book, "Beauty's Greatest ' which explains. '--MAIL THIS TODAY- ----- MADAME BERTHE Dept. 722, 562 Fifth Ave., New York I 'lease send me your FREE BOOK. "Beauty s Greatest Se- cret" teHing of the three types of Superfluous Hair; .■'!■•> a sample of your Massage and Cleansing Cream, guaranteed not to pro- mote the growth of hair. Would You Let Your Daughter Go Into the Movies? Continued from page 52 Lovely Eyes other than tho.se they have determined for themselves. There are numbers of thoroughly "nice" people in the industry, and you know just what I mean to con- vey by that. Most of them are "nicer" than most people out because they have had tests outsiders seldom get. And there are lots of really lovely girls in the industry, girls any woman might be proud to mother. There is no reason why your girl and my girl should not be as lovely as they. The young men I don't know so well, but I'd warrant there are some nice ones among them. So, if my girl wants the motion pictures as a career and has health and will go on with her education and has been trained so that her moral standards will be her own — you can't ask more than that — she can go into pictures. I'll have to traipse along with her for the first few years ; — which is an awful nuisance to con- template— if she starts early. But she'll try the cold baths — first! The remarkable waterproof 0,'i ' properties of Dclica-Brow were ^ Xff| i strikingly demonstrated by I Miss DuPont in the fiiminn l^; of "FOOLISH WIVES," Uni- *<3M£ versai's Million Dollar Pic- ture. Because this wonderful liquid eye-lash ana brow dressing is rainproof , tearproof and perspira- tion proof it cannot run or smear and the fascinat- ing beauty of Miss DuPont's eyes, with their perfectly arched brows and glorious lashes was pre- served unimpaired through the drenching rain she had to face. Send Now; for Sample of Delica-Brow Liquid Eye-Lash and Brow Dressing Send only 25c for a generous sample (2 weeks supply) of this indispensable aiti to beauty with bone handle orusb,. Specify black or brown. Large package, SI. 00, postpaid, or at all leading drug and department stores and beauty parlors. Money back if not delighted. Be sure to get the genuine DELICA-BHOW — the original liquid preparation. 3933 Broadway Delica Laboratories, Inc. Chicago, Illinois
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Advertising Sixtion What Becomes of the Costumes? Continued from page 84 sell it for small sums,, to extras. Among some of the canny women "independents" — that is, those who have their own companies and whose expenses come from their own pock- etbooks rather than from the fat x«,Fri»»r^ - » ., pouches of corporations — it is custom- "" InflYfu ilMnllYfn arv to seu tne clothes to shops down- " -' ■?" |town> where they are res0,di with a |great blaring of trumpets, to curiosity (seekers among the fair sisterhood. There are many women who pay Pack Absorbine, Jr. among your holiday or vacation trappings and you, too, will go and mix where- ever good outdoor fun may be had. Use it freely. It is instantly cool- ing and soothing. It both prevents and stops that tormented condition of the skin after sun exposure, and the soreness and inflammation that follow. And for played-out muscles after a strenuous outing, apply a few drops to the affected parts. It pre- vents the lameness and stiffness that might otherwise come. Know that Absorbine, Jr. com- bines, in one container, the prop- erties of liniment, antiseptic and germicide. It is safe and of a clean, pleasan; odor. At most druggists. Si. 2 f, or postpaid. Liberal trial bottle, 10c. postpaid. W. F. YOUNG, Inc. 38 Temple St., Spring6eld, Mass. who need them." Jackie Coogan's mother answered my question. "We receive many requests from poor peo- ple and these always are investigated. Whenever found worthy, we delight in presenting them with some of Jackie's clothes, which have been worn but little. These, of course, are his dress-up suits with which he is usually decked out in the end of the picture." Fortunate little boys who boast the same size as Jackie ! I per- rcally fabulous prices for the privi- sonally investigated one of these re- AbsorbineJ THE ANTISEPTIC LINIMENT lege of wearing a gown that once draped a motion-picture celebrity. The garments worn by women players in Guy Bates Post's "The [Masquerader" were sold to them at jcost by Richard Walton Tully, the producer. These fashionable clothes 'having been worn in but a few scenes by Ruth Sinclair. Marcia Manori, and the other actresses, doubtless will serve their owners for a long while. The costumes for "Omar the Tent- maker," which Mr. Tully now has in production, will probably be retained for a stage revival of the play. "We give them away to little boys quests, to which Mumsy Coogan had responded by sending the fancy lit- tle blue suit Jackie wore in the final scenes of "My Roy" — and found a great wailing. The suit was too small, and, try hard though he did with marvelous indrawing of tummy, the voungster couldn't quite make the fit!' If you are interested in watching this evolution of costumes, remember what I have told you and, if you are observant, try to pick out in the mobs of extras the gowns you have seen in previous pictures adorning Gloria Swanson or Katherine MacDonald. La Goutte-a-Goutte RESTORES £°£rd £ GRAY HAIR Gray, faded, streaked or lifeless hair restored to any shade in one application. Does not discolor scalp, fade, nor rub off on the pillow. Makes a lasting, rich, lovely color. No after shampoo necessary. You can apply it in the privacy of your own home in a few minutes. Anyone of 32 shades given from ONE package. $1.67 postpaid. Order direct, or Send me a Little Lock of Your Hair-I'll color It Without Charge Cut it close to head and say what color you wish. I have helped thousands of ladies with dandruff, oily or dry scalps, falling hair, getting bald, etc. Write fully. No charge for frank opinion. "SECRETS of BEAUTY," my new booklet, mailed free on request. L. PIERRE VAtLIGNV, Room 98, No. 34 West 5816 St., New York Over the Teacups Continued from page 48 "You weren't," I High School Course in 2 Years side of two years. and the lend inn profession courses aro d< — — ca» complete __ simplified H i jr h School Course at home in- Meets all roqurrrmenCj* for entrance to colleue This aid thirty- nix other practical "n. Send f..r it TODAY. ibed in our Free Bulleti AMERICAN SCHOOL Oept. M.676 Drexel Ave. & 58th St. TIME "Conway Tearle is much nicer, to my mind ; he's kept his sense of hu- mor hetter. He's not playing in any- thing just now, you know, and he has to pay so much alimony that it keeps him hroke. so he's asked the court to make a sort of sliding scale of ali- mony for him — high when he's work- ing and low when he's not. I think they ought to make wholesale rates on alimony to any one who's heen mar- ried as often as he has. "I'd think that romance was dead with every one getting divorces if it weren't for Eva Novak. She is go- ing to marry William Read, an ex- camera man." "Is she really going to make a pic- ture with her sister?" I asked, more interested in pictures than Fanny's idea of romance. "Yes." Fanny admitted as she twisted around and waved to some acquaintances across the room. 'They're going to make 'The Rock make-up case that she had designed insisted, in a lit- eral mood. "But I am now," Fanny retorted firmly. "Harriette Underhill has ti- tled two pictures, Hugo Ballin's 'Married People' and Hope Hamp- ton's 'The Light In the Dark.' Any one who has read her interviews doesn't need to he told that her sub- titles are awfully clever. We must see them." "'I don't see how you ever expect to see any other pictures so long as you do nothing but trail 'Sonny' around town. Any one would think- that you'd never seen a Barthelmess picture before." "Well," she murmured. "I notice that no matter how far out into the suburbs I trail that picture I find you there first. And speaking of Dick. I went up to his studio the other day with his mother. She was taking his birthday present to him, a stunning \ You can earn $15 to %5tt a v.- < k writing show | I cards in yonr own home. — No canvassing.— A ' I pleasant profitable profusion easily and quickly I I learnt by our new simple graphic block system, i f Artlstii ability not necessary. — We tcacn you , how, and supply you with work— Distance no obtect. Full particulars and booklet free. WILSON METHODS LIMITED- DEPT. N 64 Kast !;i l!ii 1, Toronto, Canada. of Ages' — adapted from the hymn and the painting. It ought to be sweet for those that like sweet things. At that, it may be a relief from desert pictures. I've seen so many of those that I'm on the verge of starting a school for scenario writers. My only instruction would be — just put in a desert ; that's all ! "And speaking of subtitles " herself. It was so cleverly arranged with pockets for cigarettes and every- thing an actor would need out on lo- cation that the company that made it is going to manufacture them now. Dick was awfully pleased with it. We had luncheon up in his dressing room. If anything is ever wrong with his work in pictures — and I'd be the last to admit such a possibility — blame it
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Advertising Section 101 on the color of his dressing-room wall paper. It is a positively screaming saffron pink." "Oh, there's Alma Rubens!" I clutched at Fanny and tried to attract Alma's attention. "Just a minute." Fanny gasped. "Let me tell you a joke on Alma be- fore she comes over. She got a. ter- rible anonymous letter the other day. and it worried her until she was nearly ill, though there wasn't any truth in the things it said. And after she had worried and worried over it for hours she examined it closely and discovered that even though the hand- writing was obviously disguised, it was Constance Talmadge's. Alma was so amused she laughed till the tears rolled down her cheeks. But 1 bet she'll play a joke on Constance that she won't forget in a hurry !" "Fanny," I blurted out distractedly. "promise me something before Alma joins us." Encouraged by her weak assent I went on, "Don't try to buy that blue negligee from her that she's wearing in 'The Valley of Silent Men.' because I want it." But I'll never trust Fanny where anything as charming as that negli- gee is concerned. A Man-Sized Fight Continued from page 53 His company gave an advertising man But time alone can tell how many ten thousand dollars and told him to big successes it will take to bring him keep Lew Cody's name before the back that popularity which melted public And Mr. Cody would gladly away when he took his ill-fated ex- have given him twice that to keep him cursion into pictures that made him quiet if he had known how it was to out a devil with the ladies. Lew be done. But the damage was done Cody is plugging away whole- l.efore he knew that he was to be heartedly at the job of getting back styled the male vampire. into favor, and is pretty sure to win. But to go back to Seattle — when When his star pictures which made he asked the audience if they thought him out a trifler flopped, people said, he was as bad as he had been painted, "Lew Cody's down and out." But a little old lady in the front row shrilly piped up, "I think you're, worse !" Now most actors would have ignored her and got oft" the stage as quickly as possible, but Lew Cody jumped right down over the foot- lights and started talking to her. And when he was through he had not only convinced her that he was sincere in his desire to live down his purple cinematic past, he had won her over so completely that when he suggested that they shake hands she insisted on kissing him. Perhaps that story moves you ; it didn't me particularly. I just mur- mured, "Isn't that like some fool women?" and asked Mr. Cody about the part .he is playing now in "The Valley of Silent Men" opposite Alma Rubens'. But when I saw how genuinely en- thusiastic he was over having a chance to play a strong part in a big story, my flippant attitude vanished. I was face to face with a man who was putting up a big fight and who compelled my admiration. The hard- est job in the world is to stage a come-back or correct an erroneous impression. Compared with it. gain- ing fame is simple child's play. As you may remember, it took only two pictures, De Mille's "Why Change he's not. Even in these hard times there are canny men in the film busi- ness who are considering starring him again. And this time, needless to say, he will play real men, not but- terflies, in his pictures. He is an ingratiating person ; the aw fid trick that Fate played him in bringing him success and then knock- ing him over with an advertising man's slogan hasn't ruffled his poise or ruined his sense of humor. I dare say that he would be one of the big popular stars to-morrow if people would forget their villainous concept of him and see him as he is. But if you suspect that I was un- duly affected by his charming ways here's a tale that came back to me a few days after my interview. A mutual acquaintance at the stu- dio dropped in on Lew in his dress- ing room after 1 had gone. "How did you get on with the in- terviewer?" he asked. Cody waited a moment. "W-e-'e-e-e-ll." he finally said, "I've got an idea that she knows what it's all about. I mean that, unless I'm mistaken, she's going to write me up just the way she really sized me up. without any fancy trimmings." He stopped again for a moment. "At that." he concluded. "J'd a lot is the new scientific jewel which ie replacing diamonds everywhere. It flashes like a diamond; radiance guaranteed ever- lasting: more difficolt to melt than platinum; resiats all acids; exceeds in hard- dcss nil jnweta but the d" —tho ring la solid sold. 