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yor probably like that, too! Just have to have good-looking lingerie.
But the next time you don it—and cast a proud glance into the mirror— give your smile, your gums, your teeth—the once-over!
Is anybody ever going to say about you: ““H’m. Pretty girl. When she keeps her mouth shut.”
It’s like this: you aren’t attractive unless your teeth are brilliant and white. And good-looking teeth are
m WHAT A
\ nN
howe s 9?
4 Hi00
Modern Screen
2 O L SHE IS!
F
absolutely dependent on the health and firmness of your gums.
Your gums aren't firm and healthy.
The soft foods of the present day and age don’t stimulate your gums— give them enough work to do. And instead of staying firm and healthy, your gums gradually become flabby and weak-walled. They tend to bleed. You have “‘pink tooth brush’’.
And ‘‘pink tooth brush”’ is more serious than it sounds. It can dull the teeth—make them look “‘foggy.”’ And it often leads to gum troubles as
> [ls
serious as gingivitis and Vincent’s disease and even the dread but far rarer pyorrhea. It may even endanger the soundness of your teeth.
Clean your teeth with Ipana Tooth Paste. It keeps them brilliantly white and thoroughly clean. Then—each time—rub a little extra Ipana right into those weak, tender gums of yours. The ziratol in Ipana, with the mas- sage, firms the gums, and keeps them firm. ‘‘Pink tooth brush’’ disappears —and you need never be afraid to smile!
BRISTOL-MYERS CO., Dept. K-72 73 West Street, New York, N. Y.
Kindly send me a trial tube of IPANA TOOTH PASTE. Enclosed is a two-cent stamp to cover partly the cost of packing and mailing.
COPR. 1932, BRISTOL-MYERS Co,
Good Tooth Paste, Like a Good Dentist, Is Never a Luxury
3
©cip 155839 ny)
‘MODERN SCREEN‘!
Entered as second
4
FEATURES
Hollywood’s Cruelest Story Jack Jamison
‘An amazing revelation of the enemies success has brought to Marie Dressler
Is Your Personality Awake? Adele Whitely Fletcher
Learn to develop yourself to the full—with Hollywood as a guide James Dunn Speaks His Mind About Love lina Wilcox Putnam
Acharmingly frank admission—witha surprise
What the Author Thinks of ‘‘Grand Hotel’’ Vicki Baum
Who gave the best performance in “Grand Hotel’? Do you agree with Miss Baum?
The True Story of Ricardo Cortez Walter Ramsey
His life has been anything but easy What Is This Thing Called Life? Gladys Hall Hagar Wilde
Loneliness has taught Estelle Taylor many things Little Brat (Fiction) (Illustrated by Carl Mueller)
J. H. Holmes Faith Baldwin
You’ ll adore little Johnny—the child actor who had no mother
They All Stop Off At Albuquerque
A new slant on the Hollywood personalities
If You Met Gary Cooper
A brilliant picture of the he-man star
The Low-Down on Richard
Young Cromwell decides to give an absolutely truthful interview
Connie Through Joan’s Eyes... Hale Horton
Intimate facts about Connie Bennett—from her intimate friend, Joan Crawford
The Man Who Can Weep Evelyn Gerstein
An Edward G. Robinson you didn’t know about
Sally Eilers’ Wardrobe
Spring and summer fashion hints—from Sally’s own clothes
‘False Friends’’—But True! Charles Grayson One of Hollywood’s most unusual and interesting clubs
What of the Second Generation? Helen Louise Walker How the movie parents feel about their children following in their footsteps Oh, To Have Been There—(Illustrated by Jack Welch) Harriet Parsons
An amusing novelty feature
A New Tallulah—From Her Letters
Fascinating missives which depict the real Tallulah Bankhead
Jack Jamison
Virginia T. Lane
Charles Grayson
DEPARTMENTS
Modern Screen Directory: Players Pictures
All you want to know about current pictures and the people who play in them
Beauty Advice Mary Biddle
Advice for the ’teens, twenties, thirties, and middle age
Modern Hostess
How to cook for two
Hollywood Times
Modern Screen’s last minute news page
What Every Fan Should Know 15,
News and notes of the Hollywood Whirl
All Joking Aside
More of those amazing facts about the players
Modern Screen Reviews
The current pictures told about in detail
Between You and Me
Where the readers become writers
And also: Tarzan and his: Wife, 34; Modern Screen’s Intimate Album, 51; In New
York, 63; Gallery of Honor, 77; Scoops of the Month, 82
Ernest V. Heyn, Editor
K. Rowell Batten, Associate Editor Walter Ramsey, Western Representative
d 1932 by Syndicate Publishing Company, Incorporated. Office of publication at Washington and South Avenu Executive and editorial offices, 100 Fifth Avenue, New York, N.Y. H. Meyer, President; M. Delacorte, Secretary and Treasurer.
Vol. 4,
Nr
1D oO.
Ma fl , 2 Tuly,
ae pxecld’in the U. §. A. _Price in the United States, $1.20 a year, 10c a copy. Canadian subscription, $1.70 a year. Foreign subscriptions, $2.20 a year.
class matter September 18, 1930, at the Post Office at Dunellen, New Jersey, under act of March 3, 1879. The publisher accepts no responsi-
Modern Screen
by ALBERr DORWE
BUT MY DEAR,
SHE THOUGHT: E JIM WAS MADLY IN LOVE WHEN WE \ AUNT MARY, WHAT A WOOUE ets) INO, COME, TELL YOUR OLD
MARRIED. WHY IS HE SO COLD AND \ NICE SURPRISE! HOW DISTANT NOW? ITS NEARLY WELL YOU LOOK CNR eel THE BREAKING MY HEART \ UBLE IS
10 MINUTES LATER ONE MONTH LATER
“B.0.2 IM SO MORTIFIED, AUNT MARY. IM AFRAID AMAN LIKES TO THINK | HAVE BECOME OF A/S WIFE AS ALWAYS DAINTY CARELESS
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ROMANCE REGAINED
SWEETHEART, YOU'RE EXQUISITE TONIGHT, I'VE FALLEN IN LOVE WITH YOU ALL OVER AGAIN FLATTERER, | / 1 DONT BELIEVE i You— ay KEEP ON SAYING IT!
Romance fades when 2B Oh co odor) offends
are BE less dainty, less exquisite, less careful after marriage than before—is courting disaster! Never take chances with ““B.O.”’ (body odor)—especially now, when hot weather makes us perspire more freely. Bathe regularly with Lifebuoy. Its creamy, abundant, pene- trating lather purifies pores— frees them of odor. Guards health, too, by removing germs from hands. Its pleasant, extra-clean scent vanishes as you rinse.
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A PRODUCT OF LEVER BROTHERS CO
HE MODERN SCREEN DIRECTORY (Players)
MARRIED; IF SO, TO WHOM; BIRTHPLACE AND DATE;
WHERE TO WRITE THEM,
STUDIO; CURRENT AND
FUTURE ROLES-BROUGHT UP TO DATE EACH MONTH
COMPLETE STUDIO ADDRESSES
Columbia Studios, 1438 Gower Street, Hollywood, California.
Educational Studios, Santa Monica Boulevard, Hollywood, California.
First National Studios, Burbank, California.
Fox Studios, Movietone City, Westwood, California.
Samuel Goldwyn Studio, 7210 Santa Monica Boulevard, Hollywood, California.
Metro-Goldwyn-Mayer Studios, Culver City, California.
Paramount-Publix Studios, Hollywood, California.
RKO-Pathé Studios, 780 Gower Street, Hollywood, California. RKO-Radio Studios, 780 Gower Street, Hollywood, California. Hal Roach Studios, Culver City, California.
Mack Sennett Studios, Studio City, North Hollywood, California. Warner Brothers Studio, Burbank, California.
United Artists Studios, 1041
California.
No.
Formosa Avenue, Hollywood,
Universal Studios, Universal City, California.
ALBERTSON, FRANK; married to Virginia Shelly, born_in Fergus Falls, Minn., February 2. Write him at Fox studio. Free lance; Featured roles in ‘Way Back Home,” RKO-Radio; “Speed Crazy, Universal; and “‘Huddle,’’ M-G-M.
ALBRIGHT, HARDIE; unmarried, born in Charleroi, Penn., December 16. First National contract player. Featured roles in “So Big, “A Successful Calamity” and “The Jewel Robbery. For First
National.
ALEXANDER, BEN; unmarried, born in Los Angeles, Calif., May 26. ‘Write him at Universal studio. Free lance. Featured roles in “Suicide Fleet,” RKO-Pathe; “High Pressure,’ First National. Working in “Brown of Culver,’ Universal.
AMES, ADRIENNE; married to Stephen Ames; born in Fort Worth, Texas, August 3. Paramount contract player. Featured roles in “Two Kinds of Women,” “Sinners in the Sun” and ‘'Come On Marines.” For Paramount.
ARLEN, RICHARD; married to Jobyna Ralston; born in St. Paul, Minn., September 1. Paramount contract star. Featured roles in “Wayward” and “'Sky_Bride.”” Working in “Come On Marines. For Paramount.
ARLISS, GEORGE; married to Florence Montgomery; born in London, Eng., April 10.. Warner Bros, contract star. Starred in ‘Alexander Hamilton,” “Man Who Played God” and “A Successful Calamity. For Warner Bros.
ARMSTRONG, ROBERT; divorced from Jeanne Kent; born in Saginaw, Mich., November 20. RKO-Pathe contract player. Featured roles in “Panama Flo” and “The Tip Off, fe RKO-Pathe; “Lost Squadron,” RKO-Radio; “Radio Patrol,’ Universal. Working in “Is My Face Red?”, RKO-Radio.
ASTHER, NILES; married to Vivian Duncan; born in Stockholm, Sweden, January 17. M-G-M contract player. Featured roles in “But the Flesh Is Weak” and “Letty Lynton,” M-G-M.
ASTOR, MARY; married to Dr. Franklyn Thorpe; born in Quincy, II1., May 3. Write her at RKO-Radio studio. Free lance. Featur d roles in “Lost Squadron,” RKO-Radio; ‘A Successful Calamity Warner Bros. Temporarily retired awaiting birth of child.
ATES, ROSCOE; married to Ethel Rogers; born in Hattiesburg, Miss., January 20. RKO-Radio contract player. Featured roles in “Freaks,” M-G-M;_ “Young. Bride,’ RKO-Pathe; “Roadhous Murder,” RKO-Radio. Working in “Hold ‘Em Jail,” RKO-Radio.
AYRES, LEW; married to Lola Lane; born in Minneapolis, Minn., December 28. Universal contract star. Starred in “Impatient Maiden” and “Night world.” Working in “Laughing Boy.” For Universal.
BAKEWELL, WILLIAM; unmarried; born in Hollywood, Calif., May 2, M-G-M contract player. Featured roles in ‘While Paris Sleeps’ and ‘Cheaters At Play,” Fox. Working in “Back Streets,"’ Universal.
BANCROFT, GEORGE; married to Octavis Boroshe; born in Philadelphia, Pa., September 30. Paramount contract star. Starred in “‘Rich Man's Folly” and ‘World and the Flesh." Working in “The Chal- lenger.”” For Paramount.
BANKHEAD, TALLULAH; unmarried; born in Huntsville, Ala., January 31. Paramount contract star. Starred in ‘The Cheat’ and “Thun- der Below.” Working in “Devil and the Deep.” For Paramount.
BARRYMORE, JOHN; married to Dolores Costello; born in Phila- delphia, Pa., February 15. M-G-M contract star. Co-starred in “Arsene Lupin" and “Grand Hotel,’ M-G-M; starred in “'State’s Attorney,” RKO-Radio.
BARRYMORE, LIONEL; married to Irene Fenwick; born in Phila- delphia, Pa., April 28. ar. Co-starred in “Broken Lullaby” Paramount; “ fF rsene Lupin” and -“Grand
Hotel,” M-G-M. Working in he Claw,"’ M-G-M,
BARTHELMESS, RICHARD; marred to Jessica Sergeant; born in New York City, May 9. First National contract star. Starred in ee the Doctor." Working in ‘Cabin in the Cotton.” For First
ational
BAXTER, WARNER; married to Winifred Bryson; born in Columbus Qhio, March 29. Fox contract, star. Starred in. ‘Surrender’ and “Amateur Daddy." Working in ‘‘Man About Town.’’ For Fox
6
BEERY, WALLACE; married to Rita Gilman; born m Kansas City, Mo., April 1. M-G-M contract star. Starred in ‘'The Champ” and “‘Hell Divers"; starred in “Grand Hotel.’ For M-G-M.
BELLAMY, RALPH; married to Catherine Willard; born in Chicago, Ill, June 17. Fox contract player. Featured roles in “Disorderly Conduct,”’ “Young America’’ and “Woman in Room 13.” Working in miebeces of Sunnybrook Farm.” Next is “‘What Price Glory?”
‘or Fox.
BENNETT, CONSTANCE; married to the Marquis de la Falaise; born in New York City, October 22.. RKO-Pathe contract star. Starred in ‘Lady With a Past,’ RKO-Pathe. Working in “Hollywood Merry-Go-Round,’”’ RKO-Pathe.
BENNETT, JOAN; married to Gene Markey; born in Palisades, N. J., February 27. Fox contract player. Featured roles in *‘She Wanted A_ Millionaire,” ‘‘Careless y”_and “Trial of Vivienne Ware.” Working in ‘Week Ends Only.’”” For Fox.
BENNETT, RICHARD; married; born in Beaconmills, Iowa, May 21. Paramount contract player. Featured roles in ‘‘Arrowsmith,”” United Artists; “‘This Reckless Age,” Paramount.
BICKFORD, CHARLES; married; born in Cambridge, Mass., January 1. Universal contract player. Featured roles in ‘*‘Panama Flo,” RKO-Pathe; “Scandal For Sale,” Universal; ‘Thunder Below,” Paramount.
©
BIRELL, TALA; unmarried; born in Vienna, Septmber 10. Universal contract star. Featured in “The Doomed Battalion.” Next is “Nana.” For Universal.
BLONDELL, JOAN; unmarried; born in New York City, August 30. Warner Bros. contract player. Featured roles in “\Greeks Had A Word For Them," United Artists; ‘Union Depot,” “The Crowd Roars,” ‘‘Famous Ferguson Case’’ and ‘‘Miss,Pinkerton.” in “New York Town.” For Warner Bros.
BOLES, JOHN; married to Marcellite Dobbs; born in Greenville, Texas, October 27. Fox contract star. Featured roles in “Careless Lady,” Fox; ‘Back Streets,’ Universal.
BOND, LILIAN; unmarried; born in London, Eng, January. 18. Write her at Universal studio. Free lance. Featured roles in ‘Trial of Vivienne Ware” and “Man About Town,” Fox. Working in “Old Dark House," Universal.
Working -
BOW, CLARA; married to Rex Bell; born in Brooklyn, N. Y., July 29. Write her at Paramount studio. Free lance. Last picture was Kick In,” Psramount. Vacationing with husband in Nevada.
BOYD, BILL; married to Dorothy Sebastian; born in Cambridge, Ohio,
June 5. Write him at RKO-Pathe studio, Free lance. Starred
a pcuicide Fieet,” ‘The Big Gamble” and ‘Carnival Boat,"” RKO- athe.
BOYD, WILLIAM; divorced; born in New York City, December 18, Paramount contract player. Ieatured_ roles in “‘The Wiser Sex,” Paramount; “State's Attorney,”” RKO-Radio.
BRENDEL, EL; married to Flo Bert; born in Philadelphia, Pa., March 25. Fox contract player. Featured roles in “Delicious” and “Dis- orderly Conduct,” Fox.
BRENT, EVELYN; married to Harry Edwards; born in Tampa, Florida, October 20. Write her at Columbia studio. Free lance. Feature: roles in ‘‘High Pressure,” First National and ‘Attorney of the De- fense,’’ Columbia.
BRENT, GEORGE; divorced; born in Dublin, Ireland, March 15. First National contract player. Featured roles in “The Rich Are Always With Us,” “Miss Pinkerton’ and ‘Week End Marriage.” Working in end Lark." Next is ‘Children of Pleasure.’’ For First Na-
ional, F
BRIAN, MARY; unmarried; born in Corsicana, Texas, February 17. Write her at First National studio. Free lance. Featured roles in “Homicide Squad,” Universal; “It's Tough To Be Famous,” First National. Working in “Blessed Event,’ First National.
BROOK, CLIVE; married to Faith Evelyn; born in London, Eng, June 1 Paramount contract player. Featured roles ‘in “Husband's Holiday.” and “Shanghai Express.” Working in “Bride of the Enemy.” For Paramount.
BROWN, JOE E.; married to Kathryn McGrau; born in Holgate, Ohio, July 28. First National star. Starred in “Fireman, Save My Child” and ‘The Tenderfoot.” Working in ‘You Said A Mouthful. A For First National.
BROWN, JOHN MACK;_married to Cornelia Foster; born in Dothan, Ala., September 1. Write him at Universal studio. Free lance. Featured role in ‘“‘Lasca of the Rio Grande,” Universal; “Fatal Alarm,” Trem Carr. Working in “Vanishing Frontier,” Darmour.
BROWN, TOM; unmarried; born in New York City, January 6. _ Uni- versal contract star, Featured role in “Famous Ferguson Case, First National; “Information Kid," Universal. Working in “Brown of Culver," Universal.
BUTTERWORTH, CHARLES; unmarried; born in South Bend, Ind., July 26. Write him at First National studio. Free lance. Featured role in ‘Beauty and the Boss,’’ First National. Working in “Love Me Tonight,’ Paramount.
BYRON, WALTER; unmarried, born in Leicester, Eng., June 11, Write him at Paramount studio. Free lance. Featured roles in ‘Vanity Fair,” Hoffman; “Sinners in the Sun,” Paramount; ‘‘Society Girl,” Fox. Appearing on the legitimate stage.
CAGNEY, JAMES; married to Frances Vernon; born in New York City, July 17.’ Warner Bros. contract star. Starred in “Taxi,” “The Crowd Roars” and ‘Winner Take All.” For Warner Bros.
CANTOR, EDDIE; married to Ida Tobias; born in New York City, January 31. United Artists contract star. Starred in “Whoopee’ and “Palmy Days.” Working in “Kid From Spain.’”’ For Goldwyn- United Artists.
CARRILLO, LEO; married; born in Los Angeles, Calif., August 6. Write him at Universal studio. Free lance. Featured roles in ‘Guilty Generation,’ Columbia; “Girl From the Rio,” RKO- Radio; “The Broken Wing,” Paramount. Appearing on legitimate
stage.
CARROLL, NANCY; married to Francis Bo!ton Mallory; born in New York ‘City, November 19. Paramount contract star. Starred in “Personal Maid,” “Broken Lullaby’ and ‘‘Wayward,” Paramount.
CAVANAGH, PAUL; unmarried; born_in Chiselhurst, Kent, Eng. December 8. Fox contract player. Featured roles in ‘Heartbreak’ and ‘‘Devil’s Lottery,’’ Fox.
CHAPLIN, CHARLIE; divorced from Lita Gray; born in London, Eng., pril 26. Write him at Charles Chaplin studio, Hollywood. Producer-star. Starred in ‘City Lights.’ Now in Europe.
CHASE, CHARLIE; married to Bebe Eltinge; born in Baltimore, Md,, October 20. oach contract star. Starred in ““What A Bozo,’ “Nickle Nurser.” “Balmy Days” and ‘*Firet in War,” Roach-M-G-M.
CHATTERTON, RUTH; married to Ralph Forbes; born in New York City, December 24. Warner Bros. contract star. Starred in ‘“To- morrow and Tomorrow,” Paramount; ‘‘Rich Are Always With Us,” Warner Bros. Next is ‘Children of Pleasure,’ Warner Bros.
CHEVALIER, MAURICE; married to Yvonne Vallee; born in Paris,
France, September 12. Paramount contract star. Starred in “‘One Hour With You.” Working in “Love Me Tonight.” For Paramount.
(Continued on page 94)
HERE ARE THEIR BIRTHDAYS FOR JUNE AND JULY— WHY NOT SEND THEM A BIRTHDAY GREETING?
June | June June June June June June June June June
Clive Brook Johnny Weissmuller Bill Boyd
Walter Byron
Ralph Bellamy Evalyn Knapp
Ivan Lebedeft Jeanette MacDonald Irving Pichel
Polly Moran
Ricardo Cortez John Gilbert Irene Dunne Barbara Stanwyck James Cagney Richard Dix
Lupe Velez Phillips Holmes Clara Bow William Powell
July July July July July July July July July July
directed by
SAL
CARL LAEMMLE '
President
Modern Screen
IRENE DUNNE JOHN BOLES
ALL THEIR LIVES THEY LOVED. SHE GAVE ALL... HE NOTHING. ALWAYS SHE WAS THRUST INTO THE BACK STREETS, WHILE HE ENJOYED THE SUN- LIGHT. YET HE LOVED HER. WHAT A SAR-
JOHN M. STAHL DONIC SITUATION!
