Screenland, December 1922
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WHERE MYRON ZOSEl PU 8 USHER 'First eiease December 25 Cents THE SPY SYSTEM IN THE MOVIES
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You, too, have the loveliest skin can USE IT'S OFF because IT'S OUT Positively Destroys Superfluous Hair and ROOTS Look in your mirror and see if there is :i tiny growth of downy hair at either side of the upper lip. Perhaps unconsciously, you have permitted these tiny hairs to grow until they are now large and conspicuous, marring your good looks. Remove them at once, off and out, roots and all, before they enlarge the pores and before they become a subjeet of jest among your men and women friends. For oyer seventeen years ZIP has helped women become more beautiful by painlessly destroying superfluous hair on the lip, face, neck, forearm, underarm and limbs. ZIP is easily applied at home, pleasingly fragrant, quick, effective, absolutely harmless. It leaves the skin soft and smooth. Guar- anteed. Not only removes hair — but checks its future growth ZIP gently lifts out the roots and in this way destroys the growth- Ladies everywhere are recognizing that ordinary depilatories and shaving merely remove surface hair, leaving the roots to thrive and often cause the hair to grow faster and coarser— but ZIP removes hair and roots in an entirely different, vet easy way, and destroys the growth. When in New York don't neglect to call at my Salon to let me give you a FREE Demonstration. Write for my FREE BOOK "Beauty's Greatest Secret" which explains the three types of superfluous hair. At All Good Stores or By Mail Mail This Coupon Today I Madame Berthe, Dept. D. C. 562 Fifth Ave. (46th St.) | New York City Please send me your Free Book. I "Beauty's Greatest Secret." also free sample of your Massage and Cleansing | Cream guaranteed not to grow hair. Xame. | Address ' Bobbed hair demands that the nape of the neck have a perfect hair line, well de- fined, free from unsightly hair. ZIP is most necess- ary for this. ZIP destroys the hairs that show thru the silken sheen. Sheer waists no longer per- mit an underarm showing even a suggestion of un- sightly hair. ZIP destroys the growth. YctdG^tj^^ Specialist, S62 Fifth Ave. (46th St.) A well rounded arm — free of all downy hair — is a necessity with the vocue for short sleeves. ZII* destmys l»oth fine and coarse hair. City and State .
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"Merry Christmas! Says Gloria. "I hope Santa won't forget to leave a copy of "Beyond the Rocks" in your stocking on Christmas Eve." Christmas will soon be here. Why some friend happy with a present famous novel, at no cost to not make of Elinor Glyn's yourself? P3R a single year's subscription to SCREENLAND, we will send to any address a beautiful copy of "Beyond the Rocks," with four illustrations of Rodolph Valentino and Gloria Swanson, from the Paramount film adaptation of the novel. Or we will send you the novel and will send the twelve issues of SCREENLAND to the friend you wish to remember, with a beautiful Christmas card. Or we will send both subscription and novel to the same address, as you prefer. :oupon- FREE Circulation Manager, SCREENLAND, Hollywood, Calif. I enclose $2.50 for a year's subscription to SCREENLAND, which you will please send to « - - — , in my name. The free copy of "Beyond the Rocks" is to l>c sent lo - My name is Address City State .....
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1?ivV WOOD CALIFORNIA IS) The Price You Pay For dingy film on teeth Let us show you by a ten-day test how combating film in this new way beautifiies the teeth. Now your teeth are coated with a vis- cous film. You can feel it with your tongue. It clings to teeth, enters crev- ices and stays. It forms the basis of fixed cloudy coats. That film resists the tooth brush. No ordinary tooth paste can effectively com- bat it. That is why so many well-brushed teeth discolor and decay. Keeps teeth dingy Film absorbs stains, making the teeth look dingy. Film is the basis of tartar. It holds food substance which ferments and forms acids. It holds the acids in contact with the teeth to cause decay. Millions of germs breed in it. They, with tartar, are the chief cause of pyor- rhea. Thus most tooth troubles are now traced to film. And, despite the tooth brush they have constantly increased. Attack it daily Careful people have this film removed twice yearly by their dentists. But the need is for a daily film combatant. Now dental science, after long re- search, has found two ways to fight film. I Able authorities have proved their ef- ficiency. A new-type tooth paste has j been perfected to comply with modern requirements. The name is Pepsodent. ' These two film combatants are embodied j in it, to fight the film twice daily. Two other effects Pepsodent also multiplies the starch . digestant in saliva. That is there to di- gest starch deposits which otherwise may cling and form acids. It multiplies the alkalinity of the saliva. That is Nature's neutralizer for acids which cause decay. Thus every use gives multiplied effect to Nature's tooth-protecting agents in the mouth. Modern- authorities consider that essential. Millions employ it Millions of people now use Pepsodent, ■ largely by dental advice. The results are seen everywhere — in glistening teeth. Once see its effects and you will adopt it too. You will always want the whiter, ; cleaner, safer teeth you see. Make this test and watch the changes that it brings. Cut out the coupon now. PgijsZftymi REG. US The New-Day Dentifrice Endorsed by modern authorities and now advised by leading dentists near- ly all the world over. All druggists supply the large tubes. 10-DAY TUBE FREE 830 THE PEPSODENT COMPANY, Dept. 894, 1104 S. Wabash Ave., Chi- cago, III. Mail 10-day tube of Pepsodent to ONLY ONE TUBE TO A FAMILY Or Tomorrow A Remedy for Moral Ills Free Love vs. the Bride Habit Making People Stay Married The Convenience of Monogamy —WITH APOLOGIES TO NO ONE— (Copyright, 1922) , NE out of every four marriages in Chicago, over a recent period, had its co-relevant in the divorce courts. Six out of every eight honeymooners became divorcees. In some cases love languished, in others it flourished outside the family. Sociologists of- fered theories and from the very altars where the ineffectual unions were be- ing solemnized there rang forth awful warnings. 1 HE best brains of Today are en- gaged in advancing civilization by conducting researches for cancer and tuberculosis cures. He who succeeds will be immortalized. But the man or woman who consecrates a life to remedy moral ills of the race is thrown into jail with birth-control en- thusiasts. 1 HE distressing factors of matri- monial problems have been blithely eliminated by free-love exponents. Al- though their system is not yet per- fected, .it is a step in advance of the level of society which retains divorce lawyers like family physicians. Free love is not so hypocritical as the bride habit. 1 HE movies, along with other social forces that deflect the current of mass conscience, are blamed for creating impure standards. Which is an ab- surd arraignment. In frank expres- sion, the screen is two hundred years behind the unconventional novel. A racy story is banned from the realm of the photoplay. Sermons invade more daring environs than problem drama. I ERHAPS the screen of Tomorrow will be enlisted to help make people stay married and stop making family trees like jungle thickets. The love story will then become propaganda. Scenario writers will be instructed to feature the comforts and conveniences of monogamy. Resourceful exhibitors will attract crowds to their theatres by giving free loges to golden-wedding couples. It will all help. Too many girls of Today are saving solitaires to make sunbursts. Entered as second-class matter at the pott- office at San Francisco, California.
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s DECEMBER, 1922 CREENLAND VOL. VI NO. J <x. DO Coming NEXT Month: WHAT IS WRONG WITH OUR HOLLYWOOD WOMEN? LJOES Hollywood, the home of beautiful women, contain no single specimen of perfect loveliness? Pen- rhyn Stanlaws, famous Paramount director, artist and connoisseur of female beauty, dissects ruthlessly all the famous stars of Hollywood, subjecting them to the merciless light of the perfect artist's ideal. You will be astonished at the imperfections he reveals in the forms and faces of the stars we have all held beyond reproach NEXT month. ajThe Venus de Milo, the an- cients' recognized standard or perfection sit the human fe- male figure. Bat modern stan- dards have changed, says Director Stanlaws. Compared to the classic outline of Venus, the fam 1/ us beauties of Holly- wood are disqualified! See the January issue! Subjects In This Number That You Will Enjoy: l| Twelve Frolicsome Fotos Agnes Ayres Jacqueline Logan Colleen Moore Bebe Daniels Inez Nadeau Julanne Johnston Peggy Joyce Gloria Swanson Elinor Lynn . Douglas Fairbanks Dorothy Manners Marion Morgan Dancers <| Things You Wonder About, But Have Never Read Are Unhappy Marriages the Secret of Genius? 24 How emotional stimulus spurs the great artist By Alma Whitaker The Spy System in the Movies 20 An expose of artistic oppression High Life in Hollywood 30 What the stars do in play By Isabel Percival So This Is Hollywood 1 48 A study of a studio from the roof tops The Camera with Human Eyes 41 Astounding scientific progress you will soon see in your theatre Some More About Doubles 40 Secrets of a Star's Wardrobe Monkey Gland Movies 42 How warmed-over pictures are recognized Straight From Hollywood Prying paragraphs — "inside" studio talk From Day Laborer to Movie Magnate By Patrick Tarsney QFor People Who Think The Editor's Page Truth told in jest Tomorrow Movies to make people stay married €| Stories in Pictures Eight pages of unusual camera "scoops" showing movie people and their antics €| Critical Comment of the Screen The Picture of the Month Robin Hood Little Hints for Playgoers Fearless expression about pictures 1$ Truth Made Interesting Movies in Malaya . In strange lands movies mean America By L. G. Blochman How About British Films? Will there be a Hollywood in England ? By Sir Gilbert Parker Confessions of a Star Interviewer Adventures of a scribe in Hokumland 'HOLLYWOOD STRAIQHT FROM THE SHOULDER" OCT 51-58 32 44 ZOO Published Monthly by Screenland Publishing Company Publication Office: 460 Fourth Street, San Francisco, California Administrative and Editorial Offices: Hollywood, California Yearly subscription price, $2.50 in the United States and possessions, Mexico and Canada; in foreign countries,, $3.50. Single copies, 25 cents. Back num- bers, 30 cents. Entered as second-class matter April 15, 1922, at the post office at San Francisco, California, under the act of March 3, 1879. Previously entered at the postoffice at Los Angeles, California, as Scieenland Magazine, August 27, 1920. New York, 120 Fifth Avenue; Boston, Little Building; Chicago, First National Bank Building. Copyright 1922 by Screenland Publishing Co. All rights reserved. Material may be reprinted by crediting Scieem- un Magazine. (Member Audit Bureau of Circulations.) Address all communications to Sckeehland Publishing Co., Hollywood, California.
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released in NOVEMBER RodolphValentino « 'Qfw Jburuj 'Rajah' Valentino as a gorgeous Prince of ancient India — chat's his latest role — greater than " Blood and Sand." The pomp of Eastern palaces — the flash of scimitars — the throbbing note of Valentino's love for a beauti- ful American girl — these are the merest hints of a wonderful evening's entertainment. From the play by Alcthea Luce, and the novel "Amos Judd" by John Ames MitchelL Directed by Philip Rosen. Adaptation by JUNE MATHIS Gloria Swanson '3fwlTnpossibkHttrs.IteUeu) \ Miss Swanson went to Paris for gowns and bathing suits for this production depicting life at MunteCarloandpointsadjacent. From the novel by David Lisle. Adapted by Percy Heath. \3ntheHidhSeas' ■vitk Dorothy Batten. «■* /Jaclt.Hdt Supported by Mitchell Lewis IRV1N WILLAT PRODUCTION | When a 'ship goes down and men and women are floating on wreckage the human soul is seen at its worst — and best. Don't miss this one. Edward Sheldon s ' fmt original photo- play. Scenario by E, Magnus Jnglcton. A WILLIAM DEMIiXE. PRODUCTION f/^l^^.^ _.# *** Wallace Reid J^ ICLVCVICC ^csAyrcs *May M^voy Booth Tarkington's greatest comedy! William de Mille's finest production! Three stars! And millions of fans know they have a date. Here is an abso- lutely perfect example of the new type of picture. Screen play by CLARA BERANGER rAlice Bracjy. ,1 \lAm\ciLAscends Directed by Victor Fleming It is only natural that the play in which Alice Brady scored her great- est success on the speaking stage should assume success of an even more striking quality in the larger emotional di- mensions of the screen. From the play by Harry Chap- man Ford. Scena- rio by Margaret TurnbuH. "QheVrideof rpalomar* A COSMOTOLITAN PRODUCTION) Peter B. Kane's Great Story Directed bj Frank Borzage The story millions have wanted to see in motion pictures. Made by the man who made Humoresque. The cast includes Masjarie Daw, Forrest Stanley. Joseph Dowling, Warner Oland. Wilfred Lucas, George Nicholo, Edward Brady, Adeie Farrington. The Most Reliable Guide to Good Motion Pictures is the Current Month's List of Paramount Pictures On this page are brief descriptions of the Paramount Pictures released in November. See them for yourself. No one else can tell you what you will like or dislike. But with these Paramount Pictures there's not one chance in a thousand of your failing to thrill to high voltage entertainment. Phone your favorite theatre and find out when they are coming— and discover once more that for dependable entertainment Paramount Pictures furnish you your only permanent guarantee against loss of time or money. S FAMOUS PLAYERS - LASKV CORPORATION J AOOLPH ZUKOR. Pitsidtnt , Thomas Meighan u 9fte ManWhoSaw Tomorrow Directed by Alfred Qreen If only you could see in ad- vance— just once — which road to take to lead to real happiness — would you look? The Man Who Saw Tomorrow did, and chose between the society heir- ess and the wild daughter of a South Sea pirate. Which? Authors, Perlej Poore SHeehan fit Frrolc Condon < 1 *&Jn "in If it's a Paramount Picture it's the best show in town nna iiiiiiiiiiiiiiiiiiiiiiiiiiiiiitnS^ltHi
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&&% *1 n T* ,»- i t ->jn i i . j wmMvgm 'nli uli I fl ill I <I TM* exquisite caprice of Agnes Ayres is a melody of portraiture. Photograph by Donald Biddle Kcyes. J
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-r: V t '<'.' F5V *. \ U « P ■ ■ I ■■ ■ - E H ■■ £5£ 'S»<^' *I ^4 pantomime, The Moth, fAa/ typifies the Bebe Daniels screen appeal. Photograph by Donald Biddle Keyes. sa
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<I Proving that Douglas Fairbanks will be the gay, impetuous Robin Hood devotee of all the pranks that the legends relate. » fj*^ ■RlOKBKftt^dC
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-i i <5 In the days. of old Greece, Dorothy Manners would have been likened to Minerva, But today Hollywood is Olympus and she becomes a star. . Photograph by Evans Studio. ■ ■MJF*&Wt'\: - ^^HHK ^<4£MH
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Af^ <| The arguments of critics may wax and. wane, but whether or not Gloria Swanson is beautiful, the fact remains she is one of the world's most admired Stars. Photograph -by Donald Biddlt Keyes. As--
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__I <| Dance as well as drama lovers are pleased by the nimble- footed Colleen Moore in her later pictures. This is a study of her in Bitterness of Sweets. Photograph by Clarence S. Bull. ~
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1 — T M *0Jf £. Q Inez Nadeau is a languorous Oriental type of beauty that has reached a definite vogue on the screen. Photograph by Melbourne Spurr. cifcen
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. Julanne Johnston danced her way to the rhythm of barbaric tomtoms in C. B. Dc Mule's Manslaughter. Photograph by Bvant Studio. -■ ■ J WL HIHH
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"■ (ft Directors of South Sea dramas have found that Jacqueline Logan can act better in a grass skirt than in a ball gown. Photograph by Donald Biddle Kcyes. cifcen f-n '■•p"'M — jt a«i>g^--.«y V: I ■ A u&
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&& -A__^ * 1 I V (I ^a *! Pc99y Joyce, the insouciant. Will her mysterious personal charm project itself on the screen? That is what many Hollywood Star-makers arc wondering. Photograph by Melbourne Spurr. Cfcen
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<% I i\ <| Elinor Lynn snatched her professional name from a bookshelf one day when the director told her she would receive screen credit. She must have been reading "Three Weeks." Photograph by Edwin Bower Hester.
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I \ i ^p . ****** i* -n~ MARION MORGAN DANCERS *I Demonstrating that poetry of motion is the underlying principle of the motion-picture art. Photograph by Evans Studio.
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f? MOUVWOM CAUTO*M«lk ysmtkm ow ABOUT British FILMS? By Sir Gilbert Parker Celebrated British Novelist and Screen Writer I T XO my mind, it is folly to have tariff protection on pictures. The United States has had a big start, has a great cinema-going public and has immense wealth which is at the dis- posal of the great film producers. Its cinema public is increasing ; the Eng- lish cinema patronage is diminishing. This is not due to lack of interest in films. People cannot afford to go to the theatres as they once did. There is always a great orgy of expenditure after a great war and it lasted until the autumn of 1920, when it began to decline and has ever since. 1 AXATION in this country is far higher than in the United States, and foreign trade has fallen because until very lately the exchange was so bad that we could not afford to buy of the United States. The film industry is last to suffer from a trade slump and is the first to recover because the prices are less than the theatre and the people must have amusement when things look dark. I believe that the English film industry will recover slowly but surely. And I also think that the British film producers will, in good time, equal those in America, just as English actors, managers and the English stage has nothing to fear from American competitors. 1 SEE a wonderful improvement in the British films during the past two ^years. America has accepted The Glorious Adventure, which is an undoubted masterpiece. It ranks as high as almost any American film. The improvement is most marked and it encourages one to believe that in a very few years one will have reason to acclaim the prodigious success of the British film industry. 1 HE British are not so successful in comic films. There are, perhaps, 'no Charlie Chaplins or Will Rogers in the British film world. But the British comic stage at its best is as good as the American comic stage, and, after all, Charlie Chaplin is British, and there can be no little question that the British will film as high legitimate comic films as the studios of America. There are Chendier and Don Leno and Sir Harry Lauder as examples of what the comic-sentimental stage can produce. The film industry in this country is in a bad way but it is solvent and it is safe. And I look to see, in another year, all our film theatres overflowing. British audiences, British films. tetejejsx 19
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MAKING the STARS in the ystem OVIES •I How a Jealous Secret Service Honeycombs the Studios with Insidious Intrigue and Cor- rupts the Art of the Motion Picture. T, •J 77irif vicJOH V'f horks back regime of 'ttcn^cr. I lie roots evil are exposed for the first lime daring investigation. HERE is a system of spying throughout the studros today that harks back to Prussia under the Kaiser, both as an organized and un- organized secret service of amateur and professional detectives, by which everybody is trying to "get" every- body else and no one is safe from petty tattle-bearing. It is wholly vicious, unclean, creat- ing a condition of jealousy, revenge, sneaking, underhand trouble-making, petty spite work, and where is the man or woman who can produce their best skill, attain their best achieve- ment under a condition which reeks of suspicion and distrust? It has been said that twelve men have an opportunity to ruin a picture. The professional film spy, hired in many cases by the producers, is the thirteenth man — the deadliest, slimi- est and most sinister factor of them all. 1 HIS hired professional sneak, whose duty it is to report any and every trifling or seeming delinquency that occurs on or off the lot, about any and every person associated with the screening of a play, operates under many guises. He may bear the high- sounding, authoritative title of Pro- duction Superintendent, or he may be the electrician in the sun arc. He may masquerade under the guise of an assistant director, or he may be a clerk with soi disant secretarial duties. Theoretically he is employed by that ever-mysterious "They," meaning the powers that be, to report upon extravagances and small leaks, a misguided effort on the part of pro- ducers to stem the tide of reckless ex- travagance in production that once held sway. This is the plausible jus- tification offered for the existence of the hired spy. It is a violent swing of the pendulum to the other extreme, and even when the spy keeps right- eously within this province it fre- quently, generally, works to the detri- ment of the picture and most outrage- ously against the best efforts of those responsible for its making. But the hired spy must justify his being. And in his zeal he is daily, hourly, on the lookout for something to report. To report efficiency, to carry tales of expeditious and success- ful effort is no part of the scheme. He is there to find fault, to nose out de- liquencies, to pry out mistakes, to magnify misdemeanors, no matter how trifling, and, where his victims are guiltless, it is but human that he should bring his fertile imagination to bear — for where is the value of a spy who spies nothing, who has nothing to report ? Directors and stars are naturally the chief victims of such a system. And where two or three directors are gathered together this burning topic of the hired spy is bound to arise. For the studios today are full of striving, earnest, capable directors, whose best efforts are defeated at every turn by what they unequivocally designate as this pernicious spy system. For ob- vious reasons, Screenland will name no names, but this magazine has the evidence and will publish the facts as they have come to it. 1 HE spy system prevails at most of the big studios in some guise or an- other— a deliberate system of cheap pussy footing, an official attitude of dis- trust. And this official attitude natu- rally creates a counter attitude of re- venge, a counter-spy system, a "you- get-me-and-I-get-you" attitude, replete with snarling vengefulness. "Big fleas have little fleas upon their backs to bite 'em, little fleas have other fleas and so ad inifinitum." And that is one of the most poig- nant, the most bitterly significant reasons why the third greatest indus- try in the United States today is in such drastic violent need of that "har- mony and co-operation" of which Will Hays speaks so feelingly. See a small group of studio people talking together, watch the furtive glances, hear the cynical warning "Camera!" given by one of them, see them all promptly turn to discover who may be listening in, hungrily drinking in any careless remark that can be magnified into a misdemeanor, make good "copy" — and get the wretched speaker in "bad." Imagine any body of responsible 20
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and DIRECTORS DO the GOOSE STEP people in any ether business working under these conditions! What a device for encouraging harmony, co-operation, team-work, for bringing out the finest and best of the talents employed! Everlastingly haunted by this dread and dirty word "espionage," always furtive, fearful, or belligerently furi- ous, according to temperament, and always wanting to get even, always suspecting each other of "laying for them" and conspiring with the spy in tattle-bearing. Can the public conceive of any greater handicap to an industry in which they are vitally interested? Isn't it obvious that this funda- mental rottenness is the basic cause of so many of the imperfections of artistry, direction, acting and produc- tion generally? r ICTURE to yourself a director and a star who fondly imagine that the picture they are working upon will be their best. Picture them getting to- gether, as in one notable instance, and working all night for four nights over the script, flushed with enthusiasm, adding, improving, devising, originat- ing dozens of subtle or sensational sit- uations for the greater glory of their work, of themselves, and of the studio. And then find that some sneaking, dirty spy has reported that these two had been carousing together by night, and that when they paused to dis- cuss points on the lot, they were sus- pected of a new and scandalous intrigue. . Consider the director who has set his heart on one certain star for a par- ticular role, because she has the par- ticular type of charm he thinks the role calls for, and then finds it hinted that said star once presented him with a fancy silk shirt (and goodness knows what besides), so he probably has some very intimate reasons of his own for picking on that particular girl! Or consider the actress who, having sat up with a dying mother all night at a hos- pital, arrives on the lot fifteen minutes late, and finds herself reported as being absent from her home all night — probably on a riotous party — and certainly not believed if she is given an opportunity to ex- plain--which is doubtful. Again, there was a director who, in an unguarded moment, declared that "it was no use trying to work for this bunch ; they were so damned stingy" — a remark that most directors have thought if not spoken at some time or another. When this remark was duly reported with embellishment to head- quarters— and carefully coupled up with a previous demand of his for more extras for a ballroom scene — roila, the spy found it quite obvious that the director was deliberately wasting the firm's money and trying to get a few of his friends into that ballroom scene. It is all so unthinkably petty, so base, so cheap, so utterly paltry. Yet nearly every day responsible men are hauled up to the office to ex- plain some such ridiculous incident, to refute some utterly paltry indictment. 1 HE new passion for economy, coupled with the new passion for per- sonal rectitude, form a wonderful combination for the activities of the spy. And the temporary lull in pro- duction has made every person fear for his job, and created an army of people on the outside looking hungrily in for that job. Friends of these out- siders who happen to be on the inside never lose an opportunity to knock the incumbent. But as their own jobs often depend on the good will of the incumbent, their knocks must be sly, underhand, below the surface and be- low the belt. So these again swell the army of corrupt and sneaking spy system — that system instituted at the source by the producers themselves and spreading in ever-widening circles out to the least important extra. Nor is this merely true of the artists and directors, amongst whom there is a natural and normal jealousy as obtains in all professions in which the artistic temperament is rife, and thus offers fertile soil for the spy. It affects the cameraman, the carpenters, the electricians, the secretaries and office clerks, the very telephone girls. In the scenario department it reaches frightful dimensions. No one is trust- ed there. And not even the imported eminent authors are exempt. For the professional staff scenario writer re- sents the introduction of the eminent authors, fears to see the level of the screen play raised above their own cheap limitations; so woe betide the eminent author or any other author from the outside who has dared to invade their precincts. /\ HIGHLY favorite pastime of the self-appointed amateur spies is to set directors and eminent authors and producers against each other by car- rying and magnifying any hint of dis- approval that may be voiced or im- plied. The author is told that the director is spoiling his play, the direc- tor is told that the author thinks he is spoiling his play, the producer is told that the author is bitterly dissat- isfied with his treatment, or that the director is bitterly dissaisfied with the author, or that both are cussing the producer. The staff scenario writer, with his worn-out public, his stale overworked ideas, his cocksure hide- bound "experience," has good reason to fear the advent of outside authors — and thus takes the spy system and all its dastardly ramifications very thoroughly to his heart. One very eminent author who came West was an early victim of this das- tardly and treacherous spy system. As one famous director who was to have made his pictures vouched, this author 21
