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Scanned from the collections of The Library of Congress
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>e Luxe Gallery >f Stars' Portraits >Y Cetcil Beaton
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(tfnsiani (^Jheauiijiers for ilxe (Sj
Delight Evans, Editor
May, 1930
THIS MONTH'S PROGRAM:
Cover — Billie Dove. Painted by Rolf Armstrong
Sound News. By Evelyn Ballarine .... 6
Movies in the Air. By Julia Shawell ... 8
Confessions of the Fans. Letters from Readers 10
Honor Page — Winifred Westover .... 14
Education Made Painless.
A Drawing by C. D. Batchelor .... 16
Editorial. By Delight Evans 17
Jazz, Gershwin, and Me. By Oscar Straus . . 18
The Hollywood Haters.
By Herbert Cruikshank 20
Vive La France! By Marie House 22
The Girls Behind the Stars.
By Ralph Wheeler 24
Yes, It's a Conference. By Brian Herbert . . 26 Gloria Swanson PsychO'Analyzed.
By James Oppenheim 28
Stars Who Never Saw Hollywood.
By Rosa Reilly 30
Chaney Comes Back. Lon Chaney.
By Bradford Nelson 32
Fantastic Hollywood. Cecil Beaton's Impres- sions of Cinema City as told to Rosa Reilly 34
Cecil Beaton's De Luxe Gallery of Stars'
Portraits 35-50
Won By a Voice. Charles Bickjord.
By Keith Richards 51
Bob or Grow? By Helen Ludlam 52
A Gift from Joan and Doug, Jr 54
Meet the King. Dennis King.
By Frank Vreeland 56
Hollywood Party Nights. By Grace Kingsley 58
"I Knew Them When." By Ronnee Madison 60
Marie Dressler. By Polly Moran 62
Polly Moran. By Marie Dressier 63
On Location with "Numbered Men."
By Helen Ludlam 64
'Gally' Grows Up. Joan Bennett.
By Will F. Portman 66
The Most Beautiful Still of the Month . 67
Joan Crawford — A Portrait 68
Alice White — A Portrait 69
Charles Farrell — A Portrait 70
Janet Gaynor — A Portrait 71
Walter Pidgeon — Portraits 72
Vivienne Segal — Portraits 73
Harlem Honey. Studies of Lila Lee .... 74
Stanley Smith — A Portrait 7^
Jack Holt — A Portrait 77
William Haines — A Portrait 78
Norma Shearer — A Portrait 79
Beauty and The Bunny.
Alice White, Bernice Claire and Company 80
Blanche Sweet- — -A Portrait 82
The Best Lines of the Month 83
Reviews of the Best Pictures.
By Delight Evans 84
Critical Comment on Current Films ... 86
Revuettes of Other Pictures 88
In New York. By Anne Bye 90
Come into the Kitchen with Lucile
Gleason. By Sydney Valentine .... 92
Keeping Fit Beautifully. Screenland's Beauty
Department. By Anne Van Alstyne ... 94
THE Stage in Review. By Benjamin De Casseres 96
Hot from Hollywood. T^ews and Gossip . . 98
Ask Me. By Miss Vee Dee 104
thanks, vanity fair. By the Publishers . . .130
Vol. XXI
Published monthly by Screenland Magazine, Inc. Executive and Editorial offices: 45 West 45th Street, New York City. William Galland, President; Joseph M. Hopkins, Vice-President; C. B. Mantel, Secretary. Frank J. Carroll, Art Director. Manu- scripts and drawings must be accompanied by return postage. They will receive careful attention but
Screenland assumes no responsibility for their safety. Yearly subscriptions $2.50 in the United States, its dependencies, Cuba and Mexico; $3.00 in Canada; foreign, $3.50. Entered as second-class matter November 30, 1923, at the Post Office at New York, N. Y., under the Act of March 3, 1879. Addi- tional entry at Dunellen, N. J. Copyright 1930.
No. 1
Member Audit Bureau of Circulations
for May 1930
5
WORLD'S GREATEST MUSICAL COMEDY!