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MODESS
SANITARY
8
NAPKINS
Modern Screen
HE MODERN SCREEN IRECTORY (Pictures)
. . - Don’t take a chance on any old
picture. Look over this guide carefully
and pick only the pictures that you—
and the kiddies, too—will be sure to enjoy to the utmost
ALIAS THE DOCTOR (First National)—Dick Bar- thelmess in a tale of a medical student who, through a series of unfortunate circumstances, becomes an eminent surgeon without the legal ane to operate. Good—but children will be ored.
AMATEUR DADDY (Fox)—Warner Baxter in the role of a male Pollyanna who undertakes the care of four orphaned children. Okay if you like very sentimental stuff—children may like it.
ARE YOU LISTENING? (M-G-M)—Triangle_ story with William Haines, Karen Morley, Madge Evans, and others. Bill in a serious role is fine. Action centers around a broadcasting sta- tion. Very good—children will like parts of it.
ARROWSMITH (United Artists)—Ronald Colman in highly intelligent talkie version of Sinclair Lewis’ famous novel. Excellent if you like serious stuff —but children would be bored by it.
ARSENE LUPIN (M-G-M)—John and Lionel Barry- more in a story of a clever crook and a cleverer detective. The brothers are very nearly perfect. Karen Morley is excellent. Very good—children
will like it.
BEAUTY AND THE BOSS (Warner Bros.)—Marian Marsh as the homely little stenographer who suddenly learns how to be beautiful—much to the amazement of her boss. Good—okay for tots.
BIG TIMER (Columbia)—Ben Lyon and Constance Cummings as a prize fighter and his manager. Of course another woman looms up and the battle is on! Good—kids will like it.
BROKEN LULLABY (Paramount)—The story of a French boy who—because he killed a German soldier during the war—cannot forget the deed and finally goes to Germany to the boy’s grave and family. Phillips Holmes and Nancy Carroll are good but the real acting honors go to Lionel Barrymore as the father of the dead German boy. A bit slow, but interesting—not for children, however.
THE BROKEN WING (Paramount)—Hot tamales, an American flyer and the best “‘dam’ Caballero in all Mejico’” make up this one. Lupe Velez, Melvyn Douglas and Leo Carillo, Good—children will like it.
THE BLOND CAPTIVE (Pizor)—Travelogue of Northern Australia. Interesting—okay for kids.
BUSINESS AND PLEASURE (Fox)—Will Rogers again—this time as an American business man who goes to Damascus to corner the steel mar- ket, for the purpose of making razor blades. Despite weak story, excellent if you’re a Will Rogers fan—children will like parts of it.
BUT THE FLESH IS WEAK (M-G-M)—Robert Montgomery as a young Englishman whose father is impoverished. The problem of Robert is whether to marry for love or money. _ Then, when love is about to win, money gets its Innings with almost disastrous results. Good sophisti- cated stuff—but children may not like it.
CARELESS LADY (Fox)—Joan Bennett, in order to seem more attractive, pretends to be married— and then meets the man whose name she has. so casually taken for the time being. Good—but children will be bored.
CHARLIE CHAN’S CHANCE (Fox)—Warner Oland is here again as the Oriental detective who solves all the mysteries by the bat of an eyelash plus a few homely truths. Good—a little involved for children.
CHEATERS AT PLAY (Fox)—An_ex-police chief and a noted crook meet on a liner with, some thrilling results. _ Thomas Meighan’ is in it. Very good—okay for the kids.
COCK OF THE AIR (United Artists) —Amusing cuckoo comedy. with Chester Morris and Billie
Dove. Good—children will like parts of it.
THE COHENS AND KELLYS IN HOLLYWOOD (Universal)—The title tells all. In fact too much, Poor—except for kids.
DANCE TEAM (Fox)—A_ story of a couple of hoofers who come to the big town to make good in the usual big way. Of course they meet with plenty of trials and tribulations. Jimmie Dunn and Sally Eilers are the couple. Good if you like sweet stuff—okay for kids.
DANCERS IN. THE DARK (Paramount)—Jack Oakie, William Collier and Miriam Hopkins in a yarn oe Tee in the dance halls. Good—you can take
e ids.
DEVIL’S LOTTERY (Fox)—Elissa Landi in a story of a house party, the guests of which are all winners of a lottery. Good—okay for kids.
DISORDERLY CONDUCT (Fox)—A story of the do- ings of the police department. Spencer Tracy, Sally Eilers and Dickie Moore head the cast of players. Good—okay for children.
THE DOOMED BATTALION (Universal)—The new- comer, Tala Birell, in a war story. Good— marvelous scenery. Children might like it if you don’t mind their seeing war films. Reviewed in detail on page 48
DR. JEKYLL AND MR. HYDE (Paramount)—The famous old tale resurrected once again—but with new clothes—and Fredric March in the. title role. Very good if you like chills and thrills—better consider before taking the children.
EMMA (M-G-M)—A lovable old housekeeper and her | trials and tribulations ably portrayed by Marie Dressler. Richard Cromwell is good in a leading role, Excellent—suitable for children.
THE EXPERT (First National)—Chic Sale as the naughty old codger who just will get himself into all sorts of scrapes. Very good—suitable for the young ones.
FALSE MADONNA (Paramount)—Kay Francis as a lady crook who—for crooked reasons—imper- sonates the mother of a blind boy. Of course she decides to go straight rather than fool the boy and then things begin to happen. Fair.
THE FAMOUS FERGUSON CASE (First National) —Mystery story with Joan Blondell and Tom Brown. Most of the yarn is taken up with showing how—when_an important man is mur- dered—so many guiltless persons’ lives can_be wrecked by the newspapers’ innuendos. Very good—not very suitable for children.
FIREMAN, SAVE MY CHILD (Warner)—A fire- fighter whose chief_ interest in life is baseball and blondes. Joe E. Brown is the firefighter. Very good—perfect for kids.
A FOOL’S ADVICE (Frank Fay Independent)—Frank Fay’s own talkie. He plays the part of a hick. He wrote the story and also directed the picture. Gocd—the children may like it.
FORBIDDEN (Columbia)—Story of thwarted love with Barbara Stanwyck and Adolphe Menjou. Good—not suitable for children.
FREIGHTERS OF DESTINY (RKO-Pathé)—Tom Tyler in a_hard-riding Western. Very good i you like Westerns—grand for the kiddies.
GIRL CRAZY (RKO-Radio)—Wheeler and Woolsey, Dorothy Lee and Mitzi Green—among others—in a talkie version of the famous Gershwin musical comedy. Very good—you can take the children.
GRAND HOTEL_ (M-G-M)—Garbo, Crawford, the Barrymores, Wallace Beery,. Lewis Stone and Jean Hersholt in a masterprece. Excellent—al- though young children may be a _ bit bored. Reviewed in detail on page 48.
THE GREEKS HAD A WORD FOR THEM (Gold- wyn-United Artists)—The gold-diggers and their troubles as_ portrayed by Ina _ Claire, Madge Evans and Joan Blondell. Lowell Sherman and David Manners are the men in the case. Very good—but not for children.
THE HATCHET MAN (First National) —Chinatown melodrama with Edward Robinson, Loretta Young, Leslie Fenton and others. Very good— suitable for children.
THE HEART OF NEW YORK (First National)— New York’s lower East Side depicted with com- edy and drama. George Sidney and Smith and Dale are in the excellent cast. Good—okay for
children.
HELL DIVERS (M-G-M)—Two aviators’ experiences in the peace-time navy. Clark Gable and Wally Beery are the aviators. Very good—and grand for the kids.
IMPATIENT MAIDEN (Universal)—A young hos- pital interne and his adventures—both profes-
aac
sional and romantic. Lew Ayres and Mae Clarke have the leading roles. Good—okay for kids.
IT’S_ TOUGH TO BE FAMOUS (First National)— Douglas Fairbanks, Jr., depicting the story of a man whose marriage is nearly ruined because he suddenly becomes a national hero. Fair.
KEEP LAUGHING (Educational)—Slapstick in a night club. Very funny. Good—great for children.
LADIES OF THE JURY (RKO-Radio)—Edna May Oliver as a persuasive member of a jury. The story concerns the reaching of the verdict. Good —kids will like some of it.
LADY WITH A PAST (RKO-Pathé)—Constance Ben- nett as a gal who pretends to have a glamorous past in order to intrigue the man she loves. David Manners is the man she does it all for. Good—kids will like some of it.
LETTY LYNTON (M-G-M)—Joan Crawford, Robert Montgomery and Nils Asther in an intense love story. Very g ut not especially so for the little ones. Reviewed in detail on page 49.
LIMPY MAKES GOOD (M-G- M)—Jackie Cooper and Chic Sale in a human, pathetic little story. Good—and especially so for the children. Re- viewed in detail on page 49.
LOST SQUADRON (RKO-Radio)—A story of the stunt aviators who risk their lives for the sake of the cinema cameras. Richard Dix, Joel Mc- Crea, Robert Armstrong, Eric Von Stroheim and Mary Astor head the strong cast. Excellent— okay for the children.
LOVE AFFAIR (Columbia)—Dorothy Mackaill as an heiress who falls in love with an aviator—and finds difficulties besetting the path to happiness Fair.
LOVERS COURAGEOUS: (M-G-M)—Robert Mont- gomery and Madge Evans in a rather charming romance. Excellent love story but children will get restless.
MAN WANTED (Warner)—A business. woman has a philandering husband falls in love her male secretary with, of course, some emo- tional results. Kay Francis and David Manners have the leads. Fair—dull for children.
THE MAN WHO PLAYED GOD (Warner)—A bril- liant pianist is struck deaf by a bomb explosion and, then, after a thwarted attempt at suicide, decides to dedicate his life to doing good to his neighbors. Good, if you like sentimental drama —all right for the kids.
MATA HARI (M-G-M)--Greta Garbo in a Holly- “wood version of the famous spy case. Novarro plays the lover. children.
who with
Excellent—but not for
MICHAEL AND MARY (Universal)—A. A. Milne with all-English cast. charmingly romantic story capably played. Very good if you like
English characters and speech—children may be bored by it.
THE MIRACLE MAN (Paramount)—Revival of the famous success of silent days—with talking, of course, and a new cast. Chester Morris, Sylvia Sidney, Hobart Bosworth, and John Wray_ head the new cast. Very good—children should like it.
MISS PINKERTON (Warner)—Joan Blondell and George Brent in a thrilling mystery. Good— children will find it exciting. Reviewed in de- tail on page 49.
THE MOUTHPIECE (Warner)—Warren William in a story about law and lawyers. Very good— but hardly for children.
MURDERS IN THE RUE MORGUE (Universal)— If you want chills and thrills you'll be satisfied, but if you want Edgar Allan Poe you'll be dis- appointed. Very good if you like horror pictures —better not take the kids.
THE_ MISLEADING LADY (Paramount)—Claudette
Colbert as a society deb who is tired of it all,
Edmund_ Lowe as a big mining engineer and
Stuart Erwin as an escaped lunatic. Pretty in-
volved to little purpose. Fair.
ONE HOUR WITH YOU (Paramount)—Maurice Che- valier, Jeanette MacDonald, Genevieve Tobin, Roland Young and Charles Ruggles. Ernest Lu- bitsch directed this pleasant musical, ruthlessly throwing reality to the winds. Excellent sophis- ticated stuff—children probably won’t like it.
THE_ PASSIONATE PLUMBER (M-G-M)—Jimmie Durante and Buster Keaton in a knockabout comedy. Very funny—excellent for children.
PLAY GIRL (First National)—Modern romance with Loretta Young, Norman Foster and innie Lightner. Good—children may like parts of it.
POLLY OF THE CIRCUS (M-G-M)—A _ sometimes tiresome_love story with a circus background. Marion Davies as a circus performer and Clark Gable as the he-man minister with whom Marion falls in love. Good—okay to take the offspring.
PRESTIGE (RKO-Pathé)—Story of the trials of a married couple who are forced to live in a penal colony because the husband is an officer and is pent there on duty. Fair—children will be bored y it.
THE RICH ARE ALWAYS WITH US (First Na- tional)—Ruth Chatterton, George Brent and Bette Davis in a married-woman’s-problem _ story. Good—but the young people will find it dull. Reviewed in detail on page 49.
RIDER OF DEATH VALLEY | (Universal)—Tom Mix, Tony, and Lois Wilson in a good Western that provides a splendid come-back vehicle for
Mix. Good—fine for children. Reviewed in de-
tail on page 50.
ROADHOUSE MURDER (RKO-Radio)—Erie Linden and Dorothy Jordan in another story about headstrong youth. Good—children can learn a lesson from it. Reviewed in detail on page 50.
(Continued on page 107
Ramon-
Modern Screen
JOAN BLONDELL, featured player of Warner Bros., is equally pleasing in a smart bathing suit or in a softly fashioned evening gown of net and silver sequins.
Z.
ARE AS IMPORTANT AS COMPLEXIONS
© LONGER can we dare ignore our N figure. Dame Fashion has decreed that feminine curves must show them- selves—whether in sports togs or in the clinging, revealing evening gown.
Fortunately, these modern clothes re- quire the figure of normal womanhood. To be chic, we must retain our health and beauty while reducing.
A primary rule of health is proper elimination. Otherwise, sallow skins, wrinkles, pimples, premature aging, loss of appetite and energy may result.
Faulty elimination is caused by lack of two things in the diet: “Bulk” and
Vitamin B. You can obtain both of these dietary necessities in a delicious cereal: Kelloge’s Att-Bran. Its bulk is similar to that of leafy vegetables. Two table- spoonfuls daily will prevent and relieve most types of improper elimination.
How much better it is to enjoy this delicious “‘cereal way” than to risk tak- ing pills and drugs—so often harmful and habit-forming.
Another thing, ALt-Bran furnishes iron to build blood, and help prevent dietary anemia. Tests show that ALt- Bran contains twice as much blood- building iron as an equal amount by weight of beef-liver.
Enjoy as a cereal, or use in making fluffy bran muffins, breads, waffles, etc. AtL-Bran is not fattening. Recom- mended by dietitians. Look for the red- and-green package at your grocer’s. Made by Kellogg in Battle Creek.
WRITE FOR FREE BOOKLET eG lEICA RV
Leading motion-picture actresses are shown in “fashion close-ups,’’ wear- ing the costumes that millions of critical eyes will see on the screen. Everything from sports-togs to eve- ning gowns. In addition, the book- let is full of valuable facts on how to reduce wisely. Free upon request.
KELLOGG COMPANY Dept. H-7, Battle Creek, Michigan
Please send me a free copy of your booklet, “CHARM.”
Name
Address
BEAL AIDY Har
Write to Mary Biddle about your own beauty problems. She will be glad to help you. How- ever, owing to the fact that she receives so many letters, will you be good enough to ask only one question per letter? Address Mary Biddle, MODERN SCREEN, 100 Fifth Avenue, New
York, N. Y. Enclose a stamped, self-addressed
envelope, please
Would any of us bewail gray hair if
we could look as lovely as Norma
Shearer? It’s a wig, of course. She
wears it in the later sequences of “Strange Interlude”
LIKE to think that there are four ages of beauty
and that women can be beautiful through all these
ages. There are the ’teens, for example and the
twenties and the thirties. Now I won’t use the forties as a classification because many women of forty look thirty or younger. I'll just say middle age. There are different ways of being beautiful at all these periods of our lives—different routines to follow, different prepa- rations to use. It is silly and futile to try to look sixteen when you're thirty-five. It is equally silly, at six- teen, to use a flock of cosmetics and to assume the airs and graces of a grown woman.
I received a letter the other day which read: “I am fifteen. What shades of powder, rouge, lipstick, mascara, and eyeshadow shall I use?” I think we might as well start right there with a little advice to very young girls. With very rare exceptions, a mere child of fifteen should use no cosmetics at all! Perhaps a dab of powder on the nose. Perhaps a bit of colorless pomade to keep the lips smooth in cold weather. That’s all. Now, I don’t say that fifteen-year-olds—and even younger girls—cannot begin a systematic care of the skin, hair and figure. During adolescence the body is adjusting itself to the growing-up process. The skin often breaks out alarmingly. The hair often changes its color slightly, loses or develops a natural curl. The figure is often gawky or refuses to give up its baby fat. The tragic thing about this time of our lives is that we become clothes-conscious, beauty-conscious and boy-con- scious all at once. We want to look as elegant as big sister all in five minutes.
The care of the skin at this age should be simple but very faithful. Wash with mild soap and warm water.
How to keep your beauty from
10
ae AM MEY (Lids @
Follow with a second cleansing of cold cream. Remove it with tissues. Then give the face a second bath in soap and water to remove every trace of cream and finally dash the face with cold water. If the skin feels dry and drawn from the use of soap and water, then just use cream cleansings but pat the face with cotton soaked in a mild
skin tonic afterwards. Even these dry-skinned girls should wash with soap and water every three or four days, in addition to the cream cleansings. If blackheads appear, they should be treated with a remedial cleanser— either store-bought or home made. Pimples should be carefully doctored — and banished by strict diet. When they come to a head, they can be gently pressed out with the fingers thickly padded with tissues or cotton. Then the spot should be dusted with boracic powder or touched with alcohol to prevent in- fection. The hair should be massaged and brushed daily and washed not too frequently. It should be arranged simply and becomingly. Permanents can now be given young people and even children with marvelously natural effects. I think it far more sensible for mothers to permit their young daughters to get a good permanent—rather than constant marcels which, unless expertly and rather expensively done, will in the end break and dull the hair. Better still_there’s no better time for the young girl to begin training her hair herself than when she is young. If I had a young daughter I wouldn’t mind how long she primped in front of the mirror—provided she didn’t go out of the house looking like something escaped from the zoo!
HEN can a girl begin to use make-up—real make- up? Well, it depends a great deal upon the environ-
Sweet Sixteen till Middle Age!
ment in which she lives. City girls naturally attain a certain amount of grown-upishness rather quickly. It is permissible for them to adda touch of faint lipstick for dress-up — occa- sions when they are sixteen or seven- teen. But I honestly do hate to see it on young faces in the street and if I were a school teacher I'd hate to see my young pupils wearing it.. Why? I can give you no reason except that it just looks wrong. Be guided by good taste and your own environ- ment.
Now let’s consider the romantic twenties. Most of the nicest things in life happen to us when we’re in our twenties, don’t they? And it’s up to us to make ourselves just as attractive as possible. If nature didn’t allow us to be beautiful; then I’m all for art aiding nature. But the fundamental, common sense beauty routines must go on. To cold cream and soap and water cleansings, I advise the added use of a tissue cream, if the skin is dry. Of a protection cream, if the skin is sensi- ‘tive. Of a corrective astringent and shine-remover if the skin is oily. And watch your figure as carefully as you watch your skin. If you sit all day, please wear a girdle so you won't spread. If you use your eyes all day, be finicky about getting the proper light in order that constant squinting won’t encourage premature wrinkles. Yes, even consider well spent the money for rest or reading glasses. Ii you must be on your feet a great deal, don’t skimp your shoe allowance and see to it that your shoes are comfortable and low heeled. Don’t indulge in chatty, fattening teas and-sodas with your girl- friends. Remember that soup, fresh vegetables and fruit are just as easy to order for lunch as a gooey sandwich and gooier soft drink. Remember that it’s much easier to work off ten extra pounds (or put it on, if that’s your trouble) at twenty-two than it is as you're approaching thirty. And there, as a matter of fact, we have the real beauty rule for the twenties: take pre- cautions against the future!
‘T HERE'S really no reason why the
thirties should be a dividing line. As a matter of fact they’re not—these days, when women are active and busy and athletic. They’re not a physical dividing line, that is. But there does come a day when we can no longer be girlish without looking like dimwits. When bell-hop jackets and frilled or- gandie just seem wrong, no matter how cute and slight our figures may be. It’s a mental change, really. And we can have a lot of fun with make-up. If we have been using a naturelle shade of powder to go with our fair skin, we can suddenly switch to dead white, wear bright lipstick, no rouge, and a bit of eyeshadow. We can wear the mauve and green—yes, that’s what I said—shades of powder in the evening. And, curiously enough, if our skin is a clear, pure olive, we can wear dead white powder, too. And we can ex- periment with the rather new blue mas- cara, if we have blue or gray eyes.
(Continued on page 86)
Modern Screen
ke New 2 Perfumed Linit Beauty Bath Instantly makes your Skin Soft and Smooth
| (ae as it may seem, the Linit Beauty Bath instantly makes the skin feel soft and smooth —and gives a gloriously refreshed sensation to the entire body.
While bathing in the Linit Beauty Bath, there is deposited on the skin surfaces an extremely thin layer of Linit. After drying, this fine, porous coating of Linit remains, which makes powdering unneces- sary, eliminates “shine” from neck, arms and shoulders, harmlessly absorbs perspiration and imparts to the body an exquisite sense of personal daintiness.
Try this Refreshing Linit Beauty Bath
Swish half a package or more of Linit in your bath. Instantly the water feels soft and “creamy”. Step into this luxurious mixture, bathe as usual with your favorite soap... then, after drying, feel your skin! Soft and velvety smooth!
The new perfumed tin11, in the Green Cellophane-wrapped pack-
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iLINIT !