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102 Advertising Section Doris — Twice Over Continued from pag3 44 Any Woman can have Beautiful Wavy Hair ! Produce a natural, beautiful ripple wave that remains in straightest hair a week or more, even in damp weather or when perspiring. If the hair is fluffy only use the wavers once after every shampoo. Stop burning hair with hoi irons! Stop twisting with curlers which break the hair. Send for Water Wavers (patented) today. Abso- lutely sanitary, universally suc- cessful — endorsed by society's leaders. If your dealer doesn't handle them send $2 for set of 6 mailed with full directions. WATER-MAID WAVER CO. B-117 West 7th St. Cincinnati. Ohio ElinorGlynazKs. "Thousands who don't droam they can write really Cart. YOU hnvo Ideas for atones ami photoplays— why don't you turn them into conn? There nre just as mnny stories of human interest rfRlit in your own vicinity us thero aro In Greenwich Village or tho South Sea Islands. And editors will wolcomo a story or photoplay from you just a* quickly as *rom a iy well-known writer if your story ia Rood enough- 'J hey will pnv you well for your ideas, too— a Rood deal bigger money than Is paid in salario*. You cot accent my advice because millions, of copies of mv stories have- been sold. My b-iok, 'Three Weeks," has been printed in every tongue, except Spanish. My photoplays are known to nflflonft, I do not say thia to boast, but merely t > prove that yon can he successful without bi-ing a 'genius. * I believe thousands of people can make money in this absorbing profession. I believe thia so firmly that I am going to show YOU how ea«y it ia when you know ■ how. Simp y writ* to my publishers. The Authors' Press. They will send yo-j a hand-tome little book called ' Th« Short-Cut to Success- ful Writing.' This book is ABSOLUTELY FliKK. No charge - no obligation. Write forit NOW." Just address Elinor Glyn's publishers: THE AUTHORS' PRESS, Dept. 197, Auburn, N.Y. For Ideas. Photoplay Plots accepted any form: revised, criticised, copyrighted, marketed. Advice free. Universal Scenario Coriioration. 910 Western Mutual Life Bldjr., Los Anuclcs. Cal. "Your own company?" I asked. She shook her head and smiled at me with a characteristic lowering of the chin that accentuates the sparkle of her eyes, and brings out two dim- ples around her lips. "I suppose I could call it that, but I don't want to. Silly, don't you think? I don't want to be a star again until — well — until 1 am. That is the only success that really counts." I reflected that if I were asked to sum up Doris Kenyon in two words. I would do so with "charm." and "sincerity." She has a young friend- liness, a warmth of manner that is neither aggressive nor affected. If she likes you, she does not hesitate to show it. And she has a direct, un- flinching way of looking you straight in the eye that makes you feel that she is earnest, purposeful. I told her that Picturi:-Play was going to publish a page of her im- pressions of screen celebrities. I had read them and thought them most apt. "You must know the people very well?" I hazarded. Again she shook her head. "I don't know any of them. You'd hardly believe it. but the only movie stars I know" — and it was significant that she spoke of them as if she were not one of them — "are the ones with whom I have played. I have never been to California, you see. and the people I know are mostly writers, or just — family people." It was the next Sunday night that I attended a spiritualistic seance at Doris' home. Both she and her mother are interested observers of things psychical, and the medium had consented to any tests of his sincerity for which we might ask. The results were, to say the least, mystifying. At times embarrassing : for I. with an almost-new husband beside me, had to listen to a messasre that rose from the ashes of a bygone love affair. The most skeptical man in the group was confronted by a scientist, on a far-away plane, and there ensued a sharp contest of technical questions and answers, so phrased as to be al- most unintelligible to us laymen. It hardly seemed that the medium, a young man apparently of only mod- erate education, could have had any knowledge of some of them. The answers the spirit scientist gave were quick, decisive, and I understand, ac- curate. The skeptical one admitted that there "might be something in it." But the thrill of the evening came when a woman's voice, speaking through the tranced lips of the me- dium, declared that she was Fanny Davenport, and had a message for Doris. "My child." she said in a series of rushing, eager sentences, "you are only approaching your greatest work. Many splendid things lie before you. This is the advice I wish to give you. When you enter a house where there is trouble, seize upon it, feel it, make it your own. When you see a man fall upon the street, push your way into the crowd. Register your sensa- tions, file them away so that you will be able to reproduce them accurately if need arises. Be alive, be keenly re- ceptive to everything about you. Above all things, do not listen to flat- tery. My child. I know whereof I speak : it will gain you nothing. Think only of your work, how to in- terpret life sincerely. The best re- ward possible will be your own con- sciousness of having done it well." And whether you believe or not that it was Fanny Davenport speak- ing. I. for one — of a great many — at least believe firmly that the pre- diction concerning Doris' future will be fulfilled. She is indeed going "Up the Ladder." A Fan's Adventures in Hollywood Continued from puge 85 quickly cleared of Pimples. Blackheads, Acne Eruptions on the face or body — Enlarged Pores, Oily or Shiny Skin. Clear-Tone has been Tried, Tested and Proven - merits in over 100,000 test cases. Z^tTTVC WT WRJTE TODAY for my ■Sf- BSr -P WT -P>"c«Booklet— "ACleau- UB\ ,B»%.&aSJkriA Tone Skin"— tellinsrhow I I cured myself after being afflicted fifteen years. I E. S. CIVENS, 237 Chemical Bldo., Kansas City.Mo. where the forms of all the Lasky ac- tresses are kept. "I want to show you some of them." said Agnes laughingly. "Each has the name of the star written on it because really you'd never recog- nize your own shape when you see it in a form like that." We went around trying to guess whose figures the forms were to rep- resent. • Betty Compson's, Lila Lee's. Bebe Daniels', we came across. "That one is easy." said Agnes pointing to a particularly tiny one, "that's little May MacAvoy's." Then we went into the enormous wardrobe department where rows and rows of costumes of every descrip- tion were hung, from the most elabo- rate evening gowns to every style of riding habit. In drawers anrl glass cases were hats and shoes. Good- ness, seeing that pile of clothes all in one huge room, it looked to me as if there was enough there to deck out every actress in the movies in regular De Mille fashion.
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Advertising Section 103 Agnes Ay res showed me some of the costumes that were set aside for her use ' only. There were several stunning gowns of green sequins and beaded ones that were kept in draw- ers. Then there was the Margue- rite costume of blue velvet and pearls that she wore in her first star picture. And I saw the helmet and the cream-colored linen riding habit that served her in "The Sheik !" Mrs. Chaffin had some hats that she had got especially for Miss Ayres to wear, so we went into a fitting room where she could try them on. There we discovered Agnes' form with a gown already fitted on it. Then Agnes showed me the direc- tor's office where the director waits and gives the final O. K. to the play- er's costumes. A director was there when we en- tered and then who should come in to show off her costume but my dear friend Betty Compson. Betty Comp- son seems like that to me because I met her more often than I did any other movie star. Every time I vis- ited the Lasky studio we were sure to run into each other — to my great pleasure. Betty showed off her costume like a model for the director while he sug- gested changes to Mrs. Chaffin. The costume Miss Compson wore was a very tight striped skirt, a lace waist, very high-heeled pumps, and her hat was a sort of tarn affair. "I just love to play a tough part," laughed Betty, as she posed with her hands in ber skirt pockets and shrugged her shoulders. She re- called to mind her Rose of "The Miracle Man." "You know. I think the girl in this story would be the kind who would go without something to eat so that she might wear silk stockings," she explained. "Now you are getting a good illus- tration of just how the star, the di- rector, and Mrs. Chaffin all confer on the selection of the clothes," said Agnes Ayres. "When I get my script for a new pictut£ I have to go through the very same thing." (to be continued.) At Home with the Stars After the first glamour of visiting motion-picture studios was past, Ethel Sands decided that it was much nicer to see stars in their own homes. You'll agree with her when you read next month of how she dined with Mr. and Mrs. Sessue Hayakawa and went over to spend the evening at Pauline Frederick's afterward. And of the times when she visited at the homes of Norma Talmadge and Lois Wilson and Jacqueline Logan. W L.DOUGLAS FOR MEN *5.*6.*Z&$8. SHOES W.L.DOUGUTS PRQDUCT IS GUARANTEED BY MORE THAN FORTY YEARS EXPERIENCE IN MAKING FINE SHOES THEY ARE! MADE OP THE BEST AND FINEST LEATHERS, by skilled shoemakers, all working to make the best shoes for the price that money can buy. Thequality is unsurpassed. Only by examining them can you appreci- ate their wonderful value. Shoes of equal quality cannot \te bought else- where at anywhere near our prices. OUR $7.00 AND $8.00 SHOES ARE EXCEPTIONALLY GOOD VALUES. W. L. 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Shese men anl more than 60 others of America's leading illustrators and cartoonists comprise the Federal £Statf. Tuey tuacn you tnone secrets and inetnods of their success that to >U them years to discover and perfect. If you have talent for drawing, capitalize your ability. Make it earn big money for yon. Be successful by learning drawing from men who hive achieved fime and fortune through drawing. SEND FOR OUB FREE BOOKLET— A Road to Bigger Things." It explains the Federal method of instruction. Readof opportunities in the art world. Leamhowycu can qualify for a position paying big money. Your name, address and age to- gether witji 6c in stamps to cover postage, will bring this book by return mail. FETHGRAX SCHOOL*. Inc. 922 Federal Schools Itlriir. Minneapolis. Minnesota TRADE MARK REG. Bathe with Bathasweet. It adds the final touch of dainty luxuriousness to your bath — coob, refreshes and invigorates. Bathasweet keeps the skin soft and smooth. 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D. charges to cover postage, boxing, advertising, handling, etc. If you can tell it from n real diamond return and money refunded. Only 10. 