I
Here is sheer delight from first to last — a gorgeous, glittering, star-studded screen musical comedy with song hits galore, in- cluding "Sweeping the Clouds Away" and '"Any Time's the Time to Fall in Love," hilarious comedy bits, flashing dance numbers, dazzling Technicolor scenes . . . Paramount, with 18 years of supremacy, is proud to name it "PARAMOUNT ON PA- RADE" and send it to you as the world's greatest musical comedy!
4
CREAM of SCREEN and STAGE STARS
(Listed in alphabetical order. Read the entire list
RICHARD ARLEN -ft JEAN ARTHUR WILLIAM AUSTIN -ft GEORGE BANCROFT CLARA BOW -ft EVELYN BRENT * MARY BRIAN -it CLIVE BROOK -ft VIRGINIA BRUCE -ft NANCY CARROLL -ft RUTH CHATTERTON * MAURICE CHEVALIER GARY COOPER -ft LEON ERROL* STUART ERWIN * STANLEY FIELDS -ft KAY FRANCIS + SKEETS GALLAGHER HARRY GREEN -ft MITZI GREEN -ft JAMES HALL -ft PHILLIPS HOLMES -ft HELEN KANE -ft DENNIS KING * ABE LYMAN and his BAND -ft FREDRIC MARCH NINO MARTINI -ft DAVID NEWELL JACK OAKIE * WARNER OLAND ZELMA O'NEAL -ft EUGENE PALLETTE JOAN PEERS -ft WILLIAM POWELL CHARLES "BUDDY" ROGERS * LILLIAN ROTH * STANLEY SMITH * FAY WRAY
Supervised by Elsie Janis Dances and ensembles directed by David Bennett
PARAMOUNT PUBLIX CORPORATION ADOLPH ZUKOR, PRES., PARAMOUNT BI.DG., N. Y. C.
(paramount
"If it's a Paramount Picture it's the best show in town!"
(pictures
SCREENLAND
DOES MOTORING MAKE YOUR EYES
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5ound ^A(ews
By
Evelyn Ballarine
Impressions of Pictures Now Being Produced
AS a rule, it is customary to end a
/\ tale with a moral but just to be / V unusual we'll start off with "New -^Morals." Ruth Chatterton and Clive Brook are responsible for this change. We always approved of their old morals but, of course, we are always anxious to learn something new, so bring on your "New Morals," Miss Chatterton and Mr. Brook — we await them with much interest.
Which reminds us of William Powell and his film behavior. Bill was in pictures for years before he attained stardom. But no matter how small his part in a film, he managed to make his performance stand out ■ — consequently he 'stole' many pictures. He 'stole' so many that the officials at Par- amount could ignore it no longer so they made a film crook out of him and starred him in many underworld dramas. "Street of Chance" is his latest successful crook film. His next, however, will be the fur- ther adventures of Philo Vance in "The Benson Murder Case."
Those of you who found the stock market crash serious drama will have a chance to laugh it off because Marie Dressier and Polly Moran are making a burlesque of the perils of Wall Street.
It looks very much as if our two prod- igal boy-friends will return. Meaning Emil Tannings and Adolphe Menjou. Jan- nings left Hollywood when sound pictures arrived. He went to Germany and made "The Blue Angel," a talker, under the di- rection of our Josef von Sternberg. An English version of "The Blue Angel" was also made which will be released in America soon and it is rumored that Emil, himself, will follow shortly. Adolphe Menjou went to France to make pictures. He, too, made English versions of his French films. Adolphe is a little homesick for Hollywood and is now on his way to these United States and we hope he decides to remain.
Clara Bow's next picture may be "True to the Navy." This is to be a companion picture to "The Fleet's In." Clara will play a drug-store cowgirl with a great, big heart. "The Humming Bird" has been postponed in favor of the gobs' circus.
Hungry movie fans please note: Nancy Carroll is making "Come into the Kitchen,"
retitled "Honey," and Mary Astor is al- ready there "Cooking Her Goose." Yum, yum!
Jack Mulhall is making "The Fall Guy" from James Gleason's successful stage pro- duction. Pardon us, but we just couldn't help suggesting good old He Faw Down and Go Boom for a theme song.
Benny Rubin is sure of a 'hit' in his new baseball picture, "Hot Curves." Slide, Benny, slide, we're all rooting for you; but remember, Benny, over the fence is out.