THE BATHWAY TO A SOFT, SMOOTH SKIN
DELIGHT EULLy PERFUMED FOR THE BaTH
il
F you have just yourself
and somebody else to cook for, you may have wondered why most cook books offer only recipes which turn out sufficient food to serve “a standard family of six.” (Just what is a “stan- dard family” anyway?) If you try to break these recipes down into thirds you are constantly finding yourself up against the problem of taking a third of two eggs or a third of one-half cup of milk. But just the same, cook- ing for two is the most exciting and fascinating kind of cooking in the world. That’s the way we felt after our expedition to the Powells’ home, where Carole and Bill live, one of screenland’s most fascinating families of two, and had a long talk with the head of the house about the kind of food they liked served when they were din- ing just alone. When we went out to talk with Mr. Powell about this diner a deux business we found that while he was en- joying a well earned vacation, Carole was hard at work,
two.
WUG) DIEING SGReEN SUA Reel Pies
eer rr rere hd
HOME SERVICE DEPARTMENT MODERN SCREEN Magazine 100 Fifth Avenue, New York, N. Y.
Kindly send me the recipes for July—at abso- lutely no cost to me.
(City) (State)
12
It is a problem, cooking for a family of a mere But William Powell and Carole Lombard have solved the problem ficely. learnt how to buy in advance, how to make a roast over into other appetizing dishes and how to use recipes which make just enough for two people. You can learn a lot from her knowledge
THE M@SI| WASIEY ea SieSieal@ talx AND MOST ECONOMICAL FOODS FOR DINNERS-FOR-TWO—ACCORD- ING OY Werle PREPERENCES Clr WILLIAM POWELL AS TOLD TO
THE MODERN HOSTESS
and so she had not been able to get home in time to give us Garoleviaes a few hints. We were sorry, too, that we couldn’t have got- Carole together at their own dinner table. But he was so very informative and so alto- gether charming that our dis- appointment faded.
“Of course,” Mr. Powell began, “it is really Carole to whom you should talk about food.”
“Perhaps,” we replied, “but we are certain that in your home, as in practically every home in the land, it is your food preferences which are of paramount importance, and it is you for whom the meals are planned. Isn't that so?”
“Well, really now,” he answered with a smile, “do you think it would be quite wise for me to admit that?”
“Of course it is,’ we retorted, “for we are willing to bet that your wife’s answer to that question would be no different from any other wife’s. And we'll bet, too, that your cook knows that there will be no complaining about a meal which you enjoyed.”
“T thought the United States was supposed to be a country dominated by its women,” said Bill, looking as undominated as a man could possibly look.
AIT a minute,’ we hurriedly interjected, “this is getting us miles away from the object of our con- versation. \We have come out here to find out what you like to eat, and we will not be deflected from our purpose. Now suppose you tell us about a typical Lombard-Powell dinner, the sort which you like to sit down to when you are dining alone.” “Well, suppose I tell you what we had for dinner last night?” he suggested. lene Picture our joy when we discovered that the meal sounded neither elaborate nor expensive, and imagine our complete delight when we procured the recipes for the dishes which they had relished so much, and found that they were so simple that any bride could easily follow them.
ten a picture of Bill and |
The menu which Mr. Powell de- scribed to us was as follows:
Tomato Juice Cocktail Vegetable Bouillon
Roast Lamb, Mint Jelly Rings Scalloped Potatoes and Onions Asparagus, Hollandaise Strawberry Bavarian Cream
O the tomato juice cocktail the
Powells like a tablespoon of sauer- kraut juice added for each glass. This adds a novel taste which we found de- licious when we tried it. The bouillon can be made at home, but it is scarcely worth the effort, we have found, when such delicious bouillon can be purchased in cans, one can being enough for two. We have discovered that an attractive addition to canned bouillon is a quarter of a cup of finely diced raw vegetables, such as carrots, turnips, celery and onion. These are simmered in the bouillon until they are soft, about a half an hour, and they are served with the soup, of course.
We were quite intrigued with the suggestion given us for garnishing the roast lamb. You carefully take your mint jelly out of the jar, onto a plate, and cut it across in slices about % inch thick. Then you shape each of these slices with a cookie cutter, and lay these decorative slices around the platter as a garnish.
Another favored dish in the Powell household is Beets Piquante. Here is the recipe in the correct proportions for two:
BEETS PIQUANTE
1 bunch beets 1 tablespoon butter 1 tablespoon flour (scant) 1 tablespoon sugar Y% teaspoon salt A few grains pepper Y cup cream 1 tablespoon vinegar
Cook the beets over low heat until tender. Peel and cut in quarter. Melt butter in top of double boiler. Mix the dry ingredients and add to butter, stir- ring until well blended. Add cream and cook over hot water, stirring constant- ly, until smooth and thickened. Add beets. Just before serving, add the vinegar.
Among the other recipes we have for dishes which are favorites with the Powells is one for Strawberry Bavarian Cream, which is simply too delicious. Served in parfait glasses, topped with whipped cream and a whole fresh straw- berry, it looks too dressy for words, though it is very simple to prepare. Then there is a recipe for the scalloped potatoes and onions which are so good that you could make a whole meal of them. The recipe for Mock Holland- aise satice is much easier and safer to make than the regular Hollandaise and tastes every bit as delicious. And then there is a recipe for Lamb Shortcakes which gives you a grand way to use up some of the lamb which is left from the roast, but which doesn’t seem a bit “left-
(Continued on page 91)
Modern
Screen
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THE BORDEN COMPANY Dept. C-7, Borden Building 350 Madison Avenue, New York, =
Please send me—free— new edition ‘“Baby’s Welfare.”
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Modern
EXTRA
The Hollywood Cimes
News
Screen’s Last Minute
THE VERY
LATEST NEWS
VOL. 1, NO. 5
HOLLYWOOD, JUNE, 1932
SUPPLEMENTARY SECTION
WILL ROGERS’ GARBO GAG CRITICIZED
Audience Walks Out As He and Beery Pull Practical Joke
Will Rogers meant it all in fun and when it turned out badly he took the whole responsibility.
It happened at the Hollywood “Grand Hotel” opening. After the final curtain, Rogers came on the stage and made a grandiloquent speech to the effect that he was about to introduce Garbo. Then he stepped to the wings and brought out— Wally Beery, all dolled up in feminine attire! While Wally stood there simper- ing, Rogers went on with his gag appeal to Garbo to please stay in this country. Funny? The audience thought not. It filed haughtily out. Rogers was severely criticized. He wired a full apology to the Los Angeles Examiner, which was very generous of him. He says he still thinks the gag was funny. But it seems that one just mustn’t be funny about Garbo.
Jean Harlow’s Red Wig Startles Garbo Premiere
As you undoubtedly know, Jean Harlow will play the leading role in the talkie of Katherine Brush’s “Red-Headed Woman.” But Jean won’t be platinum blond in this— she'll wear a red wig. M-G-M, who are producing the film, thought it would be a good publicity stunt for Miss Harlow to wear the wig to the premiére of “Grand Hotel.”
And as the whisper “Here’s Jean Har- low!” ran through the crowd of arrival- watchers there was much craning. The report went around that it was a wig, all right, and Jean was given a positive ova- tion. Very lovely she looked, too.
Dempsey-Taylor Reunion Rumors Scoffed
Hollywood must have something to “rumor” about and the gossipy town pounced with delight on the idea that Jack Dempsey and Estelle Taylor would patch up their quarrel and re-marry. At first it seemed reasonable. Jack is not a _per- son to hold a grudge. Estelle herself _ad- mits that she is still in love with Jack (see story on page 41), even though their individual natures didn’t always agree.
Now, however, it seems definitely estab- lished that these two will not be recon- ciled. Dempsey’s friends have had a great deal to do with it. They have been per- suading him that it would not work out. And they criticize Estelle’s attitude during the much-publicized divorce proceedings.
14
Serious Studio Revolt of Players and a Director Grips Hollywood
Marlene Dietrich Suspended Cagney and Marian Marsh Dropped—Barthelmess Loyal
Hollywood is in the grip of rebellion!
James Cagney went to New York be- cause he claimed his services were worth far more than Warners were paying him. He says that if they won’t come to terms he’ll quit movies and become a doctor. Marian Marsh became “ill” and stayed out of several pictures. Studio released her.
Paramount is suing Joseph Von Stern- berg and Marlene Dietrich for alleged damages resulting from insubordination. Both are off salary. Rumor has it that a Paramount executive planned to suspend Von Sternberg so that- Marlene Dietrich could be made to work under another director. But Marlene quit, too.
Richard Arlen was fighting for more money at Paramount and not getting it— until Paramount discovered that Warners wanted Dick for “Tiger Shark.’ Then things were different. Bebe Daniels is suing Warners for one hundred thousand dollars—the terms agreed on for two pic- tures which Bebe was to make for War- ners—but for which suitable stories have remained undiscovered by Warners. And Jimmie Dunn stayed at home until Fox saw fit to give him a raise in salary.
Richard Barthelmess is the white-headed boy of First National because he actually agreed to make his next three pictures at the salary he should get for only two!
Flashes from Here and There
John Gilbert will make one more picture and then become a director—so he says.
Wallace Beery and Jackie Cooper will make another picture of the type of ‘‘The Champ.” It’s called “‘The O’Shaughnessy Boy.’’
Rumors still persist that Clark Gable is going to divorce Mrs. Gable, But they are still seen around together.
With Joan’s work in ‘Rain’ Hollywood be-
lieves that she will emeree as the tip-top star
in the movie business. veryone believes that her Sadie Thompson will be a sensation.
Colleen Moore has signed with M-G-M and will make pictures for them shortly. First one will be with Wally Beery called “Flesh.’” Wrestling stuff. £
Norma Talmadge is rumored as being in the cast of ‘For Hire.’”’ But she will take her European vacation first.
MIRIAM HOPKINS ADOPTS BABY IN CHICAGO
Modern Screen Is the First Magazine to Get This News Break
Not all the details can be divulged at present, but Mopern Screen takes plea- sure in giving you a magazine news scoop concerning Miriam Hopkins. Miss Hop- kins has just adopted a baby boy in Chi- cago. She is planning to take the child to Hollywood with her when she returns.
In our next issue (August, out about the first of July) you will find an exclusive story by Adele Whitely Fletcher which will give you the complete details of the adoption, why Miss Hopkins wanted the adoption, and what plans she has for the child’s future. No other magazine will be able to give you this exclusive informa- tion.
Miriam Hopkins, you will recall, was married to Austin Parker, but is at pres- ent unmarried, having secretly divorced him some months ago.
Seven Famous Hollywood Women Await Motherhood
The stork is gasping for breath trying to get around to all his appointments in Hollywood this season. Helen Twelve- trees, Dorothy Mackaill, Mary Astor, Florence Vidor, Carmel Myers, Sue Carol, and Dolores Costello are one and all ex- pecting the visit of the old bird within either the next few weeks or months. All present or former Hollywoodites.
Dorothy Mackaill will temporarily re- tire from her present vaudeville engage- ment. Helen Twelvetrees will finish the picture she is working on. Likewise Mary Astor. None of the others is at present engaged in screen or stage work.
ZaSu Pitts Obtains Final Divorce Decree
ZaSu Pitts has just obtained her final divorce decree from Tom Gallery, al- though they have been separated since 1926. They were married in 1920 and had one child, Ann Gallery, who is now nine years old. ZaSu’s adopted little boy, Don Mike Gallery, is the son of the beautiful Bar- bara La Marr.
Tom Gallery is a well known sports- man. Little is known of the reasons for his break-up with his wife. It is said Gallery left his wife some time prior to their separation in 1926. She asked him to return but he refused. At any rate, it is fairly evident that ZaSu still loves her ex-husband. She seemed genuinely broken up during the proceedings in court.
SHOULD KNOW
EAN HARLOW becomes so famous throughout the country because of her hair that they sign her to an M-G-M contract for seven years. Her first role on this contract (so they say) will be the lead in
the filming of the novel, ““Red-Headed Woman” .. . in which she will wear a red wig! Ho, hum!
Wonder when Alice White will come home—and if she will get a swell movie job when she does. There is one little lady who showed Hollywood she wasnt through as a drawing card!
OW that Lupe has stood ’em on their heads in New
York—playing the leading part in Ziegfeld in “Hot Cha”—our little village is being overrun with wires from Flo asking other gals in Hollywood if they wouldn’t like to come along. The latest wire-receiver is Irene Dunne—for the new version of “Show Boat.” These movie gals certainly pack ’em in!
That gag about Garbo go- ing back to Sweden and marrying her Swedish boy friend is sure getting plenty
. .. . intimate movie news and chit-chat from everywhere ....
Johnny Weissmuller recently arrived in New York to make a series of personal appearances following his terrific triumph as “Tarzan.” He certainly has those femmes agog.
Afterwards, the Prince toasted some toast for Kathryn Menjou, and everyone had one heck of a good time.
ITH word of Gloria Swanson’s plans for a British picture, drift back stories of the gorgeous estab- lishment the Farmers keep up in London. Servants by the score. Shining automo- biles.
And the best part of it all is that Gloria can gad about to shows and _ par- ties unbothered by a lot of people hounding her for autographs, etcetera.
But, we are warned, if Garbo thinks she can retire
of berry around this from the screen and lei- town. surely visit London and Paris—she doeswt know
EAN HERSHOLT is making quite a name for him- self as a speech-maker. In fact, it has been found after actual count that he has made more speeches during the year than Conrad Nagel, our speecher- de-luxe.
Jean is trying to raise money to back the Danish Olym- pic Team which is going to come to Los Angeles in a few weeks. Jean calls himself the “Unofficial Ambassador to the United States.” Four hundred times he has raised his voice to raise the dough!
Pe MENJOU returned from the tea-drinking
country fully convinced that Wales is one prince of a fellow. Adolphe had an engagement to golf with his Highness and was so excited he forgot his golf clubs and shoes. But the Prince nonchalantly presented him with a gorgeous set of Clubs and some grand English golfing shoes—and on with the game.
them Londoners and Parisians. They'd mob her, sure, the moment she set the Garbo foot in their territory.
ILBERT ROLAND and Norma Talmadge are sup- posed to be quits. We guess again. It was Gilbert who met Norma when she visited Hollywood several weeks ago—and Gilbert who saw her off for New York when she left. Maybe that’s quits, but if it is, 1t’s a new species.
John Miljan, Jr., is Hollywood’s latest arrival. He didwt arrive by airplane—the stork brought him. And John, Sr., passed around the cigars.
HE other evening Rus Gleason escorted Marguerite
Churchill to the theatre—and forgot his wallet. So Rus had to borrow fifty cents from Spencer Tracy to get a soda for himself and Marguerite.
15
_ Wish we had a candid camera shot of Rus reaching into his pocket and finding his wallet not there!
RS. RONALD. BURLA (Una Merkel) gave a dinner party in honor of the recent-weds, Greta Nissen and Weldon Heyburn. Among those present was John Arledge. Young Arledge was supposed to have been that way about Una before her marriage. Now they’re just good friends. Happy ending for a love triangle.
A few weeks ago the circus was in town. The big ut of the evening came as Tom Mix crossed the ring to get to his seat. Tom got a bigger hand for his mere presence than any of the circus acts.
NNA STEN, the Rus- sian actress and ex- ballet dancer whom Goldwyn has imported to do “The Way of a Lancer” with Ronald Colman, is another of the Goldwyn contingent of foreign players. On the screen she is low voiced and voluptuous, a gypsy who suggests the Negri of ‘Pas- sion.” In person, La Sten is naive and ingenuous as a child, with enormous slanting grey eyes, a tiny face with the high Tartar cheek bones, and a way of. saying “no” with overtones that suggests another Hollywood star. Rumor has it that she learned French in a few weeks to make a French version of “The Brothers Karamazov,’ and that she has already learned to memorize and pro- nounce English—though she doesn’t understand what she is saying yet-——and that in two weeks or a little more, she will be ready, without accent, to do her first American film.
When Ina Claire sailed to New York recently from the Continent, she used the name of Mrs. John Gilbert!
“Horsefeathers,’ the new Marx Bros. opus, was post- poned when Chico cracked up in an auto accident and had to sojourn in the hospital.
16
Just who is that boy friend whom Jean Harlow pre- sented as ‘‘Joe Zilch’ ? There’s another rumor about ClaraBow’scome-back
(Left) ‘’Grand Hotel’ had the most impressive opening that New York has seen in many an evening. Every famous person in the city was there. (Below) The author of “Grand Hotel,” Vicki Baum, with Leslie Howard at a luncheon. Have you read her opinion of
“Grand Hotel” on page 36?
Acme
So the director took a European vacation; Groucho took to polo; Harpo went to the beach—and Zeppo picked up some extra change from a radio broadcast. In fact, everyone is having a swell time—except Chico. Says he’s going to try eating worms.
(Ce help mentioning how perfectly gorgeous Dol- ores Costello looked at the recent preview of friend husband’s new picture, “State’s Attorney.’ Dolores wore a dark green hat fashioned along lines that would make you and me look like a mugwump or something. But she was radiantly beau- tiful.
After old man stork pays his second visit to the Bar- rymore ménage very short- ly, perhaps Dolores will try the flickers again. All that beauty shouldn’t be spent on housewifery. Even if the man of the house is John Barrymore.
Dolores smiled sweetly while John signed autographs for a miniature army of youngsters.
Wee Jean Harlow arrived from New York there were several photographers on hand to pictorially record the event. An old friend of Jean’s (male) stepped up to the platform and planted a welcoming kiss on the Harlow lips. One of the photographers up and asked Jean what the name of the lucky gent is.
“Joe Zilch,” the screen’s blond menace seriously re- plied. “Mr. Zilch sells toy balloons and wooden birds to circuses and side shows. I’ve known him for years.”
“Thank you very much,” replied the photographing gent, very much impressed, as he bowed his way out of the Harlow presence.
The latest on Clara Bow is that she'll do “Call Her Savage” for Fox studio. A swell story, say we, for the little redhead’s special talents.
Clara will have to postpone having that baby she’s been wanting until after the picture has been made.
OLLEEN MOORE got a grand ovation when she
appeared at the El Capitan theatre in Hollywood. Her work showed a great deal of time and effort spent in preparing her stage début. Probably as a result of her work there, Colleen will make a picture for M-G-M.
Helene Costello, ’tis whispered, has found a new love.
OME say that Marlene had better stick with Von Sternberg, because she couldn’t do anything without his direction.
Others are of the opinion that if Jo were out of the picture, Marlene could show us some of her latent his- trionic potentialities which Jo hasn’t let her display.
We wonder if this Dietrich-Von Sternberg team 1s really one of those “united we stand, divided we fall” sort of combinations. It’s your turn to guess.
Bob Montgomery likes his new publicity tag line, “Kiss "Em Quick,” just as little as you do.
Jean Harlow returned to Hollywood after her personal appear- ances in New York (see page 63). As usual, she was accom- panied by her Pappy. It’s rumored that she will appear in ‘Red- Headed Woman’”’ under the sponsor-
ship of M-G-M.
Hollywood Newspictures
ARNERS are finding plenty to do—what with three of their promising young players striking for more dough. Jimmy Cagney was getting $1,400 per week. He took a New York vacation and from there wired the studio he wouldn’t return until they guaran- teed him something like $3,500. Joan Blondell is another, we hear, who wants more money. Ditto Marian Marsh. These younger players argue that while they bring a goodly number of ticket-buyers to the theatres, they get comparatively low salaries.
TORIES on a certain famous producer continue to pour into the office. The newest is that he was bet- ting on the horses in Cuba. He picked his favorite for the big race. During the first part of the running it looked like a cinch winner, but the jockey was thrown . . . and so the horse lost. Later, telling some friends about his bad luck, the producer said: “My horse was winning—everything was going good—and then the caddy had to fall off!”
OHNNY MACK BROWN has real Olympic Games aspirations. He’s in regular training and every day takes a strenuous swimming lesson from a Hawaiian champion. His ambition is to qualify for the Olympics. If he wins anything in the Games, maybe Johnnie will get another chance for good parts in the movies. Look at Weissmuller!
Mack Sennett’s parody on “Mata Hart” will be en- titled ““Hadda Marry”!
UMOR hath it that Billy Dove and Jack Dempsey
are on the romance list. And, says Billie, if you
consider having lunch with a man and six other people a romance—then rumor hath it aright.
The highlight of the Colleen Moore opening, for us anyway, was Jack Dempsey stopping to shake hands with ex-wife Estelle Taylor.
And Billie Dove chatting merrily with her ex, Irvin Willat.
Real pals, these divorcees.
UDOLPH SEIBER, Marlene Dietrich’s hubby, is again in town. But this time he’s keeping shy of the news photographers and interviewers. Seiber, Marlene and J. Von Sternberg are again palling around together. We saw them at the theatre one night with little Maria, Marlene’s daughter. Just one happy family?
Ronnie Colman won't, after all, do “Brothers Kara- 3) mazow’ as his next. Instead he will star in “Way of A Lancer.”
OY, a size larger polo helmet for Mr. Montgomery. Bob deserves it. He was suffering from a bad in- feriority complex anent his polo prowess. Bob’s always been a good horseman but this polo thing pretty nearly had him stumped. Couldn’t seem to improve his game. Then victory. Two Sundays ago Bob scored two goals all by himself, and ever since that game his polo has 1m- proved one hundred per cent. Here’s a couple pats on
the back, Bob. The newest in Hollywood entertainment is the polo
picnic.