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*| "The hired profcssiom^wcnk may sounding title or he may be the c the sun arc." came teeming with new, subtle dra- matic and workably possible ideas. Hence his doom was sealed directly the fearsome fact became evident. So after the professional scenario writer allotted to him for technical aid and continuity had tried in vain to prove that none of the author's ideas were screenable, a campaign was started to blacken the author's character. He was whispered about as a degenerate, things too unthinkable and absolutely unprintable were told of him — and he left Hollywood in bitter disgust with- out ever having made a single picture. Yet this man is a distinguished dra- matist, enjoying the highest social standing — everywhere but in Holly- wood. Yet the writer, trying to track down the calumnies, could not find one title of evidence to support the scan- dal— nothing but the unsup|x>rted sup- posititious testimony of the spies. This was a more grievous and dis- gusting case in point. Rut mostly the spy system recks mainly with utterly l>etty, paltry, trifling but soul-vexing meanness. V/NE director's professional life was nearly wrecked because the spies said that he was going behind the produc- er's back and trying to get the pro- ducer's wife to interfere and support him in a trifling artistic controversy. Fortunately for him, he was able to track this down and bring the issue to a head, wholly disproving any such complicity. But the producer and his wife were not on very friendly terms at the time, and the fact that the direc- tor was a friend of both made fine capital for the spies. One actor, w h o spends most of his leisure with people outside of the pro- fession and kept what the spies chose to regard as "high- brow" company, was stigmatized as hold- ing his confreres in contempt, and quite a cabal was built up against him on that score. Every trifling act, speech or reserve of h i s which was noted on the lot was , construed as t h i s^ , frightful, highbr6wJ| Mw / superiority complex — whereas, actually, the fellow was mere- ly shy and incapabli of . e a s y "mixing:' Yet otherwise his work was peculiarly good, and the public will probably lose an oppor- tunity of enjoying a first-class actor because, forsooth, the spies consider him too highbrow ! On the financial side, this spying is peculiarly vexatious, as appertaining to the authority of the production superintendent in quite a number of cases. Here again the public suffers even more than the victims. It is one very excellent reason why so many pictures fail of being worthy works of art or, in even many cases, reason- able reproductions of the scenes intended. bear a hi«h- lectrician in o> fME perfectly appreciates that econ- omy in the movies is a consummation devoutly to be wished. But one can find no sympathy for the parsimonious and underhand methods adopted to combat what was' once such shameful extravagance. The spy system has proved bitterly, rancidly unpopular and unfortunate in practice, no matter what good alibi its instigators have to offer. Picture to yourself a man who has put his best effort into filming the first scenes of what he hopes will prove his masterpiece. The set is as nearly perfect as the new passionate parsi- mony will allow. The estimates have called for four days on this set, with forty-two scenes. Then comes the hint that this is an extravagant esti- mate. He is wasting time. He spent half an hour talking to the star. He was gone fifteen minutes to wash his hands. He had a couple of private telephone calls. And that space is needed for another company. He is commanded to cut down his time by one and a half days. He and his as- sistant go to the office to protest. Arguments take up nearly half a day. In the end he is compelled to rush the scenes through, to the great detriment of the picture. In those cases where the production superintendent has real authority, it can often be even more provoking. For then the gentleman is a devil for parsimony. Where originally the waste and extravagance in the movies was notorious, under the new vogue- parsimony is more so. In the new passion for economy the industry has gone to mad extremes. And the pro- duction superintendent bases all his parings on the assistant directors' re- ports. This ballroom scene calls for /cnty-four women and twenty-four as atmosphere. Well, that is too uch ; cut it down to eighteen. This location trip calls for eighty people, H twelve cars, .eighty box lunches, etc. *' Monsieur the superintendent, without J, ever having been on location, without ;i knowin^inything about the script. just on principle cuts all the estimates down by nearly half. Lunches are figured out' to a crumb, and every item must be accounted for. All the direc- tor can do is to curse; — or proceed to make the picture with inadequate equipment. Jf the picture is a success, the superintendent gets the credit for the amazing economies effected. If it's a failure, it is all the director's fault. 1 HERE was the interesting example of the Buddha, which by accident had been forgotten and was essential to a picture. Three hundred people work- ing on the set at, from $7 to $15 a day without the stars and the director. A hasty requisition, which must be signed by directors and counter- signed by superintendent. A car is needed to fetch the Buddha. Long discussions as to the cheapest place to hire Buddha. Still longer discussions as to cheapest taxi firm — must get the one that charges 50 cents less. In the end it took two hours out of a 'work- ing day of about five and a half hours to go through all the red tape and save a possible $5 on that Buddha, while the expense of holding those three hundred people for two idle hours ran into many hundreds of dollars. Or the case of the behind-the-scenes set, supposedly in a Paris opera house. A banquet was being given to the brilliant actress on the stage. Es- timates, pared down by superinten- dent, called for building this scene on the lot as being cheaper than renting a big downtown theatre. When the ban- quet scene was prepared, it looked cheap, shoddy, obviously faked — 22
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cheap glass and china ware, cheap flowers, and the scene minus all those ro|>cs and devices which are part and parcel of behind-the-scenes at any im- l>ortant theatre. Well, the director was furious; said it would blast his picture. Hut superintendent insisted it would cost $300 to hire downtown theatre. They finally issued an ulti- matum; director would proceed to "shoot" or consider himself fired. Voila, he "shot." It was rotten — and in the end they hired the downtown theatre anyway. That little argument added $3,000 to the cost of pro- duction. So it isn't only the spying which frets the souls of directors. It is this new and exaggerated passion for par- simony, the niggardly saving of dimes at the expense of hundreds of dollars. Many of our most famous directors arc tip against this astonishing, ill- advised niggardliness every hour of their^working day. Time, which is the very: essence of the profession, is wasted in ]>ctty discussions, often in- volving no more than $1.50 — just so that the production sui>erintendent may appear to be earning his monev. Hi I ERE and there one finds a direc- tor who is resignedly trying to make the best of his production su]>erin- tendent. He makes concession after concession, always, as he believes, to the detriment of the picture. He wants a certain girl to play a certain part. But she calls for $750 a week. They make him accept some one less suitable at $500 a week. The picture calls for a special location. They make him put up with a made-over set on the lot. But all these amiable concessions leave the production su- perintendent nothing to criticise, with no economy fights to win with triumph over a recalitrant director, things run too smoothly to prove that he is a necessary adjunct. Hence he is tempt- ed to provoke the director still further, to invade his personal decorum, to re- port any small trumpery delinquencies he feels he has perceived. So whether the director protests or concedes, he gets it either way. If it isn't the director, it's the star. OTARS have no sj>ecial love for pro- duction superintendents, believe me. If they are the kind without authority, t they trot around and tabulate a hun- ,\i drcd unconsidered trifles, report wildly exaggerated temperamental interludes. magnify trifling disputes in furious in- subordination. And if they are the kind with authority, they take a sumptuous delight in their privilege to bawl the star out for being, say, five minutes late, or trying to introduce a friend into a job, or flirting with an extra man, or anything else that offers the registry of j>ower and autocracy on the part of the superintendent. Where the production suj>erinten- dent is equipped with due authority and works in the ojien, the rancor is less evident, less poignant. But when he is without authority and merely makes his unsupported verbal rejwrts to the office, wields the fearful privi- lege of private indictment, and none know which is today's victim and whose tomorrow's, nor, half the time, given opportunity to refute and ex- plain, the tension in that studio, the furtive, insidious, incredible state of affairs is undermining that very con- dition which the producers are most anxious to obtain — co-operation, har- mony, good fellowship, teamwork. And the remedy. Well, as the direc- tors and stars concede, there was a time when they were all amateurs, when the vogue for reckless extrava- gance ]>ervaded every studio, when, in estimating for a story, directors, un- sure of themselves and what they needed, called for everything in sight and discarded any superfluities with- out counting the cost. There was a time when scenes were shot over and over, extras kept around for unneces- sary days at a time, and everybody had the "hang the ex- |>ense" idea very nicely developed. Hut nowdays directors are experienced men ; actors are for the most part experienced pro- fessionals. Being nor- mal, intelligent human lnrings, they, even as the producers, perfectly recog- nize the need for economy and ef- ficiency. Estimates now are made out by directors and their assistants with the utmost care and consideration for economy and efficiency. Directors. quite as much as producers, want to turn out better films at reasonable prices. They all have the good of the profession at heart. Obviously, therefore, to get the best artistic and economic merit out of these ex|>erienced people is to concede them the honor and credit of personal res|>onsibility, to treat and regard them as res|>onsible j>crsons, to reap the licnefit of their best considered judg- ment, to concede them the jxissession of intelligence and conscientious righteousness. And there remains no excuse for the abominable, treacher- ous spy system, the ]>etty overlording, the inexcusable and trumpery parsi- mony, which, in its way. is more detri- mental to the profession than the former reckless extravagance and j>er- sonal irresponsibility. Either extreme is thoroughly bad, but the treachery and insidious ness engendered by the spy system is utterly abhorrent to all American principles. 23
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1$lfVhy snicker if Charlie Chaplin dallies with Peggy Hopkins Joyce? Who knows but that the exuberant and experienced Peggy and her emotional complexes may he just what Charlie's art needs?" u Photograph by Melbourne Spitrr. M t I *J W II * •• I * I J" I* * ■ * re UNHAPPYy^jiages the SECRET of GENIUS? fl "Screen artists rise to higher planes of professional glory after a devastating love-tragedy. In fact, romantic suffering seems even better as an art tonic than romantic bliss." You will be su rpriscd when yon read this sharp analysis of movie marriages. E ILINOR GLYN, who insists that she stands for monogamy, said whilst here, that the screen artists should not be subjected to the same legal restric- tions as mere citizens. Their tempera- ments demand more elasticity — a wider range in the matter of heart throbs. How can they possibly give us faithful emotional presentations of thwarted and suffering lovers, for in- stance, if they have not loved, been thwarted and tried again a few times ? And life is so short — fancy making them wait a whole year before launch- ing upon another essential emotional experiment. Or how can they even give us faith- ful presentations of domestic bliss, if, after one or two unsuccessful at- B y Alma W hi taker tempts, they are not allowed to seek and find the one soul-affinity who is certainly waiting for them in the world somewhere — if we are to be- lieve our very nicest romanticists? So why carp, if, for instance, Char- lie Chaplin, whose latest pictures show a marked relapse, dallies with Peggy Hopkins Joyce? Why snicker? Who knows but what the exuberant and ex- perienced Peggy and her emotional complexes may be just what Charlie's art really needed? Who knows but what Charlie, a totally different kind of a millionaire, may prove to be the identical 'cellist to draw that fine music from Peggy's heart-strings, which we can't help feeling lies dor- mant within her great soul? Bu JT obvious it is that both Charlie and Peggy stand in urgent need of a new great soul-inspiring emotional romance — even if it ends in more suf- fering for either or both. In fact, romantic suffering seems even better as an art tonic than romantic bliss. Already we have noted how many screen artists have risen to higher planes of professional glory after a devastating love-tragedy. Recall the experiences of Richard Walton Tully, who may now be ac- counted a denizen of Screenland, both as promoter and author. Don't you remember how he reached the best triumphs of his dramatic successes un- der the spell of marital unhappiness? 24
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<I "Could Gloria Swanson have reached her proud plate in filmdoni, and incidentally purchased a $200,000 house at Beverly Hills if she had not had a sumptu- ously unhappy marriage f" Photograph by Keyet. present is that she feeds him so well that he is putting on weight. But, taking the same company, there is dear old Herbert Standing. Now Herbert has had two wives and eight children — never a scandal anywhere, and Herbert always satisfactorily boss in his own house- hold. Very well, then. Does some great producer make a fat and de- moralizing contract with Herbert to play the lead in some hectic drama in which a sea- soned old fellow of seventy kicks over traces, marries a Then when he espoused the second Mrs. Tully, when that amazing and papa-thrilling new infant arrived, when serene domesticity appeared to hold sway, behold Richard lapsing in- to comparative mediocrity. Well, we don't hear very much about Richard's affairs just now, domestically speak- ing, so we have yet to discover what sort of a film reputation, what kind of film laurels Richard will add to his diadem. But, for Art's sake, we can't help hoping that Mrs. Tully will worry him just a trifle, just enough to prevent him being smug and stodgily contented, even if she has to make him fall in love with her all over again and keep him harassed with those lover's uncertainties that goad geniuses on to glory. I HAT is one thing that concerns us about Guy Bates Post. Both Guy and Mrs. Guy appear to be so blissfully pleased with each other. But per- haps Mrs. Guy was cut out for the wife of a genius, perhaps she knows how to keep him uncomfortably, dis- turbingly in love. But all we know at the few Peggy Joyces, and generally portrays a fa- mous American millionaire type that constantly gets its name in the papers ? No, sir. Herbert is doomed to com- paratively' minor parts, by no neams commensurate with his great talents — all because the fel- low has wallowed in happy domes- ticity. Clara kim- ball young's papa took a new and drastic plunge in the sea of fame not so long ago, married, in the face of family opposi- tion, the widow of Herman Whitaker. Went through all the anguish of the heir to the earl- dom marrying some untitled charmer, fought for his romantic rights like a regular young princeling against the verboten of a queen-mother — and he got a new contract right away and now sails merrily on to greater fame and for- tune. Or take Mr. and Mrs. Fred Niblo — Enid Bennett. Enid got just so far in pictures and then seemed to halt in her rise to fame. Then some horrid Australian paper published a divorce story. Both denied it indignantly — and just to spite the reporter, started to fall in love with each other all over again. It worked beautifully — and the Niblo fortunes are responding to the romantic anguished treatment — and incidentally Enid is starring in Thompson Buchanan's new problem comedy, The Sporting Thing to Do — which is rather an appropriate title, don't you think? And that play is all about married folks — with hectic interludes. EDITH LYLE, wife of Fred Gage, is in that play too — playing the vamp part. Edith would give us to under- stand that she exercised the greatest restraint and caution before marrying Frederick. And she proclaims the re- sult a pleasant success. But mark you. H "Metro and her professional development demand that Viola Dana, pensive sod widow, take another plunge." 25
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Edith says she "believes in divorce," which mental reservation may account for the continued loverness of Fred- crick, who also adds absence in the East to his charms. But you will observe that the pub- licity on this play boasts of the num- ber of happy married couples taking part in it. So far, so good. But, you see, it is a "speakie," not a "movie." Do you, oh, do you suppose that such an array of domestic bliss could bring fame and fortune on the screen. Even Enid had to take her spurious mis- reported anguish back to the stage to turn it to profitable account. Vi Yes, sir; and Winifred will be billed in monster headlines as Natcha Ram- bova again and bust some producer's treasury, too. 1 OM MIX never really attained any satisfactory recognition until his do- mesticated heart had been broken at least once. But since the advent of the second Mrs. Mix and Tom Junior, Tom is probably getting all the essen- tial anguish out of Junior's infantile complaints. But if Tom insists upon being too happy in his domesticity, he will have to take second place to Bill IOLA DANA is an honest-to- goodness sod widow who whispers the confidence from "pensive lips, and in her eyes the shadows of old tears" — according to a poetic interviewer. Viola has done rather well on that heart-sorrow, but alas, time heals all wounds. It is becoming most desir- able that Viola should take another plunge, preferably a very unhappy, tragic one. The Metro and her pro- fessional development demand it. Otherwise Viola is going to remain in the second line, no "greatest director in the world" is going to select her to play a tremendous dramatic lead. Who is there who would dare to say that Gloria Swanson could have reached her proud place in filmdom — and in- cidentally purchased a $200,000 house at Beverly Hills — if she had not had a sumptuously unhappy marriage, and so rumor hath it, stands prepared to take another risk.* Even Gloria's mamma contributed to the Swanson eclat in this important particular. We cited the case of Valentino in our last article — but since then Ro- dolph is piling anguish upon anguish, emotion upon emotion. Partings, re- unions, long anguished shipboard good-byes, passionate cancellation of bride's voyage — all triumphantly co- incident with sumptuous rival bids for his dramatic services, demands for higher pay and more publicity, per- fectly gorgeous staggering fights be- tween producers for his affiliation. If Rodolph can only keep it up we can foresee an ebullient publicity agent designating him the "highest-paid actor in the world bar none" before the new year sets in. The CI / Beautiful GIRLS v > ; Hollywood — where feminine love- liness is a drug on the market. i Read Alma Whitaker's startling [story in Strkknland for January. \<)n sale December first. Hart and other bronco busters and gun wielders of screen fame. When one comes to the question of Kid McCoy, one appreciates that one can overdo the thing. It is all the difference between a couple of good cocktails and a whole bottle of moon- shine whisky at a sitting. As it is, he has stunted his growth — fameishly speaking — by going to reckless ex- tremes. But he doesn't necessarily blast my theory — as any doctor will concede, a little iron and quinine is a fine tonic, but a steady diet of it is by no means nourishing. Wi I LLARD MACK, who has made numerous dashes to affiliate with the films, although he is primarily "legitimate," has perhaps made the same mistake. His marriage to Pauline Frederick and the subsequent anguish served Pauline better than it did Wil- lard. The last scenario I saw of his, being filmed at Laskys, notwithstand- ing the fact that his fourth wife was on that very day reported to be leaving him, gave no signs of staggeringly new-fired genius. I begin to despair of Willard in filmdom, although there may yet be a chance for him in the "legitimate" if he can recapture Mrs. Beatrice Beebe Mack and induce her to restore comfortable marital rela- tions. It is rather gratifying to discover that although success of a real daz- zling nature — in Screenland — almost seems to demand romantic and marital anguish of some kind, those incurably addicted to domestic serenity and con- tent can usually reap a good measure of success on the stage. I OU see, these stage actors and actresses get a good deal of their temperamental emotion direct from the audience — the quality of the ap- plause, the favor or disfavor of the public night after night keeps them in that harassed state of uncertain joy or temporary torture, which the screen people can only get intimately, personally, in their own affairs. That is why, as Elinor says, we mustn't judge the screen people by ordinary standards. They are called upon to act all these emotional thrills before a mere director, a couple of electricians, the property-man, the musician and possibly a cynical lounger or two. How could they possibly keep keyed up to concert pitch if they weren't having lots of thrillful emotional hopes and violent anguished chagrins on the side? Posi- tively no genius could stand it ! But on the stage, behind the foot- lights, night after night, headache, stomach-ache, sick baby, tooth-achey husband, overdue bills, or that "world is mine feeling," the legitimate actor comes in direct and throbbing contact with the whole dashed public — con- cert pitch is the very breath of his life. Any violent romance off the stage is more liable to prove that little more than a little that is so much too much for him — not a tonic at all. But for the poor, dumb movie actor — dear Heaven send him personal real-life throbs of passion or gobs of anguish, or he dies ! Unhappy marriages must be the secret of genius. 26
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\J lYMOND HATTON, whose parts usually require ragged costumes, gives all his old clothes to the Salva- tion Army, according to his press agent. "But that isn't half of it." Hatton said when his eye fell upon this item. "That's where I buy most of 'em!" you take her around oncet?" What did Hal do? Well— Hall is a gen- tleman. ijAID Bradley King's little niece one Sunday at dinner, when the butcher had sent a particularly tough fowl: "Aw, Auntie, this won't swallow down my neck — it'll just chew." KaLLA PASHA, the villain who appears in so many Mack Sennett comedies, is a beskirted Amazon in so many pictures that his admirers are all mixed. Just the other day he got a letter from the Philippine Islands. It was addressed: "Dear Madame :" ! IT took the prop- el r t y department two days to con- coct a solution that would "pop" con- vincingly when put into "dummy" champagne bottles. Director George Fitzmaurice de- manded that that particular scene in Kick In should have a thoroughly life-like substitute. The secret is jeal- ously guarded. hotel he recounted his experience for the clerk, and removed his hat to mop his heated brow. "Oh, look, Mr. Bosworth!" cried that individual. "It turned your hair! Look in the mirror!" The actor looked — his hair was snow-white ! Later, in his room, he chuckled and removed the white wig that he wears in "The Strangers' Banquet," which, because of the late hour, he had not removed at the stu- dio. And now the befuddled clerk is wondering what kind of dye Bos- worth used to re- store the natural shade. B Hudnut. IAL ROACH, the com- edy producer, all decked out in nautical white with that spic-and-span air of his, was awaiting some friends in a Catalina Island dance hall when a poor, mousey-looking little individual grabbed his coat-tail and begged, with the voice of a drowning man: /'My wife ain't danced all evenin'. Will 4 This is the first photograph of the new 1 'iilentino family group. It was taken on the eve of the hride's departure for Europe, on the steamship Olympia, with her parents. From left to right : Valentino, Mrs. Richard Hudnut, Winifred Hudnut and Richard International Photo. V-/N his way home from the studio the other morning, Hobart Bosworth was held up. But he developed an overwhelming desire to be away from there, stepped on the accelerator and departed hastily. Upon reaching his IjIRLS who long for screen fame should pause to consider the plight of Colleen Moore, who is more on the sveldt order than buxom. Colleen weighed just 98 pounds when she began work in a Goldwyn picture under direction of Rupert Hughes. The early scenes showed her a pathetic waif. Later in the story she was to appear in better cir- cumstances. "You must weigh 115 pounds for the next sequence," said Mn Hughes. "When do we begin shooting them?" asked Colleen. "In six days," said the director. n
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R. JCHARD DIX, while doing a part in a Goldwyn picture in London, was obliged to cancel passage on a London-Paris plane because of sudden pro- fessional demands. H e didn't care so much un- til learning, a few hours later, that the plane had fallen and the pilot and several passengers had perished. It is certainly tough to miss out on a fine bit of publicity like that. •I Hollywood got a thrill out of the com- ing of Pola Negri. Miss Moore filled the order. assures us that she 1 HE trouble with changing from one company to another is that a new press agent equips a star with an en- tirely different "past," according to Gareth Hughes. A few weeks ago, it was reported that, being a Welshman, he had never spoken a word of Eng- lish until 14 years of age. In a follow- ing newsy note he was credited with appearing in Shakespearean leads at the age of 14. Of course, it may have been a stock company that was put- ting on dialect stuff. Clarence burton, one of the best villains who ever throttled an innocent maiden, came to the Para- mount studios at sunrise one recent morning to perfect a new "hard boiled" make-up. He spent two hours at it. At nine o'clock he appeared on the stage and Director Paul Powell i^jed a bandana handkerchief around his fm^eHiphrtely eff atioLjLJthe:*!*- . !>erb make-up. "What's the idea?" spluttered Bur- ton. "You're a bandit," explained the director. opinion day he salary. IN directors' circles there is a laugh at the expense of a well-known producer who fired a new director because he didn't like the first results of his work in the projection room. A few hours later he saw more of this director's film, which reversed the producer's of the man. And the next re-hired him at a doubled So 1 HE lights grouped around the set vibrated in G-sharp, spoiling the music played by a certain girl violinist, the young lady resorted to the resourcefulness that is the saving sense in picture- making. She tuned her A string to G sharp. The lights and the violin vi- brated in unison. The music was satisfactory. And then the work went on. MARY PICKFORD re- fused to buy the screen rights to Dorothy Vernon of Haddon Hall for $8000, last year. Now she has just paid $50,000 to Madge Kennedy, who had intend- making it. OAFETY FIRST reached a highly developed stage in The Impossible Mrs. Bcllew when Director Sam Wood used ripe bananas for a bull's horns. BlLL HART'S matri- monial crash has been the chief topic of conversation among the chair rockers of the Dirt Dishers Associa- tion, and there have been enough versions of the whys and wherefores to fill a bale of scandal sheets. Needless to state, the truth was sadly missing in practically all the weird yarns. In- timate friends of the great Western character say that previous to the separation and the birth of William S. Junior, Bill turned over just about his entire fortune to be held in trust for his wife and heir. Hollywood got as much of an anticipatory thrill out of the coming of Pola Negri as Keokuk or Kokomo ever did out of the advertised per- sonal appearance of Bonnie Delane or Mervin Gill. All that Hollywood knew of Pola was the word that Charlie Chaplin brought back from Europe that she was "the goods." Her first picture will be Robert Hichens' Bella Donna. Connie talmadge is to do The Merry Widow for those who like their drama unspoken. At least, that's the word that comes through the air from Europe, where Connie and Nor- ma are touring. 1 HE Pickford family has its trou- bles. Yea, verily. Ma Pickford put up something like $200,000 to make a picture for Jack. Some jack for Jack! <| Raymond I hit ton gives young men a wardrobe tip. Photo by Clarence S. Bull. well-dressed
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I MOU.VWOO0 CAUMXWlA £0°) 1 HERE is a new custom in well- regulated Hollywood families. It was introduced by the Bill Harts. When Wm. S. Junior was born, we are informed, legal representatives of both father and mother were present ! JULANNE JOHNSTON, the clever and ambitious dancer in Manslaughter, was urging a director to include her in a cast that was being chosen. "I want a heavy part," she demanded. "Okey," promptly agreed Mr. Di- rector. "Shooting" began a few days later, and Miss Johnston found that she had been rewarded with a part that was "heavy" indeed. She ap- peared as a peasant woman, and was obliged to carry a fifty-pound burden on her head. IlORROR reigned among Bull Mon- tana's old cronnies, Spike Robinson, Battling Savage, Gaspipe Rooney and Pigiron Dalton, when the news leaked out that Bull is taking dancing lessons. "Pretty soon," said Spike mourn- fully, "he'll quit eatin' with a knife and drinkin' his coffee from a saucer. He may even some day be a gentle- man. Oh. what a bum world !" JACK HOLT, visiting the races at Tijuana, Mexico, in which only three horses were running, noticed an elderly man placing bets on all the horses and asked the reason. "Huh !" responded the old man, "I own one of the horses in this race and my two sons are riding the others." D) 'ID you know that Raymond Hatton once sold tamales on the streets of Klamath Falls, Oregon ? It happened several years ago when the barnstorming com- pany playing The Squaw Man was left stranded by its man- ager absconding with the pay- roll. Hatton had money in San Francisco, but had to make a Heal with a tamale man to peddle his goods for four hours — in order to get money with which .to wire for money. W/ ALLIE REID, in stiff collar and heavy clothes, was making some ex- teriors for Clarence before a Holly- wood mansion. Wiping his perspir- ing brow, he exclaimed, "I'd give five dollars if I could stand in a cool rain for one minute." Just then a man sprin- kling the lawn next door craned his neck to watch an aeroplane overhead. The wide spray from the nozzle of the hose covered everything on the place except the mortgage. It covered Wallie. The old man was horrified to dis- cover he had given the star a ducking and dumb- founded when Wallie rushed up and shook hands with him. He's still wondering where the five- dollar bill in his hand came from. •I Colleen Moore, who weighs 98 pounds, tried to gain seventeen pounds in one week, because the director wanted her to look happy. Photo by Clarence S. Bull. "QUIET> quiet; this is an emotional scene, put it all in your eyes, your face!" instructed a Lasky director. And Tom Moore was about to obey, when a voice started singing the latest jazz melody and Tom *I The snug-fitting one-piece bathing suit for women, so plentiful on beaches where the movie stars frolic, will soon be passe, if Viola Dana is accepted as an arbiter of athletic fashion. "The loose taf- feta suit with trunks makes a more comfortable and graceful garment," she says. International Photo. just couldn't make his feet behave. The wrathful director looked around for him who had produced the rattling tune when Tom interjected, "It's that darn radiophone." The radio was part of the scene and somebody had hooked up the thing and it had caught the jazz from some broadcasting station. It recalls the time the parrot hol- lered "cut" in the middle of one of Tom Meighan's important scenes, thereby stopping it and nearly hav- ing its precious neck wrung by the director. 1 HE stars, of course, are gratified to receive so many requests from "fan" admirers for photographs. However, Buster K e a t o n decided there was something wrong in Den- mark when he received this letter from the Philippine Islands: Please send me your favorite photo. You are my one best actor and I want the pic- ture to annoy my friends." Buster doesn't know whether the youth was kidding or whether it was a mistake in the choice of words. Another letter Patsy Ruth Miller received from a Japanese admirer stated: "I saw your honorable pic- ture the other day in my best friend." 29