000 given away. Send no money. Answer quick. Send aize of finger. KRAUTH & REED, Dept. 35 Masonic Temple Chicago FREE $500 CONTEST We want a third verse for our sonir " Empty Arms." J500 will be paid to the writer of the best one sub- mitted. Sen<l us your name nnd we shall send you the words of the son« and the rules of this contest. Addre«» Con- test Keillor. World M. P. Corp.. 345 W. 47th St., Dent. 092 E. New York. N. VT Cuiilinued from page 11 place about twelve years ago. It was in the Guild Hall, adjoining St. Andrews' Episcopal Church, Tampa, Florida. A children's entertainment was given for the purpose of raising money for a new or- gan. Talented little people gave piano numbers, vocal solos, interpretative dances, and Colleen Moore — then Kath- arine Morrison — was the "reader." She was good — we remember well — a shy, earnest little girl. We all liked her. The whole cast of that evening have made themselves felt in their home town. Col- leen is the only one nationally known. We are proud of her. Mary Coe Thompson'. Tampa. Florida. And Still the Battle Rages. I'll be very glad when all this Wallie Reid sluff will be over with. I can't for the world see why he receives so much mention — oh, yes, maybe I have it — his looks? Well, he does make a very good fashion plate and, yes, he can drive beau- tifully, but personally, my friends can supply both without paying for it. His dramatic ability to me consists of grins and frowns. As for being romantic, need we look to Wallie for that? Xo. not while we have Valentino, with his romantic and fascinating personality, combined with great intelligence and real dramatic abil- ity. Genuine and sincere in his work, he has captured us all with that wonderful something that makes him so different from the general run of them, exotic, enigmatical, and suave, yet with that de- licious bit of devilishness that only Val- entino is capable of. Judging by com- ments one hears everywhere, he will be the sensation of the screen if cast in good productions. I have seen "The Four Horsemen" five times and would go again ; it was won- derful. However, "The Sheik" was a sensation, according to the widespread notoriety it has gained. I agree with L. H.. of Washington, about the Valentino characterization of Ahmed. Although the book made very interesting reading, I preferred the pic- ture. And wasn't Rudy great in "Moran of the Lady Lctty?" He certainly proved — to the men fans especially — that he was a he-man, after all. I'm looking forward eagerly to "Be- yond the Rocks." I hope that Gloria hasn't spoiled it all, for I've never con- sidered her as anything but a fashion manikin. However, it ought to be a good attraction, since Rudy is in it. Marie Lawrence. 8023 Chreisham Valley, Chestnut Hill, Pa. For the first time, I am disappointed in Picture-Play. I thought you meant what you said about "the truth about the stars," also that Agnes Smith was one of our most discriminating critics. But in your advance advertisement of her Val- entino article you arc pandering to the popular craze as violently as any of them. From your adjectives one would sup- pose him to be a mixture of Dante. Sal- vim, D'Annunzio, John Barrymore — and then some ! Xow you know, in the back of your good business brain, 'tain't so! He is an extremely personable young man, of a race which comes naturally by romance and drama, who is being given every favorable consideration in the way of special stories, fine directors and casts, and exceptional publicity. If a certain calculating egotism and a lack of what seems like fundamental good taste does not prevent, he may accomplish greatness. That he has not, in his own right, done so yet should be recognized. It seems to me that Wallace Reid de- serves more credit than he gets for his long record of consistent production. In the last six years he has steadily turned out an average of seven or eight pictures a year, a goodly number of them the maiden efforts of young directors, with any convenient leading lady or costar, and mostly piffling Satevepost stories. But they have achieved so uniform a quality that a Wallace Reid picture stands to-day for a clean, entertaining product of more than average excellence. Reli- ability may not be Wallie's middle name in real life, but in pictures his record of past performances seems to deliver the goods. F. D. H. Washington, D. C. _ Hazel Shelley's article, "Heroes I Have Known," in the July Picture-Play, was indeed interesting. But why did not Miss Shelley confine herself to her topic and dis- cuss only the "heroes she had known?" Several caustic paragraphs are devoted entirely to Rodolph Valentino, whom Miss Shelley admits she has never even met, her sole occasion for observing him be- ing a few moments on the set where he was taking the part of that most self- sufficient of characters on the screen, the Sheik. Would Miss Shelley have concluded that Wallace Reid was a slick crook if her only opportunity for watching him had been during a scene in "Always Audacious,'' where for the moment he was Slim, the Penman? Or, would she have formed a violent dislike for Bert Lytell because she saw him rehearsing parts for "A Message from Mars," wherein he is supposed to be snobbish and conceited? If Miss Shelley's deductions regarding Rodolph Valentino were the result of per- sonal contact, as her other impressions are professed to "be, we would have noth- ing to say. We are all entitled to our own opinions, though the chance of our broad- casting them is often more limited than hers. I am certain that Picture-Play is not a magazine in which writers can with im- punity exploit their ungrounded preju- dices, and thus in turn prejudice others. Picture-Play Magazine has been par- ticularly enjoyable because of its open and aboveboard kind of material, and the arti- cle referred to is not in the fair and sen- sible tone we have come to expect. . Gwin G. Goodwin. 228 Calhoun Street, Battle Creek, Mich. My chum and I've been having an aw- ful argument about Hazel Shelley's article, "Heroes I Have Known," in a recent num- ber of Picture-Play, so I thought I'd write and ask what other fans think about it. .Evelyn — that's my chum — says that she doesn't like writers who are preju- diced, but I say hooray for the maga- zine that has the courage to print such spirited comment. You'll notice Hazel Shelley never claimed that the majority felt as she did; she just told what her own personal views were. And I'd rather read condemnation that was written en- thusiastically any day than to read half- hearted praise, or praise that sounds forced. Continued on page 106
Page 105
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PATENTS: Trademark, Copyright. In- structive pamphlet free. Correspondence so- licited. Results procured. Charges reason- able. Motzger. Dept. C, Washington. Short Stories and Photoplays FREE to writers- -a wonderful little hook of money-making hints, suggestions, ideas; the A B C of successful Story and Movie writing. Absolutely Free. .lust address Authors' Press. Dept. SO. Auburn, N. Y. WRITE News Hems and Short Stories for pay in spare time. Copyright Book ami plans free. Press Reporting Syndicate (406), St. Louis. Mo. WRITE PHOTOPLAYS: $25— $300 paid any one for suitable ideas. Experience un- necessary: complete outline Free. Producers League, 439 St. Louis. WRITERS! Stories. Poems. Plays, etc.. are wanted for publication. Literary Bureau, 175, Hannibal Mo. PHOTOPLAYS WANTED for California Producers : also Stories. Submit manuscripts, or. if a beginner, write for Free Plot Chart and Details. Harvard Company. 500. San Francisco. Songs, Poems, Etc. SONGWRITERS! 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Wa prowo it by sending Trial ot Plapao absolutely pppp Write name on Coupon and send today, i n LC Plapao Co 633 Stuart BIdg.. St Louis, Mo. Name - Address Return mail will bring Free Trial Plapao What the Fans Think Continued from page 104 There is praise that simply condemns, and there is criticism thai makes you love the person criticized. I don't see why my friend Evelyn and the other fans who are simply furious over what Hazel Shelley said about Rodolph Valen- tino don't remember that. If she had run down any of my particular favorites I would just have said to myself: Well, then. Hazel Shelley, if you don't like him, then I probably wouldn't like you ! As it happened, 1 did agree with her. I would have refused to meet Rodolph Valentino, too, if I had been in her place. But Evelyn, who is hopelessly crazy about him, says that if I had a ghost of a chance to meet him, she'd give me her new summer hat to trade places with me. Oh, well, here's to Hazel Shelley any- way. I hope you will keep on printing such perfectly frank and amusing articles. What's an opinion worth if it isn't preju- diced? Doris G. Parnell. Pontiac, Mich. In your July issue of Picture-Play Hazel Shelley had an article on "Heroes I Have Known'' which made me very an- gry. I don't think any one who has not met Rodolph Valentino has a right to judge him as severely as she did. Miss Shelley maintains he is conceited and self-satis- fied. I have no authority by which to deny this, but if he be so, I will say — who wouldn't ? Take any motion-picture actor and suddenly shoot him to fame, as "The Four Horsemen" did Valentino; send him several million letters from the vast picture-going public which has set him up as a new- idol ; crowd the fan magazines with his pictures and inter- views; let all of the biggest film corpora- tion scramble for his services; give him a contract with one of the biggest pic- ture companies in the world and a salary of twenty-live hundred a week as a begin- ning— and if he would not become some- what self-satisfied at what he had achieved he would not be human. Of course Tony Moreno is not conceited. He has no special reason to be. And as for Bert Lytell, judging from his recent pictures, he is the most egotistical man I have ever seen. He fairly struts across the sets. I do not care for these "rank" criticisms of players which arc usually sarcastic. However the public seems to like Valen- tino, and I guess that is all that matters to him. 1 don't suppose he even needs this defense. Trix MacKenzie. Box 1405, Altanta, Ga. Amen ! I say to the letter signed by Maria Funez, of 330 Mill Street, Pough- keepsie, Xew York. Let us have only the best from that "king of lovers." Rodolph of the dark skin. Not altogether because he is the king of lovers, but because he represents a type that stands alone, something that comes "once to every woman" and, as such, reigns supreme. Women are just naturally crazy about him. despite the fact that another fan writing in the same is- sue denies this and disapproves of "crushes." I don't mean that they would get on the next train and make a trip to Hollywood just to see him, for realiza- tion is often a disappointment, or that they dream of him as a possible husband or sweetheart. But I do mean that his pictured likeness either thrills their leisure moments or acts as a narcotic to almost every woman I have met for some time. I have been a lover of pictures for some years. I used to go often before the war, but of late I have lost interest because there seemed to be no pep in the men, no individuality about the women, and nothing in the pictures to take me out of the existence of everyday. Then came "The Four Horsemen" and "The Conquering Power" and, yes, if you must have it, "The Sheik," though it was trash and in the hands of a different tem- perament would have made an ugly pic- ture, censored even though it was. But "Beyond the Rocks" was impossible, and I felt almost like crying as I witnessed the efforts of Valentino trying to put life into pasteboard and artificiality. "A thing of beauty is a joy forever," and the mem- ory of one Julio is worth a dozen per- formances of Elinor Glyn's production. Let us put him away in lavender and old lace rather than try to preserve him in one half of one per cent. Ax Old, Blase Movie Fan. 135 West Eightieth Street. New York City. I've read so many letters in "What the Fans Think" page praising Rodolph Val- entino that 1 can keep quiet no longer. I am going to brave the fury of lots of fans by saying that Mr. Valentino is a great way from being a great actor. I will admit that he was very good in "The Four Horsemen," but since then he seems to have become quite conscious of his so- called "manly beauty." In the first place, he has stolen Wallace Reid's trick of rais- ing his left eyebrow, and his hair would put patent leather to shame. Some one back of me at the last movie he appeared in summed him up pretty well by saying: "Gosh! He just hates himself, don't he?" Of course, his type will ahvays appeal to the young girls, but he isn't the type to hold the attention of an average adult. Harlow B. Johnson. Rochester, Xew York. I do not agree with Miss MacKenzie on her criticism of Wallie Reid. He is a wonderful character and deserves every bit of praise he gets. I think if people would talk more about the good points of an actor or actress it would help us all. But there are always a few to "take the joy out of life." And there is always some one just a little better to "give joy," and I think Wallie is one of these. I think there are a number of fans who would be entirely lost if Wallie were to leave us. I, myself, always feel a hundred per cent better and can always laugh after seeing one of his pictures. Rodolph Valentino is perfectly wonder- ful. I agree with her there, but, after all their wonderful efforts to please us every one, and years of hard work, do you think it hardly fair to forget the old favorites just for the new? I can never forget Wallace Reid in "Excuse My Dust." He won a place in my heart, as well as life- long memory, then. I am in favor of keeping the old ones so long as they give lis the best they have. Evah Brace. Beaumont, Texas. I have noticed many letters of praise for Valentino's work in "The Sheik," and I cannot understand why this picture is praised so highly and "The Four Horse- men" apparently forgotten. Valentino's splendid work in "The Four Horsemen" was mentioned only once in the whole sec- tion of the May issue, while "The Sheik"