Well, here are the Barthelmess’ after their very grand tour around the world. They’ve been here, there and every- where—including a sojourn in Japan to take a close look at the fighting. Dick will be at work on a new picture when you read this.
Wide World
Hollywood Newspictures _
Lilyan Tashman and Edmund Lowe as they arrived at Pasadena recently—on their way home. (Below) As _ Marshall Duffield saw Dorothy Lee off on the Santa Cecilia, everyone swore they’d been married but they
both denied it hotly.
RANSATLANTIC Jottings : None other than Lila
Lee’s boy friend, John Far- row, will do the adaptation of the British film, “Don Quixote,” which will intro- ~ duce the famous Russian bass, Chaliapin, to the talkie world. Yes, Johnnie is still spending a young fortune telephoning Lila in ae from London
. Corinne Griffith, film- ing “Lily Christine” at the Paramount studios at Elstree, in one week received visits from three royal princes—Lennart of Sweden, and the Prince of Wales and his brother Prince George. And the two English princes dined informally with Corinne and husband Walter Morosco at the Morosco’s Mayfair house afterwards . . . Ina Claire flew from London to Paris just to see her friend Florence Vidor and to attend a recital by Jascha Heifetz, Florence’s husband . . . Lowell Sherman’s first ex, Pauline Garon, and his ex-to- be, Helene Costello were seen chatting in a French café to- gether .. . Carol and Garrett Graham, the Hollywood-ex- posing novelists and contributors to Mopern SCREEN, are in London doing the adaptation for Adolphe Menjou’s Inglish film, “Women Spoil Everything.”
Our reaction to the rumor that Estelle Taylor and Jack are considering a re-marriage is—applesauce!
HRILL! thrill! Here’s a recipe for Garbo’s favorite
dish. It’s called “Fish Pudding” and Greta loves it. Here’s the dope:
3 cups of raw halibut, ground fine
1 tablespoon of salt
3 tablespoons of butter
2 eggs
2 tablespoons of flour
2 cups of milk
Add the salt and the melted butter to the finely ground
halibut. Stir a little cold water into the flour to make a creamy consistency and then add the eggs,- well beaten. Stir this mixture into the two cups of milk and then add the fish. Turn into a well buttered baking pan, cover and set in pan of boiling water and cook for about. one hour. When done, serve hot with the following sauce: -
2 cups of milk; es
2 tablespoons of butter ;
2 tablespoons of potato OUI ea “
Melt the butter, add the flour and blend thoroughly,
and slowly pour in the milk, stirring constantly. _Shred- ded shrimp may be added to the sauce if desired.
EFORE starting work in “Rain,” Joan. Caio
hied herself off to the desert for a rest (doctor’s orders), with no visitors or phone calls allowed. The whyfore of the rest wasn’t only overwork. Seems as if. Joan keeps her diet so low (for that sleek figure of hers). that she eats just enough to give her strength from day to day. No extra calories to build up a reserve. That’s really why the isolated vacation. Absolute rest and Gee
AE CLARKE was really more dangerously. ill shan: anyone suspected when she retired to a private sani-. tarium to recover from a nervous breakdown. Overwork: - and worry was supposed to have, - brought on the shattered nerves. 4 And the worry, some would have us’ believe, was over one John McCormick, Mae’s ex-fiance.
Fifi Dorsay’s newest flame is the chap who used to be her secretary.
S soon as Lily Damita can get a
partner, she leaves to tour the
three-a-day vaudeville circuit. Lily will sing and dance.
LTHOUGH Hollywood has Madge Evans and Tom Gallery (ZaSu Pitts’ ex) engaged and on their way to the altar—little Madge still insists that her heavy sugar is back in New York town. She’d better save her breath. Nobody believes it any- way—simply because Madge and Tom are seen every- where together.
UR favorite sleuth just sneaked in, took off the dark gogeles, false beard and Charlie Chaplin shoes to tell us that Ann Harding hurried to a Nevada ranch im- mediately after finishing her last picture. There she will probably establish the necessary six-weeks’ residence so that she and not Harry Bannister can sue for that Ban- nister-Harding divorce. Both Ann and Harry believe that a husband getting the divorce isn’t quite the correct procedure in cases like this—so the story goes. Anyway, that’s what our gum-shoe expert tells us.
YOU'LL FIND MORE GOSSIP ON PAGE 72
Rumors of unhappiness in Nancy Carroll’s new marriage!
18
en tee la ee
Siete. KS
Photograph by Otto Dyar
Chester Morris and Carole Lombard both appear in ‘Sinners in the Sun” for Paramount. Carole’s only household hobby is picking up an occasional antique. Her sports activities are limited to an occasional set of tennis. Clothes form her main interest in life. Chester (don’t call him Chet) is one star who is really popular on the lot—eyeryone likes him. He drives a very snappy black phaeton—very high-powered. He’s now at work on “Come On, Marines,” with Richard Arlen, It’s a he-man réle—Chester’s favorite type of character. His next will be “The Glass Key.” He’s happily
married, you know.
19
Warner Baxter recently opened his Malibu Beach home and spends all of his spare time
there looking after his wife who has been ill. Warner is one of the town’s most popular
stars—popular in Hollywood, we mean, as well as with you fans. He recently recovered from
a severe injury to his ankle caused by falling glass while making his latest picture—“Amateur
Daddy.’’ He goes drawing-room again for his next which is titled “Man About Town.” He’s taking a great interest in the Olympic Games.
Dorothy Jordan has just appeared in “Roadhouse Murder” for RKO-Radio. Her latest released picture is “The Wet Parade.” Her closest friend is Ona Munson. Curiously enough, some years ago, Ona was the leading lady in the legitimate production of a musical comedy in which Dorothy Jordan was a chorus girl. Dorothy exercises by a brisk walk each morning along the beach. She is a most un-actressish person off the screen. She’s seen with Donald Dilloway a great deal. But no announcement of their engagement at this time.
21
rere eer
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Ruth Chatterton is anxiously waiting to see how the public will react to her first Warner picture, ‘The Rich Are Always With Us.” She is now in daily conference with writers discussing her next story. As yet it has hardly a theme, much less a title. During the pro- duction of her first Warner picture Ruth lived constantly in her studio bungalow. Although she had a reputation for temperament at Paramount, the Warner crowd says she is grand, She recently directed husband Forbes in a stage play he’s producing called “Let Us Divorce.”
24
Clark Gable has just completed ‘Strange Interlude,’ opposite Norma Shearer—of course J E § PP
you know it’s the famous play by Eugene O'Neill which made such a sensation a season or so ago. Its release will be one of the cinema events of the year. Off-screen, Clark often wears a white turtle-necked sweater and drives a twelve-cylinder black sport coupé. He admits his ears are too large. He saves money. Doesn't like parties but gets loads of invita- tions—obviously. _He is still a novice at polo. His special buddy is Wally Beery.
Photograph by Freulich
Tala Birell, Europe’s newest gift to Hollywood, will first be seen in “The Doomed Battalion.”
Her next will probably be a story based on Zola’s “Nana.” It was at one time considered
as a vehicle for Marlene Dietrich. Tala’s real name is Natalie Bierl. She is called Talusha |
for short. She is quite shy except among her intimates. She’s fond of gardening. She takes
daily lessons in English from Laura Hope Crewes. Tala has the largest Great Dane in Hollywood and the dog is‘particularly vicious.
— eee eee
Photograph by Gaston Longet
Laurence Olivier has just finished his réle opposite Ann Harding in “Westward Passage.” He is about to take a three-month’s vacation in his native England. Considering he 1s an Englishman by birth he is pretty much of a typical American—affects flannel trousers and sweaters almost exclusively. His hobby is traveling. He had been in Hollywood only a short time before he’d roamed all over California. He was very ill at the time he first arrived in Hollywood and lost so much weight his friends actually did not recognize him.
HOLLYWOUGE=
CR Oa ST O ha
HIS is the cruelest story ever to come out of Hollywood, where many cruel things have hap- ened. It is the story of the betrayal of the grandest heart of them all, Marie Dressler. Betrayal? There can be no other word for it. Do you .remember, when you were little and in school, reading about the dog who bit the hand that fed it? Young as we were, we decided then and there that such a dog was the most savage and contemptible creature in the world. Well, where dear Marie is concerned, you and I are that dog. Oh, not you and I, perhaps—but your neigh- bor down the street. For Marie has been betrayed, not by anyone in Hollywood, but by her public. Not, we hasten to add, by all her public. Thank God for that! But by many of her fans. So many, many of them that it hurts the heart to dwell upon their numbers. And it has hurt Marie; hurt her so terribly that I do not think she will ever be quite the same again. She is forced to protect herself from the public she loves. For anyone who loves like Marie, there could be no tragedy more bitter. Marie Dressler has stopped answering all letters that ask her for help.
HERE are stars who delegate to a secretary the
answering of fan letters. There are other stars who pay no attention to them whatsoever. Marie has never been like that. I have never seen her but what she was carrying around, in her pocket or in her bag, half a dozen letters from people. How happy they made her! There was the letter from a woman in the middle west. Her husband was terribly sick. She walked the sidewalks of her town, day after day, trying to sell silk stockings from door to door. The money she earned was barely enough to buy food, much less medicine for the man who needed it so badly. She had a life insurance policy—the woman. If she killed herself, she decided, the money her husband would get from the policy would help him much more than her pitiful earnings. Before she killed herself she wanted to have one evening of pleasure, so she went to a talkie. The picture was “Emma.” Marie will always keep the letter this brave woman wrote when she got home that night, ill able to afford the stamp to send it to Holly- wood. “Dear Marie, when I saw how brave you were, in this picture, I decided to go on living. That is what you mean to me.” There were other letters as noble, as fine, as warming to Marie Dressler’s generous heart.
28
E'S
. . « It seems unbeliev- able that Marie Dressler ~generous, open-hearted Marie~should be forced to suffer so from the very fact that she is so generous and fine. It is her very good nature which has created for her an incredible group
of enemies
By 13k Ga JAMES ON
Photograph by Hurrell
“They’re what makes me want to go on in pictures. They’re what makes my job worth while,” Marie says.
And then there are—these other letters. ‘
MoperNn ScreEEN has told you that the studio is forced to send Marie out of town between pictures, against her wish, to keep her from wearing herself out calling on per- sons who are ill and interviewing those who need comfort, advice, or money. Except under orders, she will not stop, and you can imagine what a drain it is on her strength. But it is not one-tenth of the strain she put upon herself personally answering her fan mail. She would never have a secretary, you see. All the while mail was arriving in bushel-baskets, and Marie not only answered all the letters in her own handwriting, but she lay awake nights trying to decide how much she could do to help the per- sons who wrote asking aid. Claire Du Brey, a friend, came upon her one morning sitting at her writing-desk
and weeping. Claire picked up the letter she was reading:
Marie Dressler :
Say, who do you think you are, anyhow? You make me sick. You're just an old woman that had a lot of fool luck, that’s the only reason you got so much money. I need money, and I’m just as good as you are. You send me $1,000, and you send it fast, or I'll go around telling things about you that will make everybody never want to see one of your dumb old pictures agen.
“Marie,” Claire said, “you’re ruining your health and happiness reading letters like this. I simply will not let you do it. From now on I’m your secretary, whether you hike it or not.”
Marie protested.
“Oh, I can’t. What will people
A woman. friend found Marie at her desk one day, weeping pitifully. Marie had been reading
The friend picked it up and dis-
a letter.
covered that it was the
most. insulting, un-
pleasant missive she had ever seen—you wouldn't believe how in- sulting until you read it. Marie was not crying from pity but from hurt. Something had to be
done.
think of me if they know I don’t read their letters?” “T don’t care what they think, I’m not going to let you read any more of that kind of letters.”
A last Marie consented, much against her will. Today her friend will not let her even see a begging letter. Marie is answering no more requests. Requests? The letter quoted above was not a request, it was a com- mand. A threat, in fact! Are you disappointed in Marie? “Oh,” you say, “but such terrible letters as that must have been few and far between.” Will you believe me when I tell you that Marie has received hundreds as bad or even worse?
Scores ask her to adopt illegitimate children. Granted that any child would be lucky to have a mother like Marie, how could she grant these requests? How could she? It’s simply impossible. (Continued on page 87)
29
Chevalier, Joan Crawford, Chaplin, Barbara Stan- wyck, Menjou and Claudette Colbert—brilliant folk today, all of them! And they bought their
success—their personalities—with hard work,
30
IS YOUR
By ADELE WHITELY FLETCHER
AGIC lantern night at Baxter Hall—that was
an event, when you had the price of admission.
And on this particular night little Charlie
Chaplin had the price—one penny. He scur-
ried through the mean dark alley that led behind the stables where the old wooden tub stood. Carefully laying down the penny, grimy and moist from his tightly closed palm, he began the serious business of scrubbing his face and hands. He had trusted a precious penny to his pocket once before and it had made its way through the shabby lining. Such tragedy wasn’t to be courted a second time.
These lantern slides were the only escape Charlie ever had from his cheerless childhood. The Chaplins were aie far too poor ever to go for a holiday in the country. Charlie never knew what it was to see the long grass blow in the wind or to lie under a big tree. d
Contrasting these early days in Chester Street with Charlie’s last. visit to England you have such stuff as authors would fear to use in fiction lest their readers laugh them to scorn for being ridiculous and far-fetched.
Only thirty odd years have passed since those wretched days. And in this brief time little Charlie Chaplin, begin- ning as a lather boy in a miserable, cheap barber shop when he should have been in school, has become one of the greatest personalities in all the world.
Sta eo
. . « Every human being has a worthwhile
personality. Learn how you, with inherited traits, can forge a glowing individuality
PERSONALITY AWAKE?
His fame, truly enough, has been a springboard which has helped him to make his giant strides. But it isn’t the funny and pathetic little fellow with shoes and trousers much too large for him and a battered derby hat that the distinguished many seek to know and, knowing, to know
better. It is instead the brilliant gentleman who creates —
this famous little fellow that they find interesting and charming.
HEN Charles Spencer Chaplin was in London this last time there was nothing wistful nor pathetic
| about ‘him unless you happened to surprise that look which
occasionally haunts his eyes. He stopped at the Ritz. He had an entourage. He was well-groomed. To meet Charles Spencer Chaplin today—he’s always
_ that to me when I think of him personally and the more | intimate Charlie when I think of him as he is on the
screen—to listen to him express his opinions on anything, it is almost impossible to believe he once was an un- schooled boy living in the wretched and sordid tenements of Kennington.
And what Charles Spencer Chaplin has done everyone can do!
Always he has concentrated upon the development of every potentiality he possesses for improvement and, man- aging to view himself objectively, always he has fought to submerge whatever unpleasant characteristics there are in his inherent make-up. Jn other words, Charlie Chaplin never has allowed himself to lapse into what entirely too many people are without realising it—an unawakened
personality—one whose powers lie fallow.
“But,” [I can hear you exclaim, “Charlie Chaplin is a genius!”
So he is. Granted! Nevertheless, that single word genius isn’t sufficient explanation for the amazing trans- formation which Charles Spencer Chaplin has achieved. He well might be a genius in his work and remain, in reality, a little cockney from Kennington.
OWEVER, if the Chaplin example doesn’t convince
you that anyone can become the personality they set their heart on being, then, by all means, consider Adolphe Menjou.
Adolphe Menjou might be called by many complimen- tary terms but he is not a genius. It was, as a matter of fact, because he was so typically a man of the world, polished, suave, sophisticated, and seemingly to the manner born that he was given his opportunity in the motion picture studios.
The Menjous, who are worthy, respectable people but not at all like Adolphe, used to have a little French restaurant in New York City. And it used to worry them exceedingly because their Adolphe, even as a very young man, would have nothing to do with their business but insisted instead upon going to college. Adolphe graduated from Cornell with an engineering degree and it was the unsettled conditions of a post war world when he returned from ambulance corp service overseas that finally brought him to the movie studios.
Adolphe Menjou saw no (Continued on page 110)
31
32
JAMES DUNN SPEAKS HIS MIND ABOUT L Oe
i was”) Ge
When Jimmy speaks of love he speaks with the utmost frankness. And he has his own ideas on the subject—very definite ideas which many a girl would find thrilling indeed. And they are not just theories, either—Jimmie knows what he is talking about from his own experiences. And although his opinions may seem radical we feel sure you will see why he thinks as he does.
Interesting and revealing, what happy-go-lucky Jimmy thinks about romance.
Did you know, by the way, that he once had an unhappy
romance and renounced love forever?
IMMY DUNN wore a bathrobe and very little else when he bounced in to meet me at the private dining room of the Café de Paris. The Café for all its intriguing foreign name being situated on the Fox
lot at Westwood Hills, his unconventional costume was not as startling as it would have been had our meeting occurred at its formal namesake in Monte Carlo. James was fresh from the set where he had been boxing as part of his performance in “Society Girl,” his new picture. He exuded health, vigor and mas- culinity, while his disarming smile made me accept his apology for keep- ing me waiting, without a murmur. He is an extraordinarily self-pos- sessed, poised young man, curiously like the character which made him famous in “Bad Girl.” I saw at once that in that piece he had merely played himself, and that his only artifice had been an assumption of
shyness and an added touch of rough-
ness to his speech. Like most all heroes of the movies he looks slightly older in real life than on the screen and his strong, well modelled face bears the marks of the struggle which came before success was attained.
Until I saw how well he had himself in hand I had been rather afraid to ask him the question which was on my mind—what did this new screen hero think about love? A question like that will either bring forth a silly, mawk-
(Above) With Sally Eilers in his first film and instantaneous success, ‘Bad Girl.” (Above right) With Sally again in ‘Dance Team.’ Sally and James made such a hit in these two pictures that it was thought they’d always be teamed together, But the Fox company de- cided otherwise, for in “Society Girl” (right) he plays opposite Peggy Shannon.
ish answer or a complete, baffling silence, in ninety-nine cases out of a hundred. But Jimmy was neither abashed nor flippant.
“What do I think about love?” he said wholeheartedly and with enthusiasm, “Why, I love it!” There was no mistaking his sincerity.
“And what,” I asked, “do you think holds a woman best?’ By way of reply Jimmy pushed his chair back from the table, and clasped his arms in an open circle in front of him as if he were holding someone to his breast,
“This! he replied eloquently.
His answer was so complete and to the point that for a moment I was left breathless with laughter. Finally 1 stopped laughing long enough to ask him another.
“But seriously,” I demanded, “I know you've had lots of affairs of the heart—but how about real love. Have you ever been really in love? That is a question,’ I added hastily, “which you may reprove me for asking, and if you like I'll suppress the answer in my story on you.” Dunn smiled a little crooked, wistful smile.
LL trust you to print what you think fair,” said he. “In the motion picture business we have to take what publicity we can get, and I shan’t (Continued on page 95)
Hollywood Newspictures
ife—Mr. and
ishness and his w
Hollywood’s newest exponent of he-mann
Mrs. John Weissmuller.
issmuller and Bobbé Arnst.
Informally, We
34
oer, es, HELEN CHANDIER WEeAks foRce- LAIN CARS ON HER TEETI To &f INGFZOVE HER MOVIE SMmice
a ae \ Z aS i if a \ © S )
GEORGE AISS STILL WEARS A MONOCLE Ht HAS HAD FoR : 25 YEARS. / ; 3) 5 EDNA MAY OLIVER Quit SINGING IN A CHURCH TO JOIN A BURLESQUE SLOW.
THE ONLY NATURAL GLONDE IN THE MOMMIES Wit NATURALLY BLACK Eye.
EROWS AND LASHES —@ERE DAVIS. 35
Vicki Baum tells
“. .. | expected the
utmost.”
Vicki Baum at the opening of ‘‘Grand Hotel.” As she saw the film un- reeled, she, just like all of us, had definite feelings about the work of each star. Great credit is due her for herein setting down those thoughts with such honesty.
UA
“Handsome, manly and credible.”
“... that the last shall be first.’’
WHAT THE
AUTHORS
HINKS Ge
“GRAND
Everyone is talking about ‘Grand Hotel’—and which of the stars in it really gave the finest perfor- mance. And nearly everyone has a different opin- ion. MODERN SCREEN is really proud to present
to you the opinion. of the author herself. A candid opinion about each of the main players
By VICKI BAU
AVE you ever seen a person who had nothing but a lottery ticket in his pocket and who managed to win two first prizes with it? Look at me: I’m that lucky person! The little
lottery ticket which I had in my pocket when America came into my life for the first time was my novel, “Grand Hotel.” I made a play out of it. The best cast I could im- agine played it. The play was a hit: that was one of the first prizes. Then a picture was made out of it. They
thinks does the best work in it
pee BRC i
“| was thrilled and
”
“as | had imag-
; amazed... ined the character.” gave me a cast such has never before been assembled. And the film is also a hit. That is the other first prize! Nowadays I’m continually being asked how I liked the picture, whom I liked best, whether there was someone in the cast I didn’t like—and a hundred such questions. It’s difficult to answer them. After all, I don’t sit before the screen as a critic. Nor as someone who has paid two dollars to see it. For me the screen takes characters which I have carried around for a long while—some of them for decades—and makes them alive and real. Some- times things appear on the screen exactly as I’ve imagined them, sometimes quite differently. And sometimes the things that are different turn out to be better than what [ had in mind. If I’m to talk about it, then there’s diffh- culty already with the order of succession. Whom should I mention first and whom last? Should I proceed alpha-
SOT EL
betically or in accordance with my gratitude? Should I politely let the ladies go first or should I begin with Lionel Barrymore, since he plays the role which is closest to my heart and is most important to me? ;
Well, I think it can’t be a mistake if I begin with Greta Garbo. If I say that Greta Garbo as the dancer is much better than I expected, that’s not of small consequence. For I expected the utmost. I expected that she’d be Greta Garbo and that would have been enough! But this time she did more than usual. She played, so to speak, two roles. First, the weary, lonely dancer, aching for success—and then the awakened woman experiencing a great love. I’ve always maintained that the ability to transform one’s self constitutes great acting. In movies this ability and art is seldom put in practice or laid claim to. Roles are filled according to types. More frequently the réle is measured and tried on and properly cut for the star’s particular form until it fits without a wrinkle. In “Grand Hotel” it’s quite different. There were five main roles—the characters were there first and then came the actors—and I’m afraid that not a single one of the big stars viewed his part with much pleasure at first.
