Rnnk- S'~
Scanned from the collections of The Library of Congress
Packard Campus for Audio Visual Conservation www.loc.gov/avconservation
'' AN TACTIC 40LLYW00D
•
>e Luxe Gallery >f Stars' Portraits >Y Cetcil Beaton
^HEN purchasing Maybelline Eye Shadow, select Blue for all shades of blue and gray eyes; Brown for hazel and brown eyes; Black for dark brown and violet eyes. Green may be used with eyes of all colors and is especially effective for evening wear. Encased in an adorably dainty gold- finished vanity, at 75c.
Maybelline preparations may be obtained at all foiletgoods counters. MaybellineCo.,Chicago.
ese-<easij steps to
INSTANT
D A R K E N E
Joveli
mess
Millions of women instantly gain added charm and loveliness with these three delightful, easy-to-use Maybelline preparations. They use Maybelline Eye Shadow to accentuate the depth of color of their eyes and to add a subtle, refined note of charming allure. Four colors: Black, Brown, Blue, and Green.
Then — they use Maybelline Eyelash Dar\ener to instantly make their lashes appear dark, long, and beautifully luxuriant — to make their eyes appear larger, more brilliant and bewitchingly inviting. There are two forms of Maybelline Eyelash Darkener:. Solid form and the waterproof Liquid; either in Black or Brown.
The third and final step is a touch with Maybelline Eyebrow Pencil to artistically shape the brows. You will like this pencil. It is the clean, indestructible type, and may be had in Black and Brown.
Take these three easy steps to instant loveliness now. Begin with the Eye Shadow, follow with the Eyelash Darkener, and finish with the Eyebrow Pencil. Then, from the height of your new found beauty, observe with what ease you attained such delightful results. This radiant transformation is achieved only by using genuine Maybelline products. Insist upon them.
EYE SHADOW
EYEBROW PENCIL
(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
SMART?
If so, apply a few drops of harmlessM urine when you get home. It instantly ends irri- tation; banishes the tired, heavy feeling, and clears up the unsightly bloodshot con- dition that often follows ex- posure to sun, wind and dust.
Many persons useMurinedaily and thus keep their eyes al- tvays clear and bright. 60c at drug and department stores.
1H
VRML eiy'es
Modern Art Pays Big
Money
In this Age of Color . . . the demand for art work is creating hundreds of big-pay opportunities. Manu- facturers, decorators, publishers. . . are seek- ing men and women with art training.
Through the Federal course many have found fascinating careers. Hundreds of Federal students now earn from $2500 to $6000 a year. Learn at home in your spare time the Federal Way. More than fifty famous artists contribute ex- clusive lessons in illus- trating, cartooning, -£ia lettering, designing. Send us your name, age, occupation, and ad- dress, and we will send our book, "A Road To Bigger Things," and Vocational Art Test free.
Federal School of Illustrating
5240~ Federal Schools Building Minneapolis, Minnesota.
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 the place of an actor, but it is no more fantastic than other scientific developments of the last twenty years. In a drama a group of these man- machines, with faces moulded from plastic mate- rials, could be moved from a director's switchboard, speak lines, do everything they would need to do. At first, plays will probably be built about such a device, like 'R.U.R.,' just as a novelty; but later they may be used for a whole cast."
((Let me hear from all who agree that robots, no matter how plastic, can ever take the place of Greta Garbo, Gloria Swanson, Claudette Colbert, Richard Barthelmess, Chevalier, Dennis King — oh, finish out the list yourself!
<( Speaking of Garbo, and we try to in every issue, Eddie Nugent wonders if all the girls who have been copying Greta's hair, her clothes, and her walk will now, after seeing "Anna Christie," practice talking in a husky voice and telling their fathers how bad they've been.
D. E.
18
SCREENLAND
"The Chocolate Soldier" and "The Waltz Dream" are among the beloved light operas of all time. Oscar Straus, their composer, is shown in the act of writing original compositions for the screen. His first motion picture operetta will be for Vitaphone.
THE most interesting thing that happened to me in New York, on my way to Hollywood to compose Vitaphone operettas, was that I had the privilege of meeting George Gershwin. I had heard of him, of course, and I had often listened with admiration to his music. And when we stood face to face, with clasped hands, I thought:
"This is a meeting of Europe and America — of Vienna and New York!"
For my music has always been, in its very essence, Viennese. Although for the past decade I have lived for the most part in Berlin and Paris, visiting the banks of the blue Danube only from time to time, I have always hzen and always shall remain, spiritually, a son of my native city.
As for George Gershwin — he is not merely a product of New York. His music, it seems to me, is New York of the present day.
We became great friends, though our time together was so short; and this, I like to think, is a happy omen of the future relations of European and American music. We met early in the evening, at the premiere of a re' vival of "The Chocolate Soldier;" and after the perform-
JAZZ,
By
Oscar Straus
"The present jazz craze is simply a fad. It reminds me always of fireworks be- ing exploded under the eternal stars. Sometimes a flight of blazing rockets lights up the entire landscape with a dazzling glare; but when they fall the stars are still shining. I have never written jazz. I have no intention of writing it. It is not my music."
— Oscar Straus.
mance Gershwin took me to his very modernistic penthouse apartment, where we remained until half 'past two in the morning, playing the piano and talking. First my host would play, and then I would play; and then we would talk about the things that are of eternal interest to men who compose music.
On many subjects we did not agree — nor did we pretend that we agreed. We were both honest — the very best, and indeed the only, foundation for friendship. And we both love music. It was one of the most delightful even' ings I have ever known.
Gershwin's music is not my music, but he is a genuine artist. We understood each other. Therein, I believe, lies a symbol and a prophecy of the years to come. The typical music of the old and New' Worlds will, in my judgment, prove to have much in common. They will continue to influence each other; stimulation and inspiration will pass back and forth.
This process has already begun. I see no limitations to its future development, now that the synchronization of sight and sound on the motion picture screen has opened to music the gates of a world'wide kingdom.
That is why I have come to America — to take part in the inauguration of the new era in which, I am satisfied, music is destined to an expansion hitherto undreamed of by its most ardent devotees.
For nowadays, the screen reaches all the world. From the palatial cinema theaters of London, Paris and New York to tiny movie halls in Asia, in Mexico and on the Gold Coast of Africa, this newest and most amazing of art forms may be seen at work, amusing and educating all mankind. No longer can it be truly said that there is no new thing under the sun; for in all the history of the human race there has been nothing like the rise of the motion picture to planetary omnipresence in the past score of years.
And now it will be able to carry the message of music everywhere.
for May 19 30
19
Gershwin, and Me
The Famous Composer of "The Chocolate Soldier" Writes His Own Introduction to America and the Movies
This will most certainly prove of incalculable importance in the evolution of the race. Music is of universal appeal; it is a language which needs no translation. And its message is a message of beauty, of harmony, which will inevitably contribute to the unification of mankind.
But I do not believe that the music of the future will be jazz.
To me, jazz is astonishing; sometimes it is distressing; often it is amusing, and sometimes it infects me with its wild abandon so that, for a fleeting moment, I can almost understand the extreme claims that are occasionally made for it. But such moods soon pass. The appeal of jazz is not lasting. It is virile, emphatic, strenuous; but those qualities are not peculiar to jazz. Its role in the music of years to come will, I feel sure, be a minor one. The present jazz craze is simply a craze, a fad. It reminds me always of fireworks being exploded under the eternal stars. Sometimes a flight of blazing rockets lights up the entire landscape with a dazzling glare; but when they fall the stars are still shining.
I have never written jazz. I have no intention of writing it. As I told Gershwin, it is not my music. But one of
Straus in action. An autographed caricature of the Viennese light opera king by Schreiher.
Hollywood's most talented young singers hope to be cast in Oscar Straus' screen operettas. Be/nice Claire, pictured here with the composer, will be one of the lucky ones.
my sons is the author of a jazz operetta which is soon to be produced in Berlin.
Perhaps, he, too, will be in Hollywood ere long.
Despite my very limited liking for jazz, I have found myself fully able to understand it since coming to America. Life moves at a fast pace here. Now and then, the leisurely European finds it somewhat bewildering. Out of this swiftness of movement, this intensity and eagerness, has sprung the soul of jazz.
But can even the American people maintain this rapid pace permanently? I doubt it; and I think I can already discern signs of a reaction. Americans more and more are coming to realize the advantages of a calmer outlook. After hustle comes fatigue; after jazz, I am sure, will come a return to melody, to pure beauty, to the genuine art of music.
As the entire world becomes educated in music, the universal taste will be, I think, a refined and delicate taste. It will be — shall we say? — semi'dassical. It will favor the music that endures; and in years to come, I have no doubt that successful Vitaphone operettas will be re- vived again and again just as operettas of the stage have been.
In my own work here in Hollywood at the Warner Studios, I am proceeding as I have done in writing all my former operettas. That is to say, I am writing for the screen exactly as I have written (Continued o~i page 127)
20
SCREENLAND
The Hollywood
Our Incorrigibly Witty Author, Mr. Cruikshank, Lets Himself Go and Makes Good Reading. But We're Not Sure He is Right— Are You?
penie, Blgarija, Lietuva, Eesti or Suomi. But once he hits Broadway he's a New Yorker. Just like Alexander Wool- cott, of Phalanx, N. J.; Ring Lardner, of Niles, Mich.; Theodore Dreiser, of Warsaw, Ind.; O. O. Mclntyre, of Gallipolis, O.; Texas Guinan, of Waco, Tex.; George Jean Nathan, of Fort Wayne, Ind.; Fannie Hurst, of Washing- ton, D. C; Marilyn Miller, of Findlay, O.; Peggy Joyce, of Alexandria, Va.; Thyra Samter Winslow, of Fort Smith, Ark.; Lila Lee, Union Hill, N. J.; J. P. McEvoy, of South Bend, Ind.; or Sinclair Lewis, of Sauk Center, Minn.
Not all of these representative New Yorkers are Holly- wood Haters. Indeed, not all Hollywood Haters are New Yorkers either by birth or braggadocio. The sect is not limited by either geography or geneology. It is rather a mental condition. An evidence of the trend of the times. Times in which it is the vogue to be against things
Lillian Gish makes pictures in Hollywood, true; but she also loves her Manhattan and her Europe.
1IKE all Gaul, Hollywood is divided into three parts. First of these is the Native Sons. Meaning a lot - of embattled farmers from Iowa, Missouri, and Nebraska who have spent what may be called their lives acquiring a small financial competence and the rheumati?. They've come to California to spend the one on the other.
Secondly, there are the Tourists. They are a sort of season. One speaks of the rainy season and the tourist season. The rainy season is preferable. As a rule they arrive during very unusual weather. In which event they return East to Omaha razzing the climate. Other- wise they may buy lots and ranches and groves upon which the mortgages are foreclosed shortly thereafter. Next to mo'om pitchers', the mortgage industry is one of the Coast's greatest main-stays.
But oddest of all sects in this sect-sy city, is the Bite- The-Hand-That-Feeds-You contingent. These are known as the Hollywood Haters. Many of them are New Yorkers. That is, in the same sense that a Cohen is a Kelly after the Court waves its wand and makes a turkey of a herring.
Your dyed-in-the-wool New Yorker may appear in the birth records of the vital statistics bureau of Shqi-
A sophisticate of the screen, Constance Bennett, likes to visit France between pictures; but she always comes back to Hollywood.
for May 19 30
21
Jf A T E R S
By Herbert Cruikshank
rather than for them. Like the Irish used to be 'agin' the governmint.''
If one raves to Lillian Gish about the beauties of California in general, and Hollywood in particular, she may flutter at you and may be run out to pick daisies. She may tell you that Holly wood is merely a place to go for motor rides and hear talkies. And the Duse's favorite drama critic, George Jean Nathan, may boop-oop- a'doop about schnitzels, sphygmomanometers and Mencken.
If one suggests to Lilyan Tashman that Hollywood is a pleasant place in which to. have one's being, Lil'll gather the chinchilla closer about her blonde beauty, ele- vating the chin and giving out the chill-a. A place to. work, Lilyan will tell you. That's what Hollywood is.
The cinema city is 'Home' to Joan Bennett, (left); but she also likes her New York vacations.
The eloquent and dignified silence of Max Reinkardt, the great German producer, (right) as he left Holly- wood was more impressive than a theater-full of loud speakers.
Fannie Hurst (below) visited Hollywood to approve the screening of her book, "Lum- mox." But she hasn't been back since, has she?
For ought else — N'Yawk.
Joan and Constance, daughters of Richard Ben- nett, of the Shelbyville, Ind., Bennetts, will mentally class you with Harry Richman if you evince a love for the brown and boney (not bonny) hills of old Holly- wood. These sophisticates may describe the old town that started the world's great- est industry in Jesse Lasky's barn, as White Plains up- side down, or something of the sort.
If you ask Fannie Hurst about Hollywood, and she doesn't walk out on you, she'll probably just lift the eye-brows and tell you par- ables about how she believed the angels to be clothed in gold and found them — to put it delicately — en dishabille. It's all verra, verra dread' ful, to hear Fannie tell it. (Continued on page 112)
SCREENLAND
Oh, Oui? Oui!
// we can't all visit the Rue de la Paix this year, we'll find a good substi- tute on the screen. For Fifi Dorsay brings all the chic, the perfume, and the joie de vivre of her native France to our talking films.
Fifi appeared in "They Had to See Paris" and "H ot for Paris." The screen, to say nothing of the audience, has never been the same. Somehow, we never before realized so clearly that we of America and we of France are just broth- ers— and sisters.
Ul VE
Messieurs et Madames, Another Invasion! Holly- wood Opens her Arms to These Dear French
By
Marie House
OOO LA LA, mon Dieu, mon cherie, mon chou, chou, poof, poof-poof, and a liberal sprinkling of oui oui's. A deadly barrage of Gallic expressions. Z-z-zees, Z'Z-zisses and z-z-zos bu2;2; in our ears. A hail of shrapnel could be no more effective. Don't shoot. We surrender. Vive la France! •
Screen tests. Voice tests. Close-ups. Long shots, Still shots. High powered premieres; and another French' man has won the hand'painted wagon load of fan mail.
Cameras to the right of them! Microphones to the left of them! Directors at the heels of them! Foreign celebrities on the side lines, hoping they stutter! Nothing can stop them, these doughty French.