Jack Dempsey's play "The Big Fight" is to be brought to the screen but not with Jack Dempsey. 'Big Boy' Williams is to have the leading role. Estelle Taylor's part will be played by Lola Lane. Ralph Ince and Stepin Fetchit will have important roles, too.
Ben Lyon is at Universal making "What Men Want." The answer must be blondes because Mary Nolan has the feminine lead in this picture.
"Forever After" is to be remade into a talker with Loretta Young and Douglas Fairbanks, Jr. Remember Mary Astor and Lloyd Hughes in the silent version? And so's "Charlie's Aunt" to be remade. This perennially successful laugh classic of the stage, written thirty-eight years ago and played in practically every language includ- ing the Chinese, will be filmed by Christie Films. Syd Chaplin was starred in the silent film a few years ago.
Mary Lewis, Metropolitan grand opera star, has entered into a talking picture con- tract with Pathe. This contract between the noted singing star and the film company is unique in theatrical history as the agree- ment was wholly made without signature, the arrangement being consummated before the microphone and cameras for recording on sound film. No other contracts or written agreements were made, Miss Lewis' verbal contract being as binding as if she had put it in writing.
Miss Lewis' first vehicle already in prep- aration, will be a story built around her own career. It should be interesting. Mary was glorified by Ziegfeld before she became a grand opera and movie star.
for May 19 30
7
VITAPHONE
PRESENTS THllsiAR OF DISRAELI I N ANOTHER AMAZING ROLE
H ehad the manners of a Chester field — ^ Js^ — and the blood-lust of a Borgia !
His wit was as keen as his executioner's sword — his conduct as refined as his cruelty . . .
Dispensing barbaric vengeance in a dinner coat, he flicks a cigarette lighter as he mounts the altar to administer the ancient blood -rites of the fearful Goddess of his savage race . . .
And his phonograph furnishes the music for a tribal dance of death!
In portraying this amazing blend of civilization and savagery, GEORGE ARLISS in "THE GREEN GODDESS" matches the mastery of
his classic performance in "Disraeli", officially voted "the best picture of 1929" by the film critics of the nation.
Mere action could never convey the subtle shadings of this strangely fascinating character — despot of a forgotten corner of the world . . . But thanks to Vitaphone the famous voice of Arliss evokes every atom of the consumate cunning, sly guile, and polished perfidy that made "THE GREEN GODDESS" a companion masterpiece to "Disraeli" in Arliss' blazing stage career!
It
GEORGE
THE GRG£
Vitaphone" is the registered trade- mark of TheVitaphone Corporation.
ARLISS in.
GODDESS''
Vitaphone pictures are produced exclusively hy
WARNER BROS, and FIRST NATIONAL b^)
SCREENLAND
e^OVIES /// the cAl^
Radio and Screen are Developing Artists on a Co-operative Basis
By
Julia Shawell
IN THE old movie days when you had to read the answer in the hero's eyes or wait for the sub-titles, casting of pic- tures was a matter of visual appreciation. A producer looked once, and then if he were interested, he looked again. Now he glances at the prospective heroine and then he listens. For it is the ear more than the eye which must be satisfied in this audible celluloid era.
No longer is the fallible judgment of a man the deciding factor in an actress' feminine charm or in an actor's sex ap- peal. It is the little inanimate but un- failing microphone which tells the story. The same instrument which made and broke radio careers is the most important instrument in advancing the screen activi- ties of the new recruits and of keeping the questionable places of those who got in before sound came to the film theaters. It is the microphone which is the un- sympathetic, immovable bond between the radio entertainer and the flicker star. For now not only must the screen actor have talent, a figure and a face that will pass the casting directors but his voice must be one of the type that will take to recording requirements. And until a per- former has heard the playback of his own voice in that exacting mechanism he can- not know whether he has a future in Hollywood or just a past in Iowa.
Because of this similarity of require- ment in broadcasting and in talking pic- tures, the two industries will draw closer not only in a business way and in their mechanics but in their sources of talent and their interchanges of programs. We have been told that when television is an accepted commercial medium of transmis- sion, talking news reels will be sent into the theater on wireless waves and that possibly some day while we are still going to the movies, feature productions, too, may be projected in the same amazing manner. That is a supposition for future fulfillment.