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•I Hollywood is the mecca of world celebrities and strange indeed is the con- glomeration of folk who frolic together in the gay world of the studios. You will know what happens every month if you read iM^ HOLLYWOOD By Isabel P er cival % The cast of Gimme, a photoplay in which Mr. and Mrs. Rupert Hughes coUoboratcd and which the former directed, at the studio tea at which Mrs. Hughes was hostess. A MERRY party How Chaplin ^""* spent several of Vacationed *e Utc summer weeks aboard the Wm. De Millc yacht at Catalina and in surrounding waters. Prominent among the guests was Charlie Chaplin. Miss Peggy Joyce of Paris was a figure at a week-end party and later was the guest of honor at a dinner dance given by Mr. Chaplin at the Ambassador Hotel Cocoanut Grove. Returning from his vacation, the comedian occupied himself in plans for his new home, being built at Beverly Hills, near the foothills es- tate of Mr. and Mrs. Douglas Fair- banks. The new Chaplin home will be a rambling type of structure adapted to the rolling landscape and the grounds will contain many unique features that will be an attraction to visitors. Will Miss A HOLLYWOOD Joyce Star? ^ BOUND party conducted by Mrs. Oliver Morosco (Selma Paley) was joined at New York by Miss Peggy Joyce of Paris. Since her arrival, Miss Joyce has made a wide acquaintance among picture people and has taken a house for the winter in Los Angeles. At present, Miss Joyce is interesting screenland as a prospective movie star. Stars Aid HTHRONGS are at- Outdoor * *««*«* nightly to Concerts t'ie Hollywood Bowl to attend concerts of the Philharmonic Symphony Orchestra. Notable among these gatherings are well-known players and screen cele- brities. Wallace Reid recently ad- dressed the audience. Programs were sold on the grounds by Miss Agnes Ayres, Miss Leatrice Joy, Miss Lila Lee, and Miss Lois Wilson chaper- oned by Mrs. William de Mille. Complimenting I N Miss McAvoy * of celebration the birth- day of Miss May McAvoy, a number of the most popular young motion picture actresses, who call their clique Our Club, recently gave a charming din- ner and theatre party. After dining in one of the smart down-town rcs- t am ants they went to see Be Careful, Dearie, a snappy new musical comedy which opened at the Mason Opera House, starring Evelyn Burrows Fontain and written by Victor Shert- zinger, well-known composer and di- rector, and Aaron Hoffman. The party included Miss McAvoy, Miss Lois Wilson, Miss Helen Fei- guson, Mrs. Lloyd Hughes, Miss Mildred Davis, Miss Virginia Fox, Miss Bola Vale, Miss Gertrude OJm- stead and Miss Laura La Plant. 30
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Harris and Mrs Irving Wright of Santa Bar- bara. Mr. and Mrs. Charles Ray were also hosts of the evening, as were Mr. and Mrs. 'Fully Marshall, and a large party were the guests of Fred Niblo. William A HUSKY Hart Jr. n baby Arrives son of Mr. and Mrs. William S. Hart ar- rived on the 6th of September at the home of his grandmother, Mrs. O. S. Westover, Santa M o n ic a . Mrs. Hart, who before her marriage a year ago was Miss Winifred Westover, has been the attractive star of many big productions. Mrs. Hart is expecting to re- main with her mother for an indefinite stay. Q The athletic Ruth Roland was one of a merry yacht parly thai spent happy hours on the crystal waters of Avalon bay. Gives Studio Tea A MERRY co- terie formed Houseparty in Mountains by Mr. and Mrs. Douglas McLean, Mr. and Mrs. King Vidor, Mr. and Mrs. Hartley Man- ners (Laurette Taylor) and Mr. and Mrs. William Seiter motored up to Arrowhead Lake in the San Bernar- dino mountains recently, where they enjoyed a rollicking week-end party. Games of tennis, swimming, hiking and dancing were their chief diver- sions. Mr. and Mrs. Manners have re- cently come West from New York and are domiciled at the Beverly Hills Hotel. Mr. Seiter was formerly a di- rector of Mr. McLean. Give First 'T'HE opening Night Party A performance of Thompson Bucha- nan's new play, The Sporting Thing to Do, in which Miss Enid Bennett (Mrs. Fred Niblo) is starred, was the inspiration of a number of theatre parties in society and the motion picture colony. Among those in the boxes as guests of Mr. and Mrs. Buchanan were Mr. and Mrs. Mon- tague Glass, who came up from Coro- nado, where they have been spending the summer, for the occasion; Mr. and Mrs. Frank E. Woods, Mr. and Mrs. Peter B. Kyne, Mr. and Mrs. Rob Wagner, Mr. and Mrs. Elmer MRS. RU- P E R T HUGHES, who is now in China for a three months' visit, instituted an enjoyable custom of afternoon tea at the Gold- wyn studio during the making of Gimme, the story of which she and Mr. Hughes were co-authors. Mrs. Hughes presided at the tea um and pictured opposite her is Miss Helene Chadwick, who plays the feminine lead. Mr. Hughes is at the extreme right margin of the picture, while his assistant, James Flood, is immediately above. Gaston Glass, leading man, wearing the straw hat, stands at the back of the table with James Mescall, camera man. Others in the group are Miss Kate Lester, David Imboden, members of the cast, and a visitor or two. Stars Frolic \7lSITORS to Like Mermaids V beautiful Avalon Bay at Catalina Island do not suspect when their steamer approaches the landing that some of the tanned girl swim- mers frolicking like mermaids about the anchored yachts, are motion pic- ture stars. Miss Ruth Roland, serial queen, spent her vacation at Catalina as a guest of the Arthur Sanger yacht party. The Ruth Roland jazz orches- tra was aboard the yacht and entering steamers and yachts were playfully serenaded by the orchestra, led by Miss Roland's contralto voice de- livered across the water through a director's megaphone. The Blystones in Europe MR„ AND MRS. JOHN GILL- MAN BLYSTONE have gone to Europe, where Mr. Blystone will direct a pic- ture. Prior to their departure they were entertained by Mr. and Mrs. Rex Beach and by the Conrad Nagles. «| At Catalina. Chaplin in the center, William IVriffley, owner of the island, at the extreme right. . 31
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MOVIES «I Liberty Hall is a movie theatre that caters to the natives of Singa- pore. Second-class patrons see the reversed image of the picture from In-hind the screen for one-tenth the price that is paid by occupants of the first-class section. (J The movies are threatening the superiority and prestige of the whit man in Asia. Perhaps that is why, in Singapore, the strictest censor] ship in the world is exercised to check the rising tide of color. D OWN at the extreme southern tip of the continent of Asia, one de- gree north of the Equator, the Malay Peninsula points a long crooked finger at a littie palm- fringed island. When the United States was still a British colony the total population of this island was contained in a fishing vil- lage of one hundred and fifty souls — Mohammedan souls. Today, with the United States grown up and having colonial troubles of her own, this fish- ing village has evolved into a great metropolis swarming with all the races of Asia and Europe, the world- important port of Singapore. Busy out of all proportion to the combined lassitude of the tropics and the Ori- ent, Singapore is the trade center for China, Japan and Siam to the north; the Dutch East Indies on three sides; Europe and India to the west, and America on both east and west. (Singapore is about epuidistant from New York and San Francisco.) To this strategic spot the commer- cial peoples of the world have flocked — black, brown, yellow, and white. Add to this mixed trading population the flood of cheap labor from over- populated neighboring countries, put them all together in the teeming streets of Singapore, sweating side by side under the tropical sun, and you have a weak picture of the most cos- mopolitan city in the world. To have a real picture you must have seen it yourself — and heard it, and smelled it, for the East seeps into one's con- sciouness not through one sense alone, but through three. And Singapore becomes a memory picture not alone through the colorful scarfs and sa- rongs of the Malays, the sight of bare brown and black skin, but through the cries of Chinese hawkers and the rum- ble of Hindu oxcarts, the smell of open drains and exotic cooking. Into a seeming chaos of Asiatics — Chinese and Japanese; Achinese from Suma- tra ; Javanese ; Malays from the penin- sula ; Singhalese from Ceylon ; Tamils, Punjabis, Sihks and Bengalese from India; Buginese and Makassarese from Celebes ; Burmehe, Arabs Turks, dozens of other recognized races and scores of indescribable hybrids — into this seeming chaos of half a mi Hon Orientals there has come a handful of five thousand white men to trade and to rule. And they have brought with them the motion picture. 1 HERE are ten picture shows in Singapore, half as many film ex- changes, and a brace of conscientious censors. The five exchanges import American pictures almost exclusively. Two of them — Universal and Famous Players Lasky — import their own pro- ductions. Pathe occasionally brings in an European film, and the Australa- sia and Middle East exchanges bring in what they can get, usually Ameri- can pictures. Outside of Singapore there are ten more theatres "up coun- try" in the British Straits Settlements of Malacca and Penang; Kuala Lum- pur, I poh, and Taiping in the British Protected Federated Malay States; and in Johore Bharu, capital of the independent state of Johore. The number of shows outside the Straits Settlements is small because the popu- lation of the peninsula is sparse. Fifty years ago the country was largely covered with trackless jungle and peo- pled by warring tribes who at fre- quent intervals, under the guidance of chiefs on elephants, would go forth to carve each other up. Today the chiefs put their elephants out to pasture and seek their excitement in the less haz- ardous pastime of going to the movies. IF you are an European, you will miss part of the excitement which the native audience finds in a film. In Singapore the whites attend fairly well-appointed theatres. Paying $1.50 Straits (75 cents United States currency), you are entitled to a chair such as you might find in a New York or San Francisco picture house. The audience about you is largely white, with a good sprinkling of high-class and prosper- ous natives. For all you can see, the coolie class, the half -naked Indian la- borers and the small clerks do not attend the movies. Then a Wild West picture is flashed on the screen. Bill Hart pursues the villain through lonely ravines and amid great clouds of dust. Somewhere, quite near you it seems, 32
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MOU.VWOOO CWWOI* you hear yelling and shouts of en- couragement as the hero spurs his horse up the last hill. Within reach of his man, Bill lassoes his adversary, and, as the "illain falls to the ground, a mighty shout of approval goes up from five hundred lusty throats. Where? On the other side of the screen, where the lower-class natives are watching the reversed image of the same picture for one-tenth the price you have paid! IF you are of an adventuresome na- ture and don't mind strong smells, come with me to the native side of the screen. The entrance to the Malay part of the theatre is surrounded by night bazaarmen, who seek to sell strange eatables and stranger drink- ables to the yellow and brown movie fans as they approach the box office. Smoking oil flares borne by these traveling restaurateurs cast an unnatural orange light over the scene. In its wavering glow the heaps of tropical fruit piled on the portable stands of the merchants or spread on the ground seem to be continually changing shape. The pyramids of purple mangosteens appear to grow larger and smaller, and the shad- ows crawl in and out like worms between the nobs and corrugations of the evil-smelling- but - delicious durians (a taste for which, like that for roquefort cheese, must be either in- herited or cultivated). A light behind a row of bot- tles containing colored co- coanut milk give the effect of a drugstore window. If you are thirsty you can buy beverages of pinks and greens that would shame the gaudiest of our circus soda pop. If it is solid nourishment that you seek, you can purchase a bowl of rice with the necessary garnishment of spices and gravies for a few cents, and bits of cooked meats impaled on bam- boo sticks come at one copper per stick. If you are neither hungry nor thirsty, we'll go right in. 1 HE air inside is blue with smoke and heavy with die rare combined per- fume of bad tobacco and perspiration. The lights flash off and a news weekly is shown. This reel is appreciated by the whites on the other side of the screen, for to them it shows scenes of home. To the natives it is rather un- intellible, for they know nothing of the places and people shown, and if they do understand English they can not read the titles which appear on the screen backward. The reel is over and the lights flash on. This is a police regulation, as continual dark- ness offers too much of a temptation for light-fingered individuals who up to a few years ago used to collect con- siderable involuntary tribute from fellow spectators, particularly from Chinese women who wear ornaments, often valuable, in the back of their hair. The next picture is a serial. Immediately the first scene comes up, a murmur runs over the house. The spectators settle down for some real enjoyment. There is nothing more % Dozens of these walking restaurants are brought on bamboo poles suspended across the shoulders of a Chinaman and set up business nightly in front of the native picture theatres of Singapore. The sole pro- prietor, manager-cook, waiter and cashier here is shown stooping to fill the position of chief dishwasher. delectable to this type of crowd than a few reels of hair-rasing episodes with as much blood-and-thunder as the censor will allow. Society drama requires a knowledge of Western cus- toms and the ways of white women, to say nothing of being able to catch the subtlety of the backwards titles. It is dry stuff, this business of drinking tea and calling people up on the telephone. What is far better is this serial sort of thing, with lots of action, every- thing aboveboard and no explanation needed. '"iThis is the sort of picture that the baggage porter and the street car conductor can understand, and they show their appreciation all the way through. 1 HERE is earnest conversation go- ing on among the spectators through- out the show. Neighbors speculate on the outcome of the reel, or on the next move of the villain. The city coolie explains things to the coolie just down from the rubber estates, who is seeing his first picture. When the hero is in danger he received shouts of warning and words of advice from the crowd. Much of this side talk is unintelligible, as might be expected with the great mixture of races and tongues, but enough is in Malay, the lingua franca of this part of the world, for the resi- dent to make out the trend of the spectators' emotions. These black and brown and yellow people are no mere patrons of a cinematograph exhibition. They are living in the story, characters in the picture. They get into the spirit of the photoplay just as the small boy playing Indian becomes part of another age. As the backyard ceases to ex- ist for the youngster and the neighbor's cat becomes a tiger, so does the theatre with its rank atmosphere and hard wooden benches dissolve for the Chin- ese, Malay, Indian, and Arab who have paid their fifteen cents to watch — nay, to take part in — the screen play. And this child- like naivety with which the native conducts himself has set the cen- sor working overtime. Singapore boasts of the strictest film censor- ship in the world. Not only must every reel of film be subjected to close inspec- tion, but every bit of ad- vertising matter, "copy" and pictures for newspapers, stills and posters for lobby displays, three-sheet stands, dodgers — anything that is in any way connected with the showing of a picture — must receive the censor's official chop before it can be subjected to public gaze. Lucky, indeed, is the film that reaches the projector more than sixty per cent intact, and for a film to be entirely banned is so com- mon as to be unworthy of special mention. The gentlemen who wield the shears at Singapore to keep the morals of the Straits Settlements in proper order are Captain T. M. Hus- sey and W. H. Lamb, respected mem- bers of the Straits police department, with practical authority over the morals of the Malay States, although 33
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an additional censor at Kuala Lumpur reserves the right to do further cutting to meet local conditions. Without doubt, these gentlemen do more dam- age to motion picture films than any other men in the world — excluding na- tive operators, but including the Jap- anese censor. In Japan, the hoi pottoi is conceded to have at least some slight degree of mature intelligence, but not so in Malaya. The alleged tendency of the native to draw his ideas of the proper conduct of life from the screen constitutes one of what Captain Hussey terms Singa- pore's "unique conditions." OUR stringent censorship is made absolutely by unique conditions," Cap- tain Hussey told me. "Not only must we make sure that the films shown are fit for people who are like children, but we must see that they are not of- fensive from a cosmopolitan point of view. We must look at each picture through the ethical eyes of the Mo- hammedan, Hindu, Buddhist, Taoist, and Confucianist. Were we censor- ing for the Malay alone, or for the Chinese alone, it would not be so diffi- cult. But we must consider the pub- lic of a hundred different races, each one of which might be wrongly af- fected by different parts of the pic- ture." It is the effect of the motion pic- ture in relation to crime that Singa- pore censors worry most about. In principle they are undoubtedly right. The uneducated natives see episodes on die screen in which Occidentals, whom he is taught to regard as the last word in human perfection, com- mitting larceny, murder, robbery, adultery, assault and battery, and all the other offenses against the Ten Commandments. Common Law and the Napoleonic Code. He immediate- ly comes to die more or less logical conclusion that if these handsome movie actors can do this sort of thing, why then certainly he, Abdullah Ham- med, seller of new and second-hand sarongs, can do likewise. The conse- quences on the screen he doesn't quite understand. He sees the man in a new striped suit, perhaps, but inas- much as stripes are an accepted pat- tern of everyday dress, the only re- action on seeing the villain attired thus would be a feeling of admiration and envy. He loses sight of any pen- alty in die details of the crime. That he was actually stimulated to crime by the movie is shown by a compari- son of Singapore police records before and after die censor began to delete felonious scenes. At present, all modus operandi scenes are cut. Any film which shows the native the proper method of open- ing a window with a jimmy or of pick- ing a lock with a piece of wire is bound to get the shears. This point in the censorship regulations brought Mr. Ralph Bridges, Famous Players Laskey's Singapore man, into the clutches of the law a week after the recent opening of the Straits branch of that company. Capt. Hussey ar- rested Bridges for trying to slip thir- teen feet of safe robbery past his censorial eye. A Paramount picture, The Egg Crate Wallop, was the cause of the trouble. Capt. Hussey claimed that at the preview the second reel started with an indistinct amber picture of a room with a safe in it, lasting about two seconds, and followed immediate- ly by blue scenes. When the reels were sent for the official chop, the cen- CAN a WOMEN ATTRACT h HIS EARS? % The eyes and the T\\* are not the only features that attract an emotional re- sponse on the screen. The appeal of the stars is analysed in a fascinating ar- ticle- Men Who Are Easy to Love by Eunice Marshall in Sckeenland for January. On sale December first. sor found that the amber piece was thirteen feet long and depicted a man using foul means to open a safe. Bridges' trial lasted three days, the defense putting up an eloquent argu- ment on the inefficiency of native operators who require twelve feet to thread the cogs of the projector. On the last day of the trial the court ad- journed to die Universal's projecting room, where the film in question was shown. The magistrate found Bridges guilty of trying to deceive the censor, but inasmuch as the offense was large- ly technical, let him down with a $25 fine. If it had been a murder that took place in the first thirteen feet, the sentence would have probably been life! MURDERS are of course taboo in any form — from strangling to shoot- ing. Shooting, in fact, is never tol- erated unless it is done by officers of the law. The mere appearance of a revolver may put a scene in a preca- rious position. Suicide is never shown, nor masking. The spectacle of a man being bound and gagged is never permitted, and consequently the thrilling rescue with its untying and ungagging must also be cut out. Hand- to-hand fights are permitted as' long as they are on the square and fists are the only weapons used. As soon as one of the combatants attempts to use any sort of a weapon — be it only a chair — the scene is clipped. Nor is the victor permitted to kick his pros- trate opponent or do anything un- sportsmanlike. The attitude of the censor toward scenes of violence is rather hard on the serial. Although serials are a fa- vorite fare of the native, they are ruthlessly pared until often less than half the original length survives. "Serials are our particular bane," said Capt. Hussey. "The native sees these deeds of bravado performed week after week and doesn't see the man brought to justice until the last episode, at which time he has forgot- ten the connection and loses the moral influence absolutely." 1 HE two censors, although power- ful, are not absolute. The film ex- changes have the right of appeal to a council composed of representatives of the most important races of the Singapore cosmopolis. If these inter- national gentlemen find that the film is not likely to be detrimental to their respective constituents, the objection of die censors may be overruled. This seldom happens. In the matter of women the censor has another set of regulations. An excess of nudity must not be allowed, although the bathing girls are thought to be sufficiently covered. Love scenes are passed if within the proper bounds. No cave-man stuff or kisses lasting longer than five or six seconds can be shown. Likewise there must be no mistreating of women — no abduc- tion of innocent heroines and no wife- beating. In this connection film men- of Singapore delight to tell a story of the censor barring a poster of a girl riding a galloping horse. An explana- tion of die ruling was asked. "The girl has a terrified look in her eyes," the censor is reported to have said. "She looks as if she were flee- ing from a man." This strict supervision of die film's portrayal of the treatment of women is ostensibly for the benefit and pro- tection of white women living in the colony. If the native sees a white women mistreated on the screen, he will lose respect for the species and be tempted to follow suit, says die censor. Doubtless he is correct. But the real motive, I believe, which lies behind not (Continued on page jo) 34
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5 The PICTURE of the Month 5 IMS page is dedi- cated to the ten millioit people who do not go to the movies. The one production selected here each month must surpass as an artistic achievement the usual hokum and insincerity , of motion pictures. Robin// Q/lood T JLh -Douglas Fairbanks Production .HE crash of splintering lances on gleaming armor . . . the waving plumes, the scarfs of fair ladies, and the bithesome spirit of Robin Hood's merry men leaping through Sherwood Forest — all are immortalized for us by Douglas Fairbanks in his sumptu- ous screen version of Robin Hood. Our Doug has not changed — he is the same nimble, frolicking swash- buckler— a roistering blade — but he has risen to heights undreamed-of before. No one will think of Robin Hood hereafter other than as Douglas Fair- banks. He has breathed life and a lusty spirit into a character of Old Romance. Little John and Friar Tuck are with us, too, and Enid Bennett as Fair Lady Marian — beautiful beyond all words. Above them towers the mightv character of Richard, the Lion Hearted — Wallace Beery's greatest contribution to the art of character acting. The Jousts and Tournaments, the King's great banquet halls and ye little Towne of Nottingham are re- produced in gorgeous proportions with a scenic investiture that is stupendous in magnitude and artistic in every de- tail. A pageant from out the chronicles of history has been unrolled by Alan Dwan before our eyes, lavish in its splendor, accurate in its presentation. Fairbanks has reconstructed the age of Merrie Old England. France, Spain and Italy have already claimed his efforts and we only hope that American Indian legends may offer him a story worthy of his genius. Screenland is justly proud of this opportunity, through a special ar- rangement with Mr. Fairbanks, of presenting to the American public for the first time a critical analysis of this striking production. As the first mag- azine to herald Chaplin's masterpiece, The Kid, we now present its logical successor in motion-picture annals. The movies may at last be said to have grown fairly out of their infancy. They have given us Robin Hood — the greatest motion picture of our time. 35
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MOwnNOOO CAUfOIU44A Little HINTS LAYQOERS LORN A DOONE— First National «J C RESTING the wave of the cos- tume romance, comes this Ince pic- ture in which there is a keen note of dramatic vitality beneath glamorous beauty, as of a sword sheathed with velvet. Maurice Tourncur is an in- genious craftsman whose work has grown in depth and meaning since his first artistic though inarticulate attempts. He has the artist's concep- tion of shading and delicacy of touch — the majority of the scenes arc per- fect gems of the photographer's skill. Madge Bellamy g'wes to the role of the gentle Lorna a poignancy and charm of illusion that, finely re- strained, have no saccharine senti- mentality. She is setting a high standard for herself. THE ETERNAL FLAME— First National fl V>OLD print beggars the beauty in which this cross-cut of old French court-life is laid, with the Duchess de Langeais, immortalized by Balzac, flirting and learning the lessons of love. An ocular operetta of gold and ivory drawing-rooms, the palace of Versailles, masked emotions and ladylike gentlemen. But the play moves with a certain fluid grace and all its French pastry ornatcness can- not quench the glowing fibre of Nor- ma Talmadge. But, of course, the naughty Duchess is remade into a moral Duchess. How could Mrs. Schenck be otherwise? OMAR KHAYYAN— Ferdinand Pin- ncy — Earlc Production q OMAR KHAYYAN may have been a jolly old philosopher, but as a "highhrow" film the Persian poet's Ruhaiyat makes pretty gory romance. . We may say at once that artistically, scenically, poetically, the film is a glit- tering success. But the continuity is vague and blood flows more freely than the story. Daggers and a variety of medieval meatchoppers are ac- counting for somebody's hasty demise every few feet. The modern gun film is a nursery rhyme by comparison. It does, however, make the concession of a happy ending.
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SLIM SHOULDERS— Hodkiuson *I AND slim as to plot. Obviously concocted to show /rene Castle in a scries of charm- ing poses. No attempt is made to tax her dramatic powers, and for that we are grate- ful. As it is, Miss Castle moves gracefully through the picture, disporting herself in a variety of lovely clothes and incidently sav- ing her father's honor. A worthy pastime with our film heroines, but Miss- Castle de- serves better justice. THE VALLEY OF SILENT MEN— Cosmopolitan «| A RED-BLOODED yarn of the North with all the elements that James Oliver Cur- wood knows how to flavor his stories in order to meet with popular appeal. Mys- terious murders and a strand of black hair is the motif of this one. The success of the production lies more in its beautiful scenic effects, superbly photographed in its natural locale, than in the story, which is illogically developed. The men will like this. And the ladies may enjoy Lew Cody in the role of hero instead of his winking a wicked eye at the lovely Alma Rubens. TO HAVE AND TO HOLD — Paramount <| W HEN George Fitzmaurice sets about to direct a picture the re- sults are certain to be entertain- ment of the best. In this instance, a story packed with more thrills and .surprises than the bloodiest serial is presented so excellently that you will miss a real screen treat if you fail to sec it Bert Lytell, Betty Compson, Theodore Kosloff, Raymond Hat- ton and a galaxy of other well- known players contribute to the play's lavish completeness. Cap- tain Percy (Lytell) is certainly one of the most valiant lovers of fic- tion, and you will rejoice to see this old-time favorite brought to the playhouse. Our great wonder is that nobody has attempted it be- fore. Photo-play pay-dirt must still await lucky prospectors in the literary yesterdays. To Have and To Hold is the sort of a picture that will bring jaded playgoers back to the theatre where they have so often been disappointed with silly, tiresome over-exploited hokum. 37
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MOU.VWOOO CAliVOAMIA KINDRED OF THE DUST— First National q PETER B. KYNE'S popular story retains all its vigorous szvecp and atmospheric fidelity in its transcription to the screen under the baton of Raoul Walsh. No pink tea fight or dancing duel, but a dandy picture of the Northwest, with our friends, Nan of the Sawdust Pile, the grim old Laird and his stalwart son, stepping out as appcal- ingly as they did in the book. A high-water mark among the season's melodramas, with Miriam Cooper and Ralph Graves humanly interesting. LOVE IS AN AWFUL THING— Sclznick <J A MOON calf love for a statuesque beauty may sometimes prove a fatal thing. Especially when true love appears on the scene with the aforementioned beauty doing the same. The resulting entanglements which almost threaten the lover with destruction go to make an amusing story. The titles are quite good and aid the story considerably. Owen Moore demonstrates very ably that the course of true /ott is not always a smooth one. THE PILGRIM— First National <J 1 HIS is worth standing in line to see. Charles Chaplin, as an escaped convict who dons a clergyman's robes and precipi- tates himself into three reels of hilarious situations. He is at his best. His pantomimic ser- ' mon about David and Goliath is one of the funniest screen episodes of the year, and a cer- tain incident concerning a plum- pudding and a derby hat sends the spectators into hysterics. No pathos in this picture. All frank farce. .»
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' HOLkVWOOO CALIFORNIA BOW-WOW— Scnnett— First National fl DOW- WOW marks the return of Louise Fazcnda, accompanied by that good old team of farceurs, John Henry, Jr., and Teddy. In Louise's caricatures there is always a round of merriment, with a chuckle for every spit-curl. Though John Henry has grown considerably since those days when the old team cut up capers, he is as cunning as ever. And who could question Teddy's sense of humor? , A CLARENCE— Paramount (Left) q Wallace reid « called upon to do almost «rry sort of screen por- trayal except the one to which he is conspicuously suited — the young, scampish, rich man's son.. As Clar- ence, he is burdened with the task of bringing good will to an entire house- hold, which is a step further "agin nature," as David Harum would put it, than the past pictures in which he piously gave comfort exclusively to the hearts of stricken maids. The usual enjoyable attention to such detail as characterisation that is found in other William Dc Millc pic- tures is found in this one. Aside from a miscast Wallie, it is good. PINK GODS— Paramount . q 1 HE melodramatic and tragic quali- ties of this Cynthia Stocklcy story produce a photoplay replete with sus- pense but tinged with gloom. James Kirkwood, Bebc Danicds and Anna J. Nilsson lead the cast and artistic scenes of South African diamond mines, and the lure of gems for women put the piece well al)ovc the average of screen productions. If you have a propensity for happy pic- tures you will not especially enjoy the diamond king's fancy for cutting open Kaffirs who swallow diamonds.