ERE Greta Garbo has achieved something which few people expected of her. She has fitted herself into
“,,to those others... I can say only—
—a fleeting ‘Danke schon,’ ””
a play and into a cast and has rendered a great dramatic performance exactly at that point where the role was con- trary to her own being. The twittering, laughing, hop- ping about, in the tarlatan of a ballet skirt is certainly not what Greta would have sought out as her role. But she has accomplished it. She’s gone the whole way which led from the first words, “I have never been so tired in my life,” to the last words, “It will be sunny in Tremezzo. We'll have a guest, Suzette.’”’ That dead-tired face in the beginning—where did Greta get just those small sad lines around her mouth and forehead? Then, that face in which—between laughter and tears—love awakens! That face full of wanton joy when she is happy. That face full of fear when she awaits her beloved in vain. Unfor-
gettable! Thank you, Greta Garbo. Love can’t be acted, not like that, if one hasn’t the proper partner. I think that John Barrymore
was the proper partner. Handsome, manly, and credible. The love scenes had vitality. Most love scenes on the screen are dangerous —someone in the orchestra may begin to laugh. This time the audience stopped breath- ing! Nevertheless, John was furthest re- moved from my idea of that character, per- haps because I had the clearest mental pic- ture of the baron. My baron was the exact image of a man who was dear to me—a man of action, an adventurer, a fiery creature—a man who was one of the first to die in the war. John Barrymore, as the baron, calmed this character down, made him gentler, added a dash of resignation and sadness.
Here I must tell you a little story: When the novel, “Grand Hotel,” was first printed as a serial, I received, following the installment in which the death of the baron was described, a special delivery letter signed by a num- ber of ladies in a small town. They simply could not face the death of this character. They simply could not endure the thought that now he was dead. Under all circumstances, I must bring him back to life in the next installment. Unfortunately that was something I couldn’t do. In John Barrymore’s portrayal the death of the baron loses this quality of unexpectedness, of torture— and that is advantageous to the film.
OHN, also, had to show two faces—he is one thing in the scenes with Garbo and another in the scenes with Joan Crawford. I have seldom seen a scene more grace- fully paced than that in which Joan and he become acquainted. Beforehand, it was said by many that Joan Crawford would run away with the picture. (Continued on page 114)
Is it Garbo? Is it one of the Barrymores? Is it Crawford or Beery?
37
THE PRs
... Ricardo’s own life parallels in many ways that of the young man he portrays so well in
“Symphony of Six Million’
By WALTER RAMSEY
ACOB KRANZE was born in New York City, July
7, 1900. Not in the best part of the city ... nor
the worst. Lexington Avenue at Seventy-ninth, to
be exact. That would make Ricardo Cortez thirty- two his next birthday, and he appears to be just about that age.
“... but I feel sixty-two!” says Ric with a smile.
Which may sound like an exaggerated gesture to you who have learned to know his handsome face entirely from the screen. But after you have heard his story, after you have come to know the many milestones of sorrow that mark the years of his short life, you may ask yourself: “Why doesn’t he look sixty-two !’’
Seventy-ninth Street and Lexington Avenue is well known to those of you who know New York. You recognize in it a section peopled by families with children —lItalians, Poles, Rumanians, Jews and Irish. Really a tough neighborhood back in the days when Ric set sail. Gangs! Every block had one. If the block was long, there were two. Fights, broken bones, hoodlums! A number of the kids he knew when he was in the third and fourth grade of school, P. S. No. 76, grew up to be among the most notorious gang leaders and racketeers in New York.
Somehow or other, the gangs—the free-for-all fighting —and the petty thievery clashed with the young Jewish boy’s instincts. He found himself gradually being pushed back into his own shell. And it was not long before he came to the conclusion that he was better off alone. Being by himself became a habit—dreaming and planning. The days spent in school were sort of a little private hell to which ke must go for a certain number of hours each day.
OWEVER much he disliked the gangs, there was
one thing that he must fiercely avoid: allowing any of the boys to learn that he was not “one of them’ and consequently a sissy. And so the early years of his life constituted a continual struggle to remain on the fringe of the neighborhood mobs—and yet alone. Of course, the natural outcome of this boyish struggle tended to make him shy and difficult to understand. He had no intimates. Every problem presenting itself had to be thrashed out alone. This playing of a lone hand and working out every problem for himself started when he was a kid of seven, and it has continued to this very day! Ricardo Cortez has never had an agent to represent him in Holly-
38
STORY GFE
Born in New York City, July 7, 1900,
Ricardo Cortez—or Jacob Kranze as his child-
hood friends knew him—is about thirty-two. “But | feel sixty-two,” he says.
wood as every other actor in the business has. And to this day he is shy and difficult to understand.
His memories of childhood are few, probably because he lived his childhood so solitarily. He hasn’t a myriad of happy events, so dear to the heart of most men, on which to pin his gradual development. His first few years were just one continual struggle. A harsh, sink-or-swim struggle to keep to himself and yet not let those about him notice it. It is impossible for him to recall the events of these early days because it was all one event. One great happening that caused him to fear and to smile —gaiety and depression of spirit—happiness and _heart- aches. He was so alone when it all took place, so abso- lutely shunted off from that world that is studded with heart laughs—cops-and-robbers—‘‘gang war” and a bosom pal or two with whom to share thoughts and ideas and dreams.
Young Cortez lived this one event until he was eleven years old. Then fate manufactured something new for him: he was taken to the hospital! Going to the hospital
PIrCcCARDO CORTEZ
(Right) His mother—an understanding soul who adored him and whom he adored. (Below) Ricardo as he appeared at the age of four years.
That was when he was learning the pitiful lesson of having to conform to the block gang.
to be operated upon for hernia is the first real thing that ever happened to him which he hadn’t had everything to do with himselfi—alone! And if you will notice, all the major occurrences of his life are such as these. In telling me of this first recollection, he said:
“T remember being told the night before that I was to go to the hospital in the morning. I took the news calmly—as I did everything else. I went to bed without further talk on the subject and arose in the morning ready to go. Mother went with me and I remember that the rest of the family felt awfully sorry to see me go (I had two younger brothers, and my sister was two years older than myself) but I thought their fears were very childish. I wasn’t afraid.
“Nor was I frightened when we actu- ally got to the hospital and entered the elevator. But on the way to the fourth
floor, it suddenly occurred to me that I
hadn’t thought this thing out for myself!
So when the elevator stopped and we
got out, I sneaked back into the car
without mother’s seeing me and went
to the ground floor once again and out
of the building. I believe I walked en-
tirely around the hospital on the out-
side. I must think this over calmly by myself! Hadn't I always studied out everything alone? And here I suddenly find myself in a hospital about to have an operation . . . and I hadn’t made up my mind about the thing! By the time I had circled around the hospital I was fully convinced that mother was right about the operation and that it would help me in the long run. So I decided to have it!
HEN I re-entered the foyer, my mother was waiting for me. She smiled and asked
39
if I was ready to go upstairs. When I had explained my reason for disappearing, she told me that she understood, and we went to my room. Not my room, either, for there were five other young chaps in there with me. We couldn’t afford a private room.
“T remember, too, that after the operation was over it suddenly occurred to me that I was being a terrific ex- pense to the family. I recall asking mother how much the operation would cost. She told me that it wasn’t im- portant what the bill was—just so long as I hurried and got well. It was then I came face to face with the thing called mother love. I had been so much to myself all these years that it had never impressed me before. I tried to sit up in bed as I told mother she shouldn’t worry—that I was certainly going to get well. Soon I would be grown-up, I assured her, and then I could get out and make a lot of money and take care of her. When she started to cry, it was J who turned into the adult as I attempted to dry her tears and tell her she shouldn't cry.”
Adolescence brought an insatiable urge to see plays, hear good music. He couldn’t expect his father to give him money for these pursuits. He must make money for himself. Saving his pennies and nickels, he collected enough to buy a box of chewing gum wholesale which he sold during the ball game at Van Cortlandt Park. Busi- ness was good. Evening found him with not a package of gum remaining. The jingle of the coins in his pocket warmed his heart. On the way home, a bunch of the tough kids from his own neighborhood pounced on him and after beating him up, took all his money. When he arrived home with a black eye, Mamma and Papa Kranze questioned him. But he had anticipated their questioning. It would have been humiliating to admit his defeat to them, so he told them he had accidentally fallen against an iron fence on the way home.
Within two days he had fig- ured out another way to make money! During the time he attended grammar school he worked as an errand boy for a brokerage house on Wall Street, for which he was rewarded with the magnifi- cent sum of $4.00 per week. But these few dollars offered escape 1n- to the things he wanted to do more than anything in the world. He could see the best stage shows, the opera, the huge concert orches- tras. From the bal- conies, true, but that was all that was nec- essary.
He mulled the mat- ter over in his mind and decided that his family would hardly
inderstand why he ; } : 3 on eieanbe ara certainly helped Ricardo give a fine perform- operatic score when ance as the young Hebrew in this film.
he couldn’t read a note
of music himself. He
couldn’t bear having them consider him a sissy, so he always told his mother he had been to a movie. On be- ing questioned further on the lateness of his arrival home, he would explain that he had wanted to walk home. More times than not he would walk home, for even a gal-
40
With Irene Dunne in “Symphony of Six Million.” The knowledge gained in his child-
hood by his natural powers of keen observation
lery seat cost every penny he could scrape together. To him the gallery represented a complete world. There he was with his own people, the poor, yet they, like himself, sat enthralled at what unfolded below them on the stage.
He realized too well that the “gang’’ would never un- derstand his love for the opera and the theatre, so he never mentioned them. His most guarded possession was not a sling-shot or a kite, but rather a frayed scrapbook containing poems he had clipped from papers and mag- azines,
VEN when he played basketball, it seemed that he
was alone on the floor fighting a personal battle. He never forgot to work in unison with the team, but each goal was a little struggle and victory for him. . . alone. The team he captained won the city championship, and Ric was more proud than he had ever been before.
Then school was over. He didn’t want to continue with his education. He wanted to get out and start making money. That was the important thing—making money. and attaining success! Although the desire to express himself on the stage or in music was burning deep inside him, he knew he must take the thing that would give him an income immediately. He took a job in a ticket agency at $14.00 a week. He was satisfied for a while. He came in contact with the theatrical world, in a sense, and this was as close as he could hope to get then.
One day he met Walter Morosco! As time went on he grew to know him better and finally confided his great desire to go on the stage or in the movies. Morosco men- tioned that a pal of his, Al Green, was making a picture and needed a few boys to play the parts of soldiers. Ric hurried out to the studio and got the job. He was sent to the wardrobe department to be fitted for a uniform. At last he was on his way to becoming an actor! The pic- ture was scheduled to start the following day—
That night Maurice Kranze, his father, died of in- fluenza !
Ricardo Cortez will never forget the horror of those few hours spent at his father’s bedside just before death took his father from him forever. Three days later another tragic blow felled him—his only sister died! Two members of the family taken within four days. This boy who had always lived within himself was sud- denly aroused to the realization that no longer could he consider himself. “My boy,” said his uncle, “you are now the father of the family.” These words repeated themselves many times during the next few years, their responsibility urged him on.
E couldn’t take the movie job. It was gone and forgotten before he was able to look for work again. But find a job he must, for the funeral ex- penses combined with the doctor’s bills had eaten up almost all of Papa Kranze’s little estate. It fell to Ric to hustle for the family’s daily bread.
Finally he tried the studios again and got a bit in a picture called ‘Polly of the Circus” directed by Rex Ingram. Soon he found that the carfare and lunch money consumed most of the two dollars he received each day. He couldn’t choose. He must quit the movies. He found work in a brokerage office on Wall Street, but spent the last half of each afternoon haunting the stage agencies trying to get work. He thcught he might be able to hold down the job in the brokerage house and play in the theatre at night. His tour of the agencies (Continued on page 114)
CALLED
men ...?
. .. Uhere is no love in Estelle Taylor’s life. And there are no friends. That was proved only too well during her hospital sojourn. Yet life has not beaten her. curious courage—and Estelle has it
Such hope demands a
OU remember that, not long ago, Estelle Taylor
suffered a broken neck in an automobile accident?
Remember the weeks she spent in the hospital and
the agony she suffered having her neck set? It would have been an agony if everyone she had ever known had come to her to calm and comfort her. But through it all no one came! Not a single friend—not a single acquaintance visited Estelle during her time of suffering.
Yet I know of no one in Hollywood who could have suffered the same fate if Estelle had known of it. She would have been there. She is as liberal, as thoughtful, as gen- erous as anyone I know—and much B more so than many. Her warm y and compassionate hand has paid more than one hospital bill for a mere acquaintance, down on luck. Her gifts have brightened the Christmases, the birthdays, the anni- H A Le ie versaries of dozens and dozens of persons who had no valid reason to expect remembering. There is never a shower given in Hollywood, there is never a baby born, there is never a marriage celebrated among even the hearsay acquain- tances of Estelle but what her gift is among those pres- ent whether she is there, in person, or not. ARCANE, moreover, personally selected, thought-out, beautifully personal. ;
And yet, in her crisis of danger and great pain, Estelle stood alone.
Not a wire from Jack Dempsey, newspaper reports and tabloid accounts to the contrary. Nota word, not a flower, not a single “I’m sorry, old pal—a bad decision—”
And this crisis where friendship failed seems to me to be a tremendous commentary on Hollywood, on Life. ...
In that hour, in that month or more on that narrow bed, Estelle’s mind and her warm and eager heart went
GLADYS
WHAT IS THIS THING
All the undigested life she has lived, the loves, marriage and divorce, the friends who were not friends, the fame that has eluded her, that long ago baby she never had, the defeats and triumphs and disloyalties
adventuring.
of all her life passed before her in naked revue. And she brought forth conclusions about life and all of its elements that will stay with her for as long as she lives...
Ee said, onlya tew, days ago: «Yes, of course: Ive
thought things out. I had lots of time. I can give you four little bed-time stories on love and mar- riage and divorce—”
And I said to this dark and vivid person:
“Begin with love. After all that you have been through, what do you think of love?”
“T think it is wonderful—of course. The one thing. The only thing. The most precious thing—but like all precious things, it is rare. It doesn’t come to us all. Not all of us are wise enough to know it when we meet it face to face. Not all of us can hold it when we have won it.
Some of us just miss it—somehow. For some special reason, perhaps. Of course I am not embittered, not cynical. Why should I be? Because the two men I’ve known intimately have failed me, or I them—but what does that prove? Nothing. There are millions of men in the world that I have never known, can never know. It will be hard for me, of course, to find another Jack. I have learned, oh surely, that I did love him, that I must always love him, that not until love happens to me again can I be free of him, or feel that I am not still his wife. Whenever any man is kind to me, wants to make love to me, I hear a small, deep-hidden voice whis- pering ‘Oh, Jack—Jack—Jack!’ But I hope I'll fall in love again some day. I’m still romanticist enough to dream of some remote cabin in the purple hills, a fire burning on the hearth, just two (Continued on page 97)
41
LLY? Ee BRAT
By HAGAR WILDE
OME here, Johnny. Don’t trip
over the wire, son.” That was
Mr. Petroff, the director. Mr.
Petroff had a ferocious mus-
tache and rolled his r’s. Uncle Fred said
that he was a director and that Johnny
must always be polite to him. He must always call him “sir.”
“No, sir,” Johnny said and picked his way carefully across the set to where Mr. Petroff was waiting, his knees wide, his hands out, to encircle Johnny and tell him what to do next in the game.
eld) fasten). the wise ot metrotias powerful knees, Johnny listened care- fully, stealing glances at Marian Maxim, the star.
7 Osaras~ oo (it sounded as though Mr. Petroff were saying ZZhawney) =. 22 can you be sleepyin
“Yawn?” Johnny said.
“Yawn, and stretch, and rub your hands in your eyes. See that nice little bed over there? Your mother’s going to tuck you in that little bed and sing you to sleep.”
“T haven’t got any mother,” Johnny said simply.
“Yes, you have. Miss Maxim is your
”?
She was crying. Johnny could hear her crying. She wasn’t crying quietly the way she had a couple of hours before, but she was
sobbing excitedly ... Tears
mother.” : had: streaked her beautiful “Just a pretend mother?” Johnny EAs 6 6 asked.
Petroff avoided that question with prac- tised skill. He'd worked with children before. “She loves you, and she has to go away and leave you tonight, but she’s going to tuck you into your little bed and sing you to sleep before she goes. She wants to cry, but she’s going to tell you little stories and sing to you so that you won't know how badly she feels. You'll know, though, won’t you, Johnny?”
“Yes, sir,” Johnny said.
42
“You must put your arms around her and tell her you
love her. If she knows that you love her, she may not feel so bad, eh?”
“Won't she?” Johnny said shyly.
“Oh, of course not.”
“Really—or just pretend?” Johnny said.
“Really,” Petrotf said. ‘ :
He left Johnny standing there and walked over to the other side of the set to talk to the assistant director. “If these damned parents and uncles and guardians would stop yelling pretend at the kids,” he growled, “T’d be able to get something out of them. Children are so simple and whole-souled that their games become real to them the moment they start. Pretence isn’t in them until it’s drummed in.”
J OHNNY was seven, going on eight. His father and mother had been killed in a motor accident when he was three. His father’s brother, Fred, had taken Johnny to live with him, his wife, and three kids. Johnny’s aunt, living in Los Angeles, spent most of her waking hours
. . . Petroff, the direc- tor, said: “Children aren't like dogs. We don’t teach them. They believe.” And, in this fine fiction offering, the author shows you a touching moment in the life of Johnny Marlowe, child star, who be- lieved—
Illustrated by Carl Mueller
trying to get her young ones into pictures and berating the directors who turned them down. When Johnny was five, he had been taken along on one of her jaunts to the studios because she had nothing else to do with him. He had been chosen for a bit principally because of his large, mournful eyes and wistful little mouth. Mrs. Marlowe had been unable to understand it, but she grudgingly al- lowed Johnny to take his opportunity. W hen he at- tained his childish success she moved into a large house (using his money) and never tired of telling people that she was responsible for Johnny’s good fortune, that he had her and her husband to thank for it. If it hadn’t been for them, Johnny would be in an orphan’s home, that’s where he’d be.
“Miss Maxim...” That was Mr. Petroff’s voice again. “Miss Maxim! Will you take your place, please?”
Marian Maxim walked onto the set, full center, and turned her large, lustrous eyes upon Petroff. Johnny’s heart swam chokingly up into his throat. Her frock was so beautiful. She was so beautiful. His eyes traveled down to her hands. They were long and slim and white.
43
Nights, lying alone in his bed, Johnny had dreamed of a woman like this. In his dream, the woman was al- ways his mother. He had never seen his mother, but he knew that she was beautiful. She must have looked like Miss Maxim. He swallowed hard and clasped his hands carefully behind his back. His palms were wet, he was so excited.
bichitcHencatleraaimam
Johnny watched her, fascinated. Petroff’s gentle hands propelled him into range of the camera. Johnny ad- vanced hesitatingly, slowly. She held out her arms. With a choked little cry of pleasure, he went into them. She smelled like a rose garden after a rain. his head against her breast and her hands went up through his hair and down again. He closed his eyes and burrowed his nose against ther- shoulder.- -He felt: her lips against his cheek. -She set him down and smiled at him. Johnny smiled back. There was a lump in his throat. He swallowed it and smiled again, shakily.
She picked him up in her arms and went through the door to- ward the little white bed. There she set him down. Johnny stared up at her.
Mr. Petroff came over and said, “Wonderful, Marian, wonder- ful!”
Johnny wished that she would look down and smile at him again but she was busy fixing her hair. She was so beautiful. . . so beautiful...
Johnny pressed
T HEY were ready for the bedroom scene. She picked him up once more and held him exactly as she had in the preceding scene. She took off his stockings. Johnny thought, with a shivery thrill of ecstasy, that she did it differently from his aunt. Aunt Grace just dragged them off and threw them in a heap on the floor.
Petroff’s hands were moving. Johnny felt an obscure resentment at the fact that his mother couldn’t put him to bed without Mr. Petroff’s butting in.
She whispered, “Shall I tell you a story 2”
He nodded, speechless.