Already the radio broadcasting organi- zations are associated in a financial way with some of the movie producing com- panies. Paramount owns the powerful Columbia chain. Radio Pictures is con- trolled by the same organization which is also interested in the Radio Corporation of America, the National Broadcasting Company, the General Electric Company and a score of other powerful units. In- dividual stations are owned or operated by movie concerns and every picture producer today depends for his equipment on manufacturing companies allied with the radio interests. So that financially and technically the movies are dependent upon radio.
But as both industries develop they will become more closely allied in their pro- grams and instead of having two great
fields of artists, independent of each other, names and figures in the two entertain- ment mediums will be developed on a closer co-operative basis.
The movie vamp of a few years ago never dreamed that to get a renewal of her contract she would have to show some radio sex appeal nor did the great lover of the talkl ess era think that a lisp or an accent would remove him from the sheik lineup.
Talking pictures have made emotion a matter of vocal control, laughs are all in the words and passion a trick of intona- tion. A player not only has to look that way, but talk it, and to get any conviction into his voice he has to feel what he is saying. Cameras and trick lights won't put illusion into a phlegmatic performance.
No silent player has caused more com- ment than Greta Garbo. Everybody has waited for her first words across the screen. Would she be a literal-mouthed
Winnie Lightner, screen and radio star, has a talent all her own. Here she is broadcasting one of her songs over the Columbia chain.
person who would sweep away with her first utterance all the mysterious charm she had built up around herself? Or would she be the nice-voiced kind who would belie her realistic siren creation of pantomime? "Anna Christie" answers everything and what an answer! Throb- bing, pulsating sounds that arrest the listener, that suggest everything but tell nothing.
Al Jolson didn't break box-office records in "The Jazz Singer" and "Singing Fool" on his face alone. Maurice Chevalier has mastered pantomime exceptionally well but he could never have vied with John Gil- bert in the old days, but there is no comparison between the box-office possi- bilities of these two men for the next few seasons.
Pauline Frederick had a voice that thrilled stage audiences for years. It was deep and emotional but it was too much like thick rich cream to pass through the microphone and so although her voice was more impressive across the footlights than Ruth Chatterton's, the latter proved better adapted to talkie requirements.
Vilma Banky, the most exquisite blonde in pictures, has had her career seriously affected by the talkies. There is no con- sistent place for her Hungarian gutterals in a field that is being populated by purists in speech. Look what the microphones did to May McAvoy. Look what they are doing for such movie unknowns as Ann Harding, Fredric March, Claudette Col- bert, the Marx Brothers, Will Rogers, Lawrence Tibbett, Dennis King and all their Broadway friends and enemies.
Could Messrs. Tibbett and King have made a go of it without their songs to put them over? It is very doubtful. Would Winnie Lightner, who has a talent all her own for getting fun out of popular ditties, have ever won a chance in Holly- wood under the old regime?
Every player who is under contract to any big company now and those who are making big money free-lancing have voices with 'It' or that or a something that sets them apart from the mob. This is a period that deals artistic death to the beautiful but dumb, that will keep stupid girls in the chorus and dull but gorgeous creatures away from Hollywood so that real talent will have a chance.
Talkies in their rapid development have been a mixed blessing and curse but they are bringing nearer to actuality a proper equation in the casting offices. There's many a leading lady who had her name in Broadway lights because her face and her contours made good camera material, who will be glad to make the Oshkosh and Reading circuits after she has opened her mouth.
10
SCREENLAND
CONFESSIONS of the FANS
FIRST PRIZE LETTER $20.00
I am practically sightless, and still en- joy the motion picture, deriving from it much inspiration, encouragement and sus' tained hope.
There are days when I become morbidly discouraged and feel as though it would be a blessing to abandon my work and fall beneath my despairing efforts; but in- stead, I choose the best motion picture in town for refuge.
There I find people battling with un- thinkable complexities and discouragements, many degrees worse than my own. They are strong enough to stare failure in the face with undaunted spirits. They have the same ambitions, heartaches, hopes and the same emotions as I, and win.
And so for a brief period I live in my imaginary tomorrow. I begin to feel ashamed of my cowardice, and success for me seems less uncertain if I will only stick to it.