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Some More about DOUBLES <I Dummies Save Hollywood Movie Queens Many Hours of Valuable Time. *j Who are they/ The studio costumcrs never get these dress forms mixed, although none of them are in any way marked to show the star whose figure they represent. Movie fans who know each star at a glimpst ean no doubt recognize the stuffed dummies as (left to right) Kathlyn Williams, Agnes Ayres, Svlvia Ashton, Gloria Swanson, Hetty Compson and Mavme Kelso.' fl Sylvia Ashton, t h e plump character act- ress, is sometimes failed upon to appear in <i special garment in a few hours' notice. The garment is delivered to her dressing-room without her ever appearing for a fitting. *I Frocks that were destroyed in a flood scene were dupli- cated in one day for Gloria Swan- son, while the star continued with other parts of the picture in which these particular frocks were not re- quired. q Mrs. Ethel Chaffin, chief de- signer for the Paramount wardrohc department, drap- ing a negligee on the Bebe Daniels form. 40 ak£
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MOU.VWOOO C4UMNUM* ^he CAMERA with £y Human^es {§How the third dimension has at last been projected on the screen — the Utopian dream of color photography is now a realized fact. Stereoscopic Photography Accomplished Q ELIEF and iXperspecti ve, j ust. as seen with the human vision, is perfected in a new motion picture photography process invented by H. K. Fairall. The process is employed in a six-reel picture just released, in which the awe-inspiring distances of Yo- semite's mountain grandeur present an image as real as glimpsing the actual scenery through a window. The astounding result is obtained by projecting on the screen two super- imposed positive films simultaneously. Each film has been photographed in the same camera, at the same exposure, but through different lenses. The two lenses of the stereoscopic camera are separated at a distance equivalent to the position of the human eyes. Each eye, as the law of optics de- monstrates, sees a single picture of its own. One eye cannot see the picture viewed by the other. This is the prin- ciple embodied in the Fairall process. Red and blue lenses are used. These complementary colors create stereo- scopic quality and register on the film a perfect focus at any camera range — foreground or background — exactly as the eye registers depth. An added advantage in this novel filming method is the complete lack of distortion which is noticed by a thea- ter-goer when seated too far to one side of the screen. From any angle, the projection is perfect. In this way, front corner seats in a theatre will be- come just as desirable as the center loges, because the image squares it- self to the individual as though he were glancing over the cameraman's shoulder instead of watching the rays of a projector shown through a devel- oped film. The Power of Love, now finished, is the first of a series of pictures to be photographed completely in stereo- scopic by Perfect Pictures, a Los Angeles producing organization. Movie Camera ALL of th< Conquers World ^* intricat. LL of the iquers World m - "«««*«i« Of Color shades and tones, from the blue and lavender tints in shadows to the vivid splashes of color in a spring landscape or an unusual tapestry, will soon ap- pear in exact likeness on the screen, according to Dr. Mees and Mr. Cap- staff of the Eastman Kodak Research Laboratories. These men announce a color film that registers color in a natural manner— the result of years of expensive and painstaking experi- mentation and research. For the process of attaining natural color in films as produced, by the Kodak color process, a special camera with two lenses is necessary. This is the only difference between the color camera and the regular cinemato- graphic camera. Two "shots" are made at the same time of the same object ; a green-colored screen is placed before one of the lenses and a red-colored screen before the other. One strip of film is used, but the two images are "recorded" simultaneously, one above the other. The film negative used is especially panchromatized (made senstitive to colors), but particularly to reds and greens. The film is then developed in the usual way and a perfect negative obtained. The film, coated on both sides with a positive emulsion, is then placed in the printer. The images made with the red separations are printed on one side of this positive film and the im- ages made with the green separations of color are printed on the other side of the film, — in reverse. The result is a color film that is almost perfect. A pre-view of the film was held be- fore a large and enthusiastic audience at the Ambassador Theatre, Los An- geles. In order to restore the color method of capturing sterescopic, spe- cial glasses were worn by the specta- tors. The glasses were of the famil- iar horn-rimmed variety, containing one green and one red lens to cor- respond with the complementary lenses of the camera. When these glasses were removed, the screen ap- peared to be a confusion of brilliant color, reminiscent of a futurist pastel, and the action of the principals was almost indistinguishable. RE 41
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MOU.VWOOO C»ufO«Bi* mae naRRfly kDELIOOUSLlTTLEDEVIL'' SUPPORTED BY A BIG SPECIAL CAST INCLUDING RODOLPH VALENTINO BERTRAM GRASSBYand Wm.V.MONG £>/r>er>tf i/ROST. 2 LEONARD ^g. B. "RINGING dead pictures to life is the task of the "film doctor." From a mess of old films, thrown into the dis- card because they are too poor for the big exchanges to use, he patches, re- hashes and builds up a strange con- glomeration that is re-titled and sometimes freshened with a few new scenes. Then it is peddled to the little theatres and ignorant patrons are hoaxed into paying money to see it. I made the acquaintance of a film doctor not long ago. He told me the dark secrets of the cutting rooms. From this man I learned that com- panies are formed for the sole pur- pose of "warming over" pictures. Their buyers comb film libraries — can after can of old film, some of it made and exhibited as far back as 1914. They buy all stuff that can be revised and doctored. Then it is given a new name and sent again on its round of the theatres. "FlERE is how we do it," the film doctor told me. "We find an old feature film. The buyer is especially watchful for scenes of players who have made big reputations — reputa- tions like Valentino's — on which we can cash in. Sometimes, of course, the exhibitor sees the value of the old film. In some cases, big pro- ducers have reclaimed their own film at little expense and thrust it upon the market. "There is nothing complicated about reviving a dead production. It costs only a few dollars, once we get the Monkey Qland Movies €| Exposing the secrets of the cutting room. By L. F. Fowler ij How stale movies arc "warmed over" and foisted onto the public as new films. right film. New titles with unique border designs are printed and in- serted and prints are made from the old negative. Sometimes, to pad it out, we add stock scenes, with new situations and incidents. Of course, we cannot re-take the star. These fresh scenes are star-less ones. But we splice it all together and you'd be surprised how neat some of the jobs turn out. "Of course, anyone who has any knowledge of pictures can at once see that it is old stuff. The sets are rickety, the lighting poor, and the actors are often crudely directed and costumed. These things all depend on how many years ago it was made. Every year shows a sharp advance in the quality of pictures, you know. "There is one way that the wise exhibitor can always tell a 'warmed- over' print. They are almost invari- ably 'rainy.' A rainy print is one that is made from a negative that is scratched and streaked from passing many times through a printing ma- chine. This causes fine white lines that dance vertically up and down the screen. This is our biggest handicap in selling revised pictures." *I When this pic- ture was made, three years ago, Valentino was playing one of h i s first parts with Universal. He was a minor character. Today h is na in e is blazoned fro m the billboards in letters three inches high. A^FTER my talk with the film doc- tor I began to realize that the re- issuing of old prints, disguised as new ones, is one of the cheapest, greediest phases of the movie industry. If producers must revive old produc- tions, let them frankly take their old stories and reproduce them in a mod- ern way, under modern conditions. But let them be advertised as "re- vivals." Will H. Hays' biggest job is to re-establish the confidence of people in motion pictures. The men who make the movies can assist him by leaving their old films in their files in their film libraries, where they belong. As an example of what I mean, let me quote from an advertisement in 42
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' MOVIVWOOO C»viFORH.R IS) H These "stills"' are enlargements from bits of film. When lite picture was first made, Valentino was not uf suffi- cient importance to appear in stills by himself. With his later popularity, the producers co-starred him, in their advertising, and the enlargements were made. the June 24, 1922, edition of one of the trade journals for exhibitors. This advertisement bore the seal of a prominent producing and distributing organization. It goes on to say : "A colossal array of BOX-OFFICE names. Imagine what you can do with such names as Griffith and Reid and Gish and Cabanne. . . Im- agine what you get with the talents of these great artists merged into one big box-office attraction. . . . Im- agine, Mr. Showman, how you can exploit these names. . . ." This big producing and distribut- ing company has probably purchased the negative of this old film and in their laboratories have made it over, photographing new titles and splicing them in, perhaps tinted a few scenes and generally doctoring the produc- tion up so that it can be resold, rented or exchanged. And then they try to attract the exhibitor — of the smaller houses, of course — with the thought of big box-office receipts, not stopping to realize that they are killing the confidence it has taken years to es- tablish and making the playgoer go elsewhere for his entertainment. , D OTH the exhibitor and the dis- tributor, no doubt, wonder why the patrons of motion picture theatres are ceasing to show interest in the pic- tures. "They go to the new big spectacular offerings, famous stage plays and novels that are done in pic- tures, but they do not seem interested in our program pictures. Features sometimes get them," etc. This is what the showmen complain, and they wonder why they can not fill their houses with pleased audiences. And yet they will try to force a re- vised film on the unsuspecting public because they can get it cheap, cashing in on the big box-office receipts. What they are actually doing is insulting the intelligence of the playgoer and driving him away from the theatres of motion pictures. 1 HE picture-wise public, whose in- tellenge has increased with the prog- ress of the motion picture industry, can recall when Wallace Reid and Lillian Gish played together. It has been some eight years ago since The Fatal Marriage was produced at the old Triangle Studio, 4500 Sunset Boulevard, Hollywood, California. Think of it, eight years ago — 1914. Compare the productions of today with those of eight years ago and what have you? A rather poor prod- uct, don't you think. ijOME time ago one of the promi- nent producing units of the industry, one who has made good pictures and one of the few to remain after the sifting of the past few years, rehashed a screen play which they named The Rogue's Romance, featuring, when it was first released, Earle Williams. It might have been a good "number," as to that I can not say, but when they decided to wish it on the public again they advertised Earle Williams and Rodolph Valentino . Now, surely, at the time when this film was pro- duced, Valentino could not have had a part that would have justified his being featured. If he did, why didn't they fea- ture his name with that of Williams then? No; they featured Valentino's name on the revival of the piece to cash in on his present-day reputation. The playgoer goes to the theatre ad- vertising this feature expecting to see Valentino in a big role. No doubt, Mr. Playgoer wonders when Valen- tino joined forces with this particular organization. He might remark to his neighbor, "I didn't know that Valen- tino was with so-and-so. I thought he was with Paramount." Then after he has seen the performance he soon understands, and curses because he was fool enough to be swindled. ANOTHER example of a "revival" is of a cer- {Continued on page 77) 1} Another re-issue. In this rebuilt movie, Valentino played a very minor part. The releasing company has featured h i m w i I h the original star. FOR STATE RIGHTS HECALP POOCMCTiCXi-- JULIAN ELTINGE AND RODOLPH; VALENT /it ISLE OF LOW Qe*r\$c<i prom Ai Fantastic Comedy "With More Thrills Than Any Serial, Introducing Tu'o or the Bigucst Stars In the Amusement world 43
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1 MOU.VWOOO CAUrOMMIA 13) <| "Barbara Lc Mar's special stunt is looking svcldt, dark and mysterious. She always gives you a long, snaky handshake." Evans Photo. D, EAR old Bobbie Harron was the only actor I ever knew who realized the damphoolishness of a mo- tion picture interview. Bob flatly and firmly refused to be interviewed. He said that if his future depended upon answering foolish questions from gal journalists, he would give up acting and take to insurance agent- ing . . . or something. •J A long speech full of broad, English "aa" sounds is Guy Bates Post's interview style. He says it mournfully with an "ah, genius is so lonely" air. The only way a motion picture interviewer could get to Bob was to pretend to be some- thing else. Maybe it's because he is Irish, too; but Mack Sennett is another one who shies at interviews. "Oh, what's the use?" he groans when when they tell him an interviewer is after him. "What is there to tell? They'll ask me a lot of dumb-bell questions to which there isn't any answer. All there is to making pic- tures is just to make the pictures." But when they once get him cor- nered and finally get him interested, Sennett is a charming talker. He has real ideas, a broad sweep of vision, pene- trating analysis and a quaint fund of com- monsense GRIFFITH is the in- terview expert of the world. He believes in them thoroughly. He will stop the biggest scene in the biggest picture he ever made to talk to a scared re- porter from a country village paper. It is funny to see the process. The reporter is always so panic- stricken that he can- not make articulate re- sults with his mouth. Griffith is attentive and kind to them, but they are always frightened to the point of paralysis. Nobody ever sue- SSIOUS of a True Experiences of Told Here for the ceeded in interviewing Mabel Nor- mand. In the middle of it she is al- ways galloping out after somebody else. You just feel that you have made the impression of your young life on Mabel and that something serious is going to result, when Mabel suddenly leaves you flat. Betty Compson always gives you the glad hand of a professional politician ; then pulls the heavy intellectual stuff on you. No, she doesn't care for J. M. Barrie: at which point you are expected to faint from the effects of her breathless daring. Betty is a sweet, nice girl, though. Barbara Le Marr gives you a rav- ishing smile and a long snaky hand- shake. I always want to say : "Go on ; let's see if you could do it agin, missus." Barbara always preserves a long , slim mysticism. Her special stunt is looking sveldt, dark and mys- terious. GUY BATES POST looks at you with a mixture of contempt and appeal in the midst of a long speech full of broad, English "aa" sounds. "I'm sure you can understand me?" he says mournfully, with an "Ah- genius-is-so-lonely" air. Laurette Taylor seems the soul of cordiality, but she has a bad temper and an interview with her is about like playing baseball with T. N. T. Nevertheless, she has brains and can really talk. Theda Bara is a wonderful talker; somewhat posey, and you have the feeling that she is away off the other side of a curtain — her real self — and that you are only seeing a Theda Bara set out there for the purpose. Nevertheless, she has an interesting and rather thrilling personality. 44
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' MQU.VWOOO C*vi«OftM<* tar Interviewer a Newspaper Reporter First Time. Gloria Swanson is uninteresting and without ideas; but she carries the situation off with good clothes and the manner : "My-Gawd-what-I-could- say-if-I-were-interested." out. I think I got them all started on this line of talk. M R. LEX INGRAM is a queer bird to interview. He is so darn casual. He looks you over with faint interest and goes on smoking his pipe — as though you didn't matter much — hardly enough to be disagreeable to— which is more or less true. Dorothy Dalton is ill-mannered and ruthless — until she gets interested; then she can be a good fellow. As a matter of fact, she is one of the few women in films who have been well educated. Most of these "well-read" women are a bluff. Some of them do not even take the trouble to give that impression. I am the reason most of them are well read. Some time back I developed a few ideas that I felt that the world needed, but no one would buy them, or even listen to them. So I generously passed them around among the movie girls. I would call to see one of them and all I could get out of her was some school-girl gabble about her press notices and how she suffered for her art. When writing the interview I would slip her the gleam- ing thought about the prob- able end of the white races at the hands of rising Islam. That is what she would find she had been talking about when the interview came LARY PICKFORD is the be- loved of gal interviewers who, dazzled by her polly animations, have supplied her with the most impossible virtues and intellectual championships. As a matter of fact, Mary is a girl of sound busi- ness judgment and sweet disposi- tion, but she is not intellectual. She has given a thousand reasons why she sticks to these wishy-washy Pollyanna stories : the real reason is that Mary thinks Pollyanna is great literature. Doug Fairbanks is entertaining and <I "Rex Ingram is queer. He is so darn casual. He looks you over as though -you didn't matter much — hardly enough to be disagreeable to — which is more or less true." Hoover Photo. "Laurette Taylor seems the soul of. cordiality but she has a bad temper and interviewing her is about like playing baseball with TNT." amusing, but of late he has encoun- tered an idea that "I advertise the newspapers; the newspapers can't ad- vertise me." I would like to think that Douglas is due for a grand little jolt; but he probably isn't. What he says is more or less true. Tom Ince is scared sick of inter- viewers. He simply runs out on them without apology or remorse. He never shows his best side to the papers. When you get to know him and get inside his painful bash- fulness, he has quick, abrupt, striking ideas. /\ N interview with Rupert Hughes is simply a mono- logue. You just sit there and wait until he gasps for breath. But he is a brilliant, witty talker. You just sit there until you have enough story, then you walk out. Rupert would just as soon talk about infantry tatics as music, about painting as about football. For the rest, they are mostly a collection of dumb- bells from whom it is im- possible to get any coherent ideas; who simply repeat the old wheezes about mo- tion pictures in their in- fancy, the paths to cinema glory through suffering, etc. 45
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' MOU.VWOOO CAL'FOIIHIA From Day rer €][ What made the big men of Here is the story of their indiscretions. Between lure ness acumen a new art was By Patrick Tarsney <1 Marshall Ncilan was a chauffeur and his- stand was in front of a cafe op- posite the Alexandria Hotel in Los Angeles, where several fancy ban- quets have since been given in his honor. His wife, Ulan c he Sweet, was world famous as The Biograph Girl AM not ashamed to confess that twenty-five years ago I was a hired laborer, mending rails, at work on a flatboat — just what might hap- pen to a poor man's son." No, it is not one of those got-rich- quick moving pictures producers speaking. It is Abraham Lincoln. He was big enough to know that what counts is not where a man starts, but where he finishes. He was not one of these self-made men who is ashamed of his architect. People who reproach moving picture producers for not hav- ing been born in the purple should remember that if a certain Astor had not been a peddler and a certain Van- derbilt a ferryman there would not be so much money in those families today. Some of the producers who care least for money and most for art have had pasts in which a dime looked as big as a dollar. But all the pro- ducers have not built something, out of nothing. At least one of them was a clergyman, others were bankers, some were day laborers, still others were lawyers, others phy- sicians and still others successful busi- ness men in various lines before they turned to pictures. Archimedes, who said that if somebody would only give him a place on which to stand, he would move the world with his lever, at least had the lever to start with. Adolph Zukor, president of the Famous Players- Lasky Corporation, had no lever. He moved his world with a broom. His first job was sweeping out a fur store in New York. It was not long before he had a fur store of his own in Chi- cago. Not until 1903 did he and Marcus Loew start the' penny arcades, out of which they got enough money to lease a chain of theatres. Marcus Loew, always a showman, preferred the distributing to the pro- ducing end of the business and in 1916 Zukor joined forces with Jesse L. Lasky, a young Calif ornian, who had begun his professional career as a cornet player and who in 1914 had associated himself with C. B. De Mille, the playwriting son of a play- writing father. That Lasky had plenty of nerve is evidenced not only by the fact that he once played a cornet in public, but that he was one of the gold-seekers who rushed into Alaska. He did not become stoop-shouldered carrying gold out, but he did make some money by producing vaudeville" acts. Thomas H. Ince, who, like Lasky, is in his early forties, went on the stage when he was a boy. His father, John E. Ince, was a good actor, but a better letter writer. Some of the communi- cations which the elder Ince was in the habit of writing to the newspapers were classics in their way. Young Ince became an able song and dance artist. John B. Ritchie, who gave him one of his first jobs, is now his scen- ario editor. Back in the eighteenth century, William Ince, an ancestor of Thomas H., was a furniture designer and cabinet maker whose work was often mistaken for that of Chippen- dale. His descendant's pet antipathy is a wooden actor. LIKE Adolph Zukor and Marcus Loew, William Fox entered pictures by way of the old-fashioned penny ar- cade. His first two real theatres were the Dewey and the Gotham in Four- teenth street, New York. Tom Shar- key, the retired pugilist, who conducted a saloon in the same block, was in the habit of buying a ticket by the week. William Fox's chief adviser is 46
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> MOU.VWOOO CALtrOAMtA To Movie Hollywood's Play World? pasts — a strange tale of for adventure and busi- born. Winfield R. Sheehan, once a New York reporter, and later secretary to Police Commissioner Waldo. Carl Laemmle ran a clothing store in Oshkosh, Wis., until he accumu- lated a fortune of four thousand dol- lars. He took this to Chicago and opened a moving picture theatre. Then he opened an exchange and then he organized the independent producers . into the old Imp company, whose bat- tles with the General Film Company, then called the trust, are a matter of4 moving picture history. Since 1912 he has reigned at Universal City, where in that year he bought land much cheaper than he could buy it now. His nephew, Edward Laemmle, is a director. M was IARSHALL NEILAN chauffeur and his stand was in front of McKee's restaurant, which is just across the street from the Alexandria Hotel in Los Angeles, in which hotel several very fancy banquets have been given in honor of the producer. He came into the moving picture business as an actor of small parts and has played leads with Mary Pickford, whose own beginnings were humble enough, but who has risen to be not only the most popular star with the public but with moving picture peo- ple themselves. Oliver Morosco was an acrobat. His real name is Mitchell, and when he was a youngster he was adopted by Walter Morosco, at that time a theat- rical power on the Pacific Coast. He has named his son Walter in honor of the man who, by adopting him, gave him his first chance. Charles Eyton, general manager of the Lasky plant and husband of Kath- lyn Williams, the actress, was once treasurer of the Morosco Theatre in Los Angeles and an excellent boxing referee as well. George Kleine, who brought to this country Quo Vadis, Cleopatra and other foreign films and who has pro- duced many of his own, is a Bachelor of Arts of the College of the City of New York. He got his degree almost forty years ago and has been in the moving picture business since 1896. Prior to that time he was an optician and a manufacturer of optical and projection apparatus with head- quarters in Chicago. It was in that city that the one-time power- ful Essanay was founded. The partners were Gilbert M. Ander- son, better known as "Broncho Billy," and George Spoor, who had the lunch room privilege in a Chicago railroad station. Essanay arc the initials of their names. •I Carl Laemmle, ran a clothing store in Oshkosh, Wisconsin, until he ac- cumulated a fortune of four thou- sand dollars. He went to Chicago and bought a movie theatre. Now he reigns as king of Universal City. That, by the way, is the way that Kalem was named — for Kleine, Long and Marion, the two latter being men with whom George Kleine in 1907 founded the Kalem company. ALLAN A. LOWNES is another alumnus of the College of the City of New York and was a hat manufac- turer before going into pictures. Vic- tor Kremer was one of the largest publishers of sheet music in the coun- try, and Samuel S. Hutchinson, who was educated at Illinois Wesleyan. where he (Continued on page o?) m «<w *I Jesse Lasky, when a boy, would prac- tice for hours on the front porch of his home, the shrill blasts of his cor- net ringing down the street. "Some day," he reasoned, Souse, will come to town and he will give me a chance to play in his band." When this story is told, nowadays, Lasky's associates say: "We arc glad that Sousa never came." 47
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•I Here is an aerial view of one of the world's greatest studios, covering a sixty-acre expanse, where interesting People are inaking living sculpture of human emotions. This descriptive article of a show place of movieland will delight you. T, HE young man with the dirty face twisted around in the front cock- pit and motioned us to look over the side. Southern California was pass- ing in review below. It was the first real proof for me that the earth re- volves, though it was giving the lie to all standard geographies by traveling from south to north. We had climbed into the air from a field in south- western Hollywood and had hung motionless there while some one pushed the mountains into the dis- tance and dragged Culver City under us for inspection. The splotches, of motor oil, beaten into his skin by the propeller blast, enhanced the friendly, reassuring ex- pression on the pilot's face as he grinned at us and shouted something that was drowned by the roar of the motor and the singing of the wind in. the wires. Noticing our perplexity, he changed it to sudden fright by stopping the motor and cutting us adrift from our moorings while he tried again to be heard. "What was that? Oh, yes, Gold- wyn's." There in orderly array was what I had always regarded as a huge film -plant. Huge? It looked like the Lilliputian illustrations in Gulliver's travels. How could a six-foot hero ever get into one of those tiny stages, let alone having room to thwart the machinations of the villain with the umbrageous mustache. But the buildings grew with alarming rapidity as we came down in graceful spiral curves. Objects assumed their real proportions and we could make out people scurrying here and there. At closer range it looked like a child's playhouse built on an elaborate scale. /\ RED interurban scooted along the side of the lot with excursionists who would return from the beach that night full of peanuts, salt water and pleasant memories, oblivious to the fact that a mere board fence had sep- arated them from the burning sands of an African desert town through which petticoated sheiks rode with menacing weapons glittering in the sun; oblivious \o the fact that in one of the big glass buildings a mother was learning the pang of filial neglect, in another a wife was confronting the woman who had ruined her home, while irrascible directors, seeing these scenes enacted, were grasping their noses significantly between thumb and forefinger and exclaiming : "Lousy !" The white buildings of the Gold- wyn plant, for the most part, are rein- forced concrete, built to withstand fire and the tremblers resulting when Miss California, in sheer exuberance at her own beauty, shakes a lascivious shoul- der and kicks up her heels. From the 48
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air they blind like jewels in a setting of green malachite — for every open space at the Goldwyn Studios is car- peted with grass and bedecked with fragrant flowers. It is only from the air one can realize the place is not a hodge-podge of big buildings, erected at random on the sixty-acre tract, where interesting people are making living sculpture of human emotions. QPhoto by ICiii. Cross. S our plane weaved back and forth in gigantic figure eights, I no- ticed below a wooden-roofed struc- ture resembling a superior make of incubator up whose sides crept scarlet WJmtaSA 49
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"oo-vwooo California IS) ladders, red as the flames against which they were designed. It was the "dark" stage, where conspiracies are hatched against fortunes — and the sun. The development of artificial light in motion pictures has made glass stages obsolete, although from the air, glittering in the sunlight, they look much more attractive than their wooden brothers. It is the electric light now, and not the random rays of old Sol, that makes the wild, uncul- tivated actress blossom as the Bur- banked lily of perfection. At the right end of the "dark" stage we spied a long shed filled with helplessly lost doors and windows tilt- ing toward the Oriental village — that exotic little settlement with its mys- tery of empty, coaxing casements and its lure of silent, uncurtained door- ways. The village is converted on the hazard of the need, from the frowsy Near East to the drowsy far Eastern Orient. Between the "dark" stage, with its murky secrets, and the tall square tower crown- ing the mill, where a bat- talion of trained artificers manufactured everything from period furniture to cobwebs, lie two glass stages. B« >UT that long Noah's Ark opening its doors re- luctantly toward the stages ? Just the cornucopia from which directors may requi- sition anything under the sun as "props." By twos, yes, and tens, they go out to the various sets, seldom to return to the ark with their original lustre and gentility. It's a grueling life these studio "props" lead. Two little kiosks, the power house and sub-station, creep close to the stern yet sheltering lee of the ark, away from the three great glass stages that sap the inexhaustible vitality of their little neighbors with the greed of hungry live beasts of the sun. The army of employees, who from our plane looked like ants scurrying about on the ground, must be fed. The commissary department takes care of this in a regularly inspected, sanitary dining room — one of the best in film- land. Even the publicity department, unselfish herald of the screen's ex- alted, has a private stairway that gives its personnel an even break with the rest of the lot in noon's mad rush for "vittles." Opposite the commissary, sadly suggestive of the risks players take to thrill blase skeptics in upholstered theatre seats, stands the cube of the little hospital, like a great dice rolled sportively out of the sturdy store room or shaken from the administra- tion building dice box. This plastic human clay from which are moulded the figures on the screen arrives through a great arched gate- way, guarded day and night by grim- visaged, marble - hearted watchmen who wouldn't turn their heads to look if Elijah came back to earth to repeat the first balloon ascension recorded in history. The players are housed in what looks like the outer wall of a mediaeval castle, but in reality is only a two-decked row of dressing rooms. The aerial onlooker catches the sparkle of a sequin frock and flash- ing jewels and hopes for a conscious, upward glance, but a snooping air- plane is too common a thing even for passing notice. There are yet two features of the «I "Huge/ lt^ looked like the Lilliputian illustrations in Gulliver's Travels. How could a six-foot hero ever get into one of those tiny stages . i" overhead trip too important to pass unremarked ; the Goldwyn tree and shrub nursery quite noticeable by stage No. 3, and the place where a motley assortment of film scraps are pieced together into a play of absorb- ing interest. Between the first stage and the palace of the governors is the building accommodating the cutting and projecting rooms. WHILE an aerial visit gives one the proper perspective to realize that a film studio is laid out on a definite, orderly plan, and is not the curious jumble of buildings it appears at close range, it fails to convey a true concep- tion of the magnitude of the fourth largest industry. Goldwyn's covers 60 acres of valu- able real estate. Its permanent build- ings exceed a half million dollars in value. There are two miles of cemen walks and drives, with ten acres of lawns and flowers. There are 42 buildings altogether, 100 individual dressing rooms, 75 offices, 22 busy departments, with numerous sub- departments and branches. During the past year there were built Italian, Russian, Southern, Alaskan, Spanish, French, Western America and New York "tenderloin" street settings at a cost of $200,000. Fifty temporary settings are built weekly. At the commissary 2500 persons are fed each week. An average of 3960 tele- phone calls are handled daily by two operators on 62 connections and eight outside trunk lines during 11 working hours. This is an average of six calls a minute. These statistics were glibly recited by the genial press representa- tive of the studio after we had landed in an adjacent field and made a tour of the lot. He had many other interesting fig- ures at the tip of tongue. If you, gentle reader, are not already tired of the quotation of staggering sums of money, be in- formed that the amount expended by Mr. Goldwyn to assemble a dazzling ar- ray of eminent authors at ■his Culver City studios, if scraped together in a lump sum, would be sufficient to make John D. Rockefeller give up all his oil wells and ' take daily baths in Marshall Field's window ; it would almost make Lady Godiva have her hair bobbed and race Paul Revere around the Beverly Hills speedway. VvE climbed into our plane again and started back toward Hollywood with new admira- tion for the business and constructive genius of the men who are guiding the destinies of the screen. The huge film plant we had just visited dropped away behind us. In the distance we could see the undulating surf of the Pacific, the breakers appearing afar like a summer fur at a woman's throat. The mountains, wreathed in the purple of the twilight, crept si- lently nearer. A bank of fog coming in from the sea looked like a billowy field of cotton. The sun, a great ball of fire, dropped suddenly into the ocean. The whole horizon seemed ablaze for a moment, but soon the conflagration died, leaving in the Western sky a rich rose glow that deepened, deepened, and was gone. The jolting of the plane as we landed and rolled roughly along the ground to a stop roused us from our reverie. 50
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Caught in th <| Two Score of Strange, Thrilling, Sad and Funny Movieland Incidents Nabbed by Screenland's Keen-Eyed Cameramen During the Month. A DISTINGUISHED FOURSOME «| Four of America's greatest au- thors assemble on a Hollywood course to fare together in the an- cient game. Left to right- Samuel G. Blythe, novelist and political es- sayist ; Hugh Wiley, creator of The Wildcat stories; Harry Leon Wilson, author of Merton of the Movies, and George Ade, celebrated hu- morist. Keystone photo. THREE SISTERS, ALL STARS <I For the first time since they were little girls, Viola Dana, Shirley Ma- son and Edna Flugrath, English film star, arc reunited, when Miss Flugrath reaches Hollywood to visit her two star sisters. The proud male at the right of the picture is Emil Flugrath, enjoying the glory of distinguished parentage. PEGGY AND CHARLIE GO FISHING <| But the waves spoiled it all. "It takes an iron constitution to catch swordfish," said Peggy Hopkins Joyce as the comedian landed her at sea on another craft, bound for shore. "I guess I am a poor sport," she decided, as Charlie put- tered back to sea alone tit his launch. Keystone photo. PORPOISES ACT IN THE MOVIES Q A striking scene of a school of playful porpoises was filmed from deck when E. Mason Hopper, Goldwyn director, and company, were cruising in a chartered ship off the Southern California coast. The porpoise scene was embraced »» the picture. 51
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I FILM REVIEWED IN JAIL ^Th e famous Alimony Club of Ludlow Street Jail, New York City, passes criticism on Dorothy Phillip's latest film. The star is seated in the front row with Sheriff Knott. QKeyttone Photo. 52 REALISM AS A PASTIME ^ Joe Ryan, the serial star, war on location when' the Southern California deer season opened. So he spent a few hours to get a buck and the trophy was used in the picture. ABANDONS RELIGIOUS RITES % "You must kneel before the Shinto deities and ask forgiveness of your fore- fathers for appearing as a villain in The Cheat," Japan told Hayakawa when he and his wife, Tsuri Oaki, visited their homeland. But Haya- kawa reached San Fran- cisco without pausing be- fore the gods of his an- cestors. International Photo.