To the fan lines comes the smell of powder and grease paint. Through the trusty binoculars we see the clash of arms (a-a-aah), the roll of eyes, the brilliant flash of those Gallic smiles. Ooooooooooh la la!
Scaling the heights of the deadly Mount Microphone, that has sent so many accents floundering backwards into vaudeville, these clever French, with telling gestures and plenty of 'ca,' have carried the tricolor to the peaks of the highest Hollywood strongholds and there with true Gallic insouciance, sit practically on top of the world.
Others may hesitate to cross the Rubicon where voice and action meet. But not the French. Mon Dieu! But most certainly not the French. If they lack for a word, a shrug will do. What the tongue hesitates on, the eyes express. And the Parisian flavor of the songs they sing are more effective than they would be in untrimmed English. Because no matter what they are, we chortle blissfully anyway and suspect the worst. With practically no trouble at all, even, they have succeeded in feeding us whole spoonfuls of unadulturated foreign language with scarcely a wry face among us — scarcely.
Vive la France!
Maurice Chevalier began it last summer, probably in just a little "Innocents of Paris" fun — but it proved to be the shot fired that was next heard in "The Cock-Eyed World." But Will Rogers is really to blame: not that he started it exactly, but Will is always starting things so blame him anyway. Besides after "They Had To See Paris," everyone got the idea, which made the score prac- tically unanimous in favor of the French.
for May 19 30
Lj> a
23
FRANCE!
And now that the Battle of the Microphone is going so well, let's wipe a little of the smoke out of our eyes and see who's where and why not.
Now that dashing Jeanne D'Arc hopping over yon deadly parapet. There's a neat trick1 for you. Boy, our biggest tele- scope. We'll have a close-up.
Ah, ah! Slappie hannies! Boy, return that telescope!
Now I see. Hmmmmmm! One of the reasons why Will Rogers had to see Paris. It's Mademoiselle Fifi Dorsay.
Hoo, hoo, Fin! Come on over, Fifi!
Fifi comes over, a vivacious Fifi with mop of black hair and large hazel eyes. A Fifi in a unique affair of tight-waisted black coat and black skirt with large white dots. No, not new styles, silly. Made up for her part. "Styles of 1915,"" she laughingly admits.
How is the battle going to- day, Fifi? And what is that
interesting looking parapet you've just been scaling?
"Oh, I am so fatigued. These movies! Just now I have lunch. See, it is 2:30. Terrible. My head is in a whirl. These lines! Over and over and over again, they play the scene until Mr. Korda says it is right, and then I can only see the lines still going around in my head." (Well- known and effective Dorsay gestures.)
"But now I do a dramatique part. That is what I have always wanted to do. More dramatique part. This time I am a song and dance girl in French Morocco. I am a bad girl but I love this soldier, a legionaire who is wanted by the law. I hide him in my room and help him escape. It is very dramatique' (more effective gestures.)
"Hell's Bells- well, that's the tenta- tive title of this new picture in which Har- old Murray is the lead with Fifi co- starred. But wait un- til you hear those new songs she sings, Good
Two of Fiance's most precious gifts to Holly- wood: Maurice Chevalier and Claudette Colbert This is a scene from "The Big Pond."
Lily Damita lead the French invasion of Hollywood. She was made to feel at home and she can stay just as long as she likes.
Time Fifi and Ce C'est Paris. Now, be quiet. You'll just have to wait.
Fifi speculatively eyes the most glittering domes of star- dom high up in gilded Holly- wood. And why not?
"Ever since I came to Amer-' ica I have wanted to go on the stage. When I was a stenog- rapher in New York I was not satisfied. Then I got a small part in the 'Greenwich Village Follies.' Will Rogers was there' then. I liked working with Mr. Rogers in 'They Had To See Paris.' He is so bashful. It is nice to play a vamp part with Mr. Rogers." (Trills of fa- mous Dorsay laughter.)
"You know," surprise strug- gling with pride in her voice, "I went to work very quickly after my test in New York. Very few get to work quickly after their screen test. Just three weeks after my test, I was working here on the Fox lot."
You see. That's the way the French work. "Look! I do not say V when I talk. Only in pictures when I must be a French girl. I must say 'sis' and 'zos" and everyt'ing. See, I can say 'thing.' Soon with a little, what do you say, a little concentration, I will play straight American parts. Then you will see. I can talk
American. I will not have an accent."
What, no 'z,' Fifi? No accent? Oh, please!
"It is difficult to speak English with a' French accent when it does not come nat- urally. So many girls tried out for these parts, but either they did not speak enough English or they were Americans who spoke fluent French, but their accent was not right. Marion Davies was one who did this well in 'Marianne.' She was splendid. If my English is as good as her French. I will be glad."
There's a beau geste for you. (Cent, on page 119)
24
SCREENLAND
Nathalie Bucknall, director of research department, at her desk in her studio workshop. Mrs. Bucknall supervises the correctness of the many details that go into the making of pictures.
G
O West, young woman, go West!"
If Horace Greeley could have known the West of today, he might have added this after- thought to his well-known and much-quoted words to young men.
Of course, to modern youth, West means Hollywood. But Horace Greeley would not have been advising youth- ful and feminine America to go West to become movie stars. He would have realized that such advice was un- necessary. Every train which rolls into Los Angeles is loaded with its quota of such fame and fortune seekers.
He would have been talking to the energetic, intelligent young women who do not crave the thrill and glitter of screen glories, who are looking for other avenues to success. The young women of the country don't need the advice
Above: Henrietta Frazer, designer, assistant manager of the studio wardrobe.
Upper right: Edith Farrell, competent manager of the script department.
Right: Josephine Chippo, script clerk, accompanies Director Van Dyke's com- pany on location trips.
The Q I R L S
Behind the
STARS
of any man to show them the possibilities of the motion picture field. They discovered these possibilities all by themselves. Every morning hundreds of clever girls throng through the studio gates to hang their smart straw or felt hats, as the season may be, in hundreds of offices.
Every time Greta Garbo, Norma Shearer, Gloria Swan- son or any other glittering lady of the silver screen moves through eight reels of film adventure, a half hundred un- seen and unknown young women have helped in the motion.
A wonderful thing about the behind-the-cameras activity of this movie game is that age, sex and looks don't matter. Only intelligence counts. The one great cry of the busi- ness is, "It can be done!" Nothing is impossible. Miracles are performed. It makes no difference who performs them, man or woman, oldster or youngster, so long as they are performed.
Each year finds more clever girls added to studio pay- rolls. They come from all parts of the world to try their luck in the West of motion pictures. They do all sorts of things. They are ready to give every ounce of their intelligence and energy to this fascinating business. They love the thrill of being a factor, large or small, in the making of pictures which travel into every nook and cor- ner of the globe. They wouldn't trade places with any Garbo or Shearer or Swanson.
Below: Peggy Coleman, with a record for war ser- vice, capably directs the studio hospital.
Above: Nathalie Bucknall has earned a special niche for herself in research work.
for May 19 30
25
These Girls Who Have Carved Their Own Ca- reers in the World behind the Cameras Wouldn't Trade Jobs with the Stars
By
Ralph Wheeler
The research department of the M etro-G oldwyn- Mayer studios. In this pleasant, book-filled room Mrs. Bucknall and her assistants determine the suave niceties of plumes, curtsies and costumes.
The public reads much about the actresses. It knows what they do, what they wear, where they go and whom they love. It reads, too, about the women who write the stories for the actresses. But the hordes of other girls, who play so important a part in the furnishing of amusement for the millions, go unpraised and unsung, except in their own circles.
Did you ever wonder,' while you were watching the intricacies of some elaborate costume picture, the suave niceties of some story of foreign drawing rooms or the military paraphernalia of some war epic, who supervised the correctness of the million and one details? An amazing amount of research and study lies behind each plume, each curtsy, each uniform.
At the Metro-Goldwyn-Mayer studio, a young woman is responsible for this very necessary phase of the making of the pictures. Her name is Nathalie Bucknall and her own history is as colorful as any story for whose details she delves into her research library. In a big, book-filled room, Mrs. Bucknall, with the aid of two young women assistants, determines what sort of boots were worn by seventeenth century soldiers and what kind of silver was used on Victorian dinner tables.
The brown-haired, brown-eyed young woman was born in Petrograd, then St. Petersburg, the daughter of a Rus- sian father and an English mother. She served in Russia's
Below: Vivian Newcom, who is secretary to Irving Thalberg, the boy execu- tive, 'Mr. Norma Shearer.'
Battalion of Death during the World War and was dec- orated three times by both the Russian and British govern- ments. After the armistice she directed a hospital in Rus- sia and later was affiliated with the English war depart- ment.
Three years ago she came to America to travel and to study. The movies fascinated her. She found a studio foothold as a reader. Then her knowledge of foreign modes and manners, of languages and history opened a place for her in the research department. As the director of technical research, she has carved her own little niche in the world behind the cameras.
After the technical details of the picture are arranged, after the sets are built on the stages, the picture rooms must be furnished, draped .and (Continued on page 120)
Above: Margaret Booth, film cutter, puts together some of the biggest films.
Above: Blanche Sewell, an- other cutter, to whom be- longs a share of credit.
Upper left: Lillian Rosini, make-up artist, authority on photographic values.
Left: Margery Prevost, sis- ter of Marie — and studio specialist in interior deco- ration. Clever!
25
SCREENLAND
A story conference in a film studio. First National producing ex- ecutives decide the form "Mile. Modiste" shall take in its screen version. Reading up the table: Paul Perez and Julian Josephson, scenarists; Robert Crawford, executive in charge of music; Rob- ert North, producer; William A. Seiter, di- rector; C. Graham Baker, chairman of the conference.
YES, it's a conference! Not a gathering of high- powered diplomats to decide on the peace of nations, nor the sise of battleships, but a modern movie conference wherein is decided what you and I will see upon the screen when the motion picture in question is completed.
Movie conferences have been the butt of almost as many jokes as prohibition, but, in spite of the merry jokesmiths, these conferences have increased both in number and im- portance with the advent of the talking picture, of Tech- nicolor, and the production in which singing and dancing and a horde of glorified merry villagers and celluloid gendarmerie abound.
Now, there are conferences and conferences, including the kind that an elusive official seems to be constantly tied up in when you want to see him on a question of- — let u& say, a rise of salary0 But a general production con- ference prior to the filming of a pretentious musical pro- duction, such as Victor Herbert's operetta, "Mile. Modiste,1' now facing the cameras and microphones at the First National Studio, offers what is perhapj the best example
YES, IT'S A
They Really Do Have Business. Here You Are Learn What
By Brian
of a modern movie conference. And, incidentally, it is probably the first at which a reporter or interviewer was ever admitted or permitted to sit on the side-lines and take notes.
This gathering in the lion's den occurred in a luxurious office used expressly as a conference room. In fact, it was even labeled Conference Room on the door, and should
for May 1930
27
Reading right along, from the head of the table: Hal B. Wallis, co-executive in charge of production at the studio, and the hus- band of Louise Fa- zenda; Larry Ceballos, the dance director and his assistant, Carl McBride; Leo Forb- stein, musical director, and his assistant, Leonid Leonardi. A conference to which Screenland was ad- mitted by special per- mission.
(Conference
Conferences in the Picture Invited to Attend One and It's All About
Herbert
you want to call one of the inhabitants, you would ask the studio telephone operator for the Conference Room. Whether any one answered the telephone when you called is a question which I will not go into. This laboratory of disputes adjoins the suite occupied by C. Graham Baker, scenarist and producer, who with Hal B. Wallis is co- executive head of production at the First National pro-
duction plant.
Mr. Baker, you will see, is chairman of the conference, at which Mr. Wallis presides as official arbiter of disputes. Their places are at the head of a long table, and William A. Seiter, who is to direct "Mile. Modiste,'" is beside them. On the left side of the table is Robert North, the pro- ducer, then Robert Crawford, executive in charge of musi- cal activities. Julian Josephson and Paul Perez, scenarists, come next in order. On the opposite side of the table are Larry Ceballos, dance director, Carl McBride,his assist- ant, Leo Forbstein, musical director, and Anton Grot, art director and set designer. At the end of the room stands a grand piano where Leonid Leonardi, assistant to Forbstein, is prepared to sing or play any parts of the score of Victor Herbert's original music, or new music written for the production.
There is no formal opening of the proceedings. The atmosphere is exceedingly cheerful as William A. Seiter completes a recital of the latest funny story which is going the rounds of the studio. Then Mr. Baker checks up on the personnel present and (Continued on page 122)
Alexander Phillips
GLORIA SWANSON
Psycho-Analyzed
\
for May 19 30
29
A Penetrating Portrait of the Little Chicago Girl who Became a Marquise in Real Life and a Czarina of the Screen
By James Oppenheim
IT is a curious fact that the two outstanding women of the American screen have Swedish blood in them. Greta Garbo and Gloria Swanson. Of course, the Garbo was a recent importation whereas Gloria was American-born, and anyone who has seen the latter in "The Trespasser" knows that she can be American to her finger-tips, whether as private secretary, telephone girl, apartment-house mother, or millionaire's wife. But then, Gloria could be a veritable Queen or run a Paris salon. She could, likewise, be a 'moll' in the underworld. But, whatever she is, she is superb and aristocratic, which latter means that she goes her own way, whether against a bar- rage of criticism or lack of funds; and that she can be a stately hostess or fling herself down on a bed and play 'kids' with a child.
These Scandinavian women! Why do they fascinate hard-hitting, go-getting, down-to-earth Americans? Per- haps it is that no matter how hard-hitting and go-getting they may be themselves, they are also up in the clouds: Valkyries astride horses bearing dead warriors through the skies to Valhalla. There is poetry in them, and so a prose- nation is allured and fascinated. They give us dreams to dream and wonders to wonder at.
And yet, Garbo and Swanson are utterly unlike. Garbo seems like a captive princess in a tower, with the sea dashing below in moonlight, caring for nothing but some- thing long-lost; whereas Swanson belongs to the great modern city: skyscrapers and windy sunny days, radio, motor cars, jewels, gowns and splendor — a woman of the world.