The advent of the all-talkie has proven a complete solution of my problem, but I still enjoy the silent picture with the help of a reader.
I never could do without the motion picture and my indebtedness to this source of inspiration can never be fully repaid.
J. Marshall Parham, 1032 Greenwood Cliff,
Charlotte, N. C.
SECOND PRIZE LETTER $15.00
To educate the youth of this grand and glorious country is a paramount duty, and where can they receive a better education than from the movies? The sense of sight is the most poignant of the senses, and that which the sight registers on the brain is not easily forgotten. My two daughters, aged 13 and 14 years, both sophomores in high school, would rather attend a movie than the hottest high school party or dance. Any stray quarter they get always buys a movie magazine, and when they are reading this or seeing a picture, I at least know where they are!
They studied "Evangeline" in grade school and were delighted to see Dolores Del Rio portray a favorite heroine. They also saw "The Ancient Mariner" some time ago, and now they are studying this in high school; and how much easier and more interesting it is, having seen the picture.
Some of my friends do not approve of movies for girls. It brings them in con' tact with too much of life, they contend. Why not? The serious business of life is just around the corner for them, and they will surely profit by their make-believe experiences.
Mrs. Mary Redeker, 328 South State St.,
Springfield, 111.
This is YOUR department, to which you are invited to con- tribute your opinions of pictures and players. For the cleverest and most constructive letters, not exceeding 200 words in length, we offer four prizes. First prize, $20.00; second prize, $15.00; third prize, $10.00; fourth prize, $5.00. Next best letters will also be Printed Contest closes May 10, 1930. Address Fans' Depart- ment, SCREENLAND MAGAZINE, 45 West 45t/i Street, New York City.
The Editor
THIRD PRIZE LETTER $10.00
To one like myself, who finds more pleasure in books and nature than in any form of social entertainment, moving pic- tures have brought complete enjoyment. In our town we would be without such mental stimulant — for we have, no opera house — if it were not for the motion pic- ture theater.
To those who- can get away for an oc- casional diversion it is an enlightening ex- perience to see the rapt expression on the faces of some women from the surrounding country who make a Saturday pilgrimage to town with the 'picture show' as supreme
Ann Harding came to the screen with sound pictures and, like the talkers, she's staying.
attraction. What a world of fascination is unrolled before their longing eyes! What magic of sound weaves its enchantment around them! If for nothing else but the happiness it brings to these beauty-starved natures, the screen should receive highest classification.
It first gave us inimitable pantomime; then, the dramatic charm of the speaking voice and the inspiration of music. Such perfect pictures as "Devil May Care," "Disraeli," and "The Laughing Lady" are the finest of the fine arts.
Lilian W. Carter, Thornton Avenue, Dalton, Georgia.
FOURTH PRIZE LETTER $5.00
"Of what use is a book without pictures?" asked the immortal Alice just before she fell down the rabbit hole into a Wonder- land of thrills and surprises.
"Of what use is a motion picture without being extraordinarily advertised?" asks the picture fan, and the answer to that ques- tion is immediately apparent. The com- panies vie with one another in taking beautiful adjectives and intriguing phrases out of the dictionary with which to em- bellish their advertisements. And, picture fans everywhere, the really amazing part about this kind of public promulgation is its truth.
Alice herself didn't get any bigger thrills in her wonderland of fiction than the pic- ture fan gets in his wonderland of movies that talk, sing, and are presented exquisitely in natural colors, making the whole a pleasing and spectacular form of enter- tainment.
After one has seen such splendid pro- ductions as "Sally," "The Virginian," "Condemned," and "Rio Rita" he becomes convinced that pictures are all their adver- tisements claim them to be.
George Jackson, 211 Oak Street,
Ludlow, Ky.
Then and Now
After a hard day at school — one of those days when everything goes wrong — we are saved from a case of the blues by attending the local theater and forgetting Euclid and the kinetic-molecular theory in the fascinating characters of the silver screen.
As proof of the marvelous progress in pictures I recall a game of my early child- hood. When my sisters and I were very young, our father took us to the movies on Saturday night as a reward for having been good during the week. Maybe one of us had been stealing cookies or pulling the kitten's tail and had to stay at home. So the fortunate ones, on their return, acted out parts of the play.