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REMARKABLE MOVIE FALL m k?4^ SEES HIS STORY FILMED ^ Sir Hall Caine, author of The Christian, if an interested spectator when scenes of his novel are made by Maurice Tourneur, Gold- wyn director, in England. Mac Busch is the lady with the teacup. WATERDOG TEACHES BEAUTY TO SWIM ^ Duke Kahanamoku, world champion speed swimmer, instructs pretty Lura Anson in the Hawaiian "crawl" stroke for water scenes in a Gloria Swanson picture. 53
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INCREASE IN REID FAMILY 1 The Wallic Rcids o/ Hollywood adopted a baby jitter /or Bt//te, their son, and this is the first picture of the entire family. THE JEALOUS RIVALS q Walter Long and Dick Suther- land, noted screen villains, ask Betty Compson to decide who is the most handsome. Suther- land has the biggest hands in Hollywood and he's never done a day's work with them in his life. He was a whisky sales- man before prohibition. The lower photo shows Betty's hands beside the dainty Suther- land digits. STAR AT PALM BEACH q Bob Leonard (husband of Mae Murray), Hugh Dillman (husband of Majorie Rambeau), Leone Morgan, Mae Murray, the movie star, and Marjorie Rambeau, famous actress, spend a few sunny hours at Florida's fashionable sea resort. Keystone Photo. RETURNS WEDDING GIFT q When his intended ninth wife jilted him. Kid McCoy sadly returned the bronze gladiator his fellow players at the Goldwyn studio had given him for a wcddjnyr £**«•»' :<^Mk V mm
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'iptcrwqoo CAuroftMiA SAVED BY A TAILOR fl Ernest Torrance, villain in Broken Chains, is faced with lite annoying stunt of falling off a cliff. The Goldwyn tailor helps out by making a pair of dummies who will "double" ti'/ti/e Ernest rests in the shade. HOW "GAGS" ARE MADE <| The upper picture shows a prop man making a mud- hole ready for J ack Holt, who critically surpervises the task. The lower picture shows the star landing in the mud with all the gay- spontaneity in the world! THEDA BAR A PLAYS SAMSON <I Johnny Coulpn, for- mer champ bantam- weight, has baffled scientists with his puz- zling ability to resist being lifted. The strongest of men Itavc tried and failed. But when Theda Bara tried it, Johnny re- laxed with the re- mark: "At last I am swept off my feet." The picture was taken on the steamship Olympic. ©Keystone Photo. LEARNING TO LAUGH JS BOMBAY <| A Chaplin film, The Kid, attracts throngs of natives. After all, the universal language must be laughter. International Photo. 55
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fs ^r \ CARPHNTIER LEARNS TO ACT Q To prove he is an actor as well as the French boxing champion, Georges Carpentier assumes four different characters in his new film venture, A Gypsy Cavalier. Here they are. International Photo. J IS OUR PUBLIC FICKLE? *i Ellen Terry, England's most beloved actress, finds that her admirers are as plentiful as in the days of her active career. This picture shows her being wheeled from the grounds at Walmer Castle, where she participated in a gar- den fete as The Old Woman Who Lived in a Shoe. Will our movie stars be as popular in their old age? International Photo. ■■■» a St* FIRST AID IN INDIANA % When he returned from his Holly- wood visit, George Adc wrote an original screen story, significantly entitled Back Home and Broke. /* was promptly accepted by Paramount, so the star, Thomas Meighan, and his .director, Al Green, made a journey to the humorist's Indiana home to "get together" on the new picture. A STUDY FROM LIFE ^ Walter Hicrs believed in being realistic when he made up for a blackface part. He hired a model. MABEL NORMAND RECOVERS % Notoriety resulting from the death of her friend. Director Wm. D. Taylor, obliged Mabel Normand to leave her work for a long rest. Recuperated, she returns from Europe. International Photo. ■ V »tw 56
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' «0«.lV*«>00 CALIFORNIA ■' WHAT CIVILIZATION DOES TO US <| The while man in the center of this unusual group (above) is Director R. A. Walsh. Tlie two other white men near the right margin of the photo are George Scigmann and Antonio Moreno. They have just finished a swimming .race with Tahiti's best swimmers and have proven themselves masters in stamina and speed. The lower picture shows Walsh's company at work in the South Seas producing Passions of the Sea. FAMOUS MUSICIAN IN HOLLYWOOD fl Alfred Hertz, former director of the Metropolitan Opera Com- pany, conducts outdoor con- certs at the unique Hollywood Bowl. Mr. and Mrs. Herts have established their home in the movie colony. Pacific Press Photo. MAKING WIND IN THE MOVIES «I An airplane engine and propeller, mounted on a transportable frame, gives the storm effects for the direc- tors. Lightning is achieved by scratching the negative film with a pin. Flashes' of lightning glare are ac- complished by an elec- trician at the switch- ■ board. They'll be making it thunder in the pictures next. i AT THE CIRCUS <J The giant and the midgets entertain Doug and Charlie on circus day at Hollywood. International Photo. 57
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•I Screenland, at last, Aaj secured conclusive proof that the stars are not immortal, like the gods of Olympus, but that they have mothers and fathers just the same as the rest of us. Six Paramount stars posed with their immediate ances- tors to enable us to offer the testimony on this page. •I The day that Agnes Ayres' mother visited her daughter at the studio. Q Gloria Swanson and Iter father, Captain Joseph Swan inn
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Clr^ Trip I CI The conclusion of Charlie Chaplin's own remarkable chronicle of his triumphant return to Hollywood. AM off in the morning for South- ampton, miserable and depressed. Crowds — the same crowds that saw me come — are there. But they seem a bit more desirable. I am leaving them. There are so many things I wish I had done. It is pleasant to be getting this applause on my exit. I do not doubt its sincerity now. It is just as fine and as boisterous as it was when I arrived. They were glad to see me come and are sorry I am going I feel despondent and sad. I want to hug all of them to me. There is something so wistful about London, about their kind, gentle appreciation. They smile tenderly as I look this way, that way, over there — on every side it is the same. They are all my friends and I am leaving them. Will I sign this? A few ex- cited ones are shoving auto- graph books at me, but most of them are under restraint, almost in repose. They feel the parting. They sense it, but are sending me away with a smile. IVlY car is full of friends going with me to Southamp- ton. They mean little at the moment. The crowd has me. Old, old friends turn up, friends that I have been too busy to see. Faithful old friends who are content just to get a glimpse before I leave. There's Freddy Whittaker, an old music-hall artist with whom I once played. Just acquaint- ances, most of them, but they all knew me, and had all shared, in spirit, my success. All of them are at the station and all of them understand. They know that my life has been full every minute I have been here. There had been so much to do. They knew and understood, yet they had come determined just to see me, -if only at -the^door of uiv carriage: I"- feel very sad about them. 1 HE train is about to pull out and everything is excitement. Every one seems emotional and there is a tense- ness in the very atmosphere. "Love to Alf and Amy," many of them whisper, those who know my manager and his wife. I tell them that I am coming back, perhaps, next summer. There is applause. "Don't forget," they shout. I don't think I could forget. The trip to Southampton is not en- joyable. There is a sadness on the an old American and he is all choked up at the thought of my going back while he has to stay on in England. We are going back to his land. We cannot talk much. We go to the boat. Sonny is there to see me off. Sonny is Hetty's brother. There is luncheon with my friends and there are crowds of reporters. I can't be annoyed. There is nothing for me to say. I can't even think. We talk, small talk, joke talk. Sonny is very matter of fact. I look at him and wonder if he has ever known. He has always been so vague with me. Has always met me in a joking way. He leans over and whispers : "I thought you might like this." It is a package. I almost know with- out asking that it is a picture of Hetty. I am amazed. He under- stood all the time. Was always alive to the situation. How Eng- land covers up her feelings. is Everybody but the passengers. stand on the dock and wave to me. I see everything in their off the boat My friends A sweet little girl about eight years old spied him on the boat "Oh, Mr. Chaplin," she gur- gled, "I have been looking for you all over. Please adopt me like you did Jackie Coogan. We could smash windows to- gether and have lots of fun." The little girl and Charlie lunched together next day. "She was the life of the party," he writes. train, barrassed A sort of em sentimental among my Geraghty is along friends. Tom Tom is 59
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glowing faces — loyalty, love, sadness, a few tears. There is a lump in my throat. I smile just as hard as I can to keep them from seeing. I even smile at die reporters. They're darn nice fellows. I wish I knew them bet- ter. After all, it's their job to ask questions and they have been merely doing their job with me. Just doing their jobs as they see it. That spirit would make the world if it universal. England never looked more lovely. Why didn't I go here? Why didn't I do this and that? There is so much that I missed. I must come back again. Will they be glad to see me? As glad as I am to see them? I hope so. My cheek is damp. I turn away and blot out the sadness. I am not going to look back again. A sweet little girl about 8 years of age, full of laughing childhood, is com- ing toward me with a bubbling voice. Her very look commands me not to try to escape. I don't think I want to escape from her. "Oh, Mr. Chaplin," gurgled the little girl, "I've been looking for you all over die boat Please adopt me as you did Jackie Coogan. We could smash windows together and have lots of fun. I love your plays." She takes my hand and. looks up into my face. "They are so clever and beautiful. Won't you teach me like you taught him? He's so much like you. Oh, if I could only be like him." And, with a rapt look on her little face, she prattles on, leaving me very few opportunities to get in a word, though I prefer to listen rather than talk. I wave good-bye to my friends and then walk along with her, going up and looking back at the crowd over the rail. REPORTERS are here. They scent something ' interesting in my affair with the little girl. I answer all ques- tions. Then a photographer. We are photographed. And the movie men are getting action pictures. We are looking back at my friends on shore. The little girl asks: "Are they all actors and in the' movies? Why are you so sad? Don't you like leaving England? There will be so many friends in America to meet you. Why, you should be so happy because you have friends all over the world." I tell her that it is just the parting — that the thought of leaving is always sad. Life is always "Good-bye." And here I feel it is good-bye to new friends, that my old ones are in America. We walk around the deck and she discusses the merits of my pictures. "Do you like drama?" I ask. "No, I like to laugh, but I love to make people cry myself. It must be nj.ee to act 'cryie' parts, but I don't like to watch them/' "And you want me to adopt you?" "Only in the pictures, like Jackie. I would like to break windows. O HE has dark hair and a beautiful profile of the Spanish type, with a delicately formed nose and a cupid's bow sort of mouth. Her eyes are sensitive, dark and shining, dancing with life and laughter. As we talk I notice as she gets serious she grows tender and full of childish love. "You like smashing windows; you must be Spanish," I tell her. "Oh, no, not Spanish ; I'm Jewish," she answers. "That accounts for your genius." "Oh, do you think Jewish people are clever?" she asks, eagerly. "Of course, all great geniuses had Jewish blood in them. No, I am not Jewish," as she is about to put that question, "but I am sure there must be some somewhere in me. I hope so." \J H, I am so glad you think them clever. You must meet my mother. She's brilliant and an elocutionist. She recites beautifully and is so clever at anything. And I am sure you would like my father. He loves me so much and I think he admires me some, too." She chatters on as we walk around. Then suddenly: "You look tired. Please tell me and I will run away." r\S the boat was pulling out her mother comes toward us and the child introduces us with perfect formality and without any embarrassment. She is a fine, cultured person. "Come along, dear, we must go down to the second class. We cannot stay here. I make an appointment to lunch with the little girl on the day after the morrow and am already looking for- ward to it. I spend the greater part of the sec- ond day in reading books by Frank Harris, Waldo Frank, Claude McKay and Major Douglas' "Economic Democracy." The next day I met Miss Taylor, a famous moving picture actress of England, and Mr. Heyworth, who is a director of prominence in Great Britain. Miss Tay'or, though sensi- tive, shy and retiring, has a great bit of charm. They are making their first trip to America, and we soon became good friends. We discuss the characteristics of the American people, contrasting their youthful, frank abruptness with the quiet, shy and reserved Britisher. I find myself running wild as I tell them of this land. I explain train holdups, advertising signs, Broadway lights, blatant theaters, ticket specula- tors, subways, the automat and its big sister the cafeteria. It has a great effect on my friends and at times I almost detect unbelief. I find myself wanting to show the whole thing to them and to watch their reactions. /\T the luncheon next day the little girl is the soul of the party. We dis- cuss everything from art to ambitions. At one moment she is full of musical laughter and the next she is excitedly discussing some happening aboard' ship. Her stories are always interest- ing. How do children see so much more than grownups? She has a great time. I must visit her father ; he is so much like me. He has the same temperament and is such a great daddy. He is so good to her. And she rattles on without stopping. Then again she thinks I may be tired. "Sit back now." And she puts a pillow behind my head and bids me rest. These moments with her make days, aboard pass quickly and pleasantly. Carl Robinson and I are strolling around the top deck the. next day in an effort to get away from every one, . and I notice some one looking up at the wire running between the funnels of the ship. Perched on the wire is a little bird and I am wondering how it got there and if it had been there since we left England. The other watcher notices us. He turns and smiles. "The little bird must think this is the promised land." 1 KNEW at once that he was some- body. Those thoughts belong only to poets. Later in the evening he joins us at my invitation and I learn he is Easthope Martin, the composer and pianist. He had been through the war . and it had left its stamp on this fine sensitive soul. He had been gassed. I could not imagine such a man in the trenches. He is very frail of body, and as he talks I always imagine his big soul at the bursting point with a pent-up yearning. There is the inevitable concert on the last night of the voyage. We are off the banks of Newfoundland and in midst of a fog. Foghorns must be kept blowing at intervals, hence the effect on the concert, particularly the vocal part, is obvious. We land at 7 in the morning of a very windy day and it is 11 before we can get away. Reporters and camera men fill the air during all that time and I am rather glad, because it shows Miss Taylor (Continued on page 64) 60
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Beauty and Youth —For a Christmas Gift! $cnt^ BEAUTIFIER CLASMIC PACKS keep you as young as your children, because they make you look as young Only a few minutes are required to cover the face with Boncilla Beautifier (clasmic pack). As it dries, you can feel its invigorating action going right down to the source of complex- ion troubles. You can feel it opening up the pores, drawing out blackheads and impurities, stimulating the circulation, building up tissues, smoothing out lines. Boncilla is guaranteed to do these definite things for the face or your money will be refunded: 1. Clears the skin and gives it color. 2. Removes pimples and blackheads. 4. Lifts oat the lines. 4. Closes enlarged pores. 5. Rebuilds drooping facial tissues and muscles. 6. Makes the skin soft and velvety. When you remove Boncilla Beautifier, you will see instantly that it has done all these things for you ; you will know that nothing else can accomplish such perfect beauty for you. BONCILLA PACK O' BEAUTY ONLY 50c The Package O'Beauty contains enough Boncilla Beautifier, Boncilla Cold Cream, Boncilla Vanishing Cream and Bon- cilla Face Powder for three complete facial packs. You can secure it from your dealer, or send coupon, with 50c, and we will mail it to you postpaid. Boncilla toilet waters and perfumes, Locellc or Royal Bouquet, or Boncilla powder compacts in the attractive dull gold cases, make acceptable Christmas Gifts. Most department stores and drug stores can show you the Boncilla holiday line; or we will mail you our price list upon request BONCILLA No. 37 SET A DISTINCTIVE HOLIDAY GIFT The No. 37 set illustrated contains a large tube of Boncilla Beautifier, regular sized jars of Boncilla Cold Cream and Boncilla Vanishing Cream, large box of Boncilla Face Powder and a cake of Beauty Soap. An unusual gift and one that will be welcomed by men as well as women; priced at $3.25. BONCILLA LABORATORIES, 443 East South Street, Indianapolis, Indiana. 1 enclose 50c. Please send Boncilla Pack O' Beauty to Name . . Address City ... Screen tt/tt State. 61
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HOU.VWOOO C**..rofl.«i a. ^J&e Editors' PAGE Myron label, Editor Syl. MacDowell, Managing Editor 1 HIS issue of Screenland is six- teen pages thicker than preceding is- sues and at least twice longer in its abundance of Hot From Hollywood feature stories and articles. Regular readers will recognize that Your Own Page and The Editor's Page have been combined. It is one of the innovations which is bringing to them a meatier, more bountifully illustrated magazine. Screenland is no longer satis- fied with being belter than any other movie magazine, and many Your Own Page letters have stated. It is determined to be bigger, too. Ni IEW readers may not yet realize that Screenland is the only national screen magazine made where the movies are made. The name of Hollywood has been placed on the cover to inform them. Others have realized the truth Hollywood is Screenland and Screenland is Hollywood, and among them is D. D. J. of 27 Queen street, Forfar, Scotland, who writes: "Screenland is all the more interesting to me be- cause it emanates from Hollywood, capital of motion picturedom." 1 HERE are other readers who have made the same comment. One of them, closer than Scotland, came from R. S. of Santa Monica Boulevard, right here in Hollywood. "The fact that I am located in the heart of Hollywood," he informs us, "proves to me that Screenland is the best film magazine today." W< ARMED-OVER stories are no better than the .warmed-over movies, which you may have already read about on page 42 of this issue. Yet Miss M. M. of Indianapolis has writ- ten us a letter saying that she wants to see Actionized photoplays in every issue. E are sure that Miss M. M. will W join us in a preference for hot from the studios stories after reading this and following issues. Because Holly- wood is alive with fascinating stories, most of which are waiting to be told. They are the actual life stories that are ground out by the wheels of the great movie industry. They grind out Some of the things that will make you glad when you buy Screenland for January Out December First "1 am afraid that I am not going to get myself real popular." said Penrhyn Stan- laics, the famous artist, director and noted connoisseur of feminine beauty, when he wrote WHAT'S WRONG WITH OUR HOLLYWOOD WOMEN? What's wrong with Gloria Swanson's figure? Mary Pickford's head? Betty Blythc's hips? Bcbc Daniels' lips? Pola Negri's face? Nazimova's eyes? Agnes Ayrcs' feet? Marion Davics' brow, and Viola Dana's lips? In the most ruthless and daring beauty survey ever printed, Mr. Stanlaws mercilessly exposes the flaws of all the great stars in his sensational illus- trated article in Screenland for January Out December First You can't afford to miss this I MEN WHO ARE EASY TO LOVE The secret of male attractiveness is ex- plained by Eunice Marshall in a scrutiniz- ing survey of screen idols — Valentino, Wallace Rcid, Richard Dix, Conrad Nagcl and others. ARE HOLLYWOOD SCENARIO WRITERS LUCKY? Is it wit or grit or pluck or luck that has put the big screen authors where they arc today? You will find the answer in their pasts, entertainingly revealed by Patrick Tarsney. THE CITY OF BEAUTIFUL GIRLS Drugged into indifference by a surfeit of beauty, men have come to admire homely women! This new, startling story about Hollywood by Alma Whitaker will thrill you. And a score of other compelling features which will give yon facts about Hollywood that you have never read before. comedy, tragedy, life dramas even more enthralling than the tales they project on the silver sheet. The story of Hollywood is the modern tale of a thousand and one nights — ribbons of raw human emotion, mystery, the conflict of passions, the might of men, the lure of women. N the wheels of the movie in- o dustry there are many cogs. To properly function, they must mesh with other cogs. This de- mands organization. Organiza- tion is now permeating every sphere of movie enterprise. Even the projectionist in your theatre is a member of an association which is placing his technique on a higher standard. Organization win bring stability and confidence, and con- fidence will inspire individual ef- fort— better movies. The movies have been like the three directors who own a very fine still. When they leave it at night, they lock the door securely with three padlocks. Each partner carries a key, so the place cannot be disturbed again until all three of them are present. They are not well organized. VVE notice the new slogan of the national organization of photo- engravers — "Your story in pictures leaves nothing unsaid." Everyone has observed that a good picture is often more comprehensive than pages of words. So the thought led to an eight-page section of movies pictures — nothing but pictures, and we named it Caught in the Act! You will find it making its initial bow this month, on page 51. That's how that happened. Ni I EARLY everybody is interested in marriage — their own or someone's else. One of the keenest — yes, and daring — observations we have ever read on the subject was contributed this month in an article from Alma Whitaker, who wrote Marriage in the Movies for Screenland for Novem- ber. In some way, Miss Whitaker left a lot of worth-while ideas out of the first article, so she decided to write a sequel. The sequel, by a happy fate, is is better than its sponsor. So, Are Unhappy Marriages the Secret of Genius? is on page 24, and you'll miss a treat is you don't read it. 62
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Day Laborer to Movie Magnate (Continued from page 47) was president of the Interstate Ora- torical Association, is one of the several producers whose experience with banks has been not only from the outside but from the inside. He worked in a Chicago bank before he organized a him service com- pany, from which he progressed to the presidency of the American Film Company. Paul Brunet, president of Pathe, is another banker, and for more than twenty years was active in financial circles in Paris, where he was born. Frank Godsol, who has large interests in the Goldwyn organization, has also had extensive financial experience in this country and in France. Samuel Goldwyn, whose real name is Goldfish, started in the glove business when he was thirteen years old. Lewis J. Selznick was in the jewelry business in Pittsburg be- fore he went to New York and got into the pictures in an organization in which Carl Laemmle and Pat Powers were then the leading figures. Joseph m. schenck, who produces the pictures in which his wife, Norma Talmadge, stars, and who is also responsible for the ap- pearance on the screen of Con- stance Talmadge and Buster Kea- ton, is one of the Schenck Broth- ers whose vast amusement park fills a large part of New Jersey across the Hudson River from One Hundred and Twenty-fifth street, New York. On that river the Schenck Brothers are almost as well known as are the Smith Broth- ers, who at Poughkeepsie make the cough drops. Mack Sennett came to pictures from the stage and is one of the many well-known figures in the pic- ture business who began their pro- fessional screen careers with the old Biograph company. He has been in Los Angeles since 1912, when he came here with the com- pany which he and Charles Kessel and Charles Bauman had organized and which they called the Keystone. Hal E. Roach, who produces the Harold Lloyd and the Snub Pol- lard pictures, also was an actor and began his screen career as an extra with Universal. His star, Harold Lloyd, was jii extraron the jump lot, at the same time. (Continued on page 68) Is Your Life Story Worth $500 or $2000? MOTION picture producers pay , JjftSfi .u^'ful•, ,M" »e"-«"™inaiion « .. . * *-,«Xn j 1 Intensely interesting as welL Too apply It as high as $i(KX), and rarely in your own home. We hold your record offer !*■ and g|ve rcasons screen stones. And yet their demands for our opinion. for stories can not be supplied. w __ In the last few months newspapers r 111 111 And under our new plan we offer to new And your life probably holds many writers trained in our Educational Dcpart- incidents which would form the basis ment' whose stories ar* acceptable for our for stories worth telling-and selling. %%$£?% ThlTSSnt^tK^t'SSS. and So, for the first time photoplaywrights 1 koto P„„n|„ T\IA wl11. »n»re 'n the success of the screen 1 Iiese feopie Via stories of their own creation. A* u_:i jt_ _ . , . ,. „.. *n addition, one hundred sixty companies CAUPORMA school teacher; a Chicago i„ Lo, Angeles alone are searching for bet- society matron; a Pennsylvania news- ter screen stories for which they will pay paper reporter; an underpaid office man In generously. We act as the greatest sales Utah; a prisoner in the Arizona State outlet for screen stories of all kinds. Penitentiary are a few of the many who have sold their stories at handsome prices. I. |r Yon ? become studio staff writers or won big sums In scenario contests. »T is for you to answer whether or not They studied screen writing to get away M. you wl„ „, yourselt for theIK, rewai.OB> from routine work Not one was a recog- providing, of course, you have the Inherent nized author. Not one was a master of ability ""' literary skill. All were discovered by a And"money rewards are not all. for hun- photoplay corporation which searched for dreds of Palmer students arc using this undeveloped screen writing talent through a stimulating course, not with a view to be- novel questionnaire test. You have the same coming professional screen writers, out to opportunity that they had. and grasped. develop that Invaluable asset. Creative ,^ . Imagination. For Creative Imagination, The Palmer Questionnaire properly developed by those endowed with .^ it. lifts men and women to lofty heights, No Cost — No Obligation w o"'?r .V?' "'!£ may be- TJ" Surely it Is worth a two-cent stamp to HH. VAN LOAN, the well-known seen- J;now. thfse vital facts about yourself. • arist. Is responsible for the invention Th'ref n° other co8t and no obligation, of the novel questionnaire which has and is ., nd, Ihe coupon for the Palmer (Jura. uncovering hidden photodramatists in all tionnalre. Answer now. to your own satls- walks of life. faction, this question which relates so With Malcolm McLean, formerly instruc- vitally to your future course in lire. Un- tor In short-story writing at Northwestern dreamed success may lie beyond the dlscov- I'niversity he hit upon the idea of adapt- crle" tnls Questionnaire will make, ing tests which were used in the United — _ __ __ _ _ __ _ __ __ Slates Army, and applying them to this search for story-telling ability. I Phenomenal results have been obtained. Palmer Photoplay Corporation The .first prize of $10,000 and eight others I Department of Education Sec T>f> in the Chicago Daily News contest, and all ' "*>"""""" »S naucation, aec. ZJ1Z three prizes, amounting to Jii.uoo. in the ■ Palmer Building. J. Parker Read, Jr.. competition, were I Hollywood, Calif. P^TQues^nn^ * ***"« °' «* ' ^ -u'r pSsf, 'LT^^tT^JTo These facts have been conclusively proved I me witnout charge. (1) many people who do not at all suspect their ability can write Scenarios, and (t) i Name this free Questionnaire docs prove to the man or woman who sends for It whether he or she has ability enough to warrant I ^troe* ■>"""1T~1rnt I Copyright. 1922. Palmer Photonlay pSBg Blaln ,, — Corporation Hollywood, Calif. All correspondence strictly confidential 63