We begin to understand the difference (as well as the likeness) when we examine the questionnaire which Miss Swanson, with the help of an interlocutor, has answered for Screen land. We know that Greta Garbo is a deep introvert, that she prefers the dream-world to the real world, that she is lonely, moody, aloof, and often sorrow- ful; that it is mainly in her art that she extraverts, that is, has a warm living contact with a world of people.
Miss Swanson sets herself down as extraverted, 55, as against introverted, 23. Turning the figures around we would probably get a picture of Greta Garbo. In fact, we might say that Garbo is more the artist, Swanson more the woman; Garbo is more a dream-figure, a night-star; Swanson flesh-and-blood, a powerful electric light.
Yet note the likenesses, Scandinavian, I take it. Miss Swanson says of herself :
I am a little self-conscious.
I feel very much misunderstood by most people. I hate to be conspicuous, even in my own home. I am self -centered, introspective: keep looking into my self.
I have deep moods that sometimes last for days.
I am very easily in a tense condition.
I am very often 'up in the clouds.'
One would imagine from this that she would have a hard time meeting the world, mixing in, getting things done, being practical; that like Greta Garbo, she would
Ernest A. Bachrach
Gloria Swanson is a self-made woman. She is one of America's assets, for her art is superb and her life is a challenge to the rest of us.
be tyrannized over by changing moods (introverted feel- ing) ; moods that she was acting in a screen-play or those inexplicable moods which, like fog, cut us off from the world and make us hide in a dingy corner of misery.
But this introverted side is Swanson's shadow, whereas it is Garbo's self. For listen to these further answers :
I am a real go-getter, by nature.
It is very easy for me to order others around. (Imagine Garbo good at 'that!)
Life is a game to me, to be played through like a sport. I'm a good actor in public, and a good mixer. I am naturally very active and delight in doing things. I like very many people.
I like always to be with them and on the go. I am loving and affectionate.
I am a faddist, and take up with all the fads that come along. (Honest, that!)
I would be absolutely indifferent if the man I loved should flirt with other women.
I am very realistic and have much common sense.
I am easy-going as a rule.
In short, she is many sided, and the extraverted side is strong enough to. win victory (Continued on page 112)
30
SCREENLAND
cjTARS who never saw
These Self -Made Celebrities Need No Plots or Props. They are Box-Office Attractions without Benefit of Bunk. This Story Tells You How the Great World Figures are Coaxed to Face the News Cameras
Do you realize that all moving picture stars do not live in Hollywood? Did you ever stop to consider that there is one young man in America and another young man in England who separately can attract as many people into a moving picture theater as the combined charms of Ronald Colman, George Bancroft and Maurice Chevalier?
Would you ever think that a certain mature woman living in what we would call an outlandish country, shut off by mountains and hemmed in by boundless plains, actually has as much sex appeal in the eyes of the box- office world as Joan Crawford, Ann Harding, Clara Bow, and that mean mama, Evelyn Brent, all rolled into one? You don't believe it? Well, it's a fact. And I can prove it. One of the real romances of the present day is that we can step into almost any moving picture theater and rub elbows with the greatest men and women that exist
The most famous, rick, and successful screen star of them all — John D Rockefeller, who posed for the news cameras on his ninetieth birthday
in current history. At last there is real democracy!
Without any effort whatsoever, we can watch the rich- est man in existence — a man who has* given more than seven hundred and fifty million dollars to charity and science alone — cut his birthday cake.
By extracting a small coin from our pocketbook and placing it on the sill of the box-office window, we can see the mystery Queen, the greatest woman diplomat on earth today, in the privacy of her home.
Kings invite us to their countries. Internationally cele- brated writers tell us jokes. We glimpse the love making and wedding of one Prince of a noble house. And we sense the tragedy of another, who gave up his throne for love.
All this through the medium of that most important of present day inventions — the talking news reel picture camera.
Nearly every celebrated figure in America and Europe has talked for the Fox Movietone news: Lindbergh, the Prince of Wales, Shaw, and Queen Marie of Roumania — the four greatest drawing cards of all. Then we have John D. Rocke- feller, the King of Spain, Mussolini, King George of England, Conan Doyle, Prince Humbert of Italy, Prince George of England, the Emperor of Japan, the Pope in his Vatican seclusion, Hindenburg, Clemenceau, Tardieu, Poincare, the King of Italy, the King of Sweden, Prince Carol of Roumania, Edison, Booth Tarkington, President Hoover, ex-President Coolidge, Persh- ing, Taft, Al Smith, Governor Roose- velt, Mayor Walker, Andrew Mellon, Speaker Longworth, Jack Dempsey, Gene Tunney, and many others.
But what money, influence, diplo- matic pressure, cajolery, patience, and persuasion has been exerted!
However, no person in the United
of Roumania. that's all.
for May 19 30
31
j^OLLYWOOD
By Rosa Re illy
States was ever paid any sum of money for permitting a talking news reel picture of himself to be made. In Europe, many were compensated. But not all. In fact, Bernard Shaw was not given a penny. And yet more money was realized on his news reel than on any short picture which Fox has ever produced.
While I am not free to tell you the stated sums paid stated continental personalities, I can tell you quite a few received amounts tidy enough to keep the wolf from the door for many moons.
But if money was not paid to some, what months of strategy were necessary before the boys would step up and doff their hats and ear muffs before the microphone. And you can well understand it.
In ordinary life, you and I love to see our name in print and our photographs in the news reels. It is a normal ambition cherished by nearly every normal indi- dividual, if they will admit it.
But for a celebrity, placed high in the world, publicity is exceedingly dangerous. Ridicule and unfavorable gos- sip have ruined more careers than poison. Therefore, the average highly placed personality is extremely wary before he allows self to be persuaded. Take the case of Mussolini, who the first big fish to be hooked. He ne of the most unapproachable of l from the viewpoint of the press. The Fox news would never have been to procure him except through kindly intervention of Ambassador Fletcher, at that time our representa' in Rome.
] /lussolini took the whole thing very, / seriously. First he gave his ;ch in Italian. And then in Eng- Very meticulous English which he had unquestionably memorized phonetically. When the finished rec- ord was given out, his voice had a most un-English twang.
And this un-English twang leads to another and very funny story. The
Mussolini film was shown to Bernard G**ial Lloyd G
appear in news
Shaw, that august Irishman who recently turned out the far-from-light "The Intelligent Woman's Guide to Socialism. "
When Shaw saw and heard Mussolini's film, he said: "That is terrible. Mussolini is not making the most of his personality. IT1 show him how it should be done."
With that, he turned around and put on one of the wittiest and most entertaining short features which has ever been made. And it did not cost William Fox a nickel.
With the exception of Shaw, of all the European celeb- rities, Lloyd George and Hindenburg were the only ones who did not cause the Fox Company many moments of anxiety and months of waiting. And at what expense!
Talking news reel crews are maintained in strategic points throughout Europe and Asia, just on the chance of something happening. And when a flood occurs or a King dies, the nearest unit is rushed to the scene. There are four of these camera crews in England, one in Spain, one in Morocco, one in Palestine, three in Rome, one in Czecho- Slovakia, and three in Paris. When you realize that the average salary of each of (Continued on page 114)
eorge is one of the most popular of the world figures who pictures. Here he is posing for Fox in his English garden.
II Duce- Conan Doyle. Mr. Tarkington Well, well,
Benito Mussolini. Mr. H. G. Wells!
SCREENLAND
Chaney, 'Man of a Thousand Faces/ will Now be Known as The Man of a Thousand Voices.' He has fallen for the Talkers at Last!
for May 19 30
33
fHANEY
Comes Back
i
won t which
The Great Character Actor Breaks His Long Silence
want to play roles in which I can use several voices in the same pic- ture, so that people be able to really say my own natural voice is, just as I have always used make-up, so that they don't quite know what my real face is like!''''
That's Lon Chaney's idea of keeping up the singular mystery that surrounds him, now that he's going to talk for the screen. And inciden- tally, in doing it, he's going to dig up all the tricks from his old bag, when he played char- acters on the stage before he went into pictures. For, long before he was a 'man of a thousand faces,' he was really a man of a thousand voices, a utility character player ready to jump in and play anything from a college boy to a Methusaleh; from a Dutch comedian to an English chap- pie.
When audiences hear him use as many as five voices in a picture, they'll wonder, per- haps; but after all, when one
considers his training, there's not so much to wonder at. In small traveling companies, an actor used to be ready to play anything, sometimes three or four parts in the same play. The old time stock actor learned make-up and dialect to hold his job; he had to be ready with his tricks at a moment's notice.
And that's the secret of why the man of a thousand faces will have no difficulty in becoming the man of a thousand voices, too.
This matter of using his natural voice was one of the things that kept Chaney holding out against the talkies for so long.
"When you hear a person talk," says Chaney, "you begin to know him better. And my whole career has been devoted, in my case, to keeping people from knowing
By
Bradford Nelson
to
me. It has taken years build up a sort of mystery that is my stock in trade. And I wouldn't sacrifice it by talk- ing.
"But the public, on the other hand, demands that we screen players talk, and so talk we must. And I don't want to talk and spoil any illusion. So, when I talked over the new contract with Mr. Thalberg, among other things I mentioned that dif- ficulty.
"Thalberg saw the answer quickly. 'You've done all kinds of dialect and character stuff on the stage,' he suggested. 'Just use a couple of voices and let 'em guess.' "And so that v
as the
answer."
Chaney's many voices are the product of long years of toil. He began practicing them when, as a prop boy in a theater at Colorado Springs, he used to watch the great stars of the day such as Mans- field, Mantell, and others, make up and assume their dif- ferent roles. He used to the Terrible" one night and noting how subtle changes in voice, carriage, and make-up changed the very soul, seem- ingly, of the man.
"Those old actors," says Chaney, "never showed the audience themselves, but literally donned the personality of the character they were playing. From the first, when I started to act, I resolved to be as like them as I could. Instead of being a type, and playing nothing but myself. I always wanted to try and play someone else, submerging my own personality.
"On the stage I had plenty of chances. One of the first shows I was in, I had to play an old hick sheriff, come in on the second act as the town drunk, and in the third act play a Dutchman, (Continued on page 116)
Lon Chaney held out against the talkers be- cause he didn't want to destroy the mystery surrounding his characters. But he has finally solved the problem.
watch Mansfield in "Ivan "Beau Brummell" the next,
34
SCREENLAND
fantastic Hollywood
Cecil Beaton's
Impressions of Screen City
As Told To Rosa Reilly
The young English artist went to Hol- lywood to illustrate Anita Loos' new book about the movies and remained to make remarkable portraits of screen stars, a series of which comprise the de luxe rotogravure section beginning on the opposite page. You will wish to save and frame these Beaton pictures
H
'OLLYWOOD is the most incredibly fantastic city in the world," said Cecil Beaton, famous young English illustrator, artist and photographer, who has just returned from his pulchritude pilgrimage to the screen city.
"Hollywood," he continued, "is a triumph of bad taste. And I never knew bad taste could be such fun!
"I went to Hollywood,1'' Mr. Beaton went on, "primar- ily with a view to doing drawings and caricatures to illustrate Anita Loos' new book on this film town. But I also went to crash down the barriers of my illusions.
"On the screen in London, Paris, and New York I have watched my favorite cinema stars and even in this day of realism to me they pos- sessed great romance and glamour. I knew if I went to Hollywood and saw these stars in person that the romance and glamour would fade away. And it was a terrific extravagance for me to go there for I have always held the theory that stage and screen personalities should never be seen by the public out of character. They should never mix with the world. They should live a life apart so that the millions of theater and cinema-goers might retain their illusions.
"But paradoxically enough, even though I realised the stars would lose their glam- our for me if I went to Hollywood and saw them in person, and although I knew it was a mistake to go — I did go. And it was glorious fun smashing the last barrier!
"Hollywood is the most artificial place in the world. And because it is, I love it. I love the paradox that is Hollywood — the mixing of naturalness and artificiality. I hate the painted doll type of girl who looks like she wears a mask. But I adore a flesh and blood human woman who puts that sort of doll coating on herself. It is a delightful pretense. It
to
may
cover be,
Meet Cecil Beaton. Only twenty jour years old, yet already his work has attracted world attention. He contributes his clever articles, drawings, and portrait studies to Vogue and Vanity Fair.
amuses me to see her trying to clothe her face; her naivete or her hard-boiledness, as the case with this painted doll pretense.
"As a child and a growing boy I was brought up in a very social atmosphere. None of my people were stage people. And it was like flying to have suggested that I be allowed to go behind the stage. I was taken to the minimum amount of pantomimes but when I got old enough I ran off to the matinees whenever I could, pre- tending, of course, to be playing at home in the garden.
"Because everything artificial was kept so far away from me, I began to like artificial things more than real ex- periences. For instance, as a child when anybody asked
me where I would like most of all to live I would say im- mediately, back-stage among the stage scenery.
"For the same reason in childhood, an artificial stage garden where the flowers were made of linen and flan- nel became much more de- sirable to me than a real gar- den. To see a stage tree — which has only one side — gave me more kick than to see a real tree.
"Those childish fantasies have stayed with me some- what. Therefore, when I went to Hollywood my old childhood world of pretense was re-created. I found an artificial city — and because it was artificial I enjoyed it a thousand times more.
"Now, of course, you'll want to know what I thought of the Hollywood actors and actresses. Did they all disappoint me? To be candid, I must admit nearly all did. But there were a precious few who were more wonderful off the stage than on.
"Take Norma Shearer, for instance. On the screen you realize that she has a marvel- ous complexion and lovely hair. It is, therefore, an added delight to see that her (Continued on page 128)
Portrait by
Portrait by
Portrait by
Portrait by
for May 19 30
51
Won By A
VOICE
Charles Bickford is No Novarro in the Close-ups, butVocallyheis a Don Juan
By Keith Richards
The woman from St. Louis stifled a shriek. "Gracious!" she gasped to her table companion. "Can Charles Bickford really look like that — hasn't he make-up on?" Bickford wrinkled his ruddy countenance into a grin as he overheard the conversation.
'Tunny, isn't it," he observed. '"People can't believe a guy could have a map like mine and still live — let alone make money on it!"
Framed by a tawny mane of carrot'red hair, Bickford's strong features stand out sharply as he talks, his blue eyes crinkly with pools of wit. The very first thing you notice about Bickford is the blondness of his eye-brows, strangely contrasting the violent coloring of his complexion and hair.