From this philanthropic practise came
for May 19 30
T the end of the rainbow, 'tis said, there lies a pot of gold. But just around the corner there lies happiness, which is much better. For in your neighborhood, as in all others, is a theatre where one of these clean, clever, amusing talking comedies will help you to shed your worries in a round of laughter. And laughter means happi- ness—and health.
No wild goose chase here! Just look for the show that includes one of these short feature laugh hits. It's sure to be a better show.
'Watch especially for these . . . They're among the most popular short comedy hits of the season
"MATCH PLAY"— The champions, WALTER HAGEN and LEO DIEGEL, with Andy Clyde, Marjorie Beebe and Bud Jamison, in a MACK SENiNETT Short Feature Comedy of fine golf and fine fun. You'll like it just as much if you never saw a golf hall.
"DAD KNOWS DEST "—JACK WHITE knows how to bring out the best in laughter— and does it in this fast farce featuring Taylor Holmes, with Helen Bolton.
"WESTERN KNIGHTS "—BABe Lambert, with his Yiddish dialect, and Al St. John, with his daring acrobatics, make this MERMAID Comedy a scream- ingly funny t»vesty on the western "mellers."
"PRETZELS "— Zwei bier3 and a lot of laughs at Paul Terry's clever cartoon capers in the latest of his new TERRY-TOONS.
"HE TRUMPED HER ACE"— Kibitzers and bridge fiends beware! This MACK SENNETT Comedy is a redouble in-bughs.
Sdutaticnals^Talkinq T9cmedie
"THE SPICE OFTHE PROGRAM" '
EDUCATIONAL FILM EXCHANGES, Inc., E. W. HAMMONS, President
Executive Offices: 1501 BROADWAY, NEW YORK, N. Y.
12
The inimitable Douglas Fairbanks continues to lead in the field of good screen entertainment.
our game. During a meal, one of us would cry, "This is how they eat in the movies," and lift her food to her mouth in jerky motions. The same applied to turning the pages of a book, walking, or any action that was represented on the screen by unnatural, staccato movements.
It's interesting to note the contrast be- tween such crude attempts and the glorious revues and dramas that today make us forget ourselves and our troubles.
Beatrice Slocombe, 16 Hancock St., Lexington, Mass.
The Mecca of Dreams
A wonderful dream of romance, success, joy, health, wealth, and happiness all come true. This is what movies bring before our eyes and make our castles in the air a reality.
Oh, what joy to slip into a darkened theater from a busy turmoil of a day and there, for several hours, let our tired minds drift with the beauty of love, be soothed with sweet melodies of song and uplifted to the very heights of happiness.
How wonderful that such an experience can be enjoyed by all of us, rich and poor alike: it is surely worth more than anyone can ever estimate. We leave the theater with uplifted hearts, with a light of hap- piness shining in our eyes, and a memory never to be taken away. How many times we live it over in days to come walking once more through the beauty of it all.
May movies live forever and even con- tinue to bring the assurance to us all that dreams can come true.
Mrs. M. M. Swartz, 40 Wyard Crescett, Rochester, N. Y.
Thanks to Douglas Fairbanks !
A few years ago my little brother was on the ebb of life. Naturally, we humored him in every way we could and when Douglas was to appear in our neighborhood in "The Black Pirate" I granted my small brother's wish and took him to see the picture.
He sat crouched back in his seat just a bundle of sore, achey muscles — his bright
eyes riveted upon Doug as he swung from one scene into another. All he said was "Gee, Sis, I wish I could be like him!"
From that day on he worshipped Doug. He asked the doctors to let him walk in the fresh air and tried every possible way to help himself. Gradually, strength came back to him and he started doing the tricks he had seen his idol do. He built him a little hut and called it "The Gaucho Den." He organized a club known as "The Masked Riders." This club made startling and wonderful things — sabres, carved knives, guns and ropes. When Doug's pictures came to town they went in a group, then returned to try out the tricks.
Today my brother has a fine body and superb health. His idol and pattern is still Doug and to him we owe our undying gratitude.