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Advertising Suction 107 was lauded to the skies in no less than ' three articles. One opinion, signed by a young woman of Atlanta, Georgia, was filled with the silliest, most sentimental "bosh" 1 have ever read. I can't see how a star can be pleased with such praise as this : "The Sheik'- costumes I did not care for much, but the ending was too won- derful for words. He should never wear anything but white riding suits with dark boots." Think of that as a standard of good acting and artistic ability ! The writer also spoke of Valentino as "the > handsome Italian who has taken the conn- try by storm." I admit that he has taken the country by storm, but if these young girls could only forget this sentimental nonsense and judge a picture by its real merits and by the players' real ability to act, better pictures will be the result. I have seen both "The Sheik" and "The Four Horsemen," and the latter is by far the better of the two — likewise Valentino's best work. Please do not think that I am too old to enjoy Valentino's very good looks — I am only twenty — but I do not feel it is right to judge a player's ability to act by the "wonderful endings" of his pic- tures or the way he looks in the special clothes he wears in the "final clinch." Mrs. A. H. Craxdall. Orlando, Florida. Praise for Thomas Meighan. When one reads the letters from "fans" that appear from month to month in your magazine, they cannot help but write in answer to some of the sentiments they contain. Kodolph Valentino) I am so sick of reading praise of this foreigner that I cannot help but voice my sentiments con- cerning the silly letters complimenting him. I can see absolutely nothing in his appearance to appeal to the refined Amer- ican woman. And his interviews ! His opinions on woman ! Love ! Why, every- thing he says goes to show he has the foreigner's idea of these matters. He does not realize that the American woman does not require her husband at her elbow paying her attentions and. like foreign- ers, keeping even- man far from his wife. Just let Mr. Valentino see how long he can keep an American wife on sweet words minus the comforts of life, which can be purchased for money. Let's wait till he has been in the public glare as long as Thomas Meighan, for example, and then see what he will say about love and marriage. Mr. Meighan and his wife deserve the admiration and respect of any sound- thinking person, when you consider the demands of their profession, which has kept them apart at times for months and yet has not lessened their love for each other. Then when you take into account the fact that Mr. Meighan is. in the minds of many of the fans, the handsomest and best actor on the screen, you naturally realize the temptations he must be con- fronted with. Much praise is due Mrs. Meighan for her share in their successful marriage. Air. Meighan is a perfect type of American manhood. He must have had a wonderful mother and father and home life. Each night I pray that Mr. Meighan will be happy, successful, healthy, and good. I never forget the good, for without this the others are useless. My husband and four children are right here in the living room as I write this, and my husband, a noted specialist, ap- proves of everything I have expressed here. A constant reader, Mrs. N. C. L. West Fortv-sixth Street, New York City. Slenderness and Beauty An Easy, Safe, Pleasant Method Reduce Weight Without Drugging, Eat and Drink All You Need By DR. P. A. SENIOR There are four ways by which you may re- duce weight if you punish yourself all the while you are doing so, and afterward re- main miserable while keeping your size down. Perhaps you have tried one or more of these strenuous ways, such as tedious exer- cising, taking drastic medicines, or keeping yourself nearly starved. These methods, although used even now- adays, are not what you want, because you wish to enjoy your life also. I do not need to describe the failings of the drastic methods. The most unsatisfac- tory part is that, after having strenuously gotten rid of some superfluous flesh by one of these courses, it starts coming back when you stop your self-sacrifice process of phys- ical torture, purging, weakening sweats, or going hungry. You who are overstout, whether you be woman or man, and regardless i>f where this fatness is, may now heed my advice and make qu:ck progress toward that symmetry, slenderness and suppleness which you so devoutly seek. The secret is in a small box and I assure you it is as safe as if you were washing your hands with soap. The treatment in the box is called Korein — pronounced as if spelled koreen. If you are becoming corpulent all over your body, or if your fatness is manifesting itself in parts, such as on your chin, arms, hips, bust or ankles, you may use the Korein system with complete confidence. Weigh yourself and take your measure- ments. For your own satisfaction, you must start keeping a record of the steady reduc- tion. Let your minor also show you the im- provement in the symmetry of your figure. You will see that Korein eliminates the fat of jusl those parts where it should be re- moved. Personally, I am opposed to a reduction that is rapid, although some physicians see no objection. Qu'le probably you could "speed up" to a reduction averaging five or six pounds weekly as many have done with Korein Tabules with success, but it is much better on the whole that you be content with a steady average of two or three pounds, weekly. However, you may control this to suit yourself. Of course, it will take somewhat longer to reduce 32 to 48 ounces weekly (instead of 80 to 96 ounces), but your bodv becomes more easily accustomed to this gradual re- duction. It is a pleasant way of becoming slender and after you have eliminated the super- fluous flesh, it is as easv to remain thin. At the drug store you should call for Korein Tabules. With the box you will find the simple directions, easy to follow. I attended a meeting of several physicians at which were examined the formula of Korein Tabules, also the directions, and we also inspected the reports showing that many overstout people had reduced from 10 to 70 pounds and improved their appearance re- markably. There is no doubt that life is lengthened by a number of years, also that one becomes clearer in mind and more agile physically. The happiness of a person who has reduced by this Korein system after having made a failure of other kinds of treatment, certainly is good to witness. As compared with those cases of reduc- tion obtained by drastic methods, the Korein system is amazing. It should be recom- mended heartily by every physician who has examined it and who has observed the benefit to those who have used it. I recall a lady patient of mine, very obese and flabby who used Korein Tabules accord- ing to directions for a short time. She re- duced weight and enhanced her figure in a way that was astonishing. Her heart be- came stronger and she seemed to become a bright young girl again. When she danced, she did so in accordance with the true poetry of motion. I believe her numerous admirers made her husband seriously jealous. But she probably overcame that. A Free Trial Offer The recommendation of Dr. Senior, the well-known physician, is highly appreciated. If you. the reader of this, are overstout, or becoming so, and if you would like to try Koerin Tabules, we shall be pleased to send you a dollar box, free, on trial. If you find fully satisfying reduction, you may pay us one dollar; if not, you are under no obliga- tion. Or. if you prefer, purchase a box of Korein Tabules at the drug store upon the money-back guarantee. You take no risk of loss — we know so well what Korein Tabules will do when taken according to directions that we are perfectly willing to guarantee you satisfaction, or money back. Tf you desire a dollar-size box on free trial by mail, please write us making the re- quest, and it will come to you in plain wrapper, postpaid. You need only enclose 10 cents, silver or stamps, to cover mailing expense. Address KOREIN COMPANY, ND-151, Station X, New York. N. Y. Show your overstout friends this advert iseinent.
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APPLY DeMiracle to one spot /\ and any other depilatory to another. Wait a week and the results will prove that DeMiracle is the best hair remover on Earth. You need not risk a penny in try- ing DeMiracle. Use it just once and if you are not convinced that it is the perfect hair remover re- turn it to us with the DeMiracle Guarantee and we will refund your money. For your protection insist that any other depilatory is guaranteed in the same manner. DeMiracle is not a sealing wax, powder, paste or so called Cream. You simply wet hair with this nice De M iracle sanitary liquid and it is gone. DeMiracle is the most eco- nomical because there is no waste. Three Sizes: 60c, $1.00, $2.00 At all toilet counters or direct from us, in plain wrapper, on receipt of price. !)^Jniracfc Dent . M 32 Park Ave. and 129th St., New York rOUtS fiS STAHQftRD TR/ltWHt* SCHOOL fOH THEATRE ARTS ALV1EWE SCHOOI/ DRAMA1IC ARTS FDUl? SCHOOLS IN ONE. PRACTICAL STAGE TRAlNlltG.™ SCMOOt'S STUDENlS STOCKS.- THEATRE AlfODD PuBUC STAGE APPEARANCES' Write tor catalog mentioning study desired to D. IRWIN, Secretary 43 W. 72d St. New York City 'een li'way & Central Park W A Slim Figure — One safe and sure way to obtain it Reduce your superfluous flesh externally through your daily bath with fra- grant FLO-RA-ZO-NA Bath Cartons The One and Only externa) re- lueer. Safe and Harmless. GUAR- ANTKEP toeontninnoalum. epsom salts or harmful inttred'ent. No violent exercises, no deprivation —Just Bathe and Grow Thin. Thou- sands testify to almost miraculous results. KoiH-lecH Trcatwriili. s:i.nn. If MOW rirmini*! rtinnot mtnpltt l/on Henri ,*,f./V>, JilllH UC fo> Mattfli (lll(/ juirliini/, I/' Mil ill (7rtii(id.i ■ riirrrt to Rnval I'haraiaceulical & P*rf''itierv Co.. Inc. Dopt. J-3. 49 E. lO.i.l St.. New York Advertising Section From Still Another Star. May I prevail upon you to tell the girl who wrote and asked if any of the play- ers read "What the Fans Think" that I read it regularly? 