A sailorman by inclination and temperament, Bickford presents an enigmatical figure in Hollywood. If he owns a Tuxedo he has it hid-
Framed by a tawny mane of carrot-red hair, Bickford's strong features stand out sharply as he talks, his blue eyes crinkly with wit.
den somewhere. He goes about town in a pair of dungarees and a white sailor hat jerked over his eyes.
He towers better than six feet-one and tips the beam at 185 pounds and is bone and muscle all the way through. His fists resemble sledge- hammers and he perils the table as he thumps vigorously to add em- phasis to his remarks.
When you see him walk with that rolling gait of his you are not at all surprised to learn he is more interested in his suc- cess at running a fleet of whaling boats out of San Pedro than his
He goes about Hollywood in sailor hat. And he's a
glowing record of stage and screen triumphs.
Bickford, as you may know, was brought out from the New York stage by Cecil B. De Mille for •"Dynamite." He followed this in quick succession with '"South Sea Rose," "Hell's Heroes," and "Anna Christie." Some of his Broadway plays were "Chicago," "Gods of Lightning" and "Bless You Sister." Incidentally, he is now re-writing one of his own plays for the stage, spicily titled, "The Sandy Hooker."
This red-thatched giant confesses a perpetual stage of unrest. He always is seeking new faces and places to
slake his burning thirst for high adven- ture and romance in the raw.
You become curi- ous, as he talks, most of his conversation startling to one fol- lowing a prosaic and peaceful existence.
"But why whales?" you ask.
"Greatest sport in the world," he says. "And they bring plenty of dough."
Ugly wounds at- tract your attention as he folds his hands before him.
"Oh, that's noth- ing," he explains. "Just some sea ele- phant nips. The cussed
a pair of dungarees and a white thin§s were asIeeP ™
handy man around a car. (Cont. on page 118)
52
SCREENLAND
"For comfort give me the close bob, but for my work the neck-length," says Kay Francis (left), who is wearing her hair a bit longer.
"Short hair for me!" smiles Fay Wray. If a part demands long hair, Fay just wears a wig.
Woman's crowning glory seems to be giving her a lot of trouble since the dressmakers decided to lengthen all the skirts. As Janet Gaynor says, short hair just doesn't seem to go with long skirts. And long hair doesn't seem to go with short skirts.
"What are you going to do? Long skirts are worn in the evening but short skirts are still the vogue for day time wear," we asked.
Janet spread her little hands as though giving it up. "I'm trying to save the situation by letting mine grow long enough to tuck under for different types of dress- ing but still short enough to ar- range so that it looks bobbed when I want it that way — the neck- length bob, I suppose you would call it."
Janet's hair is naturally curly, and just now she is wearing it in a flat coil at the back of her neck and pulled rather high on her head, as though she had an infant pompadour. She likes this new way very much. It gives her an appearance of dignity.
Most of the girls think the bob is about on its last legs as far as pictures are concerned, though they prefer it for personal com' fort. As Gloria Swanson says, she couldn't think of bobbing hers because she likes to change her coiffure with each gown. To her
way of thinking, a whole ensemble Ru,th, Ch^rton enjoys
' i i . i i , i a bob which is cut mst a
can be utterly rumed by the wrong ears% u short haif easi
SOB or
What the Hollywood About the
By Helen
line of one's hair-do. You see how 'up' we are on the latest terms. 'Hair-do' is Janet's, though, not Gloria's. At least, I never heard Gloria use it.
Hedda Hopper, one of our smartest and most sophisticated players, is growing hers right this minute. "One has to, with the long evening dresses coming in," she sighed. "It will be a terrible nuisance and it breaks my heart to give up the bob, also, I think long hair makes a woman look older; but," she laughed gaily, "I must be in the fashion, darling! Fashion has decreed long skirts and long hair is a natural development — for the actress at least. If I were not on the screen I wouldn't think of growing it."
It was a surprise to find Norma Shearer's hair rather long. It had always impressed me as being short. I remember a picture made two or three years ago in which
the freedom of little below her er to care for?
53
Sue Carol believes the wind-blown bob, which she wears in pictures and out, is the most becom- ing coiffure she can find for herself.
Dolores Del R i o prefers suffering for a tradition — her tresses remain long.
GROW?
Girls are Doing Coiffure Question
Ludlam
she played a girl lawyer. It looked like a very sleek bob that she was wearing, but Norma told me her hair was very long at that time. She dressed it tight to her head with a little knot somewhere almost out of sight. She bobbed it shortly after that, wishing to make her head look smaller but curiously enough it had the opposite effect. Now she has almost a neck-length bob which she curls very tightly so that it can be arranged to look exactly as though it were bobbed, and yet, for evening wear she can wind the curls into a knot. Norma always likes to have her ears and forehead uncovered. She thinks women's faces lose character when their foreheads and ears are com' pletely covered. But then, Norma forgets that she has the type of face that trying style of hairdress' ing particularly becomes. Her ears are small and lie flat to her head, and her forehead and face
Short hair doesn't go with long skirts, decided Janet Gaynor; so she has adopted the convenient neck-length bob.
are distinctly classical in mould. Believe me, that makes a difference, Norma!
Greta has established the Garbo bob, as it was called, and then business demanded that she keep it that way. It was said that Greta chaffed at this at times because she wanted to crop it closely. But it seems to me that any- thing this young woman really wants to do, she does, and the studio can like it — or else. Greta went in one of her disguises to the opening of her first talking picture, "Anna Chris- tie. "' For some strange reason Metro did not give this picture one of Hollywood's grand open- ings. Maybe they figured it didn't need the publicity push it would get by having an 'opening.'' It gave the public a chance to see the show a day sooner than they would otherwise, and I guess the fans were glad of that. As many as could crowd into the theater were there and Greta was much amused to see what seemed to be dozens of Greta Garbos sitting all around her. "They look more like me than I do myself," she laughed. All of them had their hair the length and arranged in the style she wore it in "The Kiss." In "Anna Christie" it was different. "And now will the poor children have to get used to wearing it that way?" she wondered. In "Ro- mance" she will do it another way, but she has not decided just how. I'll bet there will be a Garbo (Continued on page 125)
54 SCREENLAND
A GIFT from Joan and Doug, Jr.
The Famous Young Fairbankses Offer a Gift of their Own Choosing to the Fan Who Writes the Best Answer to Their Question: Do You Want Joan and Doug, Jr. to Play Opposite Each Other on the Screen? Give Reasons for Your Answer
Joan Crawford, Douglas Fairbanks, Jr., and the Sessions Westminster chime clock. It is a Model A, eight-day clock in a mahogany case with gold-plated sash and silver dial. Yours for the best letter!
for May 19 30
55
THE Hey, Hey, girl is a home girl now! Joan Crawford has gone domestic and she loves it. She is interested in draperies, embroideries, furnishings and everything pertaining to the home.
The Sessions Westminster clock gift is definite proof of how thor' oughly domesticated both Joan and Doug, Jr. have become. On the mantle at El Jodo, the Fairbanks, Jr. domain, there is a clock identical with the one they are offering to you for the best letter answering their question. And this same model clock is used in all the Sessions clock broadcastings. However, the chimes can be silenced, as you prefer.
Now, if you wish to win this gift clock write the best letter answering Joan's and Doug's question. By best letter is meant the clearest, cleverest and most sincerely written.
Joan and Doug, Jr. have dis- covered it's the key that makes the clock tick. The clock is warranted to be free from mechanical defects. With ordinary care it will give a life-time of depend- able service.
The clock will play the well- known Westminster melody as follows: four notes on the first quarter, eight notes on the half hour, twelve notes on the three quarters and sixteen notes on the hour.
JOAN and Doug want to know if you think it a good plan for a husband and wife to play opposite each other on the screen. Do you think there is as much interest in a film when the leading players are really married? You saw Joan and Dodo in "Our Modern Maidens" — only they weren't really lovers in this pic- ture; Rod La Rocque won the fair Joan from Doug. What were your reactions after seeing them on the screen to- gether — favorable or unfavorable? Would you like to see them Co-star in a film, this time with Joan and Doug, Jr. living happily ever after? Tell them; they want to know.
Joan and Doug have given this question considerable thought and are anxious to please you. So now they ask you to help them decide. To co-star or not to co-star,
that is the question that is puzzling Mr. and Mrs. Douglas Fairbanks, Jr. Make your choice but put it in writing and win the reward for writing the best letter.
The question you must answer: Do you want Joan and Doug, Jr. to play opposite each other on the screen? Give reasons for your answer.
Address — MR. AND MRS. DOUGLAS FAIRBANKS,
SCREENLAND CONTEST DEPARTMENT
45 West 45th Street New York City
JR.
Contest closes May 10, 1930
56
SCREENLAND
cTKeET the 3tflNG
A new idol? See Dennis King in "The Vagabond King" and Polish Up the Old Crown and Sceptre
By Frank Vreeland
The screen is in luck. It has not only cap- tured Dennis King, glamorous figure of stage operetta and now newly acclaimed star in the film fir' mament with 'The Vagabond King.''' But it is to retain his singing voice, while his speak- ing tones only will hereafter be given to the stage. King himself indicates that hereafter he will conserve his mellifluous vibrations for the recording cameras alone. In other words, his body may belong to Massa Broadway, but his lyric soul belongs to the screen.
Not many stars of the foot' lights are able to make this distinction, virtually insuring two different incarnations on stage and screen. None of them, so far, has been willing to make it, keeping their melo- dious vocalizings for one medium, their more prosaic tonsilizings for another. As anyone who has seen "The Vagabond King" will acknowh edge, it is a happy chance for filmgoers that King, given an ovation which few stars receive upon their film debut, has made this unique decision in favor of the silver sheet.
It was a happy chance in the first place, that King became a singing star at all. In his early theatrical days he thought only of being an actor in speaking roles. It might be the usual thing at this point to tap the hooey reservoir and state barefacedly that King had all along been nourishing grand opera dreams, and that his ambition is to flourish some day at the Metropolitan and La Scala.
As a matter of fact, King never had any such grandiose illusions. He used to sing in his dressing room for the best of all reasons — for the sheer joy of singing, and be' cause he had to use up his surplus supply of abounding vitality. He gave impromptu concerts for the rest of the cast in his dressing room, just as he still gave them while in Hollywood making "The Vagabond King.'" The others in his various companies always gathered about and ex' pressed great enjoyment of his robust runs and zestful crescendos, but King never took their appreciation seriously. Not that he wished to make a show of bogus modesty
Dennis King is the latest stage star to enter the lists for screen supremacy. He has youth, good looks, and a Barrymore manner.
over it, but, by a strange quirk, it never actually entered his head that he might make some professional use of his voice.
Theatrical friends actually had to work over him to spur him into the new field. One of those who urged him on a vocal course was O. P. Heggie, with whom King acted in his early days in America in the comedy "HappyGo' Lucky," and whom he met again after several years when Heggie went to the Paramount studios in Hollywood to play the role of King Louis XI in "The Vagabond King."
The star's diffidence is all the odder when it is consid' ered that he came to this country from England in a production notable for its songs — the operetta version of "Monsieur Beaucaire." Yet, in the London troupe that sang it here King had a speak' ing part only, and its tune' fulness did not seem to inspire him with any desire to have a singing role. It was only the insistence of friends that finally turned him to taking vocal lessons with the idea of making a profit out of what had been a pastime. It was sheer luck again that brought him his first opportunity in a lyric role.
"I had been taking lessons for a while," he says, "when someone told me that Arthur Hammerstein was looking for a leading man for 'Rose Marie'1 who could sing. My friend advised me to try for it. I didn't expect anything to come of it, but I just thought I'd apply, as a joke. Hammerstein heard my voice and engaged me, much to my own surprise."
It was fortunate for King that Arthur Hammerstein gave him his first test in his new type of performance. Hammerstein was associated for years with his father, the redoubtable Oscar, when the latter was making operatic history at the Manhattan, and he is one of the few Broad- way producers who really knows a good voice on the strength of his own judgment, without waiting for others to pronounce it excellent. It was likewise a felicitous break for King that the producer was looking, at the time, for
for May 19 30
57
a leading man with quality to his singing, but without a reputation which would detract from Mary Ellis, the star of "Rose Marie." Otherwise King, who had made his mark strikingly as the Mercutio with Jane Cowl in her presentation of "Romeo and Juliet" but had not had an important leading role on Broadway, might have had to struggle up along the discouraging road of minor roles in his new lyric capacity.
As it was, he became a leading man in operetta at one bound. At one bound, also, he won recognition in his metamorphosed work. Broadway had heard vaguely that he was taking vocal lessons from a coach, but Broad- way, as usual, set this down to the usual publicity walla- walla. Broadway got one of the surprises of its life when it found that Dennis King was not overshadowed by the unquestioned ability of Miss Ellis.
Still, nothing permanent in the new line seemed likely to come of it for King, and he was all prepared to drift back to speaking pieces for a living. But his vocal fervor had made a deep impression on Russell Janney. Here again, King had fortune with him. Janney was a young and venturesome producer, ready to take chances and without a big bankroll be- hind him. Had he been a more established manager, moving only by precedent and possessing a monetary supply enabling him to pro- cure high-priced established singers, he would not have entrusted an important part like the title role of "The Vagabond King" to a com-
King's first screen role is the colorful Francois Villon, which he played in the original version of "The Vagabond King."
A singing lover: Dennis King says it with melody to Jeanette MacDonald, playing a proud, but not too proud princess in "The Vagabond King."
He brings something new in romantic masculine charm to the movies. Like him in this close-up?
parative newcomer in musical shows, with just one such performance to his credit. But Janney was ready to take a chance, and as a result, made fame for King and fortune for himself.
Now that King is firmly entrenched on both screen and stage, he wants to go on playing romantic costume parts in both mediums, with the aforementioned difference in song. It is the swing and dash of such roles that fire most adequately King's own soaring spirit.
"I want to play such resounding roles as Hamlet, Romeo, Richard III, Cellini, and LAiglon," he said. "I have enough money now to live very comfortably. In future, either before the camera or the footlights, I want to do only the kind of roles that have been tugging at my imagination for years. I think there is scope for them now. Few players are trained nowadays to get full value out of the sonorous lines. And it is only lines and parts with a sweep and spirit to them that really capture the mind and make the most lasting impression. And few players," he added with a smile, "know how to wear tights nowadays. I happen to have had experience at both."