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MY TRIP ABROAD and Mr. Hepworth a glimpse of what American is like. We arrange to meet that night at Sam Goldwyn's for dinner. VjOOD-BYS here are rather joyous, because we are all getting off in the same land and there will be an oppor- tunity to see each other again. My little friend comes to me excit- edly and gives me a present, a silver stamp box. "I hope that when you write your first letter you will take a stamp from here and mail it to me. Good-by." She shakes hands. We are real lovers and must be careful. She tells me not to overwork. "Don't forget to come and see us; you must meet daddy. Good-by, Charlie." She curtsies and is gone. I go to my cabin to wait until we can land. There is a tiny knock. She cames in. "Charlie, I couldn't kiss you out therein front of all those people. Good-by, dear. Take care of your- self." This is real love. She kisses my cheek and then runs out on deck. Esthope Martin is with us that night at Goldwyn's parry. He plays one of his own compositions and holds us spellbound. He is very grateful for our sincere applause and quite retir- ing and unassuming, though he is the hit of the evening. FOLLOWING the dinner, I carried the English movie folk on a sight- seeing trip, enjoying their amazement at the wonders of a New York night. "What do you think of it?" I asked them. "Thrilling," says Hepworth. "I like it. There is somethig electrical in the air. It is a driving force. You must do things." We go to a cafe, where the elite of New York are gathered, and dance until midnight. I bid them good-by, hoping to meet them later when they come to Los Angeles. I dine at Max Eastman's the next night and meet McKay, the negro poet. He is quite handsome, a full- blooded Jamaican negro, not more than 25 years of age. I can readily see why he has been termed an. Afri- can prince. He has just that manner. I have read a number of his poems. He is a true aristocrat, with the sen- sitiveness of a poet and the humor of a philosopher, and quite shy. In fact, he is rather supersensitive, but with a dignity and manner that seem to hold him aloof. There are many other friends {Continued from page 60) there, and we discuss Max's new book on humor. There is a controversy whether to call it "Sense of Humor" or "Psychology of Humor." We talk about my trip. Claude McKay asks if I met Shaw. "Too bad," he says; "you would like him and he would have enjoyed you." 1 AM interested in Claude. "How do you write your poetry?" "Can you make yourself write?" "Do you pre- pare?" I try to discuss his race. "What is their future?" "You they " He shrugs his shoulders. I realize he is a poet, an aristocrat. I dine the next evening with Waldo Frank and Marguerite Naumberg and we discuss her new system. She has a school that develops children along the lines of personality. It is a study in individuality. She is struggling alone, but is getting wonderful results. We talk far into the morning on everything, including the fourth di- mension. Next day Frank Harris calls and we decide to take a trip to Sing Sing together. Frank is very sad and wist- ful. He is anxious to get away from New York and devote time to his autobiography before it is too late. He has so much to say that he wants to write it while it is keen. I try to tell him that consciousness of age is a sign of keenness. That age doesn't bother the mind. We discuss George Meredith and a wonderful book he had written. And then in his old age Meredith had re- written it He said it was so much better rewritten, but he had taken from it all the red blood. It was old, withered like himself. You can't see things as they were. Meredith had become old. Harris says he doesn't v ant the same experience. /\.LL this on the way to Sing Sing. Frank is a wonderful conversation- alist. Like his friend, Oscar Wilde. That same charm and brilliancy of wit, ever ready for argument. What a fund of knowledge he has. What a biography his should be. If it is just half as good as Wilde's it will be sufficient. Sing Sing. The big gray stone buildings seem to me luce an outcry against civilization. This huge gray monster with its thousands of staring eyes. We are in the visiting room. Young men in gray shirts. Thank God, the hideous humanity. It is not so stark. There is a mite of a baby holding her daddy's hand and playing with his hair as he talks with her mamma, his wife. Another prisoner holding two withered hands of an old lady. Mother was written all over her, though neither said a word. I felt brutal at witnessing their emotion. All of them old. Children, widows, mothers — youth crossed out of faces by lines of suffering and life's pen- alties. Tragedy and sadness, and always it is in the faces of the women that the suffering is more plainly writ- ten. The men suffer in body — the women in soul. The men look resigned. Their spirit is gone. What is it mat happens be- hind these gray walls that kills so completely. 1 HE devotion of the prisoners is almost childish in its eagerness as they sit with their children, talking with their wives; here and there a lover with his sweetheart — all of them have written a compelling story in the book of life. But love is in this room, love unashamed. Why are sinners always loved? Why do sinners make such wonderful lovers? Perhaps it is com- pensation, as they call it. Love is paged by every eye here. . Children are playing around the floor. Their laughter is like a bene- diction. This has another improve- ment, this room. There are no longer bars to separate loved ones. Human nature improves, but the tragedy re- mains just as dramatic. The cells where they sleep are old- fashioned, built by a monster or maniac. No architect could do such a thing for human beings. They are built of hate, ignorance and stupidity. I understand they are building a new prison, more sane, with far more un- derstanding of human needs. Until then these poor wretches must endure these awful cells. I'd go mad there. 1 NOTICE quite a bit of freedom. A number of prisoners are strolling around the grounds, while others are at work. The honor system is a great thing; gives a man a chance to hold self-respect. They have heard that I am coming. And most of them seem to know me. I am embarrassed. What can I say? How can I approach them? I wave my hand merely, "Hello, folks." I decide to discard conversation. Be myself. Be comic. Cut-up. I twist my cane and juggle my hat. I kick up my leg in back. I am on comic ground. That's the thing. No sentiment, no slopping over, no morals — (Continued on page 66) 64
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MU.VWOOO C*Lif cam *. 16) Resist weakness tf/rt? Ill-Health !, You can't conceal your phys- ical defects and ailments. You have lost the pep and power o* real manhood — you have over- drawn your balance in the Bank of life — your vim, vigor and viril- ity are slowly but surely ebbing away. Your wife, your friends and acquaintances see your weak- ness in your altered face and fig- ure, your furtive looks, your stouchy step, your lack of energy and ambition. They have you m irked as a man on the down- grade— slipping, sliding away from all that's worth while in life. What art you going to do about It? See Yourself As Others See Yoi Don't fool yourself any longer with the false idea that you'll be all right again "after a while." You won't get better — you'll get worse, if yuu let yourself drift. Look at your real image in the mirror. Take stock of yourself and of the facts. Realize, as others do, how far below par you have fallen. Compare what you ARE with what you WERE,,*and nuke up your mimi to mend things be- fore it is too late. Nothing and no one can do it but yourself. Pills, powders, all the druggist's dope in the pharm.icnpia. can't make you a MAX again. IT'S Up TO YOU. You. and you alone. ran Jo it. if >«m WfLL't... it. BRACK UP and STRONG FORT The Perfect Man Restore) Your Pop and Power Art nw- «art pat It *ff. fhrotiie allmnifa mean ranch ■■* than merely dl*-.inifon. (V>n*iIpai.on. catarrh, (lyspepaia. MMutiMiu-x*. rlictn.iai.Mi. ami many •.•liter 111* vat Itke a ranker Into ihe eery rllah. ttf Mir human organism: affecting (ho brain as well a* the Imdy: killing Initiative. destmyhMf ambition, making a man hripMient to In* ami research. I want you to read ibis wonder hook. It's atwoliitcly FltKi: Mark the subjerta on the free enmultaflou ronpon on whl.-h you want apodal confidential lafomatlaa and send with a 10c piece dmr dime) to help pay postage, packing, etc. Send for my free Imok Rl|ht How— TODAY. LIONEL STRONGFORT Physical «avj Health StxciaiM Founded 1895 N em-ark, N.J. Dept. *M F«CI CONSULT ATION COUPON -Abiotut.ry ConU«nlUI MR. LIONEL STRONGFORT. Dept. 980 Newark. M. J. Ilea* wild mc jour book. "PROMOTION AND CONSER- VATION 1)K HEALTH. STRENGTH AND MENTAL E\- I.UCY." for ixKtisc on which 1 cmi.n© a 10c piece (one dime). mihI me special tnfornuulon cm subjects marked (X) below, uillitnil oblbcsllon. . Pr.it.te TraaMaa . . Y.oth lul lim ..C.I.I Catarrh Ait tiro. ..Hay Fever . .Obrillr . . Headache . -Rupture . Lumbae. ..Neurit it ..Hearalala ..THINNESS . . Flat Chest . . Dclorrn ity {Deterfb.) ..laataiala . HullHd Rest are. ..Female Dlwrderi [ Name......... . .Successful Marriage ..Increased Height . .Pimples . . Blackheads . .Short Wind . . Flat Fast . .St.maeh Disorders . .Csastlaatlea . Bilious or si . T.rsld User ..ladlseatiaa ..Nenroum.il - ..Paar M salary . . Rheumatliat ..Diabetes .Vital I .la. - ■Waaaaaaiss .Haurarthinh .FalllniHalr ..Was* Eyas ..Gastritis ..Heart Weaknew . .Peer Circulates . . Skl» Oloonf en Round Sh.ula.ra .Laaa Trsaass .Stssa Saaahtsrs .Muscular Dssslspsjsat Great Strenlth Street.. 66 MY TRIP ABROAD stale.;. (Continued from page 64) they are fed up with that. What is there in common between us? Our viewpoints are entirely differ- ent. They're in — I'm out. They show me a cup presented by Sir Thomas Lipton inscribed: "We have all made mistakes." "How do we know but what some of you haven't?" I ask hu- morously. It makes a hit. They want me to talk. "Brother criminals and fellow sinners: Christ said, 'Let him who is without sin cast the first stone, though I have compromised and thrown many a pie. But I cannot cast the first stone." Some got it. Others never will. W E must be sensible. I am not a hero worshiper of criminals and bad men. Society must be pro- tected. We are greater in number than the criminals and have the upper hand. We must keep it. But we can at least treat them intelli- gently, for after all crime is the outcome of society. The doctor tells me that but a few of them are criminals from heredity; that the majority had been forced into crime by circum- stances or had committed it in pas- sion. I notice a lot of evil-looking men, but also some splendid ones. I earnestly believe that society can protect itself intelligently, hu- manely. I would abolish prisons. Call them hospitals and treat the prisoners as patients. It is a problem that I make no pretense of solving. The death house. It is hideous. A plain, bare room, rather large and with a white door, not green, as I have been told. The chair — a plain wooden armchair and a single wire coming down over it. This is an instrument to snuff out life. It is too simple. It is not even dramatic. Just cold blooded and matter of fact. Some one is telling me how they watch the prisoner after he is strapped in the chair. Good God, how can they calmly plan with such exactness? And they have killed as many as seven in one day. I must get out. 1 WO men were walking up and down in a bare yard, one a short man with a pipe in his mouth, walking briskly, and at his side a warden. The keeper announces shortly: "The next for the chair." How awful! Looking straight in front of him and coming toward us, 1 saw his face. Tragic and ap- palling. I will see it for a long time. We visit the industries. There is something ironical about their location with the mountains for a background, but the effect is good ; they caii get a sense of freedom. A good system here, with the war- dens tolerant. They seem to un- derstand. I whisper to one. "Is Jim Larkin here ?" He is in the boot department and we go to see him for a moment. There is a rule against it, but on this occasion the rule is waived. Larkin struts up. Large, about six feet two inches, a fine strapping Irishman. Introduced, he talks timidly. He can't stay; musn't leave his work. Is happy. Only worried about his wife and children in Ire- land. Anxious about them, other- wise fit. There are four more years for him. He seems deserted even by his party, though there is an effort being made to have his sentence repealed. After all, he is no ordi- nary criminal. Just a political one. He asks about my reception in England. "Glad to meet you, but I must get back." Frank tells him he will help to get his release. He smiles, grips Frank's hand hard, "Thanks." Harris tells me he is a cultured man and a fine writer. B UT the prison marked him. The buoyancy and spirit that must have gone with those Irish eyes is no more. Those same eyes are now wistful, where they once were gay. He hasn't been forgotten. Our visit has helped. There may be a bit of hope left to him. We go to the solitary confine- ment cell, where troublemakers are kept. "This young man tried to escape, got out on the roof. We went after him," says the warden. "Yes, it was quite a movie stunt," (Continued on page 6j) aaBBBaa
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My Trip Abroad {Continued from page 66) .saiiL-the youngster. He is embar- rassed. We try to relieve it. "Whatever he's done, he's darn handsome," I tell the warden. It helps. "Better luck next time," I tell him. He laughs. "Thanks, pleased to meet you, Charlie." He is just 19, handsome and healthy. What a pity. The great- est tragedy of all. He is a forger here with murderers. We leave and I look back at the prison just once. Why are prisons and graveyards built in such beauti- ful places? MEXT day everything is bustling, getting ready for the trip back to Los Angeles. I sneak out in the excitement and go to a matinee to see Marie Doro m "Lilies of the Field," and that night to "The Hero," a splendid play. A young actor, Robert Ames, I believe, gives the finest performance I have ever seen in America. We are on the way. I am rush- ing back with the swiftness of the Twentieth Century Limited. There is a wire from my studio manager. "When will I be back for work?" I wire him that I am rushing and anxious to get there. There is a brief stop in Chicago and then we are on again. /\ND as the train rushes me back I am living again this vacation of mine. Its every moment now seems wonderful. The petty annoyances were but seasoning. I even begin to like reporters. They are regular fellows intent on their job. And going over it all, it has been so worth while and the job ahead of me looks worth while. If I can bring smiles to the tired eyes in Kensington and Whitechapel, if I have absorbed and understood the virtues and problems of those sim- pler people I have met and if I have gathered the least bit of inspiration (Continued on page 74) Within You Is the Power — or the knack, or the skill, or the talent, or the genius — that will enable you to write stories. Not in text-books on fiction technique nor in correspondence courses in writing — but within you lies the power. The Editor Council recognizes this. Its coarse is an actual writing course. You arc not given facts about the short story to memorize, or half-truths, or preposterous statements about plot and action, or futile exercises — you are given personal instruction that teaches you how to use your own power, how to develop your own technique, how to write your own stories. The Editor Council shows you how to get ideas — your ideas — how to de- velop them, and how to write stories. It will help you to work them over, to make the best of your ideas, and it will familiarize you with the markets for your work. The course is an actual writing course. The constructive service — the criticisms, lesson-letters, and individual teaching 'of a personal instructor who is a competent, successful, critic-author — help you to use the Council properly. Every student who perseveres with the Council learns to write and sell bis stories. There never was a better time to make up your mind definitely to succeed as a writer of fiction. The markets are opening and editors are deeply interested in the work of new authors. There is a decided movement, growing continually, away from the story of concocted plot interest to the story of character reaction. The Council foresaw this trend, and its methods and service are helping students to write the new fiction. The Editor Council offers a Major Course, an Abridged Course, and a Short Course in Fiction WrIUng, and a Short Course in Photoplay Writing, the fees for which are S110. $50, 525 and $15 respectively. A folder of information win be tent to you on request. S. E., Book Hill, THE EDITOR COUNCIL Highland Falls, N. Y. Service For Writers: — every week, while it is still news, before the markets arc flooded. — news of new magazines and their editorial requirements. — news of play, story, poetry, and other prize competitions. — news of changes In editorial requirements, policies, etc. — and stimulating articles on fiction technique, valuable articles on copyright and author's common-law rights, etc, articles by authors on the genesis, conception, development, writing, and felling of short stories published in current issues of The Saturday Evening Post, Scribner's, Pictorial Review, Everybody's, The Red Bojk, and other magazines. — a real service for authors. Every week, $3.60 a year; $.15 a copy. THE EDITOR WEEKLY S. E.. Book Hill, Highland Falls, N. Y. H<3.ve Yau. An /dea. mmm THE MOVIES Ideas for moving picture plays wanted by producer* Bin; prim paid for accepted ■uaUiial Submit ideas in any form at once for our free examination and advice. Previous ex- perience unncocmary. This is not a school. We have no course, plan, nook, system or other instruction mat- ter to sell you. A strictly bona fide service for those who would turn their talents into dollars. An Interesting Booklet. "The rfcilsplar in the Sent free for the asking BRISTOL PHOTOPLAY STUDIOS Suite OtS-sL, Bristol Wig, New York, M. T. FOR A MERRY CHRISTMAS A year's subscription to SCREENLAND is the best Rift. A twelve-time reminder of the giver's affection, for only $2.59. A beau- tiful Christinas card apprises the recipient of your cif t. Screcnland Hollywood, CaL GET A CLOSE UP VIEW Of yourself through Human Analysis. Vital Soccers Pointers and Tour Personality Sketched for 10c. Give Birtfcdate. Thomson-Hrjnrood, Dcpt. SI*. Chronicle Bids-. San Francisco. Cat. 67
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They are sure to prove a charming adornment to those seeking appear- and comparable to New York's so-called "Four Hun- dred." As an added feature they are made with a patented safety clasp of sterling silver and are encased in a beautiful Telret box. These rare Priscilla Pearls <*an only he bought from us. Order a strand of these genuine French Privilla Pearls from us today. Ton will be a sensation among your acquaintances. - HOW TO ORDER Fin • doltar bill to to roar ■ delfVered wi and ■ddreu and anil to aa. ' by return Injr 24 Inch pwrta to roar door, pay h . tmtr tl-80 and ttto paarla as* yaara 1 Ttwn aaad aa $ 1 .00 a waafc for U H. W. BROUT COMPANY i?57 ***» m, »«wiort cm Established 1301 Day R< Laborer to Movie Magnate {Continued from page 63) kOACH is from Chicago, as is Colonel William N. Selig, who has been in pictures since 1896 and who produced not only the first big se- rial, The Adventures of Kathlyn, but the first feature picture, The Spoilers, which still is a money maker. Also he has financed sev- eral scientific expeditions to distant lands and has invented more than forty appliances used in moving pic- ture photography. He owns the Selig studio and zoo, which covers thirty-five acres of Los Angeles' real estate. He loves animals and was the first producer to put them into pictures. Also he was the first to use cowboys. He makes travel pictures, as does C. L. Chester, and Chester, who once was a photog- rapher, has himself accompanied many of the expeditions he has sent in quest of wild subjects. Sam Rork, who organized the Katherine MacDonald company, had seen beautiful women before he saw his star; for years ago he was manager of the original Flora- dora company, whose famous sex- tette may have been equaled since but has not been surpassed. For eighteen years Rork was associated with the late A. M. Palmer, whose companies, while they might not have contained so much beauty as did Floradora, were a little stronger on intellectual acting. Clarence j. Harris, presi- dent of the All-Story Films Cor- poration, is an ordained clergyman. He left the pulpit that he might write scenarios for Fox and Gau- mont, and quit writing scenarios that he might produce for himself. Arthur S. Kane, although trained as a writer, did not write after he entered pictures. He is the head of the corporation that produces Charles Ray's pictures, and it was he who organized both Realart and the Associated Exhibitors, who are not exhibitors at all, but producers. He is a college man, who, once up- on a time, was city editor of the Topeka Capital. Whitman Bennett was once a dramatic editor in New York. In that capacity he wrote what he thought of the stage work of Lionel Barrymore, who has since become his star. He liked him then and he likes him now. J. Ernest Williamson, of under- sea photography fame, was once in the newspaper business. He was a cartoonist, but quit drawing pic- tures that he might utilize for mov- ing pictures the submarine appara- tus invented by his father. He and his brother, George, and their father have made it possible to shoot undersea stuff almost as easi- ly as stuff can be shot on dry land. 1 HE name of Amedee J. Van Beuren was very well known in the East before the bearer of the name became a moving picture, pro- ducer by engaging the late Sydney Drew and Mrs. Drew. The Van~- Beurens own miles and miles of billboards and upon every one of them appears the name Van Beu- ren. L. Lawrence Weber is a producer who spent a great deal of money in billboard advertising. He spent it when he was a theatrical manager in New York. Burlesque was his first field and when he pro- duced pictures starring Mme. Pe- trova his partner was Bobby North, who had been a comedian in bur- lesque and musical comedy. An- other moving picture executive who has had theatrical experience is Robert Priest, who introduced the Captain Scott Antarctic films to this country. He once managed the dancers Pavlowa and Mordkin, and at one time was connected with the Winter Garden in New York. Be- fore he went into theatricals he was in the dry goods business. Jacques Bergh, who produces pictures for children, is believed to be the only Doctor of Philosophy who ever managed an opera com- pany. He was educated at Munich. Warren Doane was educated at the Long Beach Business College and taught school before going into pictures. Max Linder, the French come- dian, who has produced his own pictures, attended the Bordeaux Conservatory, where he won one prize for tragedy and then turned around and won another for com- edy. In 1903 he left the stage to appear in the first screen comedy ever filmed. It was called The Out- ing of a Schoolboy. When the great war came along Linder, who was free from further military service, volunteered just the same and served a year in the trenches and would have served longer had he not been gassed. He produced com- edies for Pathe at about the same time that Jesse D. Hampton began to produce screen dramas, which also were released through Pathe. {Continued on page /O) S mssssssM
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An Architect, A Painter and a Sculptress Joined in Designing This Exquisite Lamp I S g i i The lines, proportions and coloring of most of the lamps you see in these days of commercialism are the work of designing departments of large factories. They are the fruits of a deep knowledge of what makes a "popular seller." But SOme people, the Decorative Arts League committee felt sure, would like a lamp, Mt designed purely with an eye to good taste, a lamp of artistic pro- portions and har- monious, tones, a lamp embodying grace, symmetry and beauty rather than the long ex- perience of the "salesman-designer" of what seems most in' demand in retail stores. Hence this exquisite little lamp you see pictured, "Aurora" as it has been named by an artist, because of the purity of its Greek lines and tones. A Labor of Love For the delicate work of designing a lamp that should be a real work of art instead of a mere unit in a factory's production, and yet should be a practical and useful artcle of home- furnishing, the League enlisted the enthusi- astic co-operation of a group of talented art- ists— one a famous architect skilled in the practical requirements of interior decorating, one a painter and genius in color-effects, and one a brilliant sculptress, a student of the great Rodin in Paris. They caught the spirit of the League's idea and the designing of a lamp that would raise the artistic standards of home-lighting be- came to them a true labor of love. Model after model was made, studied and abandoned, until at last a design emerged with which not one of the three could find a fault. Every Detail Perfect One style of ornamentation after another was tried out, only to yield in the end to the perfect simplicity of the classic Greek lines. Even such a small detail as the exact contour of the base was worked over and over again until it should blend in one continuous "stream" with the lines of the slender shaft. The graceful curves of the shaft itself, simple as they seem in the finished model, were the results of dozens of trials. The shape, the exact size, and the soft coloring of the shade were the product of many experiments. The result is a masterpiece of Greek simplicity and balance. Not a thing could be added or taken away without marring the general effect — not the sixty-fourth of an inch difference in any mould- ing or curve but would be harmful. And yet with all the attention to artistic effect the practical knowledge of an experienced interior decorator has kept "Aurora" in perfect harmony with the actual requirements of the home. It blends with any style of furnishing, it adapts itself to boudoir or foyer-hall, to library or living room. And wher- ever you place it "Aurora" will add taste and refinement besides fur- nishing, with its tiltable shade, a thoroughly practical and mel- low light wherever required. In the exclusive Fifth Avenue type of shops, where .. lamps that are also works of art are shown, the : -. equal of this fascinat- -A ing little "Aurora," if k found would cost you Sk. from $15 to $20— perhaps more. Yet the price of this lamp is but $3.50 Think of It! Only the Decorative Arts League could bring out such a lamp at such a price. And only as a means of widening its circle of use- fulness could even the League make such an offer. But with -each purchase of this beauti- ful little lamp goes a "Corresponding Member- ship" in the League. This costs you nothing and entails no obligations of any kind. It sim- ply means that your name is registered on the League's books as one interested in things of real beauty and art for home decoration, so that as artists who work with the League create new ideas they can be offered to you direct without dependence on dealers. Send No Money No matter how many other lamps you have in your house, you will always find a place just suit- ed for this dainty, charming little "Aurora" 16 inches high, shade 10% indies in diameter; base and cap cast in solid Medallium, shaft of seamless brass, choice of two color schemes — rich statuary bronze with brass-bound parch- ment shade of a neutral brown tone, or ivory white with golden yellow shade. Inside of shades is tinted old rose to give a mellow light. Shade holder permits adjustment to any angle; o push-button socket, six feet of lamp coru and 2-piece attachment plug. You will rarely, if ever, get such a value again. Send no money — simply sign and mail the coupon, then pay the postman $3.50 plus the amount of parcel-post stamps on the package. Shipping weight only 5 lbs., so postage even to furthest point is insignificant. If you should not find the lamp all we say of it, or all you expected of it, send it back in five days and your money will be refunded in full. Clip the coupon now, and mail to Decorative Arts League, 17S Fifth Avenue, New York, N. T. Decorative Arts League, 175 Fifth Avenue. New York, N.T. Ton may send me. at the member's special price, an "Aurora" Lump, and I will pay the postman $3.50 ploa the postage. when de- livered. If not satisfactory X can return the lamp within five days of receipt and yon are to refund my money in fall. Ten may enter my name as a "Corresponding Member" of the Decorative Arts League, it being distinctly understood that such membership is to cost me nothing, either now or later, sad is to entail no obligation of any kind. If simply registers, me as one interested in hearing of really artistic new tilings for home decora- tions. Check finish desired — Statuary BronzeQ or Ivory White f~| (CO) Signed ••••..•••....•••••...... .....••••.••••••• g Address. City .State. 69
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fP MOUWfOOO CtWNMI* 44 NERVES" A subtle and dangerous malady which is undermining die vitality of the American Nation By PAUL von BOECKM ANN "NERVES" — We hear h eTerywheTe- The pbys- ciin tells his patient — "It's your Nerves." Sensi- tive and high-strunR women complain of their "Nerves." Yon see evidence of "Nerves" every- where— in the street, in the cars, in the theatre, in business, and especially in yoar home — right in your own family. We Americans are a nation of nervous people. This is known the world oyer. Our own Nerve Specialists admit it. It is caused by our "MUe-a- Aulhor of Afore Force and scores of other books on Health, Psychology, Breathing, Hy- giene and kindred subjects. Over a million of his various books have been sold during the last ij years. He is the scientist mho explained the nature of the mysterious Psycho-physic Force in volved in the Conlon-Abbott Feats, a problem that had baffled the leading scientists of America and Europe for more than thirty years, and a full account of which has been published in recent issues of "Physical Cul- ture Magazine." "something the matter" with them, though repeated examinations fail to show that any particular or- gan is weak or diseased. How often do we hear of people racking their brains, trying to discover the reason of their failure in business, in a pro- fession, love, or any undertaking. They would give anything to lay finger on the stumbling-block of their tires — the door that locks out their am- bitions, the wall that blocks their progress. The answer is: Lack of Nerve Force. In short. Nerve Force means Life Force — Brain Force — Vital Force — Organic Force — Dynamic Force — Personal Magnetism — Manliness and Womanliness. No man WITH Nerve Force has ever stood in a bread line. No man WITH Nerve Force has ever been down and out. No man WITH Nerve Force has ever acknowl- edged himself "licked." No man WITH Nerve Force has ever failed to attain success. This, of course, applies to women as well as men. And, on the other hand, WITHOUT Nerve Force no person of either sex in any walk of life has ever reached the top, has ever achieved success, or has ever gotten the fullest enjoyment from life itself. WITHOUT an abundant supply of Nerve Force our lives arc wrongly adjusted, we fail to utilize our full powers, and we cheat ourselves of our birthright of health and vigor. "A sound mind in a sound body" depends upon sound nerves. And to be a WINNER, even in a small way, demands, first of all— NERVE FORCE. If your NERVES have reached any of the three stages of depletion, you ought to take im- mediate steps to determine the cause and to learn what to do to build up your Nerve Force. I have made a life study of the mental and physical characteristics of nervous people, having treated more cases of "Nerves" during the past Minute" life; the intenseness of our Natures in 25 years than any other man in the world (over everything we do. It is making us the most pro- 90,000). My instruction is given by mail only, gressive nation on earth, but it is also wrecking *■» drugs or drastic treatment of any land are our people. Our crowded insane asylums prove employed. My _ method is remarkably simple, it. Medical records prove it. thoroughly scientific, and always effective. Millions of people have sub-normal Nerve Force. .,*,??» aRree «°,send 7"" farth" LjXUr "'!Li *?i* — r j, j regarding my system of treatment FREE and and consequently suffer from endless organic and ,,„„„,„. any obligation on your part. Everything physical troubles, which make their lives miserable. jj confidential and sent sealed in a plain envelope. What is meant by "Nerves?" By "Nerves" is You should read my 64-page book. "NERVE meant Nerve Exhaustion (Neurasthenia), lack of FORCE." The cost of this book is only 25 cents Nerve Force. What is Nerve Force? (coin or stamps). The book is not an advertise- We might as well ask "What is electricity?" ■*■« »f ?«J treatment I may have to offer. This We do not know. It is the secret of Nature. We P pT?. ?y the.fxf that large corporations have do know that it is the vital force of life, a mys- HEU^ 2* }£"m* .,h,sf book. *™» "* °» «>* .. ' „ , .. "• *" hundreds and thousands for circulation among tenons energy that flows from the nervous sys- lhrir employees-Efficiency. Physicians recom tem and gives life and energy to every vital organ. menj thc booj, to their patients— Health. Ministers Sever the nerve which leads to any organ and recommend it from the pulpit — Nerve Control, that organ will cease acting. Happiness. Never before has so great a mass of The wonderful organ we term the Nervous Sys- valuable information been presented in so few tem consists of countless millions of cells. These Zm " ■■«■"■■* J00 Jo understand your cells are reservoirs which store Nerve Force. The %&./% sSTLcT* Em°tU"a' "i" '"" amount stored represents our Nerve Capital. „ . . . ....... Every organ works incessantly to keep the supply R™d ,,1he hooK,t}, ™y "*•. ,hat » ,,f 2 ,does, noj of Nerve Force in these cells at a high level, for ™«! — * iPCfflt I vPl Hjirt-j, I shall refund . -e -. .. . . — *— .. your money FLUi your outlay for postage. My Life itself depends more upon Nerve Force than advertisements have been appearing in this and on the food we eat or even the air we breathe. other standard magazines for more than 20 years. If we unduly tax thc nerves through overwork. This is ample evidence of my integrity and re- worry, excitement, or grief, if we subject the sponsibilhy. muscular system to excessive strain, or, in any way, consume more Nerre Force than the organs produce, the natural result must be Nerve Bank- PAUL, von BOECKMANN ruptcy, in other words. Nerve Exhaustion, Ncuras- 110 W. 4Cth St., Studio 633, New York, N. V. tbenia, or "Nerves." There is but one malady more terrible than Dear sir: * desire to investigate your method. Nerve Exhaustion — its kin. Insanity. Only those without obligation of any kind. (Print name and who have passed through a siege of Nerve Ex- address plainly.) haustion can understand the meaning of this statement. At first, the victim is afraid be will die, and. as it grips him deeper, be is afraid he Name will not die — so great is his mental torture. He becomes panic-stricken and irresolute. A sicken- ing sensation of weakness and helplessness over- Address comes him. He becomes obsessed with the thought of self-destruction. How often do we hear of people, running from ....*... — ....;.. doctor to doctor, seeking relief from a mysterious Enclose 25c if you wish the book. DAY LABORER to MOVIE MAGNATE {Continued from page 68) Hampton and his brother, Benja- min B. Hampton, are alumni of Knox College and both of them were in the newspaper and maga- zine businesses before going into pictures. Ben Hampton's greatest magazine success was with the Broadway Magazine, which he bought and rechristened, first, Hamtton's Broadway and then Hampton's. Theodore Dreiser and the late Harris Merton Lyon were his chief aides. Also he was in the advertising business and was a vice-president of the American To- bacco Company. J\L CHRISTIE, who was born in London ,Ont„ mane his first ac- quaintance with the stage as a stage hand, and his brother, Charlie, who now divides his time between mov- ing pictures and selling real estate with Billy Sunday's son, George, was in the advertising business in Canada. Morris Kohn is another graduate of the penny arcade and B. A. Rolfe, a graduate of vaude- ville, where he once produced acts in association with Jesse Lasky. Arthur D. Jenkins, producer with Nathan Woody of Pinnacle Pictures, was a banker. He was in that business in Indianapolis, as was Nathan Woody. Another pro- ducer who comes from Indianapolis is Arthur F. Beck, who produces the pictures in which his wife, Leah Baird, stars. Beck, who got into thc moving picture business as soon as there was any moving picture business to get into, had been the treasurer of a carnival company. W. E. Shallenberger, president of the Arrow Film Corporation, got into pictures by furnishing the financial backing for a film ex- change in Chicago. Clifford Slater Wheeler got in as an actor. He was graduated from Syracuse Univer- sity and from Yale before he went to work for Universal, which has been the springboard for so many men and women who now arc prominent in pictures. He was a captain in the A. £. F. and was wounded in action. Lucien Wheeler, who has pro- duced serials, was once a United States Secret Service man and in that capacity was bodyguard for President Roosevelt and President Taft. He should have been an ef- ficient guard, because when he was a student at Notre Dame Univer- (Continued on page J2) 70