1 think that depart- ment is a really wonderful idea, for it gives the support of a powerful maga- zine to the idea that the fans do think. Judging by some of the pictures one sees, there are some producers who believe that picturegoers are incapable of thought. We need more influences like "What the Fans Think" to show them that is not true. If I believed as they do, I wouldn't be in pictures ! Often I wish that I could get closer to the people who go to see my pictures, and your department is in some degree a fulfillment of that wish. Betty Compson. More About Personal Appearances. After reading Emma-Lindsay Squier's article "When Stars Apnear in Person," which "ive us an insight into how the stars felt about personal appearances, I thought they might like to hear about what the fans think of them when they appear in person. I have seen ever so many stars in per- son, hut none impressed me as did Theda Bara. I naturally expected to sec a very "vampish-looking" person. Instead, she was very simple and sweet in manner, but gorgeous in appearance. Her gown of white satin and rhine^tones. together with a beautiful corsage of orchids, gave her a wonderful appearance. I agree with Miss Sq"ier when she says the fans like to see the stars gowned beautifully, al- though some of the stars overdo the thing, particularly Hore Hampton. She seemed nice enough personallv but was so overburdened with jewelry — and make-un — that she made a rather poor impression on the audience. I can't understand why some of the stars who make personal appearances per- sist in using such an enormous amount of make-up. I should think they would be glad to get away from it for a while. Ruth Roland was so heavily mascaroed that I could hardly tell the color of her eyes, and if she would have left most of her make-up off I am sure she would have appeared very good looking, as she has very good features. Dorothy Phillips seemed shy and re- tiring, was devoid of make-up. and had a most wonderful mink wran. She seemed the most human of all movie stars. Lillian Walker was very pretty and dimpled: Zena Keefe. stunning: Clara Kimball Young, ditto. Mae Murray was an adorable, if wild- looking little jazz baby. She gave a Spanish dance and some sort of a jazz dance, and the audience liked her be- cause she was lull of pep. Xow for the men. Thomas Meighan holds a warm spot in my heart because of his perfect naturalness and because he gave the orphans of Cleveland a treat, and while some uncharitable people say it was for publicity only, I am sure it was because he is really ~good*"and generous. I saw him holding about four of the orphans, and he seemed to be enjoying himself as much as they. There was no sham about him whatever. Bryant Washburn appeared at our lead- ing theater. His wile was with him, and he was not ashamed to admit it. I think he made the best impression of any movie star who appeared in Cleveland. He gave a very interesting little talk about Hollywood, motion pictures, and his fam- ily, and after hearing him the audience went away feeling that, after all, Holly- wood is not as bad as painted and the motion-picture folk arc home-loving, law- abiding human beings the same as the rest of us. Incidentally, I saw him on the street, and you can rave about all your good-looking men, but none of them can come up to Bryant Washburn for real good looks, and he doesn't try to get by in pictures on his looks, either, like some of our other handsome male stars. His wife was very charming and I don't blame him for feeling proud of her. Bert Lyteir seemed to be a regular fel- low and very jolly. Shades of disappointment! We fans are sometimes disillusioned, as in the case of seeing Lew Cody. Girls, I don't think he's a bit good looking in real life! He has sandy hair and a sandy-looking mis- placed eyebrow. I don't want to hurt his feelings, so I'll say that I think he is nice and not a bit villainous in real life. I have seen several former movie stars on the stage. Constance Binney was here in "39 East" before she became so well known in the movies. She is a fine little actress, very pretty, and the most graceful and poised person I have ever seen on the stage. Alice Brady in "Forever After" was wonderful. Madame Petrova in vaude- ville was rather freakish, I thought. Valeska Suratt, ditto, hut a very good actress. Mildred Harris, not much of an actress, but. oh ! so good looking and also very graceful in the little dance she gives in her act. I have seen a great many more but won't take up any more space. I admire them all for their courage in bearing up under the fans' scrutinizing eyes. Ci.evei.anp Fan. The Picture Oracle Continued from page 94 Only Twelve. — And so curious ! I bet you're a trial to your teacher. Harry Myers played the title role in "A Con- necticut Yankee." Wanda Hawley is married' to Burt Hawley — the story of their romance is in this issue. Belie Dan- iels is still single. Eugene O'Rrien was the star in "Chivalrous Charley" and George Fawcett was Hit Uncle: Xancy Dcaver. Alice Sanderson ; D. J. Flanagan, Her Father, and Huntley Gordon was Geoffrey S)nall. The Sheik. — You didn't have to wait so vcrv long for your answers, you see. Yes, T'm pretty busy. It's rather a job to keep track of these movie players some- times ; there are so many of them and they move around so much that I'm run- ning "in high" most of the time. But I don't mind it, and I suppose I am fortu- nate to be so close to the stars, which is most fans' idea of heaven, it seems. The title of Theda Bara's first picture and the production details haven't been an- nounced at present writing, so you'll have to be patient. Ethel Clayton is an R-C star now, Madge Evans is making "On the Banks of the Wabash," from the song of that name, Vivian Martin is on the stage, and J. W. Kerrigan is not doing anything in the line of screen work at present.
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If your hair, either long or bobbed, has been ruined by con- stant marcelling and burning. The National Bob blends perfectly with your own hair. Positively cannot be detected. Just a moment— on and off. Our beauty expert is here to serve you personally. In order* ing tell us how you wear your hair and we will send you the appropriate bob. This expert service is FREE. HOW TO ORDER Simply srnrl strnnil of hair with $10.00. Bnl»*' will In- ihjpDM liluncenr semi strand of hair alone i pay postman. Satisfaction jru__ ■in t (•<! <n- momy r.-fuiukii. Send for FREE catalogue. National Hair Nets A*k your deal-r or Mnd 65 cents for Boudoir Box of 6 GnUMltaeq per- feet, extra siz«, [teal Human hair! color anil style (cap or fringe-' NATIONAL HAIR GOODS COMPANY Dept. 68 368 Sixth Avenue. New York _ "for 30 days triul on approval. Your ciin in- of 44 Styles, colors and sizes of the famous Ranger Uieycles. Express pre- paid. Low Factcry-to-Kider Prices. IQMimiftl^tnVtrtV tf desired. Many boys ABa too Bmall monthly payments. T*_,_— wheels, lamps, and equipment at 1ITV9 half usual prices. Write for remark- able factory prices nnd marvelous offers. Mead Cycle Company wg.; y, Dept noi Chicago «r«e catalog^ IIIIIIIIIIIIIIIIIIIIUiiillililiUMlllllllllllllllllllttlllllllUliillllllllllllllllll Bound volumes of PiCTCRE-rt.AY Magazixb now ready. Price .$3.00 per volume. Address Subscription Department, Street & Smith Cor- poration, 79-S9 Seventh Avenue, New York. An Appreciative Reader, — Thanks. Xell Craig was Princess Vashti in "The Queen of Shelia." You must mean Ya- momoto Togo. Yamomoto plays with Owen Moore in his latest production; "Re- ported Missing." Yes, I am sure Ethel Sands would answer your letter. Write to her care of Pictuke-Play Magazine, 79 Seventh Avenue, New York City. Here is the cast for "Up and Going:" The Prologue : Albert Brandon, Cecil Von Anker; Marie Brandon, Carol Hollo way; Jacquettc McX'abb, Helen Field ; David Brandon, Marian Fcduchc. The Play: David Brandon, Tom Mix; Jackie Mc- Xabb, Eva Xovak ; Basil DuBois, Wil- liam Conklin; Louis Patic, Sidney Jor- dan; Sergeant Langley, Tom O'Brien; Sandy McNabb, Pat Christman ; Father LeClaire, Paul Weigel. I'll tell Fanny the Fan all the nice things you said ahout I her. Betty B. — Yes, both Gloria Swanson and Bobbie Vernon were with the Key- stone comedies early in their careers. It's not strange that you never heard of Val- entino before "The Four Horsemen." Not many other people did, cither, though he was in pictures for three years prior to that production, playing bits and small parts. You are a unique fan — to have een a devotee of pictures since their early- days and never to have asked for a single photograph ! A Betty Compson Admirer. — Your fa- vorite is in her early twenties. "Kindred of the Dust" has not been generally re- leased at present writing. D. W. Griffith has not definitely decided on his next production at this date, but there are sev- eral stories he is supposed to be consid- ering. He may make a scventy-two-reel production of the history of the world, to be used for the furthering of peace. Wells' "Outline of History" and the life of Christ arc other stories that he is said to be contemplating. But this may all be changed and Mr. Griffith working on an entirely different story by the time you read this. Harrison Ford appeared in "The Lottery Man." Yes. "The Birth of a Nation" was considered a very fine pic- ture by the critics. 1 f vou will send me a self-addressed, stamped envelope I will mail the cast to you, as it is too long to print here. LofisE. — Well, if I didn't ask you to write again it was only because I have said it so many times. I thought all the fans knew that they arc welcome to write whenever they want to know anything, even if they have asked questions before. You must have the name of that man in "The Iron Claw" wrong. Try again. The father of the Talmadge girls is living. Irish Inquirer. — Neither Blanche nor I Frances Ring has appeared in pictures. The romance of the Meigbans was printed in the January, 1021, issue of Picture- j Play, but those of the Hayakawas and ' Raoul Walsh and Miriam Cooper have ! not appeared so far. Thomas Meighan has no brother in pictures, but Edward Sutherland is his nephew-. J. B. W.— "Sky High" must be the Tom Mix picture you mean. In this produc- I tion Tom plays a government agent who I captures a band of Chinese smugglers in the Grand Canon. Helen M. Mc— Yes. Mary Wilkinson played Nanny Webster in the Paramount version of "The Little Minister." Miss Wilkinson was born in 1852, so you see she didn't need much making up for the part. 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You have burned the caudle at both ends — used up your store of precious nerve energy — robbed vour blood and cheated your body and brain out of the elements of vig- orous manhood! The deli- cate mechanism of vour body is out of adjustment, bemuse vou have violated the Inflex- ible laws of Nature. The fu- ture looks dark and hopeless to you — hut don't be discour- aged—cheer up — vou can come back. Let Me Make a Man of You! I can make a new man of you — rebuild you from head to foot. My methods are not experimental: I. personally, am the result of the Science I have perfected. No drugs or dope — no pills or tablets —no fads or fancies— just plain common sense, pure Science and the unfailing restorative forces of Nature. I want to help you overcome the weaknesses and deficiencies that make your life a wretched failure. I want to make you over into a virile specimen of lOOCr Manhood. 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Just mark the subjects on the free consultation coupon on which you want special confidential information and send frith a 10c. piece to help pay postage, etc. Send for my free book— Right Now— TODAY. LIONEL STRONGFORT Physical and Health Specialist Dept. 050. Founded 1895, Newark, New Jersey Cut out and mail this FREE CONSULTATION coupon Mr. Lionel Klrougfort. Dept. 950. Newark. N. J.— Please send me your book. "Promotion and Con- servation of Health. Strength and Mental Energy." for postage on which I enclose a 10c piece (one dime). I have marked (X) before the subject in which 1 am interested. ..Colds . .Catarrh . .Asthma ..Hay Fever . .Obesity . . Headache ..THINNESS . . Rupture . .Lumbago . .Neuritis . .Neuralgia ..Flat Chest . . Deformity (Describe) . .Successful Marriage . . Female ■ Disorders . .Increased Height . . Diabetes . . Pimples .Blackheads . Insomnia .Short Wind .Flat Feet .Stomach Disorders .Constipation .Biliousness .Torpid Liver .Indigestion . 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110 Advertising Section Its Fun Learning* Cartooning This New Easy Way IT'S all like a fascinating game — this bra home-study method »f learning cartooning. You start with the basic principles of car- toon-making. Then you learn the little tricks of originating carloon-ideas. the secrets of action, expression, and exaggeration. You progress rapidly through serious cartooning, comics, caricaturing, sport and animated car- tooning until almost before you realize it yon are drawing striking cartoons that SEI.I,. Many students of this method have sold enough work while taking their courses to pay for (hem many times over I Over $100 a Week T.earn cartooning this easy way. Never lias the demand for cartoons been so great. To- day magazines, newspapers, advertisers and movies use them by the thousands. Xo mat- ter how poorly you draw now. yon can quickly qualify for one of the attractive positions in this fast-growing business. .lust think of earning S3.000 to $20,000 a year for this work that is play. Successful cartoonists often get S2S to over $100 for single cartoons. Then there is the joy of the work Itself — the thrill of seeing your own car- toon-Ideas in print. Send For Free Book Mall coupon today for our handsomely il- lustrated book which is crammed full of up- to-date interesting facts about cartooning. It gives you an outline of the whole field of cartooning, describes the opportunities for you In this business, and explains in detail all about this new method which makes cartooning so pleasant to learn. Send for it Today | WASHINGTON SCHOOL OF CARTOONING r .. 