Two other things he is (Continued on page 126)
58
SCREENLAND
Hollywood
Want to Crash the Screen Stars' Parties? Then Make the Rounds with Grace Kingsley
T;
~: there'll be plenty of diplomats there, 111 be bound!" exclaimed Patsy, when I told her we were invited to the opening of the new Holly- wood Embassy Club, where just everybody in pictures would be present.
Such a crush Hollywood has rarely seen as wedged itself into the beautiful French period ballroom of the Embassy. The furnishings are in exquisite taste, with much olive green set off by a little gold, and with rich curtains, carpets and French period chairs and sofas, with even the tra- ditional crystal chandeliers hanging from the ceiling.
We were to go with just the nicest crowd — Natalie Kingston and her husband, a banker named George Andersh, a charming man and most devoted to his beauti- ful wife; Ona Brown and Harvey Barnes, and Ruth Stone- house and her husband, Felix Hughes, the vocal teacher, who has dozens of picture stars under his tutelage.
There was an overflow gathering out on the roof garden, we heard, but it was so chilly out there that they had rapidly managed to find themselves places indoors.
Ina Claire was at the opening of the new Hollywood Embassy Club — latest and most exclusive of movie gatherings.
Colleen Moore was one of the most prominent stars at the opening of the supper club, with John McCormick, her producer husband.
"You merely go into a huddle on the dance floor," re- marked Natalie. "You can't really dance, you know. But we Holly woodites seem to love that. We flee from a quiet place as from the plague."
"Oh," exclaimed Patsy, "there are Jack Gilbert and Ina Claire, not looking the least bit divorced!"
"But you can hardly see the guests for the party!" re- marked Natalie.
Louise Fasenda was there with Hal Wallis, her pro- ducer-husband, Louise wearing her hair in a sort of skinned-backed fashion, so that she looked more than usual as she does in pictures. Nobody ever knows Louise on the street, you know, and she can travel long distances on trains and boats without anybody recognizing her, since she is really a handsome, smartly dressed woman in real life.
"Oh, there are Catherine Dale Owen and Prince Trou- betskoy!" cried Patsy. "I hear they are more or less engaged!"
"If there can be degrees in engagement — " suggested Natalie.
for May 1 930 59
Qarty cNlGHTS
By Our Party Reporter
Anita Stewart and her new husband, George Converse, Jr., from a flashlight taken on the roof at the opening of the smart new Embassy Club.
Blanche Sweet was there, looking much younger and prettier than she did ten years ago, accompanied by Danny Denker; and we caught sight of Virginia Valli and Charles Farrell; Edmund Lowe — Lilyan Tashman, his wife, was in New York; Norma Shearer and Irving Thalberg; Charles Christie, Darryl Zanuck and Mrs. Zanuck, Wil- liam Seiter and Laura La Plante, Basil Rathbone and Ouida Bergere, Elsie Janis and Edmund Goulding, Ruth Clifford and James Cornelius, Alice White and Sid Bartlett; Alice Day and her fiance, Jack Cohn, the broker; Fred Niblo and Enid Bennett, Antonio Moreno and his wife, Mervyn Le Roy and Edna Murphy, Norman Kerry and Marion Harris, Mr. and Mrs. Tim McCoy, Anita Stewart and her husband, George Converse, May McAvoy and Maur- ice Cleary, Robert Leonard and Gertrude Olmstead, Robert Edeson and his wife, Mr. and Mrs. Jean Hersholt, Mr. and Mrs. Jack Mulhall, Colleen Moore and John McCormick, Mr. and Mrs. Gus Edwards and Armida, Hedda Hopper, Buster Collier, and dozens of others.
Mervyn Le Roy just would Charleston, no matter who his par' appened to be, and no matter how long he
had to Charleston on one spot.
Hedda Hopper smiled bravely, as she remarked from the crushing crowd on the dance floor — "Well, this is cheaper than Sylvia!" Sylvia, you know, is the masseuse who helps all the picture stars to get thin.
Buddy Rogers was there, but I don't know whom he brought.
Paul Whiteman and his band made an impressive en- trance, very late. Paul, we heard, was a little peeved. He had asked for a table for some friends, and hadn't been able to get it. At any rate, he didn't play for the dancing, as we had expected, but he and his band played some selections, as only the Paul Whiteman can, and then left, covered with honors and great dignity.
That playing made us all feel so peppy that Ona Brown suggested we ought to have community singing! But she said she wouldn't be brave enough to start it.
Ruth Stonehouse said that the .first time she heard Whiteman play he was great, even if he hadn't his Tuxedo technique then! (Continued on page 123)
Fred Niblo and his wife, Enid Bennett, were at the Embassy opening, too. Tony Moreno was in the Niblo party.
60
SCREENLAND
ffI Knew Them
IFhen
By
Ronnee Madison
SHADES of the Caesars, chorus boys and Boston cream pie, who'd have thought it! Quick, Cleopatra, the snake, this little girl's got to wake up.
Can you imagine it? The old gang's gone and done it!
Yep, just what they always wanted to do. 'Gone movie.'
Look! I see the names of Nancy Carroll and Jack Oakie in lights a yard high, on dear old Broadway. And there's Raymond Hackett featured in "Madame X" and James Hall's face smiling out of "Smiling Irish Eyes." Oooh, and watch Joan Crawford packing them in at that big house up the street. My old working pals and associ- ates, climbing the ladder of fame in dawling rapidity, until this old cranium cries out for help.
What a grand bunch they were! Ah, give me an ear, old friend, and I'll tell you a story of the faces on memory's wall. Sad music, please.
It seems only yesterday that Nancy Carroll and yours truly were ducking rehearsals of a musical comedy and giving the stage manager the latest in alibis and horse- laughs. Nancy, the sweetest-faced Mick who ever ogled
Jack Oakie makes everybody laugh. Here his mother is reversing the order. Tickle, tickle!
Nancy Carroll received more mash notes than Jimmy Walker when she was on the stage. Red- haired Irish Nancy, who knew what she wanted and went after it!
at the front row. She, who received more mash notes and gifts than Jimmy Walker and who sent back all the gifts except the candy. Whereat, the gang proceeded to go on a candy spree. And the day Nancy and I, feeling great on two orangeades, (believe it or not) held up one of the leading men in our show for three hamburger sandwiches and paraded the boardwalk in Atlantic City, looking for a poor, cold, hungry, cop to give the extra sandwich to. We found the cop but ate the sandwich ourselves after, he having informed us that he never ate onions while on duty. Gosh, and I remember the hot discussions that went on about the current movie stars and what we would do, if we earned their money and had their fame. Nancy's decision was to take care of all those she loved first, and then buy all the clothes in the world. Wonder what she thought the rest of us would wear? Suggestions to Nancy that she try the movies usually met with the same reply, "Well, you never can tell." "Who knows?" Ambitious Nancy, working night clubs after the regular evening show, rehearsing all day, taking care of her adorable wee home, and trying to match her hours to those of her husband's. Red-headed Irish Nancy, who knew what she wanted and went after it.
Jack Oakie! Whew, what a performer! A born trouper. Possessed three passions: cards, coffee, and the eternal feminine. His ruling passion, however, was his faith in himself. Assuring everyone that some day he'd be 'in the money.' Had a quip for every knock that life gave. Always borrowing but always paying back. A scamp who would kid the Pope himself, and give the shirt off his back to the first one who asked for it. When he met this writer for the first time, he had her blushing furiously within five minutes by insisting she never got the clothes she was wearing on her small salary. Decided he was going to the Coast to crash pictures, since the talkies were a success and he wasn't proud. Oakie the ir-
for May 19 30
61
Reminiscences About Celebrities by a Trouper Who Knew Them Before They Were Famous
Joan Crawford, who was then known as Lucille Le Seur, the perfect showgirl be- cause she never took a show seriously.
A chap with a twinkle in his eyes Raymond Hackett always seemed to have
though never a crease in his clothes, an inferiority complex away from the
always immaculate — Jimmy Hall. stage, so retiring was he.
repressible! A divine sense of humor, a ready tongue, and a wit not always without its darts. 'A natural.'
Then there's Raymond Hackett, the nicest juvenile on the legitimate stage. The boy who, seeing this writer dressed in a thin spring outfit for 'art's' sake, shivering in the wings of a Shubert theater, insisted she put on her coat and 'art' be hanged. Raymond the imperturbable, who finally broke up entirely, when a dummy which was used as a dramatic highlight in a well-known play was revealed upon uncovering to be wearing a gorgeous red necktie and sporting a pair of rakish black sideburns, in' stead of the customary somber attire. The boy who loved dogs and always seemed to have an inferiority complex
away from the stage, so retiring and unobtrusive was he. He knew he was going to Hollywood under contract for pictures, and yet he never told a soul. A lad with a sweet crooked smile, a kindly heart, and a charming wife.
Another old acquaintance! James Hall, alias Jimmy Hamilton. What a crush I had on him! 'Gorgeous Jimmy.' Always immaculate and the first to follow the dictates of "What the well dressed man will wear.' With his pal Nat Nazzaro, Jr., he would come visiting the gang and bring with him pounds and pounds of grapes as a treat, and then eat them all himself. A lovable rogue always growing serious when women were discussed and insisting that although they were all (Continued on page 113)
62
SCREENLAND
DRESSIER
By Polly
Moran
A Character Close- Up of One Great Trouper by Another
A portrait of the real Marie Dressier — charming, cultured, sympathetic woman of the world.
Marie Dressier and Polly Moran, the one and only female indulges in no professional jealousy. Marie
EVERY time I think of what a splendid actress Marie Dressier is I feel like hitting her over the head for doing these slapstick comedies. Honest to good- ness, it makes me so discouraged. For years, Eve been trying to make her behave herself and be serious, but what's the use?
And oh, what a grand woman Marie is! She has more good in her little finger than most people have in their whole body. She does more for other people than every one else put together does for her. When Marie was slim, young and beautiful, she kicked her heels in the back row of the chorus before she moved up to row one, and before she made her first big hit in the old Weber and Field Show. She had a tough time, too. So now when she sees young- sters about to get in wrong she takes them to a quiet tea at her house and when the tea is over the youngsters find their troubles all ironed out. And when we go into a department store, you ought to see the shop girls gather around to wait on Marie.
And it's not only youngsters who are crazy about Marie Dressier. A lot of people who come out to this Film-land' by-the-Boulevard expect to find sweet sixteen sitting on top of the world. But when it comes to real popularity not even the snappiest profile or pair of legs stand a chance against our Marie. She doesn't bother her head about face-lifting or mud-packs or beauty parlors and the passing of that girlish figure doesn't worry her a bit. But, by actual count, she gets more invitations than any three of the most beautiful flappers of filmdom lumped together. And I happen to know that a (Continued on page 111)
for May 19 30
63
comedy team on the screen. And here is one team that and Polly are pals, on and off the screen.
I wouldn't want Polly Moran to know it for the world, but I think it's a crime the way she clowns all the time and makes a fool of herself — and such a clever actress. Why, Polly was a sensationally suc- cessful single in vaudeville from the time she left high school. She did her act in America, Europe and Africa. She knew more stage doormen by their first names before she was twenty-one than the modern movie youngsters will ever know. She really is capable of serious things, you know. And to think she would choose slapstick comedy as a life-long profession, and throw custard pies and let Billy Haines kick her and all that. It's quite too much for me!
For years Polly and I have been inseparable chums on and off the screen. Perhaps we are the only two women ever to form a lasting comedy team — I don't know about that. I do know that for years we have worried about each other, our indispositions, families, income taxes and appetites.
Polly is like my own flesh and blood. I don't know what we would do without each other. Our affection for each other makes our working hours together a joy. There's not the slightest particle of jealousy between us. as there almost always is in teams. Both of us have lived long enough to know better than that. We have tried a little of everything — love, life and the stage. Now, after all these years, we find ourselves in something else again — talking pictures. We are starting all over again. We believe there is no such thing as age or poverty, for one is old and broke only when health (Continued on page 111)
TOLLY o¥ORAN
By Marie Dressier
One Half of a Com- edy Team Tells on the Other Half in Fun
.... j
Polly Moran as she really looks. She is Billy Haines' best friend as well as Marie's.
64
SCREENLAND
On
£OCATION
with "Numbered
Men
yy
By Helen hudlam
When I heard this location was to be in a prison camp I was so thrilled I didn't even mind getting up early in the morning. It was my first meeting with a prison and I thought I might see old friends there. One can never tell in these days of prohibition and alimony just where" lightning will strike, which for no particular reason re- minds me of a story.
A motorist was getting a great kick out of breaking all the Los Angeles traffic laws. When the traffic cop finally caught up with him an explanation was de' manded. "Do you think,,, the cop wanted to know, "that this city was built just for you and your kiddy car?"
The motorist's wife leaned toward the irate policeman and said soothingly: "Don't you mind him, officer. He's just been drinking!"
I didn't happen to know any of the gang at the camp but one of the actors recog' nized a familiar face. Out of the fifty-six prisoners forty-two were in for non- payment of alimony. "Say, you needn't laugh," the prisoner said to the actor. "You may be married your- self some day!" which isn't much of a compliment to us girls.
At that, it didn't seem to
The nice-looking boy at the left is Mervyn Le Roy, the youngest director of successful screenplays. Next, Helen Ludlam, our Location Lady, Conrad Nagel, and Raymond Hackett.
The scenes for "Numbered Men" were made at a The 'prisoners' in this shot are hard-
be such a hard life. In fact, it made men of two or three imprisoned for acute alcoholism. The camp was miles up in the mountains beyond Saugus and the location, on the road half a mile above the camp. The prisoners were working some distance ahead of us. They couldn't be in the picture because it was against the state or prison rules but they had to walk through our midst on
their way to and from lunch and seemed to be very much interested in movies in the making.
It wasn't a comfortable location, but there was plenty of fresh air. The view was gorgeous and the company was swell. There we sat on a road nearly a mile above sea level with mountains towering above us on one side and a deep ravine on the other. We were sur- rounded by the sound trucks, the busses that brought the extras who acted as prison- ers, the studio cars, location chairs, the radio equipment for Mervyn Le Roy to direct through, and all the rest of it. They had four or five loud speakers stationed nearly a quarter of a mile apart so that the men down the road would know just what was going on and could follow direction.