Page 71
No Money Down wHViniiinmiitfM \TffA i ■ 1 1 »xv» I tirsM i ■ i a>w\ 1 1 ry/ A ■ THE HARTMAN COMPANY, Chicago, Illinois 3911-3925 Wen two rth Ave. "—■.»., ■» «■ wi—tmSi Dept. 4773 A complete cooking set in th is wonderful combination. Send only the coupon and we ship the set, all charge* prepaid. Try it 30 days on free trial, and then if not just what you want, pay nothing and send it back and we'll pay the return postage charges. If yon keep it, pay bargain price at the end of 30 days' free trial and it is yours. Mail coupon today t Wonderful Combination ALUMINUM Cooker Set 5 Pieces, Make 11 .teas. CMtiMtiaas Padding Pan Tubed Cake Pan Caaairnlr |E3m Kettle DoubleBoiler Conrei Kettle Combination Cooker Strainer or Stealer Set Self Bearing Roaster Colander Cora Popper Hade of best heavy-gauge aluminum- bright, silvery, beautiful, easy to keep clean, light to handle— guaranteed for life. This complete set gives you eleven utensil combinations. Outside kettle holds 6 (parts, inside pans 2% quarts, other utensils in pro- portion. All highly polished on outside. Sun- ray finish inside. When not in use all pieces nest together. Takes up little space. Seta on shelf. Bafls (or Bandies) detachable. Ton most see it and use it to real- ise what it really is. So send at once. Order by No. 41 7DM AG. At end of 30 day.' free trial, pay only $2.75 if you keep it. Shipped bass Tttal Price 0flly$O 75 Pay at End of 30 Days' dfaZZ FREE TRIAL! Yen, yours to use a whole month before yon even decide. Not a penny to risk. Sign end mail the coupon and the complete set goes on to you. FnFP BARGAIN P lAaUH CATALOG £,000 store mmiry fnrinfr _- 368-Pft£8 I on this Tpaoc in furniture,! rocs, linoleum, stoves, f ranges, silverware, watch- 1 ea. sewing- machines. washing machines, dish- i^ es.sJuminumware.phon- J2 sMtJjkwJS!?*9^ for ographt, gas engines, fg&£^***\Kj cream separators, etc. flS9§3 -JfCo^ Anything: sent on 30 «5 K0»i>!? days* free trial. Easy j monthly payment! on IS §Cf {*% V*)* T|* ' UJff every thine. Postcard fflfl *<^ g^*+J%J f\f\ or Utter bringM it free. KB ^g SfcrVfc V *i»«^ "LelHartm.nFeithslJI Ijll^L'j-* YOUR Net" SLS*"*' '.THE HARTMAN CONPAIY, Chicago, III. I 391 1-3325 Wenrworth Ave. Dept 4773 ISend the e-pieee complete Ahaninom Cooking: Set No. 417DMA6. all charges prepaid I am to ban It days' free trial. If not satisfied. 1 will pay nothing anil ship it back. If 1 keep Iit.I will par your bargain price .12 75. at toe end of the JO day,' trial . Title remains with you until payment is made. I Name. ..... ■ Street Address J tt.F.D. -Bes Ms I Town IState Yoor Occupation ■ 11
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MOUVMOOO C*U»0**MA IS) How YOU Can Write Stories and Photoplays By ELINOR GLYN Author of "Three Weeks," "Beyond the Rocks," "The Great Moment," Etc., Etc. 17 OR years the mistaken idea pre- * vailed that writing was a "gift" miraculously placed in the hands of the chosen few. People said you had to be an Emotional Genius with long hair and strange ways. Many vowed it was no use to try unless you'd been touched by the Magic Wand of the Muse. They discouraged and often scoffed at attempts of ambitious peo- ple to express themselves. These mistaken ideas have recently been proved to be "bunk." People know better now. The entire world is now learning | the TRUTH about writing. People every- where are finding out that writers are no dif- ferent from the rest of the world. They have nothing "up their sleeve"; no mysterious magic to make them successful. They are plain, ordinary people. They have simply learned the principles of writing and have in- Elinor telligently applied them. Of course, wc still believe in genius, and not everyone can be a Shakespeare or a Milton. But the people who are turning out the thousands and thousands of stories and photoplays of to-day for which millions of dollars are being paid ARE NOT GENIUSES. You can accept my advice because mil- lions of copies of my stories have been sold in Europe and America. My book, "Three Weeks," has been read throughout the civ- ilized world and translated into every for- eign language, except Spanish, and thou- sands of copies are still sold every year. My- stories, novels, and articles have appeared in the foremost European and American mag- azines. For Famous Players-Lasky Corpor- ation, greatest motion picture producers in the world, I have written and personally supervised such photoplays as, "The Great Moment," starring Gloria Swanson, and "Beyond the Rocks," starring Miss Swan- son and featuring Rodolph Valentino. I have received thousands and thousands of dollars in royalties. I do not say this to boast, but merely to prove that you can be successful without being a genius. Many people think they can't write because they lack "imagination" or the ability to construct out- ot-the-ordinary plots. Nothing could be further from the truth. The really successful authors — those who make fortunes with their pens — are those who write in a simple manner about plain, ordinary events of every-day life — things with which everyone is familiar. This is the real secret of success — a secret within the reach of all, for everyone is familiar with some kind of life. Every heart has its story. Every life has experi- ences worth passing on. There are just as many stories of human interest right in your own vicin- ity, stories for which some editor will pay good money, as there arc in Greenwich village or the South Sea Islands. And editors will welcome a story or photoplay from you just as quickly as from any well-known writer if your story is good enough. They arc eager and anxious for the work of new writers, with all their blithe, vivacious, youthful ideas. They will pay you well for your ideas, too. Big; money is paid for stories and scenarios to-day — a good deal bigger money than is paid in salaries. The man who clerked in a store last year is making more money this year w«th his pen than he would have made in the store in a life-time. The young woman who earned eighteen dollars a week last summer at stenography just sold a photoplay for $500.00. The man who wrote the serial story now appearing in one of America's leading magazines hadn't thought of writing until about three years ago — he not did even know that he could. Now his name appears almost every month in the best magazines. You don't know whether you can write or not until yon try. I believe there are thousands of people who can write much better stories and plays than many we now read in maga- . zincs and sec on the screen. I I believe thousands of people can make money in this ab- sorbing profession and at the same time greatly improve pres- ent-day fiction with their fresh, true-to-life ideas. I believe the motion picture business espe- cially needs new writers with new angles. I believe this so firmly that I have decided to give some simple instructions which may be the means of bringing success to many who have not as yet put pen to pa- £Jmh per. I am going to show YOU y how easy it is when you know how' Just 611 out the coupon below. Mail it to my pub- lishers. The Authors* Press, Auburn, N. Y. They will send you, ABSOLUTELY FREE, a hand- some little book called "The Short-Cut to Success- ful Writing." This book was written to help all aspiring people who want to become writers, who want to improve their condition, who want to make money in their spare time. Within its pages are many surprises for doubting beginners; it is crowded with things that gratify your expectations — good news that is dear to the heart of all those aspiring to write; illustrations that enthuse, stories of success; new hope, encouragement, helps, hints — things you've long wanted to know. "The Short-Cut to Successful Writing" tells how many suddenly realize they can write after years of doubt and indecision. How story and play writers began. How many rose to fame and for- tune. How simple plots and ordinary incidents become successful stories and plays when correctly handled. How new writers get their names into print. How one's imagination properly directed may bring glory and greatness. How to WIN. This book and all its secrets are YOURS. You may have a copy ABSOLUTELY FREE. You need not send a penny. You need not feel obligated. You need not hesitate for ANY reason. The book will be mailed to you without any charge whatever. Get your pencil — fill out the coupon below. Mail it to The Authors* Press before you sleep to-night. This little act may be the turning point of your whole career. Who knows? The AuTiiots* Pbess Dept. 155, Auburn, N. Y. Send me ABSOLUTELY FREE "The Short-Cut to Successful Writing." This docs not obligate me in any way. (Print your name and address plainly in pencil.) Name Address City and State DAY LABORER to MOVIE MAGNATE {Continued from page 70) sity he was a football player. So was Allan Dwan, who also has pro- duced many pictures. William L. Sherrill, president of the Frohman Amusement Corpora- tion, was in the life insurance busi- ness before coming to the conclu- sion that it would be good policy to go into pictures. He was born in Alabama, and John C. Ragland. who once was manager of a min- strel troupe, was born in Virginia. Matthias Radin, president of Ra- din Pictures, Inc., was born in Sweden and educated in New York City, where for several years he practiced law. L. E. Miller, the president of Radiosoul Films, Inc., is another who left the court room for the projecting room. Cyrus j. Williams was a real estate operator in Los Angeles before he became a producer, and before he became a real estate operator he was a manufacturer of machinery. He produced the pic- tures in which Tom Santschi first starred. Another producer of westerns is Jack Weinberg, presi- dent of the Canyon Pictures Cor- poration. Before he went in for the wild and woo'Iy, Weinberg ran a moving picture theatre in Hous- ton street, New York City. H. A. Spanuth. president of the Common- wealth Pictures Corporation, was once in the advertising business. He was one of the pioneers in the work of persuading legitimate actors that their prestige would not suffer if they went into pictures. So long ago as 1912 he worked upon the late Nat Goodwin and got him to star in Oliver Twist. H. J. Rey- nolds, president of the Renco Film Company, another pioneer, was in the distributing end of pictures be- fore he became a producer. Andres Randolf, president of the Frontier Features, Inc., another producer of westerns, was born in Denmark and did not come to this country until after he had met and vanquished many of the leading fencers of Europe. Al Jennings, who also has produced westerns, received a training that was not so academic. He robbed trains. PAUL GERSON, president of the Paul Gerson Pictures Corporation, was an actor and a teacher of act- ing. William A. Brady was an actor, but most of his success has {Continued on page 73) 72
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DAY LABORER to MOVIE MAGNATE (Continued from page jz) been won as a theatrical manager. His wife is Grace George, and his daughter is Alice Brady. He man- aged James J. Corbett when "Gen- tleman Jim" was the champion of the world. A great believer in advertising is William A. Brady, but his faith is no stronger than that of George B. Van Cleve, his fellow director in the producers' division of the Na- tional Association of the Motion Picture Industry. Before becoming affiliated with the Cosmopolitan pictures, which are owned by Wil- liam Randolph Hearst, Van Cleve was an advertising agent who han- dled accounts which amounted to five million dollars a year. Theo^ dore C. Deitrjch, before becoming a producer, worked on Mr. Hearst's newspapers in Chicago, San Fran- cisco and New York. Edward A. MacManus worked on the New York World, on Col- lier's Weekly and on McClure's Magazine. He once was a star athlete. H. Y. Romayne was a lawyer and so was E. D. Ulrich. Thomas A. Baker, a son of the founder of Bakersfield, Cal., was once sheriff of Kern County, in which Bakersfield is situated. He ought to be able to keep his actors in order. Another lawyer is C. C. Pettijohn, and Lewis Roach was a manufacturer of aircraft. Clarence wolf, president of the Betzwood Film Company, is a member of the banking firm of Wolf Brothers and Company of Philadelphia, Jesse James Gold- burg was a lawyer without a horse, and John W. Grey, president of Supreme Pictures, was once adver- tising manager for Universal. J. Stuart Blackton, head of Vita- graph, which he organized in 1900, was a newspaper writer and artist. He was born in England and went to school at Eton. Adolf Philipp was a star on the stage before he became a moving picture producer, and Guy Empey was a newspaper man, a soldier in the regular army and a sailor in the United States Navy before he wrote Over the Top and formed his own producing company. Harry Garson, who pro- duces the pictures in which Clara Kimball Young stars and who owns one of the most homelike studios in Los Angeles, was a moving picture exhibitor in Detroit. Coming! Katherine MacDonald the American Beauty in her best picture "WHITE SHOULDERS" PLACED on the auction block in the mar- riage mart by her own mother, a beautiful Southern girl faces a life of unhappincss, when a strange accident brings her the man she loves and happiness. This is the fascinating story by George Kibbc Turner which ran in the Saturday Evening Post. Perhaps you read it. If so, you won't miss the picture. If not, sec it by all means. It is the famous beauty's finest production, made with the lavishncss that B. P. Schulbcrg instills into his pictures, and with the artistry and care of Director Tom Forman. This is one of the new scries of finer pro- ductions in which Miss MacDonald now is starring and is her latest and best. The class of pictures for which First National stands. Watch for its trademark on the screen at your theatre. Ask Your Theatre Owner If He Has a First National Franchise PMSSHrvSW Edeson Radio Phones pmii aasMaw. — . «!■<«■ '. EfcsaaPkneCa.6i«ASL c-72 $ $ for Photoplay Ideas Plots accepted any form: revised, criticized, Topy righted, marketed. Advice free. Universal Scenario Corporation, 931 Western Mutual lAtc Bldg., Los Angeles, California. Publishers Scenario BaUetin-IHgect SEND FOR FREE SAMPLE COPY Secrets of Beauty Parlors Revealed Formerly ('lowly B— tot Secrets. Now Your*. We make you expert in all branches, like mas- sage strap, waving, pack, dyeing, marcel, skin work, manicuring, etc. Kiirn SiO to $76 • week. No experience necessary. Study at home in spare time. Earn while you learn. Authorized diploma. Money-back guarantee. Get FltRK book. Ori- ental System of Beauty Culture, Dept. M13, 1000 Diverse? Wlvd., Chicago. 73 ■fatassssssssss
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Seven <' (ft Blue White I Perfect Cut Diamonds Brings This '/Genuine, DiamondRing g°Y IO Days No Red Tape Resembles $350 Solitaire ROYAL" No Delay SET IN PLATINUM— MOST SENSATIONAL RING OFFER EVER MADE Think of it — seven bril- liant steel blue genuine dia- monds massed by a secret process in a setting of solid platinum set so closely to- gether that only close inspec- tion will distinguish it from a solitaire valued at $350.00. Shank of ring is 14 kt. solid gold. TEN DAYS' FREE TRIAL You take no chance — if it is ring in any jewelry store for not satisfactory at the end of less than $65.00, your de- ten days, or if you can dupli- posit will be refunded to you. cate this genuine diamond- SEND ONLY $2.00 and the ring goes to you in accompanies each ring. Af- a handsome gift box, charges ter ten-day trial pay balance, paid. A legal guarantee $4.65 a month for ten bond as to quality and value months. ti FREE ROYAL BARGAIN BULLETIN Illustrates and describes oyer 800 special offers in Diamonds, Watches and Jewelry which we are making this month from our $2,000,000 stock. Address Dept.527 Price only $48.50. DOVAT MAMOND tSXJ I AL X WATCH CO I S t-iED /895 ) 3537-39 Maiden Line -NX Royal Diamond Watch Co.. 36-37-39 Maiden Uw, New York cut. ^^ Enclosed Sail S2 00 Send mc (he -Uoval" Cluster Dia- mond Rlnc for 10 Days' Free. Trial If dm satisfied I wuT return It and you will refund my deposit, it I keen It I win pay 94 65 per month for in month* until MS 50 has been paid. Please Include also your eom- dIju Jewdery rataloc. Name Street Address BoxNoorRFJ) Town State ,. You Were Never a Great Hand at Writing But yon have splendid ideas for scenarios. Don't worry about putting them into words. We put your ideas into scenario form, neatly typed. Just the kind of scripts studio readers reach under the pile for. Marketing Suggestions. Detailed Critlciama. HOLLYWOOD MANUSCRIPT SERVICE 5540 HOLLYWOOD BLVD. HOLLYWOOD. CALIFORNIA TUSCAN ART PRINTS Every virtue of pictorial art; appealingly posed to the limits of inimitable finesse. Beauty, youth, innocence, love decorously depicted. Pictures he-men love — Normal women admire. Oil-colored, TxlU-in. print of best technique, J1.00 Satisfaction Assured TUSCAN PRODUCTIONS Red Bluff California My Trip Abroad (Continued front page 6j) from those greater personages who were kind to me, then this has been a wonderful trip, and somehow I am eager to get back to work and begin paying for it. I notice a newspaper headline as I write. It tells of the conference for disarmament. Is it prophetic? Does it mean that war will never stride through the world again? Is it a gleam of intelligence coming into the world? We are arriving in Ogden, Utah, as I write. There is a telegram ask- ing me to dine with Claire Sheri- dan on my arrival in Los Angeles. The prospect is most alluring. And that wire, with several others, con- vinces me that I am getting home. I TURN again to the newspaper. My holiday is over. I reflect on disarmament. I wonder what will be the answer. I hope and am in- clined to believe that it will be for good. Was it Tennyson who wrote : "When shall all men's good Be each man's rule, and universal peace Shine like a shaft of light across the lane. And like a layer of beams athwart the sea?" What a beautiful thought. Can those who go to Washington make it more than a thought? The conductor is calling: "Los Angeles." "Bye." THE END. 0 (McClurc Snydirate.) WHEN YOU FIND A Subscription Blank In YOUR MAGAZINE it fa a sign that your subscription has expired SEND IN YOUR RENEWAL AT ONCE So that there will be no break in your subscription 74
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_ YouThis 9 Piece Bedroom Outfit Wonderful Bargain! A complete outfit of bed equipment— 9 useful pieces — sent to you for only $1.00 down! Use them as your own for 30 days. Then if satisfied, pay only $2.00 a month until yon have paid $19.95 in all. Think of the value! If you were to buy these singly they would cost you almost twice as much as we ask on this great combination offer. But we make this big slash in prices on the complete nmfit ro introduce thousands more to the great bar- gain values offered by Straus & Schrara. Look at the fluffy blanket, the soft, cozy comforter. See the 2 fine sheets, 2 pillow cases, bedspread and 2 pairs of curtains. Mail the coupon today with only SI and have these articles shipped on approval- Seize this opportunity— Wa take al tha riak. (Pieces not sold separately.) 30 Days Trial ! Easy Payments 9 Pieces .1x76 When yon get this complete 9-piece bedroom outfit, use it freely for 30 days before you pay another penny. See for yourself the beauty and quality of each piece. Note how the curtains and handsome bedding beautify your bedroom. Then, if not satisfied for any reason. return the set at our expense and we w9j i •UMi If you decide to keep the- set, start paying only (2.00 a month until you have paid $19.95— pay- ments so ktw and so convenient that you will scarcely feel them. Akaaat a jni la gay at the rate of only a few cents a day. We trust honest people anywhere in U. S. One price, cash or credit. "• hta.iL farter of rich. Katt i Pilled with Dare, sw with s riod we; design, both side3 alike, inches. Weieht about 6H ( Daahla Ptntal awnwhata — Here is am nn- — ■■"■ ftne texture wool nni.hed doable eot- too blanket. Uu carefully sutebed abeli bind- ing. Ma.le with n wjol-liae finb-h which is produced or a special proecsa ot manalacture and the use of China cotton. Br actual teat these blankets have proved to be practically as warm an all-wool blankets. Popular enter- in«s. Siie about 66iH> in. Weight abooi SJi Ide. Street. R.FJ). orot»Mo._ SVawte* Send Coupon! Don't delay. Just send SI .00 along with the coupon as a deposit If you wish to return set after using it for 30 days, your dollar will be refunded, plus all express or parcel post chargesyou paid. Free A special, limited, show, ti reduced price offer. fsmtian.. r"_i r___i —■■■■■t esjrtnins. silverware. first come, nrsi serveu — .j. Get your set while this fornitor offer lasts. Send coupon. I spread. Made of close woven Ions; staple Hew aYaWfcaaj eottoa yawn. Bleached tea snow-Hake white. Launder? perfectly. Cawars Siie about 7Sx 90 m. Weiftht i ' ; finest grade ot uuUenals ■an maanaaalhill nwithtJi inch lace j H inch lace edaw. Comes in white only. Srre 81 in. Ion* and28 in. wide. Wig launder perfectly. 2 pair, with each outnt. » a>JW gwwwahv— mwaW 1 anal i shm ti arc extra henry. awawPSaw to a alia a J whit— I as. nicely I 1 and beautirulry I [ll I I. She about 9»«72 ill. Two .beets furnwhrd wit* each outfit, tlglllllil Thane are aaadeot the ssana quality aa the ah-ets. bleached to pure I Bake white, nicely made and beautifully I OJlM. CaW/il .-2St=- - I Straus &Schramoe^ and will launder perfectly. Sin* about azsSS ins. Two pillow casta fumiahe" welsht a. •mill* not fit ahoot IS a 75
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AVWOOO CH«MWMA German Formula Permanently Removing Hair WONDERFUL GERMAN DISCOVERY For tbe permanent removal of imperllaons hair. Free Trial Treatment Lorraine-Audigier Permanent Hair Remover Wo believe that no remedy has yet been discovered — EXCEPTING THIS ONE — that will permanently remove superfluous hair. The IX)RRAINE-ATJDIGIER HAIR RE- MOVER is guaranteed harmless and gives the patient absolutely no inconvenience. It requires from eight to sixteen simple appli- cations— and your superfluous hair is Rone forever — fifteen minutes is required for treat- ment, which can be taken in your own home — even the first treatment removes the hair and kills many of the hair bulbs — five min- utes after treatment and you are ready for the street or any social engagement. MONEY BACK GUARANTEE We not- only back our statements with an ironclad "Money Back" guarantee, but we allow you a free trial treatment. (Write for particulars with reference to this free treat- ment.) HXCI.I SIM'. TERRITORY GIVEN TO KEPKKSENTATI YES Lorraine-Audigier Manufacturing Company BS4 South Spring Street (32S I.issner Bldg.) Los Angeles. California Culifurnln Depots: Room 3. Smith Bids., Santa Ana 424 West Center St.. Anaheim Room 9. Amcrige Bldg., Fullerton "00 Bank of Italy Bldg., San Jose 1007 Ocean Front, Venice 7441 Sunset Blvd., Hollywood 12 South Euclid Ave.. Pasadena Depots Throughout the World: British Depot: 27 Charterhouse Square, London. French Depot: 5 Rue dc la Paix. Paris. German Depot: J. Prochownik, Berlin. EVANS STUDIO Artistic Photographs Special Rales to the Profession 6039 Hollywood Blvd. Holly 2560 MARION WARDE Training for STAGE and MOTION PICTURES. MAKE-UP Associate Teachers of Classical. Ballet Char- acter and Step DANCING 42S-4 Music Arts Hoilding. 233 8. Broadway Los Angeles, CaL On Hollywood's RIALTO W, INDOW-SHOPPING along the Bou- levard is a favorite pastime with Holly- wood folk. The fascination of the smart little shops that line screenland's main thor- oughfare mingles pleasantly with the hope of encountering Gloria Swanson or Wal- lace Reid or other great folk of filmtloin. Will you stroll with us up Hollywood Boulevard ? Every other shop, almost, is a photogra- pher's, you see. There's a reason, as the bre?kfast-food ads remark so pertinently. "That's where my money goes," mourns the film star, as he makes another appoint- ment with the photographer, every fortnight or so. With fan mail demands for photo- graphs coming in at the rate of a hundred or more popular star tinually pho- Wc will stop the new pho- ClaireWind- a d orablc inMelbounne dio window, ing up street inquisitive the pane of studio. A few we come to display win- Hoover stu- there are tiful miniatures shown. daily, the must be con- tographed. to admire graphs of sbr and her chubby son Spurr's stu- beforc pass- to press our noses against the Evans steps, and the attractive dow of the dio, where some beau- Thc Sykes Ed- The Wealth of the Indonesia (Java, Sumatra, .__;_», Bali, Celebes, IjPCft Flores, Borneo) ySJ'.'N^ Javanese Batiks, Brasses, Brocades, Leather Work, Horn/Tortoise JAVARTAM 7020 Hollyw'd Blvd., Hollywood Calif. Protralture Artists Sykes -Edwards Studio 7th at Grand Ave. SEVENTH PROMENADE BRACK SHOPS Los Angeles, CaL Telephone Holly 2712 Armstrong and Carleton Hollywood Indian Grill 6600 Hollywood Boulivard Arthur Armstrong Harry Carleton A beautiful portrait of your favorite star. A real artHtie photograph One 8 x 10 for fifty cents by MELBOURNE SPURR mOTOGRAPUEK 0040 Hollywood Bird. Hollywood, Cal. Thin Bank Hits m I'lun For Professional People. — To make It easy - for them to accumulate a portion of their earnings, without missing what they put away, and with substantial income re- turns upon everything so accumulated. For particulars ask our Trust Officers. Union Bank &TrustCo ^^ ■"^•riosAasVies-" ^ SAVINGS COMMERCIAL TRUST Kielilh and Hill Streets "TheBankof Capital and Personal Service" Surplus $1,0.51,000 Member Federal Reserve System wards and Paralta studios arc also patron- ized by film folk. Some of the beautiful Batiks that you will see in the star's homes, if you are privileged in having the entree to them, arc purchased right here in this artistic shop. Javartam, it is called. Here the con- noisseurs gloat over gorgeous brasses and tortoise shell from far-off Java, and rich brocades from Sumatra. Beauty parlors are as frequent as pho- tographers' studios, you notice. Perhaps that is why Hollywood is filled with so many lovely ladies. Probably, however, it is an effect; not a cause. At any rate, the Lorraine-Audigier Shoppc is a favorite tirst- aid-to-beauty establishment with screen actresses. Our walk has given us a keen appetite, so let's stop off at Armstrong's for a bite. The usual noon-hour crush of studio folk is on. but we may be fortunate enough to get in, to enjoy the excellent cuisine and sec our favorite star, in all his "war-paint," snatching a hasty noonday bite. /foovER AIrt Studios 6321 Hollywood Blvd. Los Angeles, California Professional Photography a Specialty rilOTOI'I.AYK. STORIES. ETC., SOLI) ON COMMISSION. Submit manuscripts (accompanied by stamped return envelope) or write for Terms and Free Market Report. ABBOTT-STANLEY COMPANY 5559 Hollywood Boulevard, Hollywood, Cal. (Authors' Representatives — NOT A SCHOOL,) Professional Photos Paralta Studios 542 So. Spring " Over the Bookstore " 76 ^•■Tartrate:
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Monkey-Gland Movies (Continued from page 43) tain organization calling them- selves the "Herald Productions," which evidently purchased the negative of that rather old produc- tion titled An Adventuress, which featured Julian Eltinge. These peo- ple probably had some new titles made, re-cut the picture, inserted the new titles and advertised it as The Isle of Love, in big type, while underneath they printed in smaller type (as required by a fed- eral law) "Revised from An Ad- venturess," calling the exhibitors' attention to the fact that this pic- ture was and is "A Fantastic Comedy With More Thrills Than Any Serial, Introducing Two of the Biggest Stars in the Amuse- ment World" "Introducing"! why didn't the people who had the film in the first place advertise it that way? Because Rodolph Valentino hadn't made a reputation for himself yet and the exhibitor or the distributor could not cash in on his name ! An old film of Mae Murray was recently released by the Universal. A feature exploited on billboards and in other advertising was the presence of Valentino (then a humble character actor) in a minor role. Miss Murray, herself, adver- tised to inform the public that this picture, The Delicious Little Devil, was not one of her recent produc- tions. Yet exhibitors complain that the public is losing interest in mo- tion pictures. You certainly can not blame the public. From the way "revised" films are flooding the market, the cutting rooms in some of the film factories must be working overtime. Screenland's Shopping Service Let the Scrccnland Shop- per do your purchasing in the fascinating shops of Hollywood and Los Angeles. No fee. See page 76 for gift suggestions Write, enclosing check to cover cost of article you wish, to SCREENLAND MAGAZINE 5540 Holly. Blvd. Hollywood, Cal. Stop Wondering How I Teach Piano; III Show You, FREE Year after year you've seen my advertisement in all the leading publications, offering to teach you piano in quarter the usual time. Year after year my school has grown and grown until now I have far more students than were ever before taught by one man. In 1921 over a thousand students graduated from my Piano or Organ course and received their diplomas. Yet when I first started giving piano and organ lessons by mail in 1891 my method was laughed at Could my conservatory have ■-,'rown as it has, obtained students in every state of the Union and in fact practically every civilized country of the world unless it produced very unusual and satisfying RESULTS for its students? See for yourself what it is that has brought my method so rapidly to the front. Write for free booklet and sample lessons. Now for the first time, you can obtain sample lessons without charge. In the past I have always been opposed to sending out free lessons, even to persons who were seriously interested in my course. But my friends have insisted that I give everybody a chance to see for themselves just how simple, interesting and DIF- FERENT my lessons are, and I have consented to try the experi- ment for a short time. Simply mail the coupon below or write a postcard, and the 64-page booklet and sample lessons will go to you at once absolutely free and without obligation. Within four lessons you will play an interesting piece on the piano or organ, not only in the original key, but in all other keys as well. Most students practice months be- * fore they acquire this ability. It is made possible by my V .••' patented invention, the Colorotone. Another inven- m P / Qulnn tion obtainable only from me is my hand-operated v™ / Conservatory moving picture device, Quinn-dex. By means of *j .-•'' «tudio SL 51 Ouinri-dex you actually see my fingers in motion r» .•'' ™/?»i ,_hi> m' on the piano, and can learn just how to train , tsSm? « m-T« your own fingers. +■ , Boston, 25, Mass. When 1 say that I can teach you piano O / J??£ "2* J£J2£ in quarter the usual time, do not think O / «« ~.t norokl°ebtI,g.? ""' that this is too good to be true. Mod- ♦ -■" ,„y °, r *rfe p?° 'e ' r n" crn inventions and improved methods A, , ' '°.. 4?™ JS? g^g have accomplished just as great won- «, .' 5"tj,™SJ2Sff >essons> ders in other branches of educa- «? / a,n,l1fuU Partlculars of y°ur tion. You at least owe it to « / m*,nod- yourself to investigate. Send .••"' m,_,, coupon or postcard at once, .•'' 1,ame * before the offer of free / ... „. sample lessons is with- / ziaaress drawn. / GREAT STORIES by Younger Authors Read the unique, fascinating stories in the Black Cat. The trend of the "new fiction" is clearly shown by Black Cat contributors. 15 cents a copy; $1.60 a year. The Black Cat, S K. Book Hill, Highland Falls, N. T. ^tLCfcA Face Clay New discovery draws oat ill the imparit- ies and leaves the skin smooth, dear and I lftrfutl velvet v . Puts life m to the tissues. Easily J VXH applied, works quickly. New methods of manufacture make low once possible. Order fresh, bis; jar; 10 applications one dollar, postpaid. Send today. SILCLA COMPANY,2263Kirby Ave- Detroit BUNIONS SENT ON TRIAL law. liSiS«tlDnHS* KAY LABORATORIES, D^rt.A-426 Refreshes Weary Eyes When Your Eyes feel Dull and Heavy, use Murine. It In- itantly Rcllevcsthat Tired Feeling —Makes them Clear, Bright and Sparkling. Harmless. Sold and Rccomn ended by AU Druggists. #*• /»»)*>«« EVES 77