1060 IMen Bid,. Wash., D. C. :_2lAR_lQQTJJ£I' """••oBwom. Washington School of Cartooning, 1060 Marden Bldg., Washington, D. C. Please tooning, method. send me your Free Hook on Car- and details of your home-study Name (Please write plainly, i Adrtn City Slate. If under Hi. state age.... 1. D. — Of course Iiihel Sands wouldn't mind if you wrote to her! In fact, 1 think Ethel enjoys all the letters she gets from fans almost as much as her adventures. Address her care of the magazine. Yes, I'm sure she will answer you personally. V. V. B. — Marguerite Clark is married to H. Palmerson Williams and lives down South when not making pictures. Mar- guerite hasn't done anything since Scrambled Wives," and 1 haven't heard of any future plans for pictures. Mar- cella Pershing has not been cast in any production recently, so far as I can find out. Yes. 1 do most of my own typewrit- ing. I don't think 1 should like a stenog- rapher, even if I were considered impor- tant enough to have one. So you have three friends taking the magazine just on account of my department? I must show this to the editor. Anna P. — Sessue Hayakawa is with R-C Pictures ; Priscilla Dean, Herbert Rawlinson. and "Hoot" Gibson, with Uni- versal ; Constance Talmadgc has her own company, and Thomas Meighau is a Fa- mous Playcrs-Lasky star. The best way to get an idea of what sort of stories the different companies want is to study the general type of pictures they make and note the stars that work in their produc- tions. This will keep you from sending a Western story to a company that spe- cializes in society pictures or a society drama to a studio that goes in for the more rugged type of entertainment. Why don't you send for our "Guideposts for Scenario Writers?" It costs ten cents in stamps. Mkrritt. — First of all, let me tell you that I am not a century old, and I have no "bewhiskered chin snowy white." The movies are young, you know — one doesn't have to be a tottering ancient to remem- ber all about them. Casson Ferguson is not married and he is not the brother of either Elsie or Helen Ferguson. I'm sorry you never got an answer or a photograph from Harrison Ford, especially when you sent a quarter, and there's not much hope left after a year of waiting, is there? Perhaps Harrison never got your letter. I'm sure he wouldn't neglect answering it or at least sending a picture, on pur- pose. Anxious Blue and Brown Evks. — The addresses of the studios you want are at the end of The Oracle. But the only way to get a chance in pictures is to apply personally at a studio. Letters and pho- tographs won't help you one bit without that. Why don't you send twenty-five cents for our booklet called "Your Chance as a Screen Actor" to the Subscription Department, Street & Smith Corporation, 7Q Seventh Avenue. Xew York City? This will give you about the best idea of screen acting and the difficulties that even- one has to face while trying to break in 7 Diamond Cluster Month1 Special Price $ Seven perfectly c.if, blue white Diamonds are -o closely set in Plat- inum, and so exquisite is the workmanship that the solitaire resem- blance is actually startling. Looks like a single 2 ct. Diamond. Don't send us a penny -we'll send the Ring entirely FRfCr". It satis- fied, pay 55.00. then send the balance in ten months. 55.C0 a month. If not satisfied, return. FREE Do Luxe Diamond Hook showing over •.MH4I Barsalnftu Dia- monds. Wjitehes and .Jewelry — ten months to pay 'on everything. Write to Porit. G02-P .■:•■.-'■■: "THE HOUSE OF QUALITY W: W " "'" 'CAPITAL t I.OOO.OOO. ^B IW-SWEET INC. 1650-1660 BROADWAY, NEW YORK than any other work I have read on this subject. W. W. Marie. — I doubt that you would ilose your devotion for Yalentino even if he should fail to answer your letter. At any rate, you would only be taking the chance that every other fan takes of get- ting a personal reply. Maybe you'll be lucky ! Xazimova was born May 22, 1879, and Agnes Ayres is in her twenties. Yes, Yalentino is going to play in "The Young Rajah," but the cast hasn't been selected or the production started at this writing so I can't give you the name of the lead- ing lady. Mae Murray's hair is bobbed and she has it curled. Jack's Standby. — Your favorite. Jack Mulhall, hasn't been neglected in The Oracle, but I suppose you overlooked the answers about him. He was born in New York City and was on the stage in stock and in vaudeville for a couple of years, after which he made his screen debut with the old Biograph company, playing leads there for four years. Then he went to Universal, Metro, and Realart. So that Jack is quite a veteran, having been in pictures about nine or ten years. He has been married three times, the present Mrs. Mulhall being Evelyn X. Winans. Jack is five feet eleven, weighs one hundred and fifty pounds, has brown hair and blue eyes. He plays opposite Constance Bin- ney in "The Sleepwalker." Tf.rrie Telson. — So you know a lot of movie stars personally— and you went to school with Wesley Barry! I suppose you're a very important person in your town ; sort of an Oracle yourself, I bet. The answer at the head of this depart- ment in the March issue had a brief stjjetch of Rodolph's career. Picturf.-Pi.ay has not had an interview with Barbara Bedford so far. but we probably will have something about her soon. Must you have a special invitation to write again? All right, Terrie ; I should be delighted to receive another letter from you. Allene H. S. — Richard Tucker is not a star; he plays small parts and sometimes leads. Pearl White has been married twice but is at present free from matri- monial bonds. Pearl has no children. Did you know that she is going to make serials again for Pathe? Sorry I can't give you the name of the first one, but it hasn't been announced yet. I suppose Pearl will have a few new stunts to spring on her devoted serial fans. Clifford T. — Wheeler Oakman has the honor of being Priscilla Dean's husband. Wheeler acts in pictures, too. Claire Windsor is married and has a four-year- old son. Ola Cronk is Claire's real name. Gloria Swanson uses her own. Marie Prevost was born in Sarnia. Canada. Irene Castle, of course, was the wife of Vernon Castle, her dancing partner. Mr. Castle was killed during the war. Rob- ert Treman, a business man, is Irene's husband now. If you wish back copies of Picture-Play, send twenty cents in stamps to the Circulation Department. Street & Smith Corporation, 70 Seventh Avenue. N'ew York City. Be sure to give the date of the number you want, and mention Picturf.-Pi.ay. because lots of ether magazines are published here, you know. Pauline Frederick's name was Beatrice T.ihbey. and she was born in Boston, Massachusetts. M. E. V. — Sorry, but I have been un- able to pet the exact date of Hobart Bos- worth's birth. But be was born and edu- cated in Marietta. Ohio, and started his stage career in 1885.
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Saxoohond Book Fr^*» After nearly 300 years' jaAUjjitun, DUVH rr ee supremacy, string in- struments are almost entirely displaced by Saxophones in a.l nationally popular orchestras. Our Free Saxophone Book tells which Saxophone takes violin, cello and bass parte and many other things you would like to know. Askf or your copy. Mention the instrument interested in and a complete catalog will be mailed free. BUESCHER BAND INSTRUMENT CO. _ ■__ Makera of everything in Band and OfcSestra Instruments Buescher Block ELKHART. INDIANA Sax Invented the Saxophone Buescher Perfected It E. J. — Marjorie Daw is in the Fox pro- duction "A Fool There Was," and plays with Owen Moore in his latest, "A Pre- vious Engagement." Marjorie seems to be kept busy these days, rushing from one studio to another so quickly that I can hardly keep track of her. She was born in Kjo2 in Colorado Springs, Colorado. Yes, Marjorie played in several pictures with Douglas Fairbanks, among them "Arizona," "He Comes Up Smiling." "Bound in Morocco," "Mr. Fix-It," "Say, Young Fellow," "Knickerbocker Bucka- roo," and "His Majesty, the American." She is not married, but was reported en- gaged to Johnny Harron, which, I under- stand, is not so now. Romantic Romaine. — We publish a booklet that 1 think would answer your questions about scenarios. It is called "Guideposts for Scenario Writers," and was gotten up to help those of our read- ers who are interested in screen writing :o prepare their stories properly. It con- tains many valuable hints and I am sure you would find it very helpful. If you send us ten cents in stamps the booklet will be mailed to you. Xorma Talmadgc was born in 1897, Constance in 1900, Gloria Swanson is about twenty-six and Harrison Ford, thirty. No, Garelh Hughes is not only a boy — he is the same age as Norma Talmadgc. Carlton Miller played the role of Bitlmcr Mead, the poet, in Marion Davies' picture "The Bride's Play." Frantcis C. — Ruth Roland stays in Cali- fornia most of the time because that's where she makes her pictures. "White Eagle" is her latest one and the next will be "The Riddle of the Range." in which Ruth shares thrills and defies death with Bruce Gordon as a partner. She was married to Lionel Kent but is divorced. Makcie M. — Agnes Ayres was the silken Cinderella in "Forbidden Fruit." Here's the full cast: Mary Haddock, Agnes Ayres ; Steve Haddock, Clarence Burton ; James Harrington Mallory. Theodore Roberts : Mrs. Mallory, Kathlyn Wil- liams; Nelson Rogers, Forrest Stanley; Pietro Giuseppe, Theodore Kosloff; Xadia Craig, Shannon Day; John Craig. llcrtram Johns ; Maid, Julia Faye. In case you couldn't pick him out, Forrest Stanley was the hero. Diana T. — 'Yes, you are right about Valentino's age. so calm yourself, Diana. You sound quite ruffled. Vincent Cole- man is Mae Murray's leading man in "Fascination," and Robert Frazer plays a toreador with whom Mae has an ad- venture. Agnes Ayres weighs one hun- dred and fifteen pounds and is five feet four and a half inches tall. Her eyes arc blue-gray or gray-blue — which is it? — and her hair golden brown. You ask. "Why doesn't some one rave over Ken- neth Harlan?" It seems to me that quite a lot of raving is done on Kenneth's ac- count, judging from my mail. He was born in 1895 and is divorced from Flo Hart. Dot and Dash. — No, Wilfred and Bert Lytell are not the same person. You never heard of a motion-picture star called by two different screen names, did you? The solution is: Bert and Wilfred are brothers. Bert was born in 1888 and is the one who has been starring in Metro pictures and who is now playing opposite Bettv Comnson in the Paramount picture "To' Have and to Hold." Wilfred is younger and free-lances around the vari- ous studios as a leading man. He played in "Know Your Men." with Pearl White, and in "The Man Who Paid." Ropie T. — The name of the girl who played Rosa dc Brae in "Heart of the North" is Betty Marvyn, who is not very well known in pictures. HARRY. — "East Is West" will be Con- stance Talmadge's next production. Yes,, it is taken from the stage play in which Fay Bainter starred. "Salome" is Nazi- mova's latest, and the title of her next hasn't been announced at present writing. Nazimova has the screen rights to Suder- mann's "Regina," but I cannot say whether or not that will be filmed next. I understand that she intends to make that picture abroad. "Second-hand Rose" is the latest release of Gladys Walton. It is based on the popular song of that ti'.mf. 