“What story do you want?”
“The one about Jack and the Giant.” Petroff hadn’t coached him in this but had trusted to luck.
pOncenuponeageimcm rm
“Cut!” Mr. Petroff again.
During the half-dozen retakes, Johnny waited anx- iously. Would she go on with the story? Finally, Mr. Petroff walked over toward them. He patted Johnny’s head, then he looked at Johnny’s mother. ‘“‘You’ve got the song?” he said.
» Wies;o sheyreplied:
piney Wichts sa ean calie name meaed
She helped him slide under the covers of the little white bed and sat down on the edge of it holding him close. She started to sing to hint. Johnny’s arms stole up around her neck and he hugged her first shyly and then hard.
He closed his eyes and drifted off into a world of his own. His house. ..a big house . . . dogs and cats and hobby horses. A little white bed like this, and his mother. His mother. His arms tightened again. He felt her move as though in discomfort. He was hugging. his mother too hard. His little arms released her quickly and he opened his eyes, looked up at her and smiled. He heard Mr. Petroff draw his breath in through his teeth. Johnny spoke, although he hadn’t been told to. “Did I hurt you, mother?” he said.
44
She looked at Petroff. Petroff pushed his hands down and down through the air excitedly. She looked at Johnny and smiled like an angel. “No, darling,” she said, “you didn’t hurt mother. Go to sleep now. Mother will sing to you.”
She sang and Johnny closed his eyes again.
The scene was a big success. Petroff picked him up and hugged him excitedly. “God,’ he said, “God, ZZhawney, you almost make me cry.”
NCLE FRED was there to take him home. Uncle
Fred had a new roadster. He didn’t talk to Johnny on the way home and Johnny was glad, because he had a wonderful new secret that Uncle Fred would not understand. Johnny had a mother. Uncle Fred would laugh if he told him about it, and anyway, Johnny had a lot to think about. He wanted to take his mother a present. He planned to take something to the studio the next day. He could see himself handing it to her. “I brought you this, mother.” Then she would lean down to kiss him. He could still feel the thrill that went with that swift, sweet kiss.
That night Aunt Grace undressed him. She pulled his stockings off and threw them on the floor. She said, “Go to sleep now. You have to be on the set early in the morning.”
Johnny laid there and stared at her. She had unpleasant lines in her face. She was gaunt. Her hands were large and her fingernails were a high, bright pink. She jerked the light out and closed the door, leaving him alone with his mother. He held her close in his arms all night, although she was really a pillow. He whispered good-night to her and stroked her hair and when he finally fell asleep, he dreamed of her in a white dress.
In the morning, he woke with a sense of elation. He started thinking about the present he would take her even as he dressed. Perfume? No, not perfume. After an hour’s deliberation, he decided that there wasn’t anything good enough for his mother. He decided to ask her what she wanted, and, in the meantime, he would buy her some flowers.
When he asked his Aunt Grace for the money, she said, “What do you want with five dollars?”
“T want to buy somebody a present,” he said.
“Who pe
“Somebody,” Johnny said.
“What the hell,” his Uncle Fred said; “give it to him. He’s probably got a crush on some kid.”
“Not five dollars,” said Aunt Grace. She gave him two.
Johnny took it and put it in his pocket. Uncle Fred went outside and got into the car. Johnny followed and got in beside him.
“Who’s your girl?” Uncle Fred said.
“T haven't got a girl,” said Johnny.
“Who’s the present for?”
“Tt’s for my ... mother,” Johnny answered, low-voiced.
“Your what? You mean Aunt Grace?”
“No!” Johnny's voice was low but tortured. He shouldn’t have said it. He shouldn’t have said it.
“What’re you talking about ?”
Johnny just closed his mouth tight and didn’t answer. Uncle Fred shrugged. Kids were funny, all right. No use trying to get anything out of them if they didn’t want to talk. He drew up and waited for Johnny while he selected the flowers. Johnny bought roses because he got a lot for two dollars. He carried them carefully out to the car and got in, cradling them against his breast. He would hand them to her and say, “I brought you these, Mother.” (Continued on page | 92)
me y ALL
STOP OEE
mr ALBUQUERQUE
(Left) Wallace Beery always gathers a gang of
kids around him when he steps off the train at
Albuquerque, New Mexico. (Right) Jackie
Coogan being initiated into the Navajo Tribe— this took place on the brickwalk.
By Je oH.
HY go to Hollywood to see your favorite movie
star? If you'll stop at Albuquerque, New
Mexico, and stay for awhile (and not such a
long while at that) you'll see all the luminaries of moviedom.
Along the brickwalk in front of the Santa Fé station in this Southwestern metropolis, kings, queens, presidents and the big shots of the sport world have trod, but a mere president or a European monarch means little in the life of Albuquerqueans.
It takes the movie stars to bring out the populace.
Albuquerque is located twenty-four hours east of Los Angeles and thirty hours west of Chicago which makes it a strategic point for the movie people to transact busi-
You can’t fool an Albuquerquean about the movie stars.
(Center picture) Gloria at Albuquerque on her famous trip when she first introduced Hank to
(Next) Lois Wilson and an Indian (Next, right) Ricardo Cortez on the
brickwalk—shown across top of page.
America. woman.
HOLMES
ness by telegram or receive personal messages.
After a twenty-four or thirty-hour ride the celebrities are anxious to take a little exercise along the brickwalk, visit the Indian curio room or perhaps eat a meal at the Alvarado Hotel. With executive offices in the East and studios on the West Coast, every movie actor of any im- portance has, at one time or another, clicked his heels along this brickwalk.
Many amusing, interesting and some pathetic incidents have occurred here. Here you see your screen favorites as they really are. They are not on parade.
Let the publicity department of a studio wire Albu- querque papers that a star will pass through on a certain day, and if she is popular, two (Continued on page 99)
This tells you why
45
\
Fe
By FAITH BALDWIN
~~ This brilliant word picture of Gary, newly returned from African adven- ture, will delight you with its fascinating intimacy and insight. You'll really know him after you've read it
Says Faith Baldwin of Gary: “Here is a man who should not marry.”
“Look at his mouth which stamps him, as we are all stamped, as his own worst enemy.”
) “... He doesn’t belong to Hollywood.”
“|. The most American of the young men upon the screen. He makes you think of mountains and plains...”
Hollywood Newspictures
F you had met Gary Cooper on the day I met him he would have been on his way to meet a lady chim- panzee! (See picture above.)
And if you had been in my frame of mind you would have wondered if luncheon with a she-novelist and, possibly, dinner with a she-chimpanzee wasn’t going from the ridiculous to the sublime.
The chimpanzee is, of course, a trophy of Mr. Cooper's recent game hunting trip, while the novelist is merely an- other scalp which he has added to his belt by his work on the screen and his personality off the screen.
As one of Gary Cooper’s bona fide fans I was, of course, very prejudiced in his favor when I met him; and am pleased to report that I was not disillusioned when he towered into sight and stood beside me at a height of a good foot or more over my insignificant five foot two.
As you know, Gary Cooper is Montana born; as you may also know, he was brought up on a ranch until he was twelve years old; after which he was bewilderingly sent to England to school. Later he returned home and was a student at Grinnel College, leaving there in the spring of 24 to become a cartoonist on his home town paper in Helena. Between his return to the States and his college
46
career he had two years as a cowboy and an automobile accident. So, you see, his life has been one long and varied adventure. Perhaps the greatest adventure was his trek to California and, after plenty of extra experience, his rapid rise to stardom.
Off the screen he appears at first sight to be merely a tall and likeable looking young man. But after a few minutes one is impressed by the exceeding blueness of his eyes, and the lean, well modelled contours of his face, and his very attractive hands.
Gary Cooper, despite—or perhaps because of—his English forbears and education is, to my mind, the most American of the young men upon the screen. He makes you think of mountains and of plains, of pioneers and of the days of Daniel Boone.
I thought of my novels and laughed a little, silently, to realize how strong a hold upon my imagination this par- ticular type must have. For try as I will, most of my heroes turn out to be moderately fair in coloring, always tall and broad of shoulder and lean of hip, and usually with just that jaw angle which Gary Cooper possesses. Sometimes for a change I have “written’’ heroes who are stocky and brown eyed and have mustaches; but sooner
Meer t:ARY COOPER
(Opposite page) As he appeared when he re- turned from his recent European trip. (Right) “... One is impressed by the exceeding blueness of his eyes, and the lean, well modelled contours of his face and by his very
attractive hands.”
or later I go back to the Cooper type and feel a good deal more at home!
So here, across a luncheon table, I had for the moment, a living prototype of one of my own pen and ink heroes, and it pleased me, although it probably would not have pleased Mr. Cooper, had he known about it, to make a little mental analysis of him just as if I were about to try and capture him—solely, I assure you, for the purposes of binding him sedately between the covers of a book.
O here goes. And if I am wrong—and he reads this—
he must make up his mind to sue me!
Gary Cooper is an anachronism. By that I don’t mean that he doesn’t belong in this generation—although I feel that he doesn’t belong in it as wholly as others I could name-—but he doesn’t belong in Hollywood. I am glad that no one else thinks so, because if he had, we would
have been the loser by a great many fine and sincere screen interpretations.
But Hollywood is supposed to be the most sophisti- cated community in the country. I take issue with this, for I feel that what passes for sophistication in Hollywood is not sophistication at all, as I understand the term. Sophisticated or not, it works at being thought so. It is a community of “‘sets,” of exaggerations, of backgrounds, of high lights. It is a community living under the shadow of fear . fear of tomorrow, fear of change, fear of the altering tempo of the public pulse. It is a community which is forced to live for the day, for the hour even, in which emotions and reactions do not flower normally and in Heaven’s good time, but are forced into a hot house bloom, from, as it were, one moment to the next.
This is not the background for Mr. Cooper. He has, I think, the character which desires to strike roots, deeply embedded roots. But where in (Continued on page 98)
47
GRAND HOTEL Yow needn't be told this is a “must see” pro- | duction. A galaxy of the screen’s biggest }
(M-G-M) names combines with Vicki Baum’s potent story of twenty-four hours of life in a deluxe |
: Continental hotel. Garbo! John Barrymore! | Lionel Barrymore! Joan Crawford! Wallace Beery! Lewis Stone! | Jean Hersholt! A real all star cast. And each one superbly mas- } terful of the demands of his réle. Lionel Barrymore as Kringelein ; will show you new heights in dramatic characterization. Joan Craw- | ford does her best work to date as the little stenographer. The | director, Edmund Goulding, should be mentioned for the power of , his art. And Garbo, of course, is superb.
THE TRIAL OF Another court room drama in which Viv- VIVIENNE ienne Ware (Joan Bennett) is on trial for the | murder of her ex-fiancé, with her new sweet- ; WARE (Fox) heart acting as her attorney. However, the | : director has made sure that this picture doesn’t | continue in the tedium so often characteristic of murder trial stories. | There is not a moment of surcease from rapid-fire developments. || The camera is ever at work giving you scenes behind the court || room scene. Skeets Gallagher and ZaSu Pitts furnish the type of comedy they , do best as radio broadcasting reporters. Donald Cook is convinc- ing as Vivienne Ware’s attorney, and others of the cast are good. .
THE WORLD You would hardly know that this was in- | tended as a Bancroft starring vehicle, except ||
AND THE FLESH for his stellar billing. It is some time before || (Paramount) he even enters into the action as the bluster- ing sailor who rises to power with the first |
sweep of the Russian Revolution. The fate of Miriam Hopkins (a || dancer fleeing with the aristocrats) lies in Bancroft’s hands, and || he falls in love with her. | Briefly, it is an unusual love story mounted on a background of the seething Revolution with its military coups, executions, plots | and counterplots. However, the film doesn’t reach its full poten- | tialities. Alan Mowbray and George E. Stone help.
TWO Highest honors go to Edward Robinson as SECONDS John Allen, condemned wife-murderer. As he steps to the electric chair, we review with him
(First National) events in his life leading to the present mo-
ment, during the two seconds before he loses consciousness. With him we relive his life as a steel riveter, the marriage he is tricked into by a venal dance hall girl (Vivienne Osborne). We see his best friend hurled to death from the steel- frame skyscraper. Then we view a man with nerves shattered, spirit broken, his very sanity dissolved by the rottenness of the woman who is his wife; whose metamorphosis to insanity leaves us gasping. A picture you won't forget.
THE DOOMED “The Doomed Battalion” is supposed to serve as an introduction for Tala Birell to the Amer- BATTALION ican audience. . . . But Tala is lost in the (Universal) thrillingly beautiful scenes of that part of the War fought in the mountains of Austria. The Austrian mountain climber (Luis Trenker) says good-by to his visitor pal from Italy (Victor Varconi) as the picture opens. War has been declared! They believe they will be allies . . . but the Gods of War make them enemies. Varconi is sent to take a certain mountain peak held by Trenker, his friend. The attendant thrills ...men fighting on skis... machine guns and dynamite ... are great. See it.
REVIEWS
Lavish production, smart and sophisticated THE RICH ARE
characters and situations combine in this di-
verting study of the multi-millionaire class. ALWAYS Ruth Chatterton is the fabulously wealthy WITH US matron-of-thirty-years whose. almost perfect (First National)
marriage to John Miljan fizzles with the advent of another woman. Ruth turns to handsome, novelist George Brent for sympathy and falls in love.
In no way can this be considered Ruth Chatterton’s best, and yet it assuredly is superior to some of her more recent endeavors. You will approve of the deep-voiced George Brent and the finished precocity of Bette Davis, who loves and loses him.
Jackie Cooper is Limpy, the little lame LIAAPY MAKES
boy who needs a friend. He is shunned by COOD those who should have been his playmates,
bullied by the cousin who lives in the same (M-G-M) house.
His Uncle Jonas (Chic Sale) is the only one who understands him; plays, laughs and cries with him. When Uncle Jonas leaves, the little cripple’s world topples over.
It isn’t the fault of either Jackie Cooper or Chic Sale that this
| story fails to reach great heights. They share honors equally for
two grand portrayals. Dorothy Peterson and Ralph Graves are good
_ in supporting roles. Worth seeing.
A former attorney for the underworld be- STATE’S comes District Attorney. He is John Barry- more, who makes Tom Cardigan real, humor- ATTORNEY ous and sympathetic. An ex-client racketeer (RKO-Radio)
(William Boyd) is tried for murder by Cardigan. With the testimony of the attorney’s former sweetheart (Helen Twelvetrees) a verdict of guilty is assured.
But that doesn’t tell the story. Helen Twelvetrees is Barrymore’s sweetheart. He marries another, then refuses to be her husband when he realizes his true love is Helen.
The picture is John Barrymore’s from start to finish. His flare for comic satire never. sparkled more brightly.
A couple of creepy hours are in store for MISS you, studded with good laughs and action. Those who like melodrama ushered in through PINKERTON padlocked doors to the accompaniment of (Warner Bros.)
howling dogs and quiet footfalls will enjoy this.
It seems there was an old mansion, some decayed aristocracy, a murder .. . and a huge insurance policy. Combine these elements with a handsome detective (George Brent) and a wow of a nurse (Joan Blondell). Also a flock of suspicious characters.
Joan does better than ever before, and you'll like George Brent as the detective. Mary Doran, Ruth Hall, John Wray and Holmes Herbert complete the cast.
This is the top in excellent entertainment! LETTY Joan Crawford is marvelous as Letty Lyn- LYNTON ton who runs away from her wealthy mother to escape boredom ... only to run into a (M-G-M)
wealthy, sexy South American, Nils Asther, and become tied heart and hand. In escaping from this affair, she meets Montgomery and then the fun commences. Nils threatens to publish certain letters if he is jilted. Poison champagne . . . switched glasses . . . almost a scandal, and then the happy end- ing for Bob and Joan.
Bravos for Clarence Brown’s direction; May Robson and Lewis Stone’s acting. Don’t miss this!
Don’t see poor pictures. Read these reviews and make sure it’s the type of show you ll like
Somewhat reminiscent of “The Sin of Madelon Clau- det,” this story of a girl (Wynne Gibson) who marries a no-good (Pat O’Brien), fails to reach the pinnacle of human interest scaled by the first-mentioned. Both hus- band and wife are put in jail for a crime he commits, and their daughter is adopted by a police officer. Years later the mother locates her daughter (Frances Dee), who is about to be married. The husband appears, learns of his daughter, and before he can capitalize on the situation is killed by his wife. Half-heartedly recommended.
VALLEY
A new type of Western picture that will be applauded by adults as well as children. Tom Mix saves the lives of Lois Wilson and her niece, also their mine. But not too heroically. Tony does his part in meting out justice to the wrong-doers.
Fred Kehler registers as the unsympathetic heavy of the story.
With the showing of this, Tom Mix and Tony will add many to their list of followers. It goes to the head of the class of horse operas.
With the role of Molly Louvain, Ann Dvorak ‘again proves herself as the most promising of young actresses. Betrayed by the boy she loves, Molly goes away with. Nick (Leslie Fenton), only to complicate herself and the plot.
Hiding from the law’s dragnet, Molly falls in love with Scotty, (Spencer Tracy) rapid-fire newspaper reporter, who unknowingly brings her into the arms of the law. Tracy is made to order for the breezy part he plays. Others in the cast are more than adequate and the plot is cleverly developed. Altogether, this is satisfactory entertainment.
50
THE STRANGE CASE OF CLARA DEANE
(Paramount)
AMERICA
RIDER OF DEATH
(Universal)
THE ROADHOUSE MURDER (RKO-Radio)
THE STRANGE LOVE OF MOLLY LOUVAIN
(First National)
THE WOMAN IN ROOM THIRTEEN
YOUNG
(Fox) |
That ace director, Frank Borzage, does it again.
Here is a story of youth with none of the old situations. - Two boys (Tommy Conlon and Raymond Borzage) find themselves before the Juvenile Court judge, portrayed re- alistically by Ralph Bellamy. The two kids are excellent.
Spencer Tracy does his best work to date and Doris Kenyon is perfectly cast as his wife, the only one who be- friends the juvenile delinquents outside of court. ;
If you like your entertainment brushed with tears, hurry to the theatre where this picture is showing.
The bad boy of “Are These Our Children?” again goes on trial for murder. Eric Linden is the super-am- bitious cub reporter who frames himself on murder charges to bring overnight fame as a newspaperman and money to marry Dorothy Jordan. 2
Dorothy has the evidence that means his last minute acquittal. But when the real murderer steals this, Linden sees the electric chair uncomfortably near at hand. There’s more before the final fade-out, but you'd better see it for yourself. Pin
(Fox)
It seems that there was a discarded husband who hap- pened to be hired to get evidence of unfaithfulness on his former wife ... who is married in the meantime!
Not very inspired entertainment. The story fails to hold a single climax and the “smash” ending is so obvious that it might just as well never have been filmed at all.
Elissa Landi as the wife is adequate. Ralph Bellamy is sadly miscast. The honors, if any, go to Neil Hamil- ton as the second husband and Myrna Loy who gives a very sincere performance.
eee Ow ERN SCREEN?"S
Beyinale Ath ce
. » » MODERN SCREEN
was the first to bring
you really intimate
pictures. Now we
offer the absolute
last word in this type of feature
Pictures in this feature (except those noted) by Hollywood
Newspictures.
(Left) We're willing to bet this is the most informal picture of Marlene Dietrich ever published. (Below) Ivan Lebedeff and Thelma Todd on Hollywood Boulevard.
pearing:
51
(Left) Joan Bennett— now Mrs. Gene
Markey, you know.
(Right) George Brent
—Warner’s new he-
man star.
(Left) An amusing picture of that Wally Beery chap.
(Right) Colleen Moore—now a Holly- wood star again.
stars.
(Left) Joan Blondell does right by her
wire-haired.
(Right) Meet Harpo without his famous cuckoo wig.
(Left) Jeanette Mac- Donald and her
fiancé, Robert Richie.
(Right) William Haines, gentleman, and wise-cracker.
.
P
53
... Like an invisible—but wonderfully all- seeing—eye, our camera roves down the famous Hollywood Boulevard with results
that'll keep your orbs popping
Starting above and going the opposite way to the clock. 1. Skeet
Gallagher, Robert Woolsey and Bert Wheeler. 2. Comedian Joe
E. Brown on his way to lunch. 3. Alec B. Francis, character actor.
4. Russell Gleason and Frances Dee. 5. Victor McLaglen and
Charles Judels. 6. George O’Brien and his particular pal, Ricardo Cortez.
\t’s amazing, the number of stars that enjoy trot- ting down the most famous Boulevard in the world—and no apologies to the Boul’ Mich, either. (Above, left to right) Peggy Shannon does a swell autographing job. Lola Lane—oh well, then, Mrs. Lew Ayres. Helen Twelvetrees knows how to browse. Can you browse? S'fun. (Below, left to right) Dorothy Mackaill and hus- band, Neil Miller. Hoot Gibson. And Mrs. Sally Eilers Gibson.
55
Paramount Photo if
(Above, left) Lloyd Bacon, director, Don Dilloway and Joan Blondell singing songs be- tween scenes. (Above) Richard Arlen and Assistant Director Billy Kaplan figuring out ]
details for a scene in “Sky Brides.”