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' MOUVWOOO e*l*MMJMA 16) </l,Clear Soft \felvety Skin Quickly Ttburs Secret ^Methods YOU CAN be beautiful, attractive, charming! Once I was homely. The portrait above is liv- Ine proof of what I can do for you, too. If your features are fairly regular, you can be as tempt- ingly beautiful as thousands of other women X have helped. Yon will be astonished at the im- provement yon can easily and quickly accom- plish. My Secrets of Beauty tell you how — secrets based on the arts of beau- n • f_ ty culture used in the days of tjQTllSn the old French Courts, by the most beautiful women of all Coarse Pores times. These and many other «ir • i_l beauty secrits to give you a soft, wrinkles velvety skin, flushed with the Pimples true tints of nature, to restore ■7 ii and preserve youthful appear- rrecKles ancc, and make you the center Superfluous of admiration and attention, are f» • all disclosed in my Booklet . „- . "Making Beauty Yours." Oily Sinn / tell you Tinu- to Remove Wrink- les; Refine Coarse Pores: Reauti- fy the Lips; Banish Blaelcheads, Tan, Freckles, Liver Spots Blotches, Satin w and Oily Skin; Beautify the fiiture, by building up or reducing; Remove Superfluous Ifair; Wrote Beautiful Eye- broKS and Lashes; Clear the skin of Pimples; Make Bair Soft, Lustrous, Flugy. Send for My Booklet — FREE Just eli« this coiumn. write nam-* an»i address and mall to me today. Don't pass this golden chance to win Real li-auty! Investigate! It costs you nothing to write and you* 11 be dellght- <■<! that you did. There in Information in the booklet valuable to BVRRY WOMAN LIVING, whether homely or beautiful. TuciLle youngI Room 3512, Lucille Young Bldg., Chlcaio. Please send me. bv return mail, your Free Booklet "MAKING BEAUTY YOURS". Name — Address . . .- * Oitv State WRITE F0RTHEMDVIE5 TURK YOUR TAIOIT MTV ft A valuable money-makint; field Try it! Mail us an idea at once, and wo. will gladly correct and ad- vise you. Willi our earnest assistance you can easily convert your thoughts into Dollars. No experience ncccssary. Frce instructive booklet sent on request. smopolitan Photoplay Studio 154 Nassau St., N. Y., Suite 624— Dep't B. ART PHOTOS Beautiful women, artistic studies, wonderful photos from life. Wholesale prices on ap- plication. 8. M. WKRSHON CO, CiS San Fernando Bids;., Los AnKelrB, Calif. Utile HINTS to BOOKLOVERS V^HARLES REX, by Ethel M. Dell. A story of romance and adven- ture of a different pattern, that will break the monotony of the day. As good as a Valentino-Glyn movie. (G. P. Putnam's Sons.) ONE OF OURS, by Willa Cather. A brilliant and powerful story of a fine, idealistic American boy who is cheated out of life. Written with keen and sympathetic insight and vividness, it should easily find itself among the foremost books of the year. (Alfred A. Knofp.) Her UNWELCOME HUSBAND, by W. L. George. Despite the title, the book is a penetrating bit of psychology of an unusual woman who has to cope with marital misfortune. Written in an interesting and easy style. (Harper & Brothers.) /aDRIENNE TONER, by Anne Douglas Sedgwick, is a book which easily places its author among the foremost women novelists. A fascinat- ing study of American women. (Houghton-Mifflin Company.) JN UMBER 87, by Harrington Next. A Actionized guess at the future of radio-activity. An Englishman discovers an elemental force that en- ables him to travel thousands of miles per minute. He uses it for what he considers the good of the world, but makes one serious mistake, destroys all evidence that would lead others to discover his secret, and sails into outer space. A little heavy, perhaps, but very much worth while. (The -Mac mi ll an Company.) THE SCARLET TANAGER, by J. Aubrey Tyson. We meet the hero on page one at five o'clock in the afternoon and he does not go to bed that night until he reaches page 200. Then the telephone bell rings and he's up and at 'cm again, and before he goes to bed this time he has solved the mystery and won the girl. A tremendous amount of action packed into many pages and very little time, making one of the best secret-service stories that ever came across our desk. The producer who secures the screen rights to it should be able to evolve a play that would appeal strongly to those who like to sec action on the silver sheet. It has all the elements to make it a corking good melodrama. »jEA WRACK, by Verve Hutchinson, is an absorbing tale of the ele- mental conflicts of the sea and man, which is skillfully developed with slow but forceful intensity. The characters are unusually well drawn. A well-told tale. (The Century Company.) MARTIN PIPPIN THE APPLE ORCHARD, by Eleanor Farjeoa. A delightful imaginative bit of work which will be enjoyed as a relief from the keenly penetrating novels of the realistic school. Light and pleasing. (Fred A. Stokes.) V^APTAIN BLOOD, by Rafael Sabatini, is a ripping good story of the old, glamorous days of Spain. Full of romance and color. Will hold from cover to cover. (Houghton-Mifflin Company.) WHAT BECAME OF MR. DESMOND, by C. Nina Boyle. A clever mystery story that is' gripping until the solving begins. (Thos Seltzer.) 78
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Hair Color A clear, ctfatip harmless liquid brushed through the hair quickly restores the original color and natural lie illy to to the hair ind _ of women for 34 in li> mmtl |nli i tl in Gervaiie Graham. SAMPLE COUPON 41 W. Illinois St, Chicago: fvw of CMnr^Cv • hmbbIc of HairColorinaplain wrapper. Nm DONT ENVY Beautiful Ankles Have Them You need no longer envy beauty of ankle line. IIOSNE KOKMB makes BEAUTIFTTL. ANKLES. Worn at night lidNNK FORME gives defi- nite rest and comfort to tired and aching reel and ankles. BONNE FORME SHAPES YOUR ANKLES TO THE CORRECT LINES. Write for our free illustrated booklet and learn what famous stars like Marion Davics and Doris Kenyon who have used BONNE PORME say. Better yet. just slip $5.00 in an envelope and we will send BONNE FORME postpaid by return mail. Order by mail. L. R. TAYLOR CORPORATION Dept. S-5 18 W. 34th St. , New York City LEARN Movie Acting! A fascinating profession that pays big. Would you bTce to know if you are adepted to this work? Send 10c for our Twelve- 1 1 our Talent Tester or Key to Movie Actios; Aptitude, and find whether or not you are suited to take up Movie Acting. A novel, instructive and valuable work. Send dime or stamps today. A large, interesting, illus- trated Booklet on Movie Acting included FREE! FILH INFORMATION BUREAU, Sta. 5, Jackson, Mich. Superfluous HAIR all GON Forever removed by Ihe Mahler Method which kills the hair root without pain or in- juries to the skin in the pri- vacy of your own home. We teach Beauty Culture. Send today s stamps for Free Booklet. I x una ev mi mm r*. tmmmm, 1 1 -BE fciANfW CACl'CRED Underwoods, Monarchs. Keonogtons, I. C. Smiths, Olivers. Royals, Coronas AT DEDUCED PRICES Friees its low so , Writ' for oar rntalotr No. ! p* -7am TYPEWRITER CO. ©•at ■! ** W. w»wl»'-*t«M« BvOj $15** WHY DONT YOU Write the Words for a Song? You can do it. Write about Love, Mother, Home, Comic or any subject and send poem to me at once. I will compose the Music FRANK RADNER 6048 Prairie Ave., Dept. 648, Chicago. MOVIES in MALAYA (Continued from page 34) only in this particular point in cen- sorship, bat the entire system is the protection of the idea which the British consider the keystone of their empire in the East — the su- periority and prestige of the white man. "I IN Asia the white man must be looked up to like a god," an Euro- pean banker traveling home from Shanghai once told me. "Other- wise it will be spoiled for us. China is already spoiled by — excuse me, your countrymen — the Americans. Why / have seen Americans who would even sit down to the same table with Chinese!" It is this principle, this effort to stop the Rising Tide of Color, which I believe is in the near back- ground of the censor's mind as he watches the pre-vicw — uncon- sciously, perhaps, but there hand in hand with the idea of checking crime. Why was Broken Blossoms for- bidden to be shown in Singapore and Hong Kong, and why did a young tempest break loose among the whites after it was shown in India? Was it because the native might go home and beat his wife, or strike the first white woman who was gruff to him? Or was it because -the film portrayed a su- perior Oriental in contrast with a low strata of Occidental life — white trash — people who, although they were white were capable of being as wicked as the white Tuans and Sahibs tell the Oriental he mustn't be? 1 HE answer to this question will also serve as an answer to the Singapore's censors' practice of de- leting all scenes of strikes, revolu- tions and other protests against es- tablished authority and the existing social order. 1 32 to-46 inch hir. . _ [ (« 20 yearn. tH-v"**" ami i-> -i.it.''' an ' brmrmhrr ttraii. I collar FREE if you order right away! Pay «n arrival. Your money back if you aren't delighted! J [ INTERNATIONAL MAIL ORDER CO. Dept. 146 CHICAGO PROTECT TOUR HOME. Every LAW ABIDING Ctuntn should be armed and prepared to aai the burglar, thief and AoU-«pauB I I! ! You will be fully protected with this brand new 'JS-Ca!. rvg- illation Bine Steel -Spanish Bronco." Supe- rior to may 25-eaL gun made, rrgardlcM of name, make or price. Fires 7 \boL\ in 3 scvoaaa: accurate and powerful; guaranteed ■at to jam or min Arc: double aaftty lock prevents accident*; tat model, extra li^ht weight; perfect crip: get one now! Ho. 1 1 1 at this bargain priea 9ZAH 32 Cal. 10-SHOT MILITARY MODEL AUTOMATIC FOR ONLY $10-25 A HAN'S GIN. Built for hard service: just like they used "Over There." With EXTRA MAGAZINE FREE. Safety lock prevents accidents. 32-CaJ. No. Ml. while they last OaOJSS Taear ftttn.i ttrt ascd by msaa Patier OSearv and G0 r/ rntaeni Empiogce* an neewwf nf taetr elanrntorfencasasmay. QUANTITY LIMITED— GOING FAST Order direct from this adrt, to insure prompt delivery. AH charges prepaid when accompanied by Check. Mowy Order or Bank Draft, or, if you prefer. SEND NO MONEY Pay postman on rrrtraL Our price pros postage. Examine mervhamtiie carefully and if not as represented just return same and se\ your MONET BACK. BANK REFERENCES. • Free lahatrated Catalogue sf FWld < ■ad Bast Gaas at Bargain ~ EDWARDS IMPORT TRADING CORP. 258 fisafea Wcw York 79
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* mou-vwooo c«uro<UitA What Is the TITLE of This PICTURE? $200 for CHRISTMAS PRESENTS! Here is your chance to earn your Christmas-gift money. Non-subscrib- ing contestants for the title contest may win: First Prize $10 Second " S Third " 2 Fourth " 1 If you send in with your answer one dollar for a six-month trial subscrip- tion to SCREENLAND, you may win: First Prize $100 Second " 50 Third " 25 Fourth " 10 SET YOUR BRAIN A- WORKING! You have a good line! What docs this picture, posed by Shannon Day, suggest to you? Write out your suggestions for a clever title to this picture — as many as you choose, on separate sheets of paper — and mail them in to the contest editor. Be sure your name and address arc on each sheet. En- velopes should contain nothing but your address and your titles, unless you wish to compete for the GRAND PRIZES, headed by a first prize of $100. To be eligible for these big, worth-while prizes, enclose a one-dollar bill or money-order or your personal check with your title suggestions.. The titles to the picture shown above may be original, or may be quoted from some well-known author. It should not contain more than 20 words. "Brevity is the soul of wit." Make your titles short and snappy. The contest will appear in four more issues of SCREENLAND and will close on May 1, 1923. The winning titles will be selected by members of SCREENLAND'S staff and their decision will be final. The winners will be announced as soon as possible after the closing of the contest and checks will be mailed to the winners simultaneously with the announcement of the award. If duplicates arc received for any winning answer, both contestants will receive full prizes. Members of SCREENLAND'S staff arc not eligible for this contest. SCREENLAND TITLE CONTEST EDITOR, • Hollywood, California. This subscription, for the next six issues of ' SCREENLAND. for which I enclose one dollar, en- I titles me to compete for the grand prize offer in SCREENLAND. The titles I submit for the photo- I graph of Shannon Day are enclosed herewith. Name | Address I City State I Every contestant who sends in a subscription to this contest will receive an autographed pho- tograph of the lovely model for the title picture. Miss Shannon Day, as reproduced above. At- tach your dollar to your title and send it in TODAY, with the attached coupon. STUDIOS and ADDRESSES Astra Studios Glendale, Calif. Balboa Studio East Long Beach, Calif. Belasco Studios, 833 Market St., San Francisco Chester Bennet Prod Brunton Studio, Hollywood Blue Ribbon Comedies 1438 Gower St., Hollywood Brunton Studio, 5300 Melrose Ave., Hollywood Bcrwilla Studios 5821 Santa Monica Blvd., Hollywood Century Film Corp 6100 Sunset Blvd., Hollywood C L. Chester Productions 1438 Gower St., Hollywood Christie Comedies • 6101 Sunset Blvd., Hollywood Irving Cummings Prod.... 1729 Highland Ave. Doublcdav Prod ....Sunset and Bronson Ave., Hollywood Earlc Ferdinand Prod Hollywood Studios, Hollywood Wm. Fox West Coast Studio 1417 N. Western Ave., Hollywood Fine Arts Studios 4500 Sunset Blvd.. Hollywood J. L. Frothingbam Prod Brunton Studio Garson Studios. .1845 Glendale Blvd., Glendale Goldwyn Studio Culver City Great Western Producing Co 6100 Sunset Blvd.. Hollywood Thos H. Ince Prod Culver City Laslcy Studios 1520 Vine St. Lois B. Mayer Studios 3800 Mission Road, Los Angeles Metro Studio . . Romaine and Cahuenga Ave., Hollywood Morosco Productions 3800 Mission Road Bud Osborne Productions 651* Romaine St. Pacific Studios Corp San Mateo. Calif. Pacific Film Co Culver City Mary Pickford Co Brunton Studios, Hollywood R-D Film Corp Balboa Studios, Long Beach Rcalart Studio, 201 N. Occidental. Los Angeles Robertson-Cole Prod Melrose and Gower, Hollywood Will Rowrs Prod '. Hollywood Studios, 6642 S. M. Blvd. Russel-Griever-Russell 6070 Sunset Blvd. Hal E. Roach Studio Culver City Morric R. Schlank Prod 6050 Sunset Cbas. R. Seeling Prod 1240 S. Olive, Los Angeles Selig-Rork 3800 Mission Road, Los Angeles Universal Studio Universal City, Calif. King Vidor Prod Ince Studios, Culver City Vftagraph Studio, 1708 Talmadge, Los Angeles Cyrus J. Williams Co 5544 Hollywood Blvd., Hollywood Cyrus J. Williams Co 481 1 Fountain Ave., Hollywood Wilnat Films, Inc 1329 Gordon St., Los Angeles Ben Wilson Productions Berwilla Studios EASTERN STUDIOS Biograr.h Studios. . .807 E. 175th St.. N. Black! on Studios Brooklyn, Estee Studios 124 W. 125th St., N. Fox Studios West SSth St., N. D. W. Griffith Studios Mamaroncck, International Film ..... 2478 2d Ave., N. Harry Levy Prod.. 230 W. 38th St., N. Lincoln Studio Grantwood, Mirror Studios, Glendale, Long Island, Pathe 1900 Park Ave., N. Sclznick Studios Fort Lee, Talmadge Studios. 318 East 48th St.. N. Vitagraph Studios.. E. 15th St. Brooklyn, Y. C. N. Y. Y. C Y. C. N. Y. Y. C. Y. C N. J. N. Y. Y. C. N. J. Y. C. N. Y. 80
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Rate 10 cent* a word CLASSIFIED ADVERTISING Last forms January Issue close October 30 ASTROLOGY ASTROLOGY— Stars tell Life's story. Send birthdate and dime for trial reading. Eddy. Westport St.. 33-79A, Kansas City. Missouri. HELP WANTED ALL MEN. women, boys, girls, over 17 willing to accept Government positions. $135. (traveling or stationary) "write, Mr. Ozment, 169, St. Louis. Mo. BE A DETECTIVE. Excellent opportunity, good pay, travel. Write C. T. Ludwig, 650 Wcstover Bids., Kansas City, Mo. MEN WANTED to make Secret Investiga- tions and reports. Experience unnecessary- Write J. Ganor, Former Gov't Detective, 145, St. Louis, Mo. EXCHANGE Jolly letters with new friends. Lots fun! Enclose stamp. Eva Moore, Box 908, Jacksonville. Florida. YOUR FUTURE FORETOLD: Send dime, birthdate for truthful, reliable, convincing trial reading. Hasel Hause, Box 215, Los Angeles, Calif. EXCHANGE cheery letters with new friends everywhere. Pleasant pastime. Par- ticulars free. SMITH, P. Box 3125, Port- land, Ore. .. YOUR FUTURE FORETOLD: Send dime, birthdate and stamp for truthful, reliable, convincing trial reading. PROF. ERWING, Box 1120, Station. C. Los Angeles, Cal. WIDOW, and Maiden worth over $80,000. want kind, helping husbands. Write quick for pictures and descriptions. Box 223, Los Angeles, Cal. SONG WRITERS! A proper start may mean your success. I have an exceptional proposition. Write to-day for particulars. Howard Simon, 22 West Adams Ave., De- troit, Mich. WRITE the words for a song. We com- pose music. Submit your poems to us at once. New York Melody Corp., 433 Fitz- gerald Bids.. New York. SONG WRITERS — If you have song poems or melodies write me immediately. I have absolutely the best proposition to offer you. Ray Hibbler. D167, 40-10 Dickens Ave.. Chicago. STAMPING NAMES MAKE $19 per 100. stamping names on key checks. Send 25c for sample and instruc- tions. X Keytag Co., Cohoes. N. Y. HOW TO ENTERTAIN PLAYS, musical comedies and revues, min- strel music, blackface skits, vaudeville acts, monologs. dialogs, recitations, entertain- ments, musical readings, stage handbooks, make-up goods. Big catalog free. T. S. Denison & Co.. 623 S. Wabash, Dept. 82, Chicago. MAGAZINES BOUND volumes of SCREENLAND now ready. Price $5.00 per volume. Each volume Includes every copy published from Septem- ber, 1920. to July. 1922. Address Subscription Department, SCREENLAND, Hollywood, Calif. WILL you exchange letters and make new friends? You'll have lots of fun! Betty Lee, 4254 Broadway, New York City. Stamp ap- preciated. .. PHOTOPLAYS PHOTOPLAYS WANTED FOR CALIFOR- NIA PRODUCERS; also Stories for publica- tion. (Manuscripts sold on commission.) Submit manuscripts, or if a beginner, write for Free Plot Chart and Details. Harvard Company, 314 San Francisco. FREE to writers — a wonderful little book of money-making hints, suggestions, ideas; the A B C of successful Story and Photoplay writing. Absolutely Free. Just address Au- thors' Press, Dept. 156, Auburn, N. Y. WRITERS WILL you exchange letters and make new f rends? You'll have lots of fun! Betty Lee, 4264 Broadway, New York City. Stamp ap- preciated. TYPING. Stories, etc.. marketed. Charles B. McCrary, 140 .National Road, Klmgrove. W. Va. BIG MONEY in writing photoplays, stories; poems, songs. Send today for FREE copy WRITER'S BULLETIN, full of helpful ad- vice, how to write, where to ' sell. ED- WARD'S. PUBLISHER, 638 Butler Building. Cincinnati, O. TO READERS of these classified columns, SCREENLAND offers a special trial sub- scription offer of seven months for $1.00. This offer to new subscribers only. Send stamps or money order to Dept. C, Screen- land, 5540 Hollywood Blvd.. Hollywood. Calif. PATENTS PHOTOPLAYS. Scenarios in demand for producers. Send manuscripts immediately. (Sold on commission.) Beginners write for instructions. Hollywood Co., Station C 1333, Los Angeles. PICTURES FREE to writers — a wonderful little book of money-making hints, suggestions, ideas; the A B C of successful Story and Photoplay writing. Absolutely Free. Just address Au- tors* Press, Dept. 156, Auburn, N. Y. MISCELLANEOUS PATENTS — Send for free book. Contains valuable information for inventors. Send sketch of your invention for FREE OPIN- ION of its patentable nature. Prompt service. (Twenty years experience.) Talbert & Tal- bert, 461 Talbert Bldg.. Washington, D. C. PERFUMES KEEP YOUR ROOM sweet and fragrant "Flowers of Paradise" gives wonderful en- joyment $1 box postpaid. Sample 10c. BEIA Co.. 461 Chamber Commerce Bldg., Los Angeles, Cal. PERSONAL WHY NOT have Health. Happiness. Suc- cess? Send 25c for the THOUGHT- WAY. Fifth Edition. Agents wanted. The Thought- Way Builders, Dept B543, New London, Conn. PICTURES. Zee Beautiful Girl Pictures. 10 wonderful poses, $1.00. 18 specials. $2.00. Real "Taken from Life" photographs. Your money refunded if dissatisfied. Bairart Co., 1003 St. Louis, Missouri. PORTRAIT agents and others. Get big profits. Sell Perry Photo Medallions. You charge $2.98; make 400% profit; $10 daily easy. Big, exclusive line. 4-day service. Perry Photo Novelty Corporation, Section 35, ■3C0 Bowery, New York. SONGWRITERS SONGWRITERS! Learn of the public's de- mand for songs suitable for . dancing and the opportunities greatly changed conditions offer new writers, obtainable only in our "Songwriters Manual & Guide" sent free. Submit your ideas for songs at once for free criticism and advice.. We revise poems, com- pose music, secure copyright and facilitate free publication or outright sale of Songs. Knickerbocker Studios, 330 Gaiety Building, New York. ACROBATIC, Clowning, Contortion — Easy method illustrated instructions. Advanced ground Acrobatics. Complete course includ- ing apparatus drawings. $2.00. "Jingle" Hammond, Adrian, Mich. WOMEN — Are you interested In your health. Circular free. National Specialties, 32 S. Union Sq., N. Y. C- MEN. learn the new method of shaving, saves time, no brush or soap. Results guar- anteed. 50 cents. J. Gaub, Pittsburg. Aspin- wall. Pa. CORRESPONDENCE Courses, all schools, sent on approval. We save you half cost or more. Authorised distributors for 30 courses. We buv used courses for cash. Free Cata- logue. Economy Educator Service. 1664 n. Broadway. New York. 250 LETTER HEADS or Envelopes $1.60. other Printing, samples, stamps. H. Roney. Paris. Mo. 81
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Actual photo of one of our rebuilt Underwood Typewriters \/jr \ V I And It's YOURS! STANDARD UNDERWOOD Rebuilt like new. Every typewrit- er Is factory rebuilt by typewriter experts. New enamel — new nick- eling— new lettering — new platen — new key rings — new parts wher- ever needed — making it impossi- ble for you to tell It from a brand new Underwood. An up-to-date machine with two-color - ribbon, back spacer, stencil device, auto- matic ribbon reverse, tabulator, etc In addition, wo furnish FREE waterproof cover and a special Touch Typewriter Instruction .Book. Tou can learn to operate the Underwood in one day. From Factory to You Yes, only $3 brings you this gen- uine Rebuilt Standard Visible Underwood direct from our fac- tory, and then only small month- ly payments while you arc using it make it yours; or, if con- venient, pay cash. Hither way, there is a big, very much worth- while saving, too. Genuine, new Underwood parts wherever the wear comes — genuine standard. four-row single-shift keyboard — thoroughly tested — guaranteed for five years. $3 Puts It in Your Home You don't even have to scrimp and save to pay cash. Instead, you pay only a little each month in amounts so conveniently small that you will hardly notice them, while all the time you arc pay- ing you will be enjoying the use of and the profits from the machine. 10 Days' Free Trial Remember, you don't even have to buy the machine until you get it and have used it on 10 days' free trial >o that you can sec for yourself how new it is and how well it writes. You must be satis- fied or else the entire transaction will not cost you a single penny. Act NOW! Mail TODAY! 'All shipments made direct to you from our big modem factory (shown above) — the larg- est typewriter rebuilding plant in the world Now is the time when every dollar saved counts. Let us save you many dollars. Don't delay. Get this wonderful easy payment bar- gain offer now, so you can send for and be sure of getting your Underwood at a big saving — on our easy terms or for cash. Shipman-Ward Mfg. Co. TYPEWRITER EMPORIUM 2049 Shipman Building, Chicago, 111. Montrose and Ravenswood Ave*. FREE TRIAL COUPON I SHIPMAN-WARD MFG. CO., Chicago, III. 3019 Shipmhn Bide., Mont row and Wuwrmmram* Ave*. I Send by return mall Bargain Oder No. 2049 of a Standard Visible Writing Underwood. This is not | an order and does not obligate me to buy. * Name ,*.,..••..... ... I Street or R. F. D. Ho. . Post I Oifce Slate 82
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A Veil Nourished Skin neucr Lines and wrinkles, sagging mus- cles, oily and dry skin, sallow- ness, coarse texture, pimples, blackheads, enlarged pores . . all are due to "SKIN MALNUTRITION" Read what "Skin Mal- nutrition" is, and how MINERALAVA is the great corrective for it. t ♦ ♦ HECTOR FULLER All skin ills of the human face and neck are clue to lack of vi- tality, insufficient blood circu- lation and lack of proper nourishment. To surgeons and skin special- ists this condition is known as skin malnutrition, and it is this condition for which Minerala va is the only specific. It is the sole remedy which corrects these conditions and prevents their recurrence. It not only corrects the blemishes you can see; it works con- stantly and invisibly on the un- der skin, nourishing it to a ripe and lovely texture so that it is ready, as the old skin flakes away, to take its place — new- born and beautiful. Sir Erasmus Wilson, M. D., F.R. S., famous skin specialist, tells us how the human skin is made up of two layers — the outer the Epidermis, the inner the Dermis. Day by day the outer skin imperceptibly flakes away, but all the time the un- der or baby skin grows on, ready to take its place. Keep the under skin well nourished and in robust health and it will have the vitality to throw off. through the pores) the poisons and impurities which disfigure it and destroy its health. If you have skin mahiutri- t inn there is one perfect remedy, Mineralava' / Millie "Burke 4 youthful appearance has really little to do with age. The impression of youth in a woman's fa. f is merely the health and fresh- ness and vitality of her shin. Heal beauty can not be had by covering blemishes and imper- fections with cosmetic*. It can only be had in a natural way, by building up the perfect skin from beneath. Afy greatest aid in acco m- plishingthis has been Miner ala?ay the con- stant and faithful use of which has kept my shin in a state of radiant health, so that today , my contour is as firm and my face as color- ful and fresh as when I was a young girl." use of the women of the world who desire Beauty. It is applied to the face with a soft brush. It drys within a few minutes into a dainty, fra- grant mask. You can feel the nied ica 1 i ngred ien t s gent ly pen- el rating the pores, withdrawing all foreign matter; leaving the skin pure and clean. The m ild, throbbing sensation underneath the mask will as- sure you, by actual demonstra- tion, how the newly stimulated blood is tingling through the tiny veins and tissues, bringing new Beauty through new vital- ity and new birth. Wash off the mask in clear cold water and apply Mineral- ava Face Finish, a delightful skin tonic and a perfect base for powder. M ineralava comes in a bottle with a soft brush for applying, at $2.00. Each bottle contains eighteen treatments, or a trifle more than 10 cents a treatment. The Minera- la va Face Finish is $1 .50. r> What is Mineralava? As its name implies, Mineral- Lava is Nature's own remedy for skin blemishes, blackheads, pimples, oily and dry skin, sagging muscles, crows' feet, lines of fatigue and wrinkles. Discovered years ago by Mrs. M. G. Scott, the famous Beauty Specialist, it was tested and tried by the chemists of Europe and America who added to the natural up-build- ing qualities certain minerals of effective medicinal power. As thousands of satisfied users of Mineralava testify, voluntarily, it has become to- day the per ect product for the MANUFACTURERS' NOTE We have letters from thousands of women from homes in every part of the United States and from the famous beauties of the stage and screen testi- fying of tlieir own accord that Mineralava has smoothed.'] way wrinkles, has caused blackheads and pimples to disap- pear; has eradicated crows' feet; cured oily and dry skin; closed enlarged pores and made the rough skin smooth; vitalized sagging face muscles and has proven the greatest aid to Beauty they have ever known. You can get a trial tube of Mineralava for 50 cents. It is merely an introductory size that will enable you to prove to your own satisfaction the wonderful merits of Minerala va. You will then, we are sure, want the *2 bottle, and if after the full eighteen treatments you do not find that it has done all and more than we claim for it, your dealer has our authority to pay back your monev. Seott'sPrep- arations. Inc., 251 W.19th St.,N.Y . Introducing the MINERALAVA Trial Tube The Mineralava Trial Tube is merely an intro- ductory size that will en- able you to prove to your own satisfaction the wonderful merits of Mineralava. Use the treatments as directed and you will, like millions of others, buy the regular size bot- tle with brush for apply- ing. The regular size bottle of Mineralava- — $2.00 — contains eighteen ftdl treatments, slightly more than 10 cents a treatment. After usingMineralava it is pleasant and benefi- cial to apply Mineralava Face Finish, a perfect skin food and tonic and an ideal base for powder. Its price is $1.50 a bottle. Go to your Druggist or De- partment store. Ask for Min- eralava in the Trial Tube. If your Drug or Department Store does not have it, fill out the coupon below and we will at once forward to you your trial tube of Mineralavaand see that your dealer is sup- plied to fill your future require- ments. PARIS V1VAUDOU NtWYORK (Distributor- MAIL THIS COUPON TODAY b (f. t, .- T L.L.-11-22 Scott s rreparations, Inc. 1251 West 19th Street, New York City. Enclosed find KOc for winch send me a Minerala v a Trial Tube. Name Street Town State . .... My Dealer's Nome is
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9IJeu)el Turlington. Adjusted to the Second Adjusted to Temperature Adjusted to Isochronism Adjusted to Positions 21 Ruby and Sapphire Jewels 25 Year Gold Strata Case Your choice of Dials {Including Montgomery R. R. Dial) New Ideas in Thin Cases rDoWn Only One Dollar Down, will buy this masterpiece of watch manufacture. The balance you are allowed to pay in small, easy monthly payments. A 2 1-Jewel Watch — is sold to you at a price much lower than that of other high-grade watches. Besides, you have the selec- tion of the finest thin model designs and latest styles in watch cases. Write for FREE Watch Book and our SPECIAL OFFER today. The 'Burlington "Tetite" This exquisite little 17-jewel ladies' wrist watch, A perfect timepiece. Beautiful, 14K Solid Green Gold case. Illustration is exact size of Burlington "Petite". Send for this wonderful little bracelet watch. See how beautiful the dainty green gold case looks on your own wrist. Write While this Special Offer Lasts Get the Burlington Watch Book — write today. Find out about this great special offer which is being made for only limited time. You will know a great deal more about watch buying when you read this book. You will be able to "steer clear" of the over- priced watches which are no better. Write for Watch Book and our special offer TODAY ! •iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiifiiiiiiiiiitiitiitiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiini Burlington Watch Company 19th St. & Marshall Blvd., Dept. 1319 Chicago Canadian Address 62 Albert St., Winn.,..,,, Manitoba Please send me (without obligations and prepaid) your free book on watches with full explanation of your $1.00 down offer on the Burlington Watch. Name.. Address ,