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Always has that trim, tailor-made ' look because the inner elastic band makes it fit any head com- fortably. A neat band of gros- gratned ribbon and a cute little bow complete the picture. Your wardrobe is not com- plete without a Priscilla Dean Tarn. It costs only #1.50. No reason why you should not have at least one besides your regular hat. The best stores carry Priscilla Dean Tarns* But if you cannot get it, send £1.50 with the coupon or letter. Be sure to state color and whether for young lady or child. Look for the name PRISCILLA DEAN inside the band Twelve Popular Shades Red, Pheasant, Co- penhagen, Navy, Black, Sand, Jade, White, Orange, Brown, Orchid,Coral BAER BROS. MFG. CO., 908 W. Lake St., Chicago, III. Enclosed is $1.50 (Canada, -Sz.oo) for which please send me a PRISCILLA DEAN TAM In For_ Miss or Child Name I Address- Money refunded if desired. BAER BROS. MFG. CO. mfc's of PRISCILLA DEAN HATS. Advertising Section Scenario Pete.— "Broken Chains" is the title of the winning story in the Chicago Daily News scenario contest, and it is be- ing produced by Goldwyn as a special, with Allen Holubar directing and Colleen Moore playing the leading role. M. R— Ruth Roland has been before the public since she was three years old, her first appearance being with Ed Hol- den's "Cinderella" company in San Fran- cisco, California. She entered pictures -about six or seven years ago. Yes, Ruth used to appear in regular feature produc- tions, but since starting to make serials she has done nothing else. Feature stuff probably looks too tame and unexciting to her now. There has been no book pub- lished about her life so far, but perhaps Ruth will write one herself some day; it ought to be an interesting story, don't you think, with at least two thrills to a page? There are fifteen or sixteen episodes of two reels each in the average serial. The Texas Kid. — I wouldn't disappoint you for anything. William Farnum was born in Boston, Massachusetts, in 1876. He is five feet ten and a half and weighs one hundred and ninety-five pounds. Bill is married to Olive White and they have one daughter. "The Spoilers" has been reissued since it was first produced, but I doubt if it is being shown anywhere in this country now. "Shackles of Gold" is Farnum's latest picture. Mildred B. — You won't have to look more than once for Yiola Dana's ad- dress in this issue, because it's right at the top. "The Bond Boy" is Richard Barthelmess' next production, and "Sonny" is the last one released. Your other questions have been answered. J. K. — I have answered your last ques- tions, so watch the columns closely for them. It's nice of you to let me down easy because of the hot weather and ask only three questions when you probably have at least a dozen. This, J. K., is true unselfishness. Nazimova is five feet three and has violet eyes. "Salome" is her lat- est production. Gladys Walton was born in 1004; Lila Lee is not married. Dei.ixa. — 'Robert Harron is dead. You must mean his brother, John, who resem- bles him a good deal. John is not mar- ried. He played opposite Shirley Mason in "The Ragged Heiress." T. V. — Thanks for the pictures of Dal- las and Texarkana, Texas. They are my sole acquaintance with the towns where Bebe Daniels and Corinnc Griffith were born, so I shall treasure them and place them in my gallery of famous places. Marie Prevost was born in Sarnia, Can- ada, in 1898 and educated in Denver, Col- orado. She first became famous as a Mack Sennett bathing beauty. Xow Ma- rie stars in frothy comedy-drama features for Universal. She is five feet four, weighs one hundred and twenty-three pounds, has dark hair and blue eyes. "Kissed" is her latest production, and J. Frank Glendon plays opposite her. Hazel. — Robert Frazer played Carrita, the toreador, in Mac Murray's picture, "Fascination," and Joseph Schildkraut was the Chevalier de Vaudrey in "Or- phans of the Storm." So you didn't like Joseph all messed up and with stringy hair? But actors have to look their parts, you know. You wouldn't expect a fugi- tive in real life to be immaculately groomed, would you? Doris. — You want to know all the screen actresses whose first name is Doris. Well, there's Doris May, Doris Pawn, Doris Kenyon, and Doris Rankin. I can't think of any others, but I'm sure you won't dislike your name any more now that you know it also belongs to these charming actresses. I haven't heard of Monte Blue's engagement to any one. _ T. F. — Here is the cast for "The In- side of the Cup:" John Hodder, a rector, William P. Carleton ; Eldon Pan; a banker, David Torrence; Alison Parr, his daughter, Edith Hallor; Preston Parr, his son, Jack Bonn ; Kate Marcy, a salesgirl, Marguerite Clayton; Richard Garvin, a bank teller, Richard Carlyle ; Mrs. Gar- vin, his wife, Margaret Sedden ; ll'allis I'lympton, a vestryman, Albert Roccardi ; Ferguson, a merchant, Frank A. Lyon ; "Beatty," a butler, Henry Morcy; Kate Marcy's friend, Irene Delroy; Garvin's child, George Storey. Fern A. — So that Betty Compson story. 'Some Bumps on the Road to Stardom," didn't discourage you ? Then you must be extremely optimistic, because I know that if I were thinking of taking up screen acting that article would make me stop and consider. But I wish you luck. Fern. Kathleen Morris played with Fddy Polo in "The Secret Four." Elmo Lincoln wa; Carmel Myers, April 9, 1001. Wanda Hawlcy is in her twenties. Of course you may write again. PoLl.YWot;. — Sorry, but I have no pic- ture of Gertrude Short, or of any of the other players, to send you. So please don't ask me ; also, please don't send money or stamps to the magazine for photographs of players. You will have to write to each player personally for a picture, inclosing twenty-five cents. The addresses are always printed at the end of The Oracle every month. Gertrude Short was born in Cincinnati. Ohio, in iqoi and started her stage career when five years old. Maude M.— 'Xow, Maude, you can't in- veigle me into telling, in everlasting, in- eradicable print, whom I consider the prettiest blonde and the prettiest brunette on the screen. Won't you please let me stick to my safe and peaceful job of an- swering questions? 'A Wonderful Wife" is Miss Dupont's latest, and Vernon Steele plays opposite her. Here is the cast for "Arabian Love:" Norman Stone, John Gilbert; Nadine Forticr, Barbara Bed- ford; Thamar, Barbara la Marr: The Sheik, Herschel Mayall ; Ahmed Bey, Robert Kortman ; Doctor I.ac/orio, Wil- liam A. Orlamond. William H. — You ask, "How does one get on the stage with a good singing voice?" Well, William, how docs one get any kind of a job? Certainly not by sit- ting home and wondering how it's done. Personal application is the beginning, mid- dle, and end of every method of securing employment of any kind. Marcella. — Don't worry about what to call me — I'm not particular. But "Dear Oracle" is my usual sanitation^ Florence le Badic died several years ago, Fannie Ward is in Europe, and Marie Doro ap- peared in the stage play "Lilies of the Field." I can't say whether or not Marie will return to pictures, but keep on hop- ing. Perhaps she'll get lonesome for the Kleigs when her stage work is finished. Marie was born in 1883 and Fannie Ward in 1875. Mabel Ballin has light-brown bobbed hair and brown eyes. She is mar- ried to Hugo Ballin, who produces and directs all her pictures. Grace Cunard is still on the screen ; she is married to Joe Moore, younger brother of Tom and Owen.
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FREE CATALOG Sent, for our Free Catalog — America's Bert Values in Diamond", Watch t-s. Jewelry sold on our famous Pay-As-You-Please-Plan — your own terms— within reason. Addrtt-s Dept. S5.S. \U* QZ3a/ecCo. ESTABLISHED I860 21-2 3 Maiden Lane New York Marcuerite. — Matthew Betts is prob- alily the actor you mean. He plaved the role of Ed Scott in "Burn 'Em Up Karnes," and also appeared in "My Old Kentucky Home." T. C. — Thanks for your nice letter, T. C. I enjoyed it very much, and as for the photo — it has the place of honor in my collection. So it is Pearl White who now enthralls you? Yes, Pearl can put more pep into a screen fight than any one I know of. The practice she's had in her recent features has no doulit kept her in training for her return to Pathe se- rials, which you probably have heard about. That lovely long hair she wore in "A Virgin Paradise" was a wig. The color of Pearl's own hair is dark red, but in most of her productions she wears a blond wig, even when she isn't a back-to- nature heroine. U. R. A. M. — Pat Moore played the role of Shebu's son in "The Queen of Sheba." Mary Miles Minter was born in 1902, and Xorma Talmadge in 1897. Joseph Schildkraut is twenty-two. "Friv- olous Wives," in which Rodolph Valen- tino appeared, was made long before "The Pour Horsemen," so I do not sec how it could be truthfully advertised in your theater as "new, brand-new." It may have been the first time it was shown in your town, but it is an old production. "Orphans of the Storm" is the only mo- tion picture in which Joseph Schildkraut has played, and I can't say whether or not he will appear on the screen again. You know, Joseph is a stage artist fir^t and a movie actor second. Clifford H. — You're quite systematic about your questions, aren't you ? About the same number at the same time every month. Here are some more answers to paste in your movie book. Claire du Brev played the role of the maid, F.lise, in Advertising Section "The Ordeal." The part of Bobby Kings- ley- in "Why Announce Vour Marriage?' was played by James Harrison, and that" of Gladys Jerome by Elizabeth Wood- mere. The Century Comedies are released through Universal. The cast for "The Wonderful Thing:" Jacqueline Lauren- tine Boggs, Xorma Talmadge ; Donald Mannersby, Harrison Ford; Catherine Manner sby Truesdale. Julia Hoyt ; James Sheridan Boggs, Howard Truesdale; Laurence Manner sby, Robert Agnew : Duicie Manner sby Fosdick, Ethel Flem- ing; Lady Sophia Alexandria Mannersby. Mabel Bert; Angelica Mannersby, Fanny Burke: Smooth Bill Carser, Walter Mc- Ewen ; General Lancaster, Charles Craig. A MoNTREALER. — Kenneth Harlan was born in 1895. He was married to Flo Hart but they are divorced. Kenneth is six feet tall and weighs one hundred and eighty-live pounds. He is not playing with Constance Talmadge any more, but is free-lancing. "I Am the Lav." is the latest production in which he appears. William Boyd is a member of the Fa- mous Players- Lasky stock company and appears only in their pictures, playing small parts and supporting roles. There was an interesting story about his career, "Grooming the Stars of the Future." in the March issue of PlCTURE-PtAY. JeaNETTE. — Mo, I didn't "flop over" at your questions! They were very reason- able compared to some of the demands I get. Louis Calhern is the actor with the big brown eyes who played opposite Claire Windsor in "The Blot." Ramon Sama- negos, or Ramon Xavarro, as he will henceforth be known, is twenty-one and of Spanish descent. Joseph Schildkraut is Hungarian and twenty-two years old. Harrison Ford is about thirty and Con- rad Xagel was born in 1896. Paul L. C. — It was reported some time ago that David Wartield was going to make "The Return of Peter Grimm" for the screen under the Metro banner, but so far nothing has come of it. Brick-top. — Marin Sais is still in pic- tures. She usually plays opposite her husband, Jack Hoxic, in Western pic- tures. Pete Morrison is also still on the screen ; he stars in Westerns, too. Fran- cis Ford has his own producing com- pany, directs his pictures, and sometimes plays in them. Grace Cunard and Alice Howell arc also still among those pres- ent. YTou certainly do sound like an old- timer — you don't seem much interested in the present-day heroes. Yes, Doris Ken- yon starred in a picture called "Wild Honey" which was produced in 1918, but that was an entirely different story from the production of the same name in which Priscilla Dean appeared recently. The Kenyon picture was a Western, written by Yingie E. 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Wurlitzer has made the finest musical instruments for over 2C0 years. Write Today. Wurlitzer has stores in over thirty cities. But no matter where you live, Wurlitzer is no farther than your near- est mail box. Send the coupon today! rs. tiiiiimmiiiiiiJiiMiiiiiiimiiH itmmiiiiMiiiittiiiMi = The Rudolph Wurtitser Co., Dept. 1756 = 117 E. lih Street. Gncumaii 120 W. 42nd Street. New York : 700 W. Jacksoa Blvd , Chicago 250 Stockton St., San Francisco ; Send me your new catalog with illustrations in color S and full descriptions of all musical instruments, nlBO r. details of the Wurlitzer Frco Trial Easy Payment i'lan. z No obligation. S tS:ai j musical iitstrumont in which |/ou cro :ntcre*t*d ) Cotyriglit J*C3 Th.a hudolph. W urhtier Co.