Everyone was bundled up in heavy coats; in fact, I wore two. When it's cold
for May 19 30
65
prison camp miles up in the California mountains, working extras from Hollywood.
Mervyn Le Roy, the Boy Director, Puts Raymond Hackett and Conrad Nagel Through their Paces for New Talker Drama of Prison Life
was his first picture. He didn't know at first whether he liked it or not. "I had an advantage over the rest because I had played the piece on the stage and knew my lines, but they all knew picture technique so we were about even in the end."
He told me about a party he went to shortly after "The Trial of Mary Dugan" had been released. He still felt like a stranger in Hollywood and not at all sure of himself in his new medium of expression. He was, therefore, surprised and touched when John Gilbert, whom he had not met up to that time, walked across the room, shook him by the hand and said, "I just want to tell you how very much I enjoyed your per- formance in 'The Trial of Mary Dugan,' Mr. Hackett. It was excellent work." John Gilbert was on top of the world then. It was before the microphone had cast its shadow over his bril- liant career. "I thought it a very friendly and gracious thing for him to do," Ray continued. "It was as though he under- stood exactly what I was feeling and wanted to make me feel at home and welcome. He hadn't a thing to gain by it. He was the biggest star in the studio in which I had a doubtful future. And a few months later when our baby was born Jack heard about it and sent an armful of flowers to my wife, which was certainly a very charming gesture from a busy star to a newcomer on the lot."
But now Ray is all set, with one of the brightest n{ futures Jangling well within reach. And he adores pictures. "There is so much change, never any monotony. I used to get frantic after a play had run a few weeks. Sometimes Fd be in a cold sweat before I went on for fear I'd forget my lines. Did you ever know a thing so well that you don't know it? That's what happened to me. You never have to worry about that in pictures."
That's an old trick in the theater. I heard that it happened to Edwin Booth after his one hundredth performance of "Hamlet." Toward the end of a scene the lines completely left his mind and they had to ring down the curtain. (Continued on page 108)
Mervyn, Helen and Ray survey the location scene. Note the long line of sound trucks and studio cars.
in sunny California there's no foolin' about it. We were all asking each other what time the snow fall was reported due.
"Don't you want to talk to our rising young juve- nile until we get set?" asked Mervyn Le Roy. "You'll be warmer in the car, too."
"Just a moment till I get my mouth on," laughed Raymond Hackett who was balancing his make-up box on his knee while one hand held a mirror and the other guided the grease paint in the way it should go-
Ray has been on the stage since he was knee high to a grasshopper, but "The Trial of Mary Dugan"
Conrad Nagel, Raymond Hackett and George Cooper as "Numbered Men" in a sound scene directed by Le Roy.
66
SCREENLAND
ALLY'
Joan Bennett is one of the daintiest, sweetest and most demure girls on the screen. But she is really practical, poised, and independent, a true Bennett.
GROWS UP
Richard Bennett's Pet Daughter is Now a Great, Big Screen Star
By
Will F. Portman
Up until three months ago, the famous stage star, Richard Bennett, always called his third daughter, Joan, 'Little Gaily.' Those were the first words he tenderly whispered into her baby ears and he might have continued using the term of en' dearment indefinitely had she not paid him a flying visit after spending fourteen months in Hollywood. After he saw the graceful woman who glided into his arms, it seemed ridiculous to address her by the childish title so he dropped the 'Little' and substituted 'Big.'
It is truly astonishing what one year of Hollywood will do to a girl. She may arrive green as the proverbial grass only to have her color complex completely changed within a few short months. She may also come loaded with laudable ambitions and quickly lose them in the mazes of cabarets and night clubs where world-famous orchestras dispense jazzy sophistication. There are a few who retain their ambitions, thereby rapidly achieving success, and to this class belongs Tittle Gaily.'
As James Cruze aptly puts it: "There's no half-way station in pictures. Either you go up or down," meaning, of course, that it is impossible to straddle success. One must keep climbing else some other person will occupy the spotlight. Fortunately, Tittle Gaily' held the same viewpoint as Cruze and did no straddling. All of her time has been devoted to climbing and she is very near the top.
Joan takes no interest in the night life of Hollywood. Her dad warned his Tittle Gaily' against such things and she has paid strict attention to his advice. Sometimes
she goes to the Roosevelt or Montmartre for dinner, but that is the extent of her rambles after dark. Studio officials almost had to use force in order to get her out to see the premiere of her first picture. Once she attended an Em- bassy Ball as an invited guest. While this is considered a great honor by actresses, it made no lasting impression on Tittle Gaily.' She would much rather play bridge with a few congenial friends than spend the night dancing even if it was at an Embassy Ball.
Night clubs are Joan's pet loathing. She cannot under- stand the attraction they have for some people. Mention- ing the name to Joan is like shaking a red parasol at a bull. Only once has she visited such a place and cares for no further introduction.
"Why, the very title is misleading," declares Joan. "I will admit it has a certain fascination, but why call a place that never closes a night club? My daddy tells of a Westerner who came to New York for business and pleasure. His first act was to send for a guide who knew the town. When that worthy arrived, the visitor said:
'Til be busy until evening. Then I want to go places."
"Righto," answered the guide. "We'll start with a night club."
" 'Night club?' shouted the Westerner. 'Say, fellow, I'm an all-day sucker. Show me some place I can keep going for twenty-four hours.'
"From all I have heard, Hollywood is not half so bad as it is painted," continued Joan, "but its night life is better publicized. The public keeps an eye on its amuse- ment center. Stage actresses on (Continued on page 121)
The Jvlost "Beautiful Still of the ^JVlonth
C~\ SCENE of young love and springtime that rv/x makes us want to grab our hat and rush out into the country — somewhere, anywhere! — to some such babbling brook as this. But could we find it? And when we got there would it look so tempting? Somehow, the location men of the film companies have a talent all their own for tracking down beautiful brooks and majestic mountains and restful rivers. They never look the same when you are face to face with them as they look on the screen. It may be because the film version always includes a handsome young couple like Catherine Dale Owen and Paul Cavanaugh of this little idyll from "The Circle," and they are difficult to duplicate!
Hurrell
JOAN CRAWFORD as the spirit of spring. Open your windows, everybody, and take long deep breaths of the brand-new air, and then perhaps you may look out on the world with some of the zest and the enthusiasm of young Mrs. Douglas Fairbanks, Jr. Anyway, isn't it worth the effort?
ST. MARY of the Angel's, Hollywood's 'Lit- tle Church Around the Corner,' offers the actual setting for this inspiring camera studv. The rapt expression of Alice White as she poses here transports her far from motion pictures and studios, and carries us back to the Easter Sundays of childhood.
We started out to say something about these pictures of Walter Pidgeon being uni- formly excellent; then we thought better of it. After all, anyone can pun; the art is in resisting the temptation. Besides, you can all see for yourselves that Walter cuts a dashing figure in "Bride of the Regiment," and you can just write your own fan letters!
Elmer Fryer
It's about time Mr. Pidgeon is given an opportunity to sing and swagger his way through a real part. He has one of the most expert voices in all Holly- wood ; and he has had surprisingly few chances tc use it for the singing screen. But now that he has won a rich role we may expect to see and hear him at regular intervals. We won't complain.
Vivienne Segal brings one of the best voices on, Broadway to singing pictures. She has long been a favorite figurine of the more important musical comedies in Manhattan; and if her opportunities in the films are equal to her abilities she will soon rival her own stage success. Just another case of "Good- bye, Broadway — hello, Hollywood'"
Elmer Fryer
In "Bride of the Regiment," as in "Song of the West," little Miss Segal is surrounded by uniforms, sung to by bold, brave war- riors, pursued by gold braid. Her dainty charm is enhanced by ermines and silks and satins, and she wears them in the most approved musical comedy manner. Each new musical romance seems more elaborate than the last.
DON'T take Charlie Farrell's dreamy look too seriously, young ladies. It is more than likely that he is only wondering how much longer his current picture will take in the film- ing so that he can go for a cruise on his yacht.
f
JANET GAYNOR is really much happier than she looks here. She has just been slated for the leading role in "Liliom," in which she will have her greatest acting opportunity since her memorable Diane.
Up in Carl Van Vechten's "Nigger Heaven" there are many interesting types. That's why rounsts consider no visit to New York complete without a trip uptown to Harlem. There they can see the Jusky spirit of the dance in its native habitat. There they can hear the primi- tive music that passes as blues,' and sometimes dance to it themselves. Lila Lee, out in Holly- wood, has evidently heard of Harlem.
Presenting Lila Lee in a New Role, That of a Particularly Tempting Chocolate Confection
-ill photographs hy Preston Duncan
Lila Lee is a real actress. Personally one of the most demure and dignified of all screen girls, she has the artistry and the imagination that enable her to play any part and play it well. Here she submerges her own soft and sweet beauty in the character of a seductive Harlem night-club queen, stomping and strut- ting her way through the steps of a primitive dance. Thanks, Lila. for these studies.
Gene Robert Richee
STANLEY SMITH in "Sweetie" stopped the whole screen show. In his nice boyish way he caused a polite sensation as a pleasant juve- nile who could really sing and not make faces while doing so. With Nancy Carroll in "Honey."
STARS may come and stars may go, and it's no secret that they do, but Jack Holt rides on forever. He is no longer a western star, but has proved his ability by playing a variety of rugged roles in the more or less audible drama.
|
* |
||||
|
1 |
Hurrell
THE real, off -the screen William Haines, nor the Billy of the smart-aleck movies; a clever young man who sometimes speaks without wise- cracking, and whose best friend is Polly Moran. May we meet this Haines in the movies!
Ruth Harriet Louise
NORMA SHEARER will make one more talking picture before leaving Hollywood lor a European vacation. She has been making pictures, and good ones, for five vears, and has earned her rest. But don't stay away too long.
EAUTY AND THE BUNNY
Somehow we never suspected that Easter rabbits and things could be so much fun!
You Know It Must Be Spring, When Lovely Movie Ladies Dress Up Like Babies!
Above: we hope Rolf Armstrong won't mind if we admit that Alice White is positively our favorite artist.
_
Russell Ball
BLANCHE SWEET was the original screen "Anna Christie" of the first, the silent ver- sion in the days before Garbo and sound. Blanche is now using her voice to advantage, winning new friends and laurels
for May 19 30
Left, James Corbett and right, Walter Catlett in the minstrel scene from "Happy Days."
From "Happy Days":
Walter Catlett: "Well, Mr. Corbett, to tell you the truth I'm feeling very spiritualistic this evening."
Jim Corbett: "How's that?"
Walter Catlett: "Just medium."
Walter Catlett: "Pardon me, Mr. Corbett, would you mind telling me why in the world they call you 'Gentleman Jim'?"
William Collier: "Because he's so polite — why, he never raised his hand to his wife once in his life without lifting his hat first."
EST
of the ffHONTH
From "Not So Dumb":
Gordon (Elliot Nugent) : "Oh, now, Dulcy, dear — I know how tender-hearted you are, but to have this man here With Forbes coming "
Dulcy (Marion Davies) : "Oh, but mistakes will happen in the best ventilated families."
From "So Long Letty":
Grace (Patsy Ruth Miller) : "They didn't used to be this way."
Letty (Charlotte Greenwood) : "Oh, men are peculiar. They spend their courting days telling us how unworthy they are, and their married life proving it."
From "Burning Up":
Ruth (Mary Brian) : "All our industries are marked here. Now this is the peach cannery."
Larrigan (Richard Arlen) : "I'm not so interested in them — canned!"
84
SCREENLAND
Reviews
Dennis King and Jeanette MacDonald in the gor- geous musical, "The Vagabond King."
A scene from "Lummox," directed by Brenon, with Ben Lyon and Winifred Westover.
The Vagabond King
COMPULSORY! It may be that I have let myself be carried away by the sheer beauty of some of the scenes in this all-Technicolor screen version of the stage musi- cal success. Or it may be Dennis King's voice. At any rate, I am the best little press agent for "The Vagabond King" that you could hope to find. I really enjoyed myself. It is a gor- geous affair, and I want to take off my new spring chapeau right now — it's a little copy of a perfectly sweet Reboux model, my dears, with one of those brand-new scoop brims, and — but as I was trying to tell you, I'd take it off and make a long, low, sweeping bow, right in tune with the times of Louis XI., to the director responsible for much of the grandeur: M. Ludwig Berger. He rates next to Lubitsch in swank and spirit, and I can't pay him any higher compliment. Francois Villon as the hero makes any picture practically sure-fire for me, anyway; and I never met a nicer Francois than Dennis King. What a voice! Jeanette MacDonald is sweet. O. P. Heggie is perfect.
Lummox
DEDICATED in all sincerity to the inarticulate souls of the world, this picture directed by Herbert Brenon from Fannie Hurst's novel is a significant drama. I do not recommend it to one in search of light and frothy entertainment. It is as slow, heavy and yearning as its heroine, the lumbering servant girl called the Lummox. But it is also a picture well worth seeing. "Lummox" is the saga of a peasant soul, striving for expression, hungry for love, who finds solace in service. The rise and fall of Lummox — from slavey in a sailors' boarding house to cook in a mansion, where she becomes at once the victim and the inspiration of the young master of the house, through a series of domestic jobs until, in her old age, she finds a little rest — is a moving and a sincere story. Winifred Westover gives a performance so real as to be almost painful; yet there is beauty in it, too, Dorothy Janis is the other outstanding member of the cast, very, very good.
Happy Days
Charles Farrell and Janet Gaynor in their number from the Movietone revue, "Happy Days."