Clara L. Woffke, 1230 North Temple Ave.,
Indianapolis, Ind. -
She Likes Gilbert's Love-Making
John Gilbert's performance in "His Glorious Night" was a supreme achieve- ment in love making. How he managed to put so much beauty into those over- used words "I love you" is beyond me.
Then came criticism about Gilbert's voice — and I wonder what the public wants. It's pretty tiresome to have all our actors singing, dancing and talking and hardly one attempting that most difficult thing, speaking love lines on the talking screen. So our brave hero Gilbert tries it and what does he get from his once adoring public? I ask you, is it fair?
Mrs. H. Sokol, 116 Oak Street, Wilmington, Del.
Gary Cooper: A Rhapsody
The wide blue heavens — the vastness of out-of-doors — the graceful swaying of forest giants high up against the horizon — in all, the suggested strength of Gary Cooper!
As Gary strides into view he is "The Virginian." In his masterful, yet gentle way he runs away with the picture. His code suggests moral strength as powerful as those ranges out of which he came rid- ing. Yet he reveals kindness and deep
7 he John Gilbert voice has been the subject of much discussion — pro and con.
SCREENLAND
Barry Norton's friends will be glad to know that he has signed a contract with Paramount.
understanding in his dealings with the mountain people. He portrays the character with amazing completeness. The highest place of honor to the long, striding Gary!
H. Kling, 1119 Indiana Street,
Vallejo, Cal.
For Ann Harding
Thanks to the talking screen that has brought into prominence talent that many of us would never have known.
A type somewhat rare on the screen, I believe, is Ann Harding. She appears to refined, so cultured, and her voice has ac- quired such perfect diction that one would walk miles to hear her. Such naturalness of manner, and speech, such pleasing per-' sonality and rare beauty is seldom seen. She combines well all that is beautiful and best in pictures.
It is a real inspiration to see such talent as Ann Harding and Fredric March, who played with her in "Paris Bound," possess. May we see more of them.
Miss Jane E. Harrick, 510 West Madison,
Lansing, Mich.
A Barry Norton Fan
The ways of producers are beyond the comprehension of my feeble brain. It al- ways struck me as weird that some company did not for its own profit as well as for the welfare of the cinema art, exploit the talents of Barry Norton. No player on the screen has received more unanimous and consistent approbation for brilliant work in minor roles.
I have followed his career with vivid in- terest since his memorable 'Mother's Boy' in "What Price Glory." His marvelous work as Lieutenant Dashwood in "Legion of the Condemned" where he faced death before a firing squad appealed to me as being the finest single bit of acting I have ever seen.
Yet the producers do not recognize the potentialities of such talent. But, of course, they are men. That explains it!
Crocella Mullen, 1030 Echo Park Ave.,
Los Angeles, Cal.
for May 1930
13
The Sensational Talking Picture
TRIUMPH
of the Celebrated Beauty
MA BAN KY
By Special Arrangement With Samuel Goldwyn
Gorgeous, glorious, glamorous Vilma Banky, famous star of many notable screen successes, now brings the full flower of her beauty, the full mastery of her art — to this great talking picture written by the famous Amer« ican playwright, Sidney Howard.
Like a flame in the dark, her youth and beauty light up the lonesome years of a middle-aged, tender and romantic Italian. He represents to her a haven of refuge from a drab, poverty-stricken existence. Then Youth calls to Youth — and a tense, enthrall- ing, heart-rending drama develops, laying bare the human soul as only the master hand of a famous playwright like Sidney Howard can do. A drama replete with tender love interest — a story you'll always remember! With Edward G. Robinson and Robert Ames, directed by Victor Seastrom.
ME1 r»v/-GOLDWYN-MAYER
"More Stars Than There Are in Heaven"
m
14
SCREENLAND
Winifred
T^ESTOVER
wins
SCREENLAND
^ONOR PAGE
Above: the real Winifred Westover. Her brave Viking beauty reflects a serene soul. Her own life story is more dramatic than most motion picture plots; but her tolerance and under- standing helped her to turn her trials into material to enrich her technique. She has matured artistically without losing a vestige of her girlish charm and quaint, naive sweetness.