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114 Advertising Section Right of Way At the shrill blast of the traffic whistle you win the right of way — right away — if you're driving the quality Earl. What placid comfort as you glide down the boulevard. What a sustained sense of power and of safety as you wing along past winding streams and meadows green — then up and over soaring crests. Phone the nearest Earl dealer for a demonstration of the Earl. Ride in it. Drive it yourself. EARL MOTOR CARS Earl Motors, Inc., Jackson, Michigan Earl Prices Touring Car $1095 Cabriole 1395 Custom Roadster 1485 Brougham 1795 Sedan 1795 All prices F.O.B. Jackson Dearest. — Your information is a little twisted. It is Wallace McCutcheon, not Walter McGrail, who was the former husband of Pearl White. Walter is mar- ried, though. I'm sorry I can't pass upon your worth as a cartoonist — not being an art critic you know, but I'm going to save your drawing, anyhow, and look at your little man's cheerful grin whenever I get tempcry. Inquisitive E. S— Alfred Wcigall, not Edith Hull, wrote the story of "Burning Sands," the Paramount production in which Milton Sills and Wanda Hawley have the leading roles. Mildred Davis and Richard Barthei.- mess Forever.— And not one word about either Mildred or Richard! Anna Q. Nilsson appears in the Penrhyn Stan- laws production for Paramount, "Pink Gods." She is five feet seven and weighs one hundred and thirty-five pounds. Anna doesn't give her age, and ages arc dangerous things to guess about, in print that is, so you'll have to give it up, I guess. Richard Dix was born in 1894 and Walter McGrail in 1889. Yes, Lea- trice Joy was Richard Dix's wife in "Pov- erty of Riches" and Louise Lovely played the role of the other wife. George Arliss is English. Richard Dix is not married; Anna Q. has been but is divorced. Addresses of Players Asked for by readers whose letters are answered by The Oracle this month: Viola Dana. Billie Dove. Barbara la Marr, liamon Navarro (Snmnncgos). anil Alice Terry al the Metro Studios. Hollywood, Cali- fornia. Antonio Moreno. Colleen Moore, Patsy Ruth Miller. Richard Dix. Mae Buseh. He- lene Chadwiek. and Mona Kingslcv at the Goldwyn Studios, Culver City, California. Rodolph Valentino. Gloria Swanson, Bert Lyloll. Casson Ferguson, William Boyd. Bettv Compson. Conrad N'ngel. Constance Binney, May MacAvoy, Agnes Avres, Belie Daniels. Wallace Reid. Dorothy Dalton. Wanda Haw- lay. Jack Holt. David Powell. Lois Wilson, Leatrlce Joy. Thomas Meighan. Anna Q. Nils- son. James Kirkwood, Fritzi Ridgcwav. T. Rov Barnes. Milton Sills, Lila Lee, Tom Moore, Mary Mile's Water, Mitchell Lewis, and Ray- mond Ilattou at the Lasky Studios. Vine Street, Hollywood, California. Mary Carr at the Fox Film Corporation, West Fifty-fifth Street. New York City. Harold Llovd. Marie Mosouini. Mildred Davis, and Ruth Roland at the Hal Roach Studios, Culver City. California. Xazimovu. Norma and Constance Talmadge, Elaine Hiimiiicrxtcin. Kathryn Ferry. Jackie Coogan. Owen Moore, N'iles Welch. Jane No- vak, and Dorothy Phillips at the United Stu- dios, Hollywood. California. Madge Bellamy. Florence Vidor. Cullen Landis. and Marguerite de la Motte at the Ince Studios. Culver City. California. Mae Murray at the Tiffany Productions, Locw Theater Building. New York City. Charles ("Buck") Jones. Shirley Mason, Tom Mix. Bessie Love. Estelle Taylor. Wil- liam Russell. Barbara Bedford. Thomas Sants- elii. Eileen Percy, and John Gilbert at the Fox Studios. Western Avenue. Hollywood, California. Mabel Ballin. care of Hugo Ballin Produc- tions. 866 Fiftli Avenue. New York City. Richard Talmadge. Miss Dupont. Gladys Walton. Baby Peggy. Erich von Stroheim. Dale Fuller. Hoot Gibson. Maud George. Herbert Rawlinson. Mary Philhin. Gertrude Olmsted. Priscilla Dean. Harry Myers. Marie Prcvost. and Art Aeonl at the Universal Stn- . dios. Universal City. California. Ben Turpin. Mabel Xormand. and Harriett Hammond at the Mack Sennett Studios. Eden- dale. California. Johnny Walker at the R. C. Cole Studios. Los Angeles. California Mary Pickford. Enid Bennett. Douglas Fair- banks.' and Lloyd Hughes at the Pickford- Fairbanks Studios, Hollywood. California. Richard Iturthclmcxs. Mary Thurman. Mary Alden. care of Inspiration Pictures, 565 Fifth Avenue. New York City. Will Rogers at the Talmadge Studios. Fast. Forty-eighth Street. New York City.
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This Superb 110-pieceSet, with initial in 2 places in wreath, with 5-eolor decorations on every piece and gold covered handles, consists of: 12 Dinner Plates, 9 inches 12 Breakfast Plates. 7 inches 12 Soup Plates, 1% inches 12 Cups 12 Saucers 12 Cereal Dishes, 6 inches 12 Fruit Dishes— 6# inches 12 Individual Bread and Butter Plates, 6& inches 1 Platter, \ZH inches I Platter, 11X inches 1 Celery Dish, 8: , inches 1 Sauce Boat Tray, 7V inches 1 Butter Plate, 6 inches 1 Vegetable Dish, 10M inches with lid (2 pieces) 1 Deep Bowl, s\ inches 1 Oval Baker, 9 inches 1 Small Deep Bowl, 6 inches 1 Gravy Boat, 7.1 i inches 1 Creamer 1 Sugar Bowl with cover (2 pieces) 368-Pflgo Book Free Brings this 110 -Piece Gold Decorated Martha Washington Dinner Set~ Send only $1 and we ship the full set— 110 pieces in all. Use it 30 gL k BW days. Then if you are not so delighted that you would not part with these superb, %C ^k V gold decorated dishes, return them and we will refund your $1 and pay transporta^ Ur A V tion charges both ways. If you keep them, take nearly a year to pay on easy terms, Your Initial in 2 Places on Every Piece— 5-Color Floral Decorations and Gold Wonderful artistic effect is given not only by the new and attractive shape of every dish, but by the wreath and the rich design surrounding the initial. Your initial with these superb decorations of scrolls, leaves and roses in natural colors, put on by special fired process, appears in 2 places on every piece. As handsome as enameling you see on fine jewelry. All Handles Covered with Gold Every handle is covered with polished gold. The ware itself is beautiful, lustrous, snowy white. No other pattern to equal the famous "Martha Washington." Elegant, refined, artistic, and yours now at a bargain price. Shipped on 30 days' free trial direct from our Chicago warehouse. Shipping weight about 90 lbs. You must not miss this opportunity. Mail the coupon today. Order No. 324DDMA13. Bargain price, S32.S5. PaySlnow. Balance S3 monthly Furniture & Carpet Co. Dept. 4388 by^u».S.-„. CHICAGO, ILLINOIS Important! Hartman guarantees that every piece in this set is absolutely first quality— no seconds. This is a standard or"open" pattern. Replacement pieces may be had of us for 8 years. Each piece wrapped in tissue paper. Ex- cellent packing to prevent breakage. Shipped at once. No delay. HARTMAN r— — —Mall Coupon Now— ^— ™ , H ARTM AN BESTS* / Dept. 4388 Chicago, Illinois BARGAIN CATALOG / I enclose $1.00. Send HO-piece Golden Martha DHIIUHin VHIHLUU / Washington ninner Set No. 32IDDMA13. I am to This meat free 368-page . have 30 days' free trial. If not satisfied, will ship catalog gives you the most / it back and you will refundmy^Sl .< Oano l££jg^££ FREE amazing bargains in furni- portation charges loth ways. If I kf^epit, I will pay ture.rugs.linoleum.stoves, / S3. on per month until full price. S L8B..U naid utie / remains with you until final payment is made. Name. watches, silverware dishes. washingmachines, sewing machines, alumi- / num ware. phonographs, / gas engines and cream < separators, etc.— all on / street Adiln our easy terms — 30 / days' FREE trial on / everything. Po$t I j;, card or letter brings * it Free. / "Let Hartman / Town state* Feather YOUR Nest" . V. D Box No. /State your Occupation Color. AS (E 3 E 3T <g i? 3 3 1C II il 5? © P (^ » & 5T II Iff 18 X ^ Z / G,v. .nitia. Wanud <An, On. Lattar,
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tDauhlr Vumty SlV \ Without exception, my gen- uine Dorin preparations, made especially for the women of America, have this label on the bottom of every box. Only Rouges and Poudees that bear the name F. R. Arnold 6r Co., New York, in addition to my own label, are genuinely guaranteed by me. Signed £7)EAUTY is the empire ot. woman. Yet beauty is U but a passing gleam of the morning; a perishable flower, if it is not cared for. Dorin's preparations perpetuate beauty. In his Parisian ateliers he has reproduced every shade and tint that reflects the natural complexion. There are eleven shades of rouge and eight tints of powder, the former prepared in compacte, the latter in compctcte or powder form. The proper combination of Dorin's rouge and powder gives the exact complexion tint desired. Single 'Vanity Size You can learn of the :>oftness and beauty of Dorin's preparations al- most without expense. Twenty-five cents will brin£ samples of the rouge and powder in compacic; ten cents, samples of the rouge and powder in powder form; together with a beautiful little bonklet telling the secret of correct blending. Be sure to tell the color of your hair, eyes and skin, so that the correct tints mavbe selected. Address your letter to F. K. Arnold & Co., 11 West 22nd Street, New York City. /#££«**' Paris. ?6!emr mars. 1921 Q/C ans Sou^es^oml3adeB|:^^lF^|omj3aeliBS (fit ©oririe) 7*o be genuine, Dorin's products made for the U. S. A. must always bear the nam* "F. R. ARNOLD & CO., Importers." Insist that every box @ bear this label