WELL, "Happy Days!" Happy days to you. This Fox Movietone extravaganza produced on the new Grandeur, or wider film, has no drinking songs to illustrate its title. But it has a cast to make you gasp. In other words, it is Movietone's "Hollywood Revue" or "Show of Shows." Marjorie White and Richard Keene, the young lovers of the story, can boast the most expensive sup- porting cast in existence; one member of it alone justifies that assertion — Mr. Will Rogers. Will chews gum and a few words and then strolls away. But his place is quickly filled by those excellent comedians, Walter Catlett, William Collier — yes, Bus- ter's dad — George Jessel, James Corbett, and Edmund Lowe and Victor McLaglen. There is a song number by Janet Gaynor and Charles Farrell in which these poetic young people are called upon to impersonate a couple of babies. I suppose it was cute; the woman sitting next to me said so. Marjorie White is a preposterous and engaging young cyclone who sings, dances, and wise-cracks in the Broadway manner.
for May 19 3 0
Best Pictur
Screenland's Critic Selects the Six Most Important Films of the Month
The Green Goddess BlBC
A NOTHER picture to put on your 'Must' list. You'll have / \ a perfectly grand time if you approach "The Green / \ Goddess" in the proper spirit, which is a cross between *^ the hilarity you feel upon going to a circus and the reverent air you assume when setting out to see a little Shakes- peare. "The Green Goddess" is melodrama of the most ramp- ant kind; but it stars Mr. George Arliss, which lifts it into the platinum class immediately. For Mr. Arliss could play "The Cohens and the Kellys in Antwerp" and make it a high-class entertainment. You can go right ahead and enjoy this thrilling meller of the English lady, her husband and her admiring but respectful friend precipitated by an airplane inadvertence into the little Himalayan kingdom of the very sinister and very charming Rajah, who makes them feel at home in his own special way. Alice Joyce is the lovely lady who says "No, no, you beast" to the delightfully humorous Mr. Arliss; while H. B. Warner, Ralph Forbes and Ian Simpson are corking.
5f-SEAL-0F)
Street of Chance
WHAT with the vogue for biographies of the more important gangsters and the haughtier and high-class criminals, "Street of Chance" is timely. It is right in line with the present policy of letting the pub- lic in on the 'inside' goings on of crookdom and gangland. There is really nothing censorable about these fictional revelations; you may as safely permit little Willie to attend "Street of Chance" as the current release of his particular 'western' favorite; be- cause the villain gets his with a thoroughness and inevitability seldom if ever realized in more polite screenplays. Somehow, the suave presence of William Powell in the leading role of the gentleman gambler in this film lifts it above the ordinary run. Mr. Powell is a superb actor and he plays in this instance a pretty exemplary character — who sacrifices a blissful future with Kay Francis to save his 'kid brother.' If I'd been con- sulted the sacrifice would have been the other way around.
Song of the West
IF it hadn't been for those swell 'shots' in Technicolor of the covered wagons winding their way across the plains, I don't mind telling you that "Song of the West" would never have made the "Six Best Pictures of the Month" grade in Screenland. But there's something about the sight of the good old covered wagons of my ancestors that stirs my better instincts; and I am right away in the proper mood to appreciate the gentleman gambler played by John Boles, the Colonel's daughter as sung by Vivienne Segal, the comedy mule- driver of Joe E. Brown, and other appurtenances of the period of 1849 in American history, perhaps more than the occasion actually warrants. From the stage play, "Rainbow," which had good music and good ideas, "Song of the West" never really comes off in its screen version. It is laboriously directed, and the song numbers are interpolated in the good old "Ah, here come the boys now!" school. But it is all lavishly produced and cast; and the admirers of Mr. Boles will glory in his singing and love-making, see if they don't.
"The Green Goddess" is an enthralling melodrama with George Arliss and Alice Joyce.
Kay Francis and William Powell, two superb actors, make "Street of Chance" worth while.
"Song of the West" is a musical of the days of '49 with Vivienne Segal and John Boles.
86
SCREENLAND
Critical Comment
Roadhouse Nights
THIS picture had a narrow escape from being included on our list of the six best. It didn't get in because Scree nland is pretty fussy about its six best, believing it should include if possible only those films which the whole family may see — in a body. Speaking of bodies, there are so many in "Roadhouse Nights" that Aunt Ella and Grand- ma might become confused. And the fair lady of the film, played by the glamorous Helen Morgan, wins back her boy- hood sweetheart even though she has been a roadhouse hostess. So you can see the position Screenland is in! Enjoying "Road- house Nights" as we did, and admiring Miss Morgan and her co-star Mr. Charles Ruggles as we do, all we can advise you is, see it by all means but don't say we didn't warn you it is just a slice of life in the rough. It's exciting, funny — Jimmy Durante is in it — and sophisticated.
Puttin* On the Ritz
HARRY RICHMAN'S screen debut, which you will want to attend if for no other reason than to see the man who made a hit with our Clara. Mr. Richman is well known in New York, where he appears as a musical comedy and night club star. It remains for him to make a hit with other audiences, and if an ingratiating voice will do the trick, Harry is already an established film star. His singing is a good reason for his appearance on the screen. Harry is no mean vocalizer. Every chance is given him to make good in his screen debut. His leading lady is Joan Bennett. Lilyan Tashman and Jimmy Gleason are present. Settings by W. C. Menzies. Music by Irving Berlin. Puttin' on the Ritz and There's Danger in Your Eyes are good tunes. An "Alice in Wonderland" number is exquisite. Good entertainment, whether you're just wild about Harry or not.
A Lady to Love
She Couldn't Say No
SHE'S Vilma Banky, playing her first all-talking role. I wish they had selected a more glamorous part for Miss Banky's audible debut. I always think of her as the fair, proud princess in the tower. Here she comes down to earth as a lonely little waitress. Well, it's a good acting part, and the star gives a fine performance; but she should have made a more auspicious entrance into the exacting realm of the micro- phone. Victor Seastrom's direction of this speaking screen version of "They Knew What They Wanted" is intelligent, with Edward Robinson and Robert Ames supplying more than ade- quate support. Vilma's accent is no handicap; her voice is quite all right. But she is no longer the remote lady of mys- tery; she is robbed of all her props of gorgeous gowns and stunning settings. She makes the most of a difficult assign- ment and deserves a better part next time.
DO you like Winnie Lightner? If you don't like Winnie Lightner, then I advise you not to read this review but to skip on to the next one. Because "She Couldn't Say No" is all Miss Lightner. You remem- ber her in "The Gold-Diggers of Broadway," of course: her mean-mama voice, her comedy falls, and her generally raucous behavior. You have to like Winnie a lot to like this, her first starring film. It's another racketeer plot, with occasional sobs by the star, assisted by Chester Morris in another one of his familar characterizations. When Winnie sticks to her expert clowning, the picture is amusing, although not as frisque as its title insinuates. Winnie is never as gay and abandoned as in the memorable supper party scene in "The Gold-Diggers of Broadway" in which she falls into Albert Gran's lap; but then, ho-hum, life's great moments don't happen every day.
for May 1930
87
on
Current
ms
Not So Dumb
THIS seems to be the time and place to tell Marion Davies' classic line when called upon to make a speech before a woman's club. Marion stood up, smiled, and said: "I can't make a speech; I'm just a dumb-bell!" and sat down. Since then Marion has been making speeches right and left before the microphone and making better ones as she goes along. If Marion is a dumb-bell I wish more movie stars were dumb. Her latest comedy, "Not So Dumb," was adapted from "Dulcy," the stage play; and it is wholesome fun, from start to finish. Marion plays a well-meaning but vague young woman whose idea of 'helping' her hard-working fiance is to interfere in his business deals, annoy his guests, and other- wise behave moronically, all with the best intentions. But as Marion plays her, and it's her most difficult role, you like Dulcy so well that you wish she'd keep on being a nuisance.
The Melody Man
IF you are not too proud to have your sentimental moments you may enjoy this picture. It has an idea that may yet, more ambitiously handled, be used to make a really imag- inative musical screenplay. A musician of the old school and a young jazz band leader clash over the trend of the times to dethrone the old masters and enthrone the new blues. Think of the possibilities here: Wagner versus Gershwin, symphony against saxophones — with sound accompaniment. Some day it may be done. As it stands, "The Melody Man" is a charming little drama of a Viennese composer exiled to Manhattan, of his daughter's love for a Rudy Vallee played by Buster Collier, and his conversion to modern music when he hears his pet symphony ragged by daughter's boy friend, believe it or not. John Sainpolis is admirable as the composer, and Alice Day is competent and pretty as the heroine.
Dangerous Paradise
THIS title inspires me to deliver a little lecture, not intended by Messrs. Paramount when they titled their picture. The dangerous paradise of the motion picture industry is stardom. Yes, stardom, I say; and I stick to it. Before Nancy Carroll and Richard Arlen were stars, they were given interesting parts to play; parts they could revel in. But now that they have been promoted, now that they have been exalted to stellar billing, their personalities be- come pegs to build plots around; and such inantities as "Danger- ous Paradise" result. It's another South Sea story, and every- thing tiiat always happens in South Sea stories happens all over again. Except, I beg its pardon, there is no villainous pearl- trader. No, but there are five other villains to make up for it. Of course, I like Nancy Carroll and Dick as well as you do; but I'm sorry they are now officially 'starred.'
So Long Letty
YES, the same old Letty who was the belle of musical comedy quite some spell back. It has taken her a long time to reach the screen; and I can't help thinking she should have hurried. Because she seems to be just quaint old stuff today, even if Charlotte Greenwood does play her. Miss Greenwood starred in the original musical comedy "So Long Letty" on the stage; she is one of America's premiere comediennes. But she could have made her screen debut in a more modern piece. There is nothing new in the exchange of wives idea, as the more tolerant of you will admit; so what snickers there are in this film will be derived from the amusing Miss Greenwood's inimitable antics. Grant Withers and Patsy Ruth Miller 'play straight' and it's quite a strain. The only innovation in "So Long Letty" are some new songs, which may or may not make up for your evening.
88
SCREENLAND
REVUETTES of
Cameo Kirby
When in doubt, do "Cameo Kirby." This is the third screening of the good old play, though the first audible version. Dustin Farnum starred in it in 1915. John Gilbert did it some years later for Fox. Now J. Harold Murray speaks and sings the colorful role of the Mississippi river gambler to good effect. Old man plot just keeps rollin' along, in the serene manner of the old south, which may seem a little slow to you youngsters. J. Harold is convincing not only vocally but romantically. He's a Cameo Kirby you can believe in, even when he holds everything to burst into a love song. The outstanding musical number is entitled Romance, and not bad. Norma Terris is the girl. Stepin Fetchit is also present, singing a ditty called Peaceful Man. Stepin is either awfully peaceful or just plain lazy.
Second Wife
Just another case of good actors struggling with mediocre material. Conrad Nagel and Lila Lee do ther best in their respective roles of Walter and Florence, but nobody seems to care. We like Conrad and Lila but Walter and Florence are just a pair of sillies. Lila reveals a very pretty singing voice, besides looking even lovelier than usual.
Let's Go Places
All right, let's. Who wouldn't like to go places with Dixie Lee, Lola Lane, Joseph Wagstaff, and Ilka Chase? All about two youngsters who crash Hollywood and eventually make good, with amusing interruptions of songs, dances, and (sometimes) funny sayings. If you don't like Ilka you'll like Dixie; and if you don't like Dixie — but don't be silly!
Undertow
All the tried and true ingredients, including very blonde heroine, very black villain, very virtuous hero, and the child, can't put "Undertow" over. Johnny Mack Brown, Alabama accent and all, plays a light-house keeper who marries the fair Mary Nolan, though the villain still pursues her. Johnny is pretty convincing; Mary is — just pretty.
Troopers Three
A nice little picture about three actors — now, now, wait a minute; this isn't another back-stage yarn; don't walk out on us yet. These three actors join the army to eat regularly; and one of them, played by Rex Lease, falls in love with Dorothy Gulliver; while the other two, Roscoe Karns and Slim Summer- ville, your old friend, supply the comedy.
for May 1930
OTHER
Chasing Rainbows
Chasing that elusive "Broadway Melody," they mean. My, my, what havoc that innocent hit picture caused. Just a deluge of imitations; but most of them far, far behind. They've tried everything, even co-starring Bessie Love and Charles King all over again; but there is only one "Broadway Melody" and "Chasing Rainbows" proves it. We meet again that game little trouper (cheers) who sticks to her naughty partner through it all. We have another scene of hysterics by Miss Love — just as good in its way as the famous bit in "Broadway Melody" but, after all, a second run. Charles King sings capably; Bessie does a nice tap dance; Jack Benny is amusing; but guess who save the show? None other than those grand girls and .inveterate picture-stealers, Marie Dressier and Polly Moran!
PICTURES
Burning Up
Any picture starring Richard — Dick to you — Arlen, with Mary Brian as vis a vis — trick for heroine — is all right with us. Dick has had bigger and better roles but he is excellent as the racing driver who is driving to win — the race and the girl — despite crooked efforts to stop him. The story may be old, but the co- stars are young and snappy.
Slightly Scarlet
Goody, goody! Here are Clive Brook and Evelyn Brent playing together again. They meet on the Riviera and there's a moonlight love scene and — oh, the pearls; almost forgot the pearls, without which there would have been no plot and no picture. But what do mere baubles matter when the elegant Evelyn and beau Brook meet again? Ah, what?
Loose Ankles
Lovely, demure Loretta Young and the poetic Douglas Fair- banks, Jr. are out of place in this farce. Not their fault, nor the story's; they just aren't made for each other. The comedy required flippant interpretation, while the young stars are of classic calibre. Inez Courtney from Broadway, supplies pert vocal talent in the proper places.
Officer O'Brien
With William Boyd, Ernest Torrence, Dorothy Sebastian in the leading roles, any film is sure-fire, especially when it's a crook melodrama. Nothing original about this gangster plot but Tay Garnett's direction is fresh and the performers are splendid. Torrence and Boyd are two he-men who have their audience right with them all the way.
SCREENLAND
Above: Helen Kane, back East to work in "Dangerous Nan McGrew." Welcome home, Helen,
Right: Norman Foster, the "Young Man of Manhattan" and husband of Claudette Colbert, the star.
Below: Jillian Sand from London, and her dog, Christopher Colum- bus, discover America.
A T midnight, a few weeks ago, Constance Bennett / \ stepped off the steamer Bremen, fresh from Paris, / \ with a divorce decree from Philip Plant in one hand, and a new movie contract in the other. Constance also brought over with her one secretary, one maid, two gramophones, five boxes of gramophone records, twenty-five trunks and — one baby, aged twelve months.