Right: Winifred is also a most modern young woman with a sense of humor; and a devoted mother to husky little Dill Hart the second. She has staged a great come-back and her triumph is all the more complete in view of the fact that "Lummox" is her first talking film. It is interesting to note that, like Greta Garbo, Winifred Westover is of Scandinavia.
for May 19 30
15
o
nce upon a time there was a little girl with golden hair and blue eyes. What? You've met her before? No, no; this is another little girl. Besides the golden hair and blue eyes she possessed some' thing much, much rarer. She had cour- age, of a very remarkable kind. It may have been the beautiful hair and the wide blue eyes that put her into the movies; but it was her courage that kept her there.
Winifred Westover, a real-life hero- ine of motion pictures! A popular lead- ing lady, she married the great big star, Bill Hart, and became the mother of Bill Hart, Jr. And her screen career seemed to be over. But that's where the courage came in! Winifred began a battle to win back her rightful place on the screen. And, after months of hoping and waiting and praying, she won her fight. The biggest acting role in years — the heroine of Fannie Hurst's "Lum- mox"— was hers. It was not handed to her; she went out and got it. She had to convince both Miss Hurst and director Herbert Brenon that she and she alone was born to be Lummox. She succeeded. Her performance is an artistic triumph. The little girl with golden hair and blue eyes, still young, still pretty, still sweet ■ — is very nearly a great actress. May she win other roles as great, and play them as beautifully!
Above: as Lummox, the title role of the screen version of Fannie Hurst's impressive novel, Winifred Westover wins our Honor Page. She submerges her own character in that of the in- articulate, pathetic servant girl, who, despite her crudity, still has a craving for beauty in her soul. Miss Westover's performance in this film is one of the greatest ever screened.
Left: Lummox, an old woman now, finds her final happiness with a family of motherless children. The pathos of the yearning servant girl grown old, who has made so many sacri- fices for her son, is fully realized by the actress, who disdains to depend too much upon her ageing make-up. Winifred Westover's Lummox will move you to heart-felt applause.
Education Made Painless
f
or May 19 3 0
17
THE EDITOR'S PAGE
Where, oh where, are the screen lovers of yesteryear? Will the talkers, "Stone Age of a new art," as William Bolitho calls them, kill off all our love scenes? Well, look around you.
C "Journey's End" is now being screened. If you saw the play, you know it is a womanless affair. No place here in the trenches for little blonde, or even brunette in- genues. Just stark realism, enacted by an all-male cast. Unless the screen version shows flash-backs to English gardens with wives among the hollyhocks, and they'd better not, you will see a screenplay without a love scene. "All Quiet On the Western Front" is being pro- duced with painstaking fidelity to the book. You already have seen "Men Without Women." And the charming "Seven Days Leave" in which Beryl Mercer is the only femme in the cast — and doing very well, thank you. If you asked me, I'd rather see a single close-up of Miss Mercer, with sound accompaniment, than whole epic productions of other ladies mouthing their lines. But you didn't ask me, did you?
<( Nevertheless, I do think something Should Be Done. It's getting serious. Can we get along with- out love? Don't answer. Let me answer. No, we cannot. Already the girls are beginning to cry about Gary Cooper keeping Mary Brian and Fay Wray and other lovely Paramount ladies waiting while he dallies with Beryl Mercer. Already I've had warning letters to the effect that if Jack Gilbert is kept off the screen very much longer, the writers will take it out on me. Me! — and I never did any- thing. Already several gentlemen fans have written to say that when they pay good money to see a movie they want a little something in the way of sweetness and light. I can only refer them to "The Love Parade," "Devil May Care," "Rogue Song," and "The Vagabond King," which abound
in scenes of amorous dalliance. But it seems they want something more. It seems there is still a crying need for episodes in which two passionate puppets forget all about Will Hays and the censors and the old folks at home and their make-up and think only of each other — until the director sig- nals 'Cut.' In other words, the public doesn't seem to be satisfied with the love scenes they are get- ting but they still want love scenes. Now, let's see. What can we do? Have Ernst Lubitsch direct all the pictures produced? No, that wouldn't do. Well, then, how about Jacques Feyder's suggestion of robot actors? He says: "It is not impossible that mechanical actors energised by electricity and controlled by a tele- vision apparatus will rule both stage and screen. People may laugh at the idea of a robot taking