7 : - 2 . i| bt. | m= 2 i]
Paramount Photo
(Above) Frances Dee e doesn’t know you're a Fe Petar | looking at her. On the “Strange Case of Clara Deane’’ set. cileee. 2 ee = | ' ea. € (Right) Alison Skip- ——— Ez _ 24 | worth on the “Sinners ee 4 wy ae 3 2 Ses
in the Sun’ set. r. a Co me sec ore ¥, ae |
(Right) Paul Lukas while “Thunder Below”
was in the making. He plays opposite Tallulah Bankhead in it, you know.
Paramount Photo
(Right) Mary Doran, of “Miss Pinkerton of Scotland Yard.” Ray Romero—make- up artist—in the
background.
Joan Blondell, John Wray, Don Dilloway and Henry Gordon on the ‘Miss Pinkerton of Scotland Yard” set.
. . « How would you like to be invisi- ble for an hour and take a peek around the Hollywood lots?
Here’s your chance
That’s Gwen McCormick, daughter of singer John, with Doug Fairbanks, Jr., on the “Love is a Racket” set. And Doug’s dog, Hamlet.
Paramount Photo
(Above) Betch’a Miriam Hopkins is reading about herself. (Left) Richard Wallace (he’s a director) and Regis Toomey won- dering if one of those identical rings is an imi- tation.
57
Joan Crawford on her way home Isn’t that a nice flower in John Anita Page dashing away to the from work —hence the smile. Barrymore’s buttonhole? “Night Court’ set.
I
e
A quick trip around the M-G-M lot—see them in person
al ON Oe ¥ eae, at
Jimmie Durante, “Schnozzle’” to youse, is raising Jack Gilbert and Madge Evans are not that way. his hat to—well, maybe it’s Garbo. It’s purely platonic. Yes, it is! 58
_ unusual things Hollywood has ever seen.
THE LOW-DOWN ON RICHARD
JA C.K
By JAM I
SO N
Among the thoroughly honest things Richard tells in this inter- view are his opinion of his own
acting and his exact salary.
With Ann Dvorak in ‘Molly Louvain.” Richard was lent to First National by Columbia for this picture. He was lent to M-G-M,
too, when he played in “Emma.”
. . . Ingiving this interview, young
NE of the first, if
not the very first
story printed about
Richard Cromwell when he zoomed up from obscurity to stardom in a single picture, was given to you in MopERN SCREEN. The title of that story was “Clumsy.”
We chose that word because it is one which, broadly, expresses the essence of Richard’s charm; his simplicity, his ingenuousness, his boyishness. It is also a word which, taken the wrong way, has a sting to it. The present writer happens to be a friend of Richard’s, and I am pretty sure that that title did hurt him, although he has never said anything about it. He was hurt because we did not understand the quality in him which made him appear “clumsy.” We do understand it, now, and so, although Dick has not asked for one, we want to make an apology to him. “Clumsy” was wrong as a title.
It should have been “Honesty.”
For Richard Cromwell is doing one of the most He is mak- ing a wager with fate, and the stakes are his entire career, his whole future, his whole happiness.
He is taking a vow never to show himself to a single soul, inside or outside of Hollywood, other than
_ as he actually is.
Do you realize what that means? For an ordinary man or woman not connected with the theatrical pro- fession to resolve upon utter honesty in all his or her
Richard Cromwell made an amazing decision—to be absolutely honest.
His candor will amaze you
dealings would bring up problems difficult enough. Now, for anyone in pic- tures it is fifty, a hundred times as hard. For ex- ample, suppose you went to Connie Bennett and asked, “Are you high hat?” Per- haps Connie honestly believes she is; perhaps she has her own ideas of what “high hat’? means; perhaps she’d like nothing better than to shock the hypocrites by an- swering “yes.” But can she? Dare she? If she does, the public will turn on her overnight, such is our Ameri- can contempt for the person who is better than we are or who thinks he is! In spite of all that, 1f you ask Richard anything he intends to tell the whole truth and nothing but the truth. Think for a minute what this means to him where publicity is concerned. You know and I know that a movie star has to put out publicity ; has to think up a colorful personality for himself in order to put himself across with the public. These are the talkie profession's little white lies—that So and So spends a million a year on clothes, that So and So owns ten yachts and repairs the engines himself. Richard says he will have none of it. No fake personalities, no fake interviews.
NYTHING the public wants to know about me I'll tell them, and I'll call a spade a spade. But if there isn't enough to me to make anybody interested, I refuse to make up any stories. Ill (Continued on, page 88) 59
CONNIE THROUGH JOAN’S EYES... |
By HALE HORTON
URELY two more opposite
types of women would be hard
to find than Joan Crawford
and Constance Bennett. The dusky, intense Joan who by sheer power of will dragged herself up from poverty to stardom—and the glamorous Connie Bennett whose cham- pagne wit and inherited talents enabled her to attain stardom in spite of her being born into the enervating at- mosphere of wealth and renown. At the age of fifteen when her beauty turned Yale Proms into riots, Connie was as sophisticated as she is today; while Joan is utterly devoid of sophisti- cation in the true sense of the word and always will be. Yet they are friends. And, what is not generally known, very intimate friends.
Obviously their friendship is a perfect example of the attraction that develops be- tween diametrically opposed forces. It had its inception about seven years or so ago when Connie worked on a picture on the M-G-M lot and recently it ripened into an attachment that gives every indication of being utterly sincere and lasting. But let Joan, herself, tell you just what it is that attracts her to Connie Bennett—and in view of the many published stories at- tacking Connie, her words should prove doubly inter- esting.
Joan marvels at these sto- ries. She believes that if the fans in general and the writers in particular knew Connie as she does they would consider her one of the most delightful women in Hollywood.
ONNIE’S so _ perfectly
natural,” Joan exclaimed. “There’s no pose about her at all. She is probably the most charmingly informal per- son I know. Il never for- get the afternoon that she dropped into my house for tea after a polo game. She brought along Henri, Mrs. Somerset Maugham, David Manners and a few others.
Connie, cool, svelte, sophisticated, is the No sooner was Connie in the eppaatenin Peele off Jon, Seen tey living room than she slid way are the best of friends. (Left) At the recent a down in a chair until she Gees as oY aS aS baby party which Marion Davies gave in | | looked as if she were sitting nie ' Hollywood. | 60 }
¢
Joan, eager, fresh, thrilled, is the opposite in many ways of Connie. Yet they are the best of friends. (Right) Connie and Joan in “Sally, Irene and Mary,” made in 1925. That was when they met.
. , Joan Crawford and Constance Bennett are great pals. And on these pages Joan tells of the Connie she | knows, with an inside slant—for the first time—on | Connie’s attitude to her adopted child, Peter
on the back of her neck . . . then she
pushed her hat up on her forehead—
and there lounged our elegant sophis-
ticate,’” Joan chuckled, “with that
little hat perched absurdly up on her
head, perfectly at home, and chatting
with a nonchalance that I’d give my
right eye to possess. In spite of
the fact that she looks so distingué
in formal gowns, she adores to wear
old clothes—at least when among
friends. In all truth, informality is Con-
nie Bennett’s middle name. She’s as
fond of bicycle riding as I am, and
she gets a huge kick out of Coney
Island, a place that she invariably
visits when she goes to New York. I
suppose its hard for you even to 1m-
agine the sophisticated Connie Ben-
nett riding a horse on a merry-go-round
at Coney Island. Well, she’s done it many
a time. And she loves it. One simply
can’t help being fond of Connie; she has
so many little funny twists to her char-
acter. For instance, during the past year
she has spent more evenings putting pic-
ture puzzles together than she has in night
clubs. Connie has changed a great deal in
some subtle way, perhaps this change is due
to her deep love for Henri, or to the adoration
with which she warms the life of her four-
year-old boy, Peter. “Connie Bennett adores
the very ground her four-year-old son walks on.
Her untiring devotion to him
should be an inspiring revela-
tion to those who call her a
cold-hearted and brittle so-
phisticate. But being a mod-
ern mother Connie never al-
lows her love to be obvious.
“To the world she may seem
a brittle and cold sophisticate,
but in reality Connie is one of
the most thoughtful, tender
and affectionate women of my
acquaintance. Never shall I
forget how she helped me
through an embarrassing pre-
dicament one night at a party
of hers. She knows that [’m
frightfully self-conscious when
entering a room with Doug,
especially when the rooin is
filled with people. I’d rather
take a beating than make an
entrance. On this occasion
my heart was in my throat as
I stood in the doorway
watching the hordes of fa-
mous names milling about
amidst bursts of conversation
and laughter. ‘Doug, I
gasped, ‘I can't do it. They’ll all be watching.’
61
““Pull yourself together,’ he whispered. ‘It'll be over in a minute.’ And with that he led me into the room. As soon as Connie saw me she realized I was half para- lyzed with fright. And in spite of the fact that she was busy introducing some guests, she rushed across to my assistance. ‘Joan, dear, I’m so glad you've arrived!’ she exclaimed, and she kept me in a fast conversation until she felt that I was more or less under control; then in order to further relieve my embarrassment she suggested that we go upstairs and see her child. ‘We'll just run up and say good-night to him,’ she remarked as we left the room. ‘I never fail, party or no party.’ And incidentally Connie never enters or leaves her home without greeting or saying good-by to him.
“On this night, as we entered Peter’s room, faint music reached us from down below—some soft en- trancing waltz—the room’s only illumination was from a tiny lamp on the bed table . . . and as long as I live I'll never forget the lovely light on Connie’s face as she leaned over her son and said: ‘Isn’t he beautiful?’ That’s all she said. I couldn’t answer. All I could do was look first at the child and then at Connie’s face as she repeated, ‘Isn’t he beautiful?’ .. . With his large blue eyes and curly, golden hair the little fellow looked simply angelic.
Wee at all times Connie is gentle and tender with Peter she never seems ob- vious in her affection, for she’s very much the modern mother. And if the child does something wrong, she never scolds or frightens him, preferring rather to point out his mis- take with compassionate understanding and show him just what he should have done. As a result he never makes the same mistake twice.
“One afternoon we were standing out on the lawn watching Peter at his play, and when I asked him his name, he promptly re- plied “Constance .Bennett.’ After smothering a little yelp of laughter, Connie said: ‘Peter! You know that’s not your name.’
“Well, then,’ the child compromised re- luctantly, ‘Peter Bennett.’
“ ‘Peter,’ said Connie, gently taking her son by the arms and looking down deep into his eyes, ‘You re- member perfectly well what I told you to say. Now tell Joan what your name is .. .’
“And after a moment of thought, Peter inquired cau- tiously, ‘If I say Peter de la Falaise do you think Uncle Henri will play with me?’ Now do you wonder that I think him adorable? And of course, Henri loves to play with him,’ Joan continued, “and so does Connie. They play with the boy every chance they get. The three of them work puzzles and romp and laugh together.”
It will be many a moon before Joan forgets the after- noon that she dropped in at Connie’s for tea only to find her hostess busy on the telephone discussing stories with a studio executive. Connie’s little boy, standing across the room, bashfully hung his head as Joan entered. Connie wanted him to entertain Joan but the lad went shy. So as Joan recalls, Connie’s telephone conversation ran something like this: “Hello, there, Joan. Let Peter entertain you for a moment . . . No, I can’t say the story makes me exactly pant with excitement . . . Peter, run over and speak to Joan... And that one’s on better .. . Peter, now don’t be so bashful . . . That part doesn’t suit me... Joan wants you . ... What’s that? ... Peter ... Well, it may be your money but... Peter...” And only when Connie was able to give Peter a bit of undivided attention could he be persuaded to overcome his bashfulness. But then he was so nice and polite to
62
Peter
Joan that Connie rewarded him by lifting him up on her lap and allowing him to sit there during tea, occasionally peeking up at his mother’s face in mute adoration...
ONNIE’S sincere affection for her boy is but one ||
of the reasons why Joan is so fond of her. Another is the Bennett beauty.
with a baby blue ribbon around her blond head. . give you my word that she must be the only woman
make-up on either. she does!
ating honesty. In the first place she’s perfectly frank and above board at all times. This may be one reason that some people seem to dislike her, but personally I consider frankness a glorious qual- ity. It makes you so sure of a person!
A reason devoid of pettiness, for you'll never find anything petty in her likes and dislikes.
her little son, Peter, even in the smallest detail. save many future heartaches. And the same ap- plies to her friends.”
eS stories about Connie Bennett you often see the words “shrewd business woman.” that she can “drive a sharp bargain.”
per week—even per. minute are discussed. But surely such words are not a discredit to her. Wouldn't
you have more liking and respect—rather than less—for a || Of course || Certainly Connie can drive a sharp bargain. ||
man of whom these things could be said? you would! With producers, with studio executives, with business men generally. Why shouldn’t she? They respect her all the more for it. Those same sharp wits of hers have helped them put over many a box office hit.
|
“Connie Bennett is probably |) the most beautiful woman in Hollywood,’ Joan told me || enthusiastically. “And at all times, too. It doesn’t make the slightest difference how she is dressed or under | what circumstances the meeting takes place, I have yet | to see her when she doesn’t look stunning. One night || I called on her when she was laid up in bed with a bad }) wisdom tooth. She was wearing a pale blue negligée | . and I “i in the world that can wear a narrow baby blue rib- | bon around her head, while lying in bed, without || looking like a ninny. And she had absolutely no I tell you Id be perfectly || happy if I looked even half as beautiful in bed as |
“And last but not least there’s Connie’s undevi- —
= 4 ; | =} For ex-_ ample, Connie never pretends—if she disagrees with —
you or dislikes a thing shell mention the fact all right, but she'll give you a darn good reason why. )
And she || is, above all, a woman of her word. She would — no-more let down a friend than she would deceive || She || feels that honesty between her son and herself may —
You read | The exact || number of dollars she earns per year, per month, ||
But |
1 “\i
fi a
| i
her clear head and keen wits have been a little too much | )
emphasized. Her womanliness and genuineness were not, apparently, as good copy as an inventory of her worldly wealth and her expenditures for clothes, cars and what- not. Connie herself detested those stories. Perhaps you
will remember that, about a year ago, she gave MODERN SCREEN her very last story on her money and what she — She gave this true account in the hope |
spends it for.
of silencing the false reports. She was sick and tired
of the subject and annoyed at the wrong pictures some — stories had painted of her. We are glad that we are able §
—with Joan’s help—to give you a really true picture. Being a “woman of her word” is one of the outstand- ing traits that Joan and Connie have in common. If
Joan says she’ll do a thing at a certain hour, she does so; |
despite any inconvenience. But perhaps the strongest link in the chain that binds these two opposite types is their ‘sincere respect for each other—and if you think
Joan raves about Connie, you should just hear what §
Connie has to say on the subject of her friend Joan.
(Above) George O’Brien gave the
| ee ; New York cops a demonstration | 63 ga" ve a of horsemanship in Central Park. ey (Left) Jean Harlow and her Pappy. She’s been making personal appear- ances. (Right) Claudette Colbert off from Grand Central for Holly- wood. (Below) Lupe Velez and also Buddy Rogers, snapped back- stage atthe Ziegfeld Theatre where they’re playing in ‘Hot Cha!’
Pictures at left and below by Culver Service. At the right by International
Intimate glimpses of some temporary Manhattanites
| 63
THE MAN
These unusual pictures, exclusive to MODERN SCREEN, give : you some idea of the wonderful character work Edward did on i the stage—before Hollywood took him up. (Starting above and l reading around the page counter clockwise.) 1. In “We Americans,” a play about an immigrant family. 2. As the i Impresario in ‘Samson and Delilah.” 3. Ottavianno in ‘The i Firebrand.” 4. The Button Moulder in Ibsen’s “Peer Gynt.’ 5. Reb Feiwel in “The Goat Song.” 6. Smerdiakoy in “The Brothers Karamazov.” 7. General Parfitio Diaz in “Juarez and Maximilian.” 8. As Lazarus in “The Kibitzer.” H The last named reached the screen but not with Robinson. f
Sieve eee
(Left) With J. Carroll Naish and Vivienne Osborne in “Two Seconds,” his latest. (Right) “He is all energy, most of it nervous. And al- though he is well known in University circles as a Hebrew scholar he cannot con- centrate long enough to learn to play golf.”
_ romantic by showing their
still _ Brothers Karamazov” and ~ “Ned McCobb’s Daugh- ter” for the Theatre Guild, the gunmen of the screen were strong, silent and heroic, but dull. He made them exciting by playing them as men _ of lighter moments, emotional lapses and family ties.
his neckties, his interviews and his emotions.
oer CAN WEEP...
By EVELYN GERSTEIN
DWARD Ge ROBINSON is the man _ who made gangsters
weaker side. When he was Playing’ in The
With a face at once sinister and suave, and a voice that abets it by adding intensity, he wants to play all of the villains in history. Murder is his excitement. Yet when he is tense and exhausted from negotiating with directors, interviewers and film executives about how the murder shall be committed, he crumbles, defenseless, and weeps, “I'm so tired. Why won't they let me alone?”
_ Robinson is a little man, as everyone knows, but his
_ yoice is impelling. He is recognizable everywhere by a face that no one can forget (Al Capone first made it
famous), and by the fat black cigar and the light polo coat - that inevitably make a Little Caesar of him. Yet, on the screen, he would rather play Gaugin, Machiavelli and _ Beethoven.
Gladys Lloyd, his actress wife, who sometimes acts in his pictures, is his buffer against the world. She arranges He is all energy, most of it nervous. And although he is well known in university circles as a Hebrew scholar, he can- not concentrate long enough to learn to play golf.
He went to Europe to rest, but he spent his nights throwing parties in his hotel in London and his days in showing the professional guides what to look for in Limehouse. The rest of the time he indulged in personal appearances. He was the toast of Piccadilly and the Strand and when he left they sent him a gigantic red leather,
, You have seen Edward G. Robinson in hard-boiled réles and in an austere role. Yet in real life his character is by no
means so limited. You'll be surprised—
gold engraved book of his press clippings.
In Paris, the night clubs hailed him and_ blues singers from Harlem shouted the name of the Cotton Club to remind him that he was in Paris. He terrified and enchanted the
French from the garru- lous, fly-by-night taxi drivers and the bewhiskered
chiefs of police who watched for the muzzle of his gun, to the Apaches who staged street fights to greet him as brother. Even his wife was amazed at his inter- national charm.
In Italy, he stalked the art galleries daily until mid- night until his wife collapsed, exhausted. There were al- ways Americans, even in hill towns, to recognize the Capone in him. He usually says what he thinks, but in Italy, from the moment his face was flashed over the border on a passport, he guarded his expressions and in all crises remembered to shout “Viva Mussolini!”
“ES English thought him “quite ordinary,” but wrote columns in praise of his “mug,” his culture and his wife. In London the shadow of Capone pursued him to the very edge of the pit in the Tower of London where Elizabeth, once queen, now rests in formaldehyde, and a guard who “recognized” his face, tapped him gently on the shoulder to whisper, with meaning, “Jack (Legs) Dia- mond is dead!”
Although Robinson lives to murder, he is at heart a gentle, expansive, disturbed and excitable man, as generous to his family as he is to himself; a man frankly delighted with his success and his chance to publicly parade, yet he insists that he would not care if tomorrow it were all taken from him.
Robinson is a complete, but nevertheless charming, egoist. He can talk about (Continued on page 109)
65
| SAL ELE Wardrobe
(Above) Sally's favorite lace dress—so feminine and fragile looking that you’d never guess how really practical it is. It’s French blue all-over lace. Sally i wears it over a blue silk slip that has a heart-shaped I} bodice. For afternoon purposes, she adds a black 3 silk belt, a pert black straw hat with French blue flowers, and black sandals. For a dinner engage- ment, she substitutes a matching blue belt and blue dull crépe sandals. Note that this dress, although of feminine material, is very plain as to cut. All 1 Sally’s clothes are. (Left, from top to bottom) Formal accessories. That fan is real Valenciennes lace. The bag is black silk, studded with rhine- stones. Next, accessories for formal afternoon or } semi-evening. The sandals are worked out in pieces of rust-colored moiré and satin. Finally, a group
of sports accessories to take hints from. Note the smart, sensible brown buckskin shoes.
66
crépe roma, brushed That cape
drapery in the front gives the fashionable wide
An evening gown of blue over with a star dust effect in gold.
shoulder look. For that tight-above-the-waistline
silhouette you need to be slim—but well-rounded.
If Sally would turn around you could see how the
capelet develops into a deep ruffle in back ‘and borders the very low décolletage.
PINT of golden California sunshine, a generous dash of pep, a sprinkle of sweetness—and you have Sally Eilers.
Earl Luick, who has recently moved his water ; colors and brushes from First National to Fox where he heads the wardrobe department, calls her the all-American sports girl. She’s utterly un-selfconscious; usually curls
Weal?
| By IRGINIA -1.
The same dress topped off with an adorable white ermine jacquette. (The average girl would probably have to be contented with bunny, but it would look just as nice.) Notice the cute short sleeves. And look more closely at the skirt of the dress. It’s longer on the sides than it is in the middle. The deep flounce that marks the knee line ends ina knot in front.
LAINE
up ona couch in an unconcerned way when she becomes interested in a conversation. There’s a swing to her walk that comes from the smooth coordination of supple
muscles. There’s a buoyancy about her that you find contagious. Sally is the neighbor girl you've always ad-
mired—and envied a little—and perhaps secretly tried to imitate. The one who is so popular.
Read about Sally's wardrobe and see for yourselt
67
(Extreme left) A white flannel | | |
skirt and a short yellow flannel
jacket trimmed with large sil- | ver buttons makes an attractive | outdoor costume. Nothing | could be simpler—nor more
correct. (Directly left) We | like this best of all Sally’s \ dresses. It’s an eminently i practical dress for the girl who - has to work most of the sum- t mer in a city office. The || material is dark blue georgette. | The trimming is detachable J collar, cuffs and cat’s whisker |
bow of double organdie.
Write to Virginia T. Lane about your own wardrobe problems. She can help you a great deal, for she is in close contact with the head designers of the Hollywood studios. Address Virginia T. Lane, Modern Screen, 100 Fifth Avenue, New York, N. Y. Enclose a stamped, self-addressed enve- lope, please
Ziegfeld described her as the most beautiful brunette on | the screen. Ah, but she’s a blonde now. A very lovely blonde with brown eyes. She had to make the change before her part in “Over the Hill,” but she informs me that she'll be dark again before long. “I rather like being a chameleon, though. It has possibilities. With my hair light this way I can wear that new Olympic red I’m so fond of. And the dusty green which is so smart this summer, Somehow, when I’m a brunette they make my skin look dull. On the other hand, when I “go dark” I can wear deeper reds and yellows than I can at present. Funny, isn’t it, the effect colors have on a person? Just yesterday I saw an old friend of mine and I thought for a while she had been ill because her face had such a sallow cast. Then she took off the greenish blue hat and jacket she was wearing and it was as if an unflattering light had been turned off her. She was herself again.
“Personally, I’m pretty thrilled that this is a blue and
(Above) Sally’s pajamas have no nonsense about | them. No wide trousers nor frills, either. These are ivory white crépe, banded on the collar, cuffs, pockets and trouser cuffs with powder blue. The blouse
white summer. They are the two colors I like best, regardless of what shade my hair is. As a matter of fact, almost everyone looks well in them, don’t you think? There’s nothing that gives you that feeling of being cor-
68
is hip length and ties with a sash. Sally practically lives in them at home. And look at the sensible girl’s shoes—white buckskin, with floppy tongues. They look grand with white tumble-down socks.
(Extreme right) To wear at the beach. White flannel | almost-like-a-man’s trousers, held up with a white leather belt. And a lacy knit sweater with a red, white and blue trim. And Sally wears three bracelets—also red, white and blue—to carry out the idea. | (Directly right) Sally really swims, you see, so her swim suit is a plain blue knitted one- piece. A Roman striped silk sash dresses it up attractively for beach wear.
(Above) A new idea in practically backless backs.
This tennis frock of Sally’s is white crépe de chine.
The skirt is cut on a yoke and has box pleats in front and back to give comfortable fullness. The neckline in front is high. This sort of dress is in- dispensable to the summer wardrobe, whether you play tennis or not. Worn with white or colored flannel jackets it makes an attractive spectator frock.
Photographs in this feature by Powolny,
courtesy of Fox studios
rectly dressed as much as a good white outfit with a blue scarf. Those white crépe afternoon suits with bolero jackets and powder blue waists seem so wonderfully cool and right. And the dark blue cape-coats worn with blue and white printed ensembles—they’re charming!”
KNOW of no one more keyed to the mode than Sally
herself. She’s an exciting person. She needs these exciting clothes. Crisp, cunningly devised clothes. Trim, often tailored, and quite deceivingly simple. Like a true sports girl, she loathes fussiness of any kind even in her formal attire. Floating tulle and elaborate trimmings have no place in her wardrobe. Her clothes are purpose- ful; they know where they’re going. Look at them. You won't find anything faddish or exotic. Very likely you'll say—yjust as I said—“Why, J could wear that!”
Take that street dress of dark blue georgette on page 68, for example. Isn’t it delightful? You know the latest fashion dictate: if it is both sheer and tailored it is chic. Certainly, that sounds like a style contradiction, because usually we think of sheer materials in terms of dainty, feminine frocks. But here is one all smartly tucked and rather plain in spite of the beautiful rhinestone buckle on the wide suede belt. Rhinestones have invaded the fashion field in a big way this season, going even as far as the sport clothes. One of the best (Continued on page 108)
69
“FALSE FRIEN Tg
—BUT
(Left) Charles Grayson, the author of this story who has also written several novels, among them “‘Every- thing Goes,” recently published— is a member of the “False Friends.” He won his membership by eject- ing a too gay pal from a party.
By CHARLES GRAYSON
N Hollywood there is an organization that is curious
even for Hollywood, which makes it curious indeed.
It is a group of young actors who label themselves
“The False Friends Club’— and the story behind this peculiarly named outfit is one of the most interesting that I have encountered in many years of life in the sad, mad, bad, glad city of celluloid.
[It all began two years ago during the filming of “All Quiet On The Western Front,” considered by many to be the highwater mark yet reached by the cinema. You well remember the seven boys who played the leads— those seven small soldiers torn from their classrooms and hurled into the mud and stars of terrific combat, to drop one by one like the leaves of a dying tree.
Those boys were brought together purely by the coin- cidence of casting. Lew Ayres, Billy Bakewell, Walter Rogers, Scott Kolk, Ben Alexander, Russell Gleason and Owen Davis, Jr., were either strangers or mere acquain- tances before actual shooting on the production began. Sut that condition did not exist for long. For a strange
ERUES
The first “False Frienders.” (Left to right)
Billy Bakewell, Ben Aiexander, Lew Ayres,
Walter Rogers and Russell Gleason. As a
matter of fact it was George Cukor, the asso-
ciate director of “All Quiet” who really
started the name ‘False Friends.” It was quite a gag—at the beginning.
thing began to happen to the lives of those seven young-—
sters.
ee began to realize, as those weary labor-fraught
weeks in the trenches above Laguna slowly ticked off, that there was something more than fun to be gained | from this ““war’”—even if it was only a synthetic Holly- |
wood affair devised for the making of a motion picture. As the long tedious hours passed, punctured continually
by the whine of shells and the explosion of bombs, always —
before their eyes the greenish gray of dirty uniforms, muddy trenches, the massed excursions of troops, lumber- ing tanks and clumsy, deadly artillery, those seven boys began to believe that they actually were in a war.
“We actually thought it was a real fight ; our squad be- came our whole world,” Billy Bakewell declared just the other night. ‘“‘Huddled in a trench, listening to a prelim- inary bombardment before going over the top, we were as scared as though it was an actual conflict. When Rogers died—he was the first one killed, you'll recall— Pll never forget how odd it seemed when he showed up for dinner that night. It was like seeing a ghost. And the same was true when each new fellow was knocked off .. . just like losing a dear friend.”
As the days crawled by on that baking prairie, pressed
4 a:
t ig
ae Ss
Pitan tc
an ee nee ae OS
. - » Hollywood has some strange clubs, but the “False
Friends” is one of the strangest—and finest, Started by a
gang of boys in “All Quiet On the Western Front,” it
has lived and flourished amazingly
Lew Ayres, Russell Gleason, Louis Wolheim, Billy Bakewell and Ben Alexander as they appeared in the famous “All Quiet On The Western Front.” It was during the six months sojourn, in Laguna, where “All Quiet’’ was filmed that the “False Friends Club” was started—more or less as a stunt.
beneath the weight of a summer California sun, it was the first time in all their young hurried lives that these boys had had time for thought. Slowly a sense of values began to develop in youngsters who before the imitation (but to them terrifyingly real) conflict were, as the late Louis Wolheim put it, “just half-baked kids.”
HE boys learned a lot from the brilliant Wolly. Hour
after hour he would expose to them the fund of his well-stocked mind—politics, history, economics, litera- ture, philosophy. Similarly did they gain from the con- versation of the directors, the worldly Milestone and in- telligent George Cukor.
And these three men played upon their responses as they might have upon seven harps, drawing every bit of emotional reaction from them—for the good of the pic- ture. Always for the good of the picture. Cukor, for in- stance, had a habit of going up to one of the bunch and saying: “Listen, you’re standing out in this thing. These other kids are lousy—but you’re good. Keep it up.”
He privately covered each of the seven in this way be- fore the boys accidentally happened to do a little checking up. The next day they faced him. “George, each of us thought that you were his pal. Now we find that you've been crossing us up. Our compliments, you louse.”
“Yeah,” Cukor replied amiably, “I’m just the false friend of you all!”
That was the first use of the phrase which later became the catchword, the loose label for their compact little or- ganization. That evening it came definitely into use. The cast was quartered in the Laguna Hotel. Beau Rogers had a complex about being robbed, always fearful lest some prowler separate him from his toothbrush and other shirt. The boys decided to oblige him.
Entering his room shortly after dinner, they got to work. In time the chamber was stripped bare. In addi- tion to Rogers’ personal etiects, they also removed the furniture, the rug, the blinds from the windows, even the electric light bulbs. Then they hid, waiting for him to appear.
Presently the victim arrived. He opened his door, en- tered, closed it behind him. There was a grunt, then s1- lence. And a continuing one. The jokesters waited for ten minutes for Rogers’ screams of rage. Then Ayres came out of the room where they had secreted themselves and tiptoed to the closed door, to listen.
“Looking for something, Ayres?” And Lew looked up to see Rogers, highball in hand, blithely perched in the transom !
The six conspirators indignantly huddled in the hall below his roost. ‘“‘He’s a falser friend than George!” one of them exclaimed. “Here we've gone to all this trouble to get a laugh—and what does he do but turn the tables on us!”
“He’s the president of the false friends!” another cried
. and so Walter Browne Rogers, of Denver and Car- negie Tech, became the first President of the False Friends Club, the humorous name—and these boys would not ap- ply other than a gag title—to a group gathered and fash- ioned into comradeship by the vicissitudes of a mock but strikingly lifelike experience (Continued on page 90)
71
Hollywood Newspictures
(Above) Clark Gable, Joan Crawford and Douglas Fair- banks, Jr., at the opening of Doug’s “It’s Tough to Be (Right) Norma Shearer, Bebe Daniels and
Famous.” Irving Thalberg also at the same opening.
LEDS
TALK AB@iT
Hollywood Newspictures
ri OL L Y W O Ga
OAN CRAWFORD has been presented with the plum of Hollywood’s story pudding. She will star in “Rain.” There isn’t a happier girl in the film town today than Joan and everybody is happy that
she’s happy. No one has fought more valiantly than she to realize her ambitions.
M-G-M wanted to buy the story rights from Joseph Schenck. But he refused and countered with a request that United Artists borrow Joan for the starring réle. Naturally M-G-M hemmed and hawed because it’s always been against their policy to lend any star of Joan’s box- office standing.
Joan wanted the part. She argued. She and Doug, Jr., had planned a European vacation for the late sum- mer. She would gladly give up this long-anticipated trip for the chance at “Rain”. What else could the officials do but agree?
So they did. And now everybody’s happy.
~ 72
Which reminds us of Doug’s statement to an inter- viewer. “We (Joan and he) will go to Europe this year ... or else,” the last two words in a threatening tone.
“Or else what, Doug?” questioned the interviewer.
“. .. Or else we'll go next year,” laughed Doug.
ONNIE BENNETT was giving an informal party
the other Saturday night. About midnight one of the guests asked if she could have a peek at Connie’s lit- tle son, and the star took her upstairs. When she opened the door of the nursery there was a terrific clang- ing throughout the house. No one downstairs could imagine what had happened.
What happened was that Connie had forgotten the large automatic gong she had installed at the windows and door of little Peter’s room as a precaution against kidnappers.
See the story about Connie on page 60.
~~ « What's this about George Brent and Lo- retta Young! Another new wrinkle in petty Hollywood rackets. And all the newest gossip and chit-chat straight from the film capital
Did you hear about the romantic screen hero who got so angry im the studio commissary when the waitress brought him the wrong dish twice in succession that he wildly tore off his toupée?
OBERT YOUNG is one actor that can always be
reached when the studio wants him. (He was the chap, you know, who played the son in “The Sin of Madelon Claudet.”) Moreover, the farthest they usuallv have to look is on the set of some picture in which he isn’t even working.
Bob spends most of his vacation days right at the studio watching the big stars emote and studying their technique. Hollywood is betting on Bob. He’s one of the hardest working and most likeable chaps on the screen.
OLLYWOOD enjoyed the aftermath of a recent
premiere. Director Josef Von Sternberg, in cor- rect evening clothes, hurried to his shiny automobile to be majestically whisked away. But when the chauffeur started to whisk the director away, the motor went cold. Von Sternberg, evening clothes and all, had to get out and help push the balking machine!
(Above) Nina Wilcox Putnam, ace writer for MODERN SCREEN who is under contract to Universal for scenarios, gave a luncheon in the Universal cafeteria to Prudence Penny, of the Los Angeles Examiner. (Left to right) June Clyde, Claudia Dell, R. D. Edwards, Miss Penny, James Gleason, Miss Putnam, Tom Brown and Arietta Duncan. (Left) Mrs. William Hawks (Bessie Love) and
her new baby. Congratulations, Mrs. Hawks!
OMETHING We Never Realized Until the Present :
That Garbo, when speaking conversationally, or even during those rare rehearsals, speaks the English language without a trace of an accent. But the moment the camera starts to grind Greta’s voice falls several tones into the almost gutteral tones that her fans know her by.
Plenty of “For Rent’ signs on some of the more elaborate Malibu Beach houses. Their rent during the summer months runs into big money, and people arent speaking up for them as eagerly as of yore.
ON’T let on that we told you, but the other day George Brent told a pal of his that Loretta Young was one sweet gal. Walter Winchell better look to his laurels. The col- umnist recently had it that if Grant Withers would be a good boy, Loretta might re-marry him.
ARIOUS studios are hot on the trail of some wise- guys who've been selling lists of the stars’ telephone numbers to enterprising shopkeepers for $75.
And they are worth every cent of that to the owners of smart clothing shops. The proprietress .calls the feminine stars, saying: “We have just received a new consignment of exclusive models. I knew you would want to be the first to make a selection.” And when it’s
put that way, most of the actresses fall fer it.
14 TO 18
73
LOOK FOR MORE GOSSIP ON
WHAT ABOUT? ==
. Will all of the children, whose parents are famous screen personalities, follow in the luminous footsteps of those parents? And what do the parents think about it ?
Culver Service
This fascinating old picture was taken years and years ago—when Doug, Jr., was only seven! At that time Doug, Sr., was not anxious for his son to be a motion picture actor. But he’s changed
his mind now. (At top) Mr. and Mrs. Neil Hamilton have plans for their adopted Patricia, but—
74
I
Noah Beery, Jr., was kept away from the studios as much as possible. Yet
| daughter.
|| Hollywood
he has recently signed a contract to appear before the cameras.
7 AY for the younger generation ! Lon Chaney’s’ son,
Creighton, aged twenty- one, signed a contract the other day with RKO. Noah Beery, Junior, aged eighteen, has signed a _ long term contract with Universal. The same studio, as this is written, is negotiating for the services of young Wallace Reid— fifteen next August. Francis X. Bushman, Junior, is serving his apprenticeship in westerns. Frances Rich, daughter of Irene Rich, made her début on the New York stage this season. Phillips Holmes, son of that seasoned trouper, Taylor Holmes, is already doing pretty well on the screen, thank you. Douglas Fairbanks, Junior, bids fair to keep the family name blazing in electric lights for years and years to come.
For centuries and centuries the stage has passed its talent and tradition from father to son, from mother to Once the thunder of applause, the glare of
footlights, the passion of the theatre get into the blood, they descend not only to the second and the third genera-
tions but also on to the eighth and ninth and goodness knows how much farther after that!
Will there be, eventually, a hereditary aristocracy of screen celebrities? Wé£ll motion pictures have their troup- ing families such as the stage has always had? Are we witnessing the founding of screen dynasties?
There are few careers as gruelling as that of a motion picture actor. Witnessing their struggles, their difficulties
and their panics, one wonders how the game can pos- sibly be worth such extraordinarily costly candles. And one wonders how the ones who have finally attained security will feel about seeing their children start out upon that same rocky, uphill road.
The psychic Gene Dennis, to whom the famous of
filmdom have been pouring out their hearts’ secrets dur-
ing the past few weeks, remarked, with awed amazement,
“There is not one happy person among the successes in ’’ Will the same be true of the children?
Creighton Chaney, too, was never even allowed in a studio. ditches, worked in a boiler factory— yet the lure of the screen got him.
Be HELEN bE O-U WAKER
SECOND GENERATION?
Wallace Reid hated acting, Mrs. Reid says. He thought it effete. She is wondering whether fifteen-year- old Wallie, Jr., will think so, too?
He dug
How do these people feel about it ° Would they do it again, if they could begin once more at the beginning: Do they want their children to go into pictures?
LSE
CORRS, asa tule, ‘keep ‘their children strictly away from the studios. They keep them out of the limelight, protect them from the glare of publicity, the razzle dazzle of this fantastic industry. The people who earn their living in pictures keep their youngsters as far away from them as possible... .
Lon Chaney never mixed with the razzle dazzle, him- self. He lived quietly and modestly and his boy was brought up as any son of sensible, not-too-wealthy parents anywhere might be reared. Young Creighton never visited the studio where his father was working. He worked during vacations—really worked, I mean. He dug ditches, carried papers, delivered ice, labored in a boiler factory—muscle-building, red-blooded jobs! He married young. He has two little boys. Before he undertook to enter pictures, he was general secretary of a water heater company in Los Angeles.
I talked with him just before he signed his contract. It was startling and a little sad to meet him—he 1s so like Lon. The same strongly chiseled features. The same searching expression about the eyes. The young face is as sweet and brooding as the elder one was. The funda- mental Chaney traits are there.
“Would you have gone into pictures, had your father lived?” I wanted to know.
The reply was instant and unhesitating. “No. One Chaney on the screen was enough. My father was a SUCCESS: «a ee
“Would your father be pleased?”
“Tam sure he would not mind—now. We never even discussed the possibility while he was living and | am sure that we never would have done so. He insisted that I be trained to take care of myself, that I learn business and that I experience enough (Continued on page 104)
75
OH, TO HAVE BEEN THERE!
HEN Rex Lease took
that sock at Vivian Dun-
can.
WHEN Doug, Jr., told Doug, Sr., he intended to marry that Crawford girl.
\WHEN Ina Claire told John Gil- bert what was wrong with his act- ing technique.
WHEN Pola Negri threw all her jewelry out of the window of her bungalow at the Ambassador Hotel in Hollywood.
WHEN Marlene Dietrich and Rudy Seiber got together for their first chat after Mar lene’s amazing ini- tial year in America.
WHEN Chaplin signed that $500,- OOO settlement.
WHEN ‘Lupe Velez, bound for a yachting week-end with Howard Hughes, left Howard sitting in his car surrounded by luggage and skipped to New York with John Gilbert.
WHEN Lupe and Lil Tashman al- most came to blows in the dress- ing room at the Montmartre Café.
WHEN John Gilbert found Greta Garbo had grabbed that train back to Hollywood and left him in Agua Caliente—a would-be eroom without a bride.
WHEN the Marquis de la Falaise explained to Gloria Swanson
(then the Marquise) why Con- nie Bennett was the first person in Hollywood he saw on his re- turn from Europe.
WHEN Lil Tashman explained to Eddie Lowe about that chinchilla coat.
WHEN Mary Pickford (long ago) called the great master, D. W. Griffith, something decidedly dif-
ferent.
WHEN Richard Bennett told a
newspaper woman all those things
about his daughters, Connie, Joan and Barbara.
A front seat at any of | these moments would,
have been priceless! -
By HARRIET || PARSONS | Illustrated by Jack Welch]
WHEN John Considine called Joa
Bennett down for following him, to Palm Springs. | WHEN Dick Arlen explained those
Peggy Shannon rumors to Jobyna, Ralston Arlen. |
WHEN Charlie Farrell _spotted)) Janet Gaynor on that Hawa
bound steamer.
WHEN Walter Winchell accosted
Greta Garbo in the service eleva- tor at the St. Moritz Hotel im New York.
WHEN Abe Lyman received | |
phony Woolworth diamond after) asking a pal to John Alden for
him and get back the real one he’ d)
given that girl. |
WHEN Sam Katz, who figured |||
he’d replaced Al Scott in Colleen,
Moore’s affections, read of Col-}| leen and Al’s sudden elopement}|
in Florida. WHEN the string quartet engaged | to play appropriate music at the (Continued on page 93)
WHEN Eric Von Stroheim and
WHEN John Barrymore the Great first heard himself referred to as “Lionel Barrymore’s brother’ by
WHEN that horse bit a certain
player on the M-G-M lot and
Lupe Velez got so mad about it that she bit the horse.
Mae Murray clashed tempera- ments on the “Merry Widow’ set a few years ago. some studio sightseers.
76
| MODERN SCREEN’S GALLERY OF HONOR
Photograph by Hurrell
i We honor Joan Crawford for her warmth and understanding in ‘Grand Hotel’ and “Letty Lynton.”
and ‘‘State’s Attorney.”
a” ,
Photograph by Clarence Sinclair Bull
oO — °
aE