No, Constance hasn't been holding out on us — the baby's not hers. His real name is Dennis Armstrong and his real mother lives in London. But Constance, the orchid of the screen, the last star you would think of as cherish-
IN NEW
When West Meets East on Broadway
ing maternal instincts, is going to adopt this baby as soon as she can unwind some of the immigration red tape which at present only allows little Dennis to
remain in this country a scant six months.
* * *
"J call him Christopher Columbus because he dis- covered me!11
Speaker — Jillian Sand. The new Fox talkie actress just brought over from London to play in Beatrice Lillie's musical picture. She was speaking of her Pekingese.
The Peke lay curled up in Jillian's lap as she sat in a big chair in front of a sunny window at her suite in the Hotel Warwick.
"I never liked little dogs," Jillian continued, "but one day in London, I went into an animal shop just to have a look around. This little fellow followed me all over the place. When I started out, he was at my heels, so I had to buy him.'"
To describe Miss Sand is extremely difficult. She is British to the core but sprinkled all over with a fine Gallic coating, perhaps due to the fact that she polished off her education in Paris.
Jillian will either be another great dramatic actress like Garbo or she will be a complete washout. There are no half-way measures in the girl. She isn't pretty exactly, but she is one of the most individual, original movie players I've ever seen.
She was playing in an English picture, "To What Red Hell" with Sybil Thorndyke, when Joe Pincus, Fox's English representative, let it be known that he was calling for volunteers for a talkie test.
"I wandered over, but there were simply scads of girls,"
Fairchikl Aerial Surveys Inc., N. Y. C.
YORK
By Anne Bye
Jillian said. "I didn't think I had a chance but I took the test. Put on a simple little sketch, part comedy, part tragedy. It was a rather subtle bit in which I didn't tear my hair out or rock with laughter. When I finished, they took my name and address, and I thought, 'that's that,' and went for a holi- day in the south of France. When I returned, I was offered a contract and here I am."
Jillian never wears a hat, hates to be called Jill, has lovely manners, likes cigarettes and parties, reads a lot, and never travels without the inevitable phonograph. She's extremely popular here already. Men call her up, it seems, nearly every five minutes. She has blue eyes, old gold hair, and thinks the greatest thing in acting is mobility. "Feeling must play over a screen actress' face like clouds float over the sky. That's why Greta Garbo is great."
Miss Sand is a personality. And if Fox tries to whittle
her down into an average ingenue, it'll be just too bad
for Jillian — and for Fox. For the girl has the makings
of something verging on real dramatic talent.
* * *
Helen Kane is one of the swellest screen stars I've ever met. She reminds me of a robin; she's pretty and plump and good natured, with a round little face, round little hands, and beautiful thin sleek hips and legs.
She's over at the Paramount studio on Long Island making "Dangerous Nan McGrew." She wears a cow girl outfit of brown chamois, with a fringed skirt, big silk bandanna handkerchief around her neck, a ten gallon hat, and high laced boots.
Helen's natural, homey, business-like. Her speaking voice is exactly like her 'boop-a-doop' singing voice.
Above: Louise Dresser was wel- comed by old friends when she came East for a visit.
Left: Stuart Erwin, the new laugh man of the talkies. Remember him in "Sweetie?" Of course!
Above: Constance Bennett, fresh from Paris with a quarter million dollars' worth of clothes,
"I don't know who started this baby way of singing," Helen said. "I was the first one I ever heard but tlrere" may have been others around. However, I think one reason my stuff has gone over is because my singing voice is my natural voice. And when you say sophisticated things in a high, innocent, natural voice — why, people are bound to laugh. It's such a contrast.
"When I first went to Hollywood, I was terribly lone- some. My sister and her little five-year-old boy went with me. We all felt strange. Even the child when he went out to play came home and (Continued on page 118 >
92 SCREENLA N D
Gome into the Kitchen
In the evening when the servants are gone, Lucile and Jimmy Gleason repair to the kitchen and have a doughnut party for two.
hen you go into the kitchen with Lucile Gleason you always come out with a sheaf of delicious new cooking recipes and a con' viction that domesticity may be glorified equally with a career. Mrs. Gleason has succeeded in doing just this thing.
As the wife of James Gleason, Lucile is rated as one of the most capable home makers in Hollywood. During the more than twenty years since she and James Gleason won their parents' consent to marry before either was of age. Mrs. Gleason has been actively engaged in house- hold activities. At the same time, she developed a stage career that promises to have an equally brilliant parallel on the screen.
"When I went to school at Polytechnic in Pasadena, I specialized in domestic courses," said Lucile. "It inter- ested me and, besides, my mother believed that every girl should know how to manage her own home competently. Neither of us dreamed then that my home for years would be hotels and Pullman trains! I think this is the reason that this home of ours in Hollywood is such a precious thing to Jim and Russell and me. We waited so long for it."
Mrs. Gleason is not a 'kitchen dabbler.'
When she pushes open the swinging door into her big white tiled kitchens — there are two of them — she does so with the firm step of one who knows how many table-
Not Only is Lucile Gleason a Famous Cook but Jimmy is a Seasoned Chef, Too
"Deep-fat frying is an art," warns Lucile, "the temperature must be 'just so.' " "I know it," says Jimmy. "I've made doughnuts before."
fr ^
JIMMY GLEASON'S DOUGHNUTS
Beat four eggs and one and one-half cups of sugar together for five minutes. Add four tablespoons melted butter or substitute, one cup sour milk, one-half teaspoon salt, one teaspoon powdered nutmeg and mix well. Add sufficient flour sifted with one teaspoon baking powder to make a stickish dough. Set dough in a cold place over night. In the morning, set in a warm place for two minutes. Roll on a floured board and cut with a doughnut cutter. Fry in deep smoking fat. Let drain on brown paper and roll in powdered sugar.
Ik V
for May 1 9 3 0 93
with Lucile Gleason
By
Valentine
The finished product. How we would like to get in on one of these doughnut parties! We hope you roll 'em in sugar, Jimmy,
LUCILE GLEASON'S HASH
Buy four pounds of round steak and have it ground. Cook this in a small amount of water for ten minutes. Add eight medium sized potatoes, diced, one'half of a large pepper, a medium sized onion, a few stalks of celery, chopped fine, a bit of garlic, salt and pepper to taste. Make a thick gravy of the water the meat was cooked in and add to this mixture. Stir well and put in a roaster. Cover and bake two hours, stirring oc' casionally. A slow oven for two hours is preferable to shorter time and intense heat.
Lucile Gleason has two big, white-tiled kitchens and evidently, two cooks. Such a lucky lady! Most people can't keep even one.
spoons of this and cups of that are required for a perfect: dish of something-or-other.
It was the Gleasons who did hash a good turn — the sort of a good turn that has raised that questionable entree to a place where it is now mentioned by our best people in drawing room gossip!
"There is no reason why hash should not have a recog- nized place on the menu," declared Mrs. Gleason firmly. "Yes, I know it has always been a dish open to ridicule and jokes. But I knew I had a recipe that would make a lot of people change their minds about hash. When Jim and I first came to Hollywood we started giving hash parties. People loved it. I'll bet that recipe has as wide a circulation now as the current Book of the Month volume!"
The baked beans and brown oread suppers at which the Gleasons officiate are becoming as popular as the hash dinners. Some one said the other day that to see Paul Whiteman enjoying a huge plate of Gleason beans is to satisfy one that American jazz is on a sound basis.
Margaret, the plump and good-natured cook, has been with the Gleasons since they first came to Hollywood with their stage play, ''Is Zat So," several years ago. She and Mrs. Gleason exchange new recipes regularly and go to cooking school together each week.
Whenever Lucile Gleason has a longing to get out in the kitchen among the condiments (Continued on page 114)
94
SCREENLAND
Keeping Fit
Dorothy Sebastian advocates correct and intensive stretching and does a bit of it for health and beauty.
Spring, Gay Challenge to Faces and Figures! These Beauty Recipes will Help You to Live Up to the Season
hat is it about spring that starts poets to singing of love and all the rest of us seek' ing restlessly for something new? The desire to 'stick a feather in our cap and throw the spade away1 — an overwhelming desire to play hookey, to make rest and change an important part of everyday living.
"In the spring a young man's fancy lightly turns to thoughts of love," sang or perhaps we should say emoted, a well-loved, though sentimental poet long years ago.
Personally, I have always been a bit uncertain of the poet's meaning concerning that word 'lightly.' Did he mean that only at this season do men make love lightly? Or did he mean that everything, including love, is to be taken lightly in springtime? I suppose he knew what he meant and being a man knew that other men would know. Any- way, ever since, men, young and old, have been following their version of this immortal line.
After all, spring means the same to all of us only in a different way. True to youth and the poets the young man senses spring; every saucy, scarlet mouth, every pair of pretty eyes intrigues his fancy. The older man hears spring, too, and looks up long enough to sniff its fragrance, sigh a little, and wonders vaguely if he doesn't need a new necktie or two.
Mother at home, busy with fresh curtains and new color schemes for the bedrooms, hears it. She wonders if a pretty house is ever as important and exciting as a pretty woman and decides straightway to buy a big jar of that fragrant cream cousin Molly had when she came to visit, a tiny pot of rouge like big daughter's, and yes,
a new, becoming and expensive hat in the very latest mode.
The young girl — close to her heart is spring. She doesn't dream much about it, but like mother, she acts. To her, in a very definite sense, spring means beauty. New wispy clothes with the color and rhythm of spring. A face fresh as April rain; eyes clear as May skies; a person- ality as vivid and radiant as a daffodil. That is what every girl wants — in spring. And if she doesn't have them she goes right to work to acquire them. That's the modern girl for you!
The accumulated wear and tear of winter is manifest in dull, sallow skins, dry, lifeless hair. Lack of exercise, indulgence in rich heavy foods and general inactivity show in figures that bulge-where-they-shouldn't or have taken on unnecessary weight. Back of us is winter with its sparkle and busyness. Ahead is summer with its sports and relaxation. How to attain the lovely skin and sprightly body that goes with the season — ah, that is the question!
Well, first the skin, hair and body must come alive. It's a bit hard in this changing season to keep fresh and bright looking; but if you find yourself on a sunny spring day a bit sallow and sagging and unbeautifully revealed, don't be discouraged, girls; take your time and don't worry. There's one blessed thing about Nature. She doesn't leap from one season to another, but gives, always, a lovely interlude in which we may adjust ourselves beautifully to the change.
If your skin is very dry as many skins are in spring, give it plenty of oil. At this season it is well to lay aside heavy creams and use warm facial oil for both cleans- ing and nourishing the skin. It's delightfully restful and
Anita Page has the dainty, pastel coloring that goes with spring.
One of our most interest- ing and charming new girls — Kay Johnson.
Colleen Moore with eyes of spring — bright, clear and shining.
Dorothy Sebastian. Mark the dazzling beauty of her perfect teeth.
for May 19 30
9?
Beautifully
By Anne Van Alstyne
Don't be in a hurry to jump out of bed in the morning, says Dorothy. Stretching brings you alive.
scathing to dry, tired skins and is much favored now particularly for spring and summer use. Dip your fingers in the smooth oil and smooth it all over your face and neck. Whenever you can, use this at night and leave it on all night. Put on a bathing cap or pin a small towel around the head to protect the hair. When you have covered the face with oil rub some over the hands and in the nails and a bit into the elbows. Hands and arms need attention, too, in spring.
If your skin is dull and sallow, use a bleach. Don't use a heavy bleach and if the skin is very tender, use a cream or oil before and after the bleach. Or use a circulation cream or lotion which is both stimulating and bleaching in effect. Use this about three times a week. Apply cream or oil first and if the skin is tender it may be well to mix the ointment with cold cream. Be very careful not to use this where veins are close to the skin, but apply it to the throat and chin, around the mouth and along the jaws up to the ears and over the forehead. Don't let it get close to the eyes. Leave on until the skin is softly glowing, wipe off with cleans- ing tissues and apply a soothing cream. Leave on ten minutes and take off with skin tonic. This treatment should be given at least an hour before going out as it is likely to sting a bit and to make the skin red. But when it is over, your skin will have a warm natural glow and will be thoroughly alive.
Going back to facial oils, girls with oily skins
may use them, too, but should use an astringent afterward. Don't get the idea that you can't use creams and oils because they cause blackheads. If you use them properly and take them off properly you will have no trouble. Wipe off the cream or oil with absorbent cotton pads, dipped in hot water. Dry and pat a few moments with tonic or astringent.
Oily skins, and dry, too, occasionally — can always use bland soap and water at night with a cold rinse afterward. But in spring no one should wash and then go out in the drying winds this season specializes in so ruthlessly.
If the hair is dry and lusterless, give it a series of treatments at a good salon where they give a good scalp massage and have a few oil treatments. If you can't do this, take a little time off from pleasure or business and give them at home. It's more trouble, of course, but it can be done. And give your hair a rest from curling irons, marcels and 'permanents' until it comes back to normal. Cultivate a plain coif- fure for a month or two; it will be good for your hair and when summer comes your hair will be in condition for the permanent wave so many of you look upon as necessary to happiness and peace of mind during the summer months.
Eyes of spring should be Out of bed, wide lovely, too, bright, clear and awake now stretch shinixig. Don't think that be — and stretch again ° , ,
on your toes to the cause y°ur eYes are tired and very ceiling. Good (Continued on page 106)
work, Dot!
Lillian Roth, comedienne, is as pretty as she is funny. Enough said!
Thelma Todd, one of the few girls who can show her ears becomingly.
Louise F a zenda, loved comedienne and a smart, well-groomed woman.
Dixie Lee, one very good reason why poets sing of love— in spring.
96
SCREENLAND
e?TAGE
Looking Over the Broadway Plays Before They Reach the Screen
"The Apple Cart"
The Theatre Guild produced the far-famed latest play of George Bernard Shaw called 'The Apple Cart." It is the first Guild production of a new Shaw play since his "Joan of Arc," some years ago.
'The Apple Cart" is the name given to the British Empire and the attempt of the
Right: Katherine Cor- nell and Fort unto B onanov a. As the "Dishonored Lad y," Miss Cornell does very fine work.
"June Moon" is a Lardner and Kaufman crea- tion, with Linda Watkins and Harry Rosenthal.
Prime Minister and the Cabinet to upset and nullify the last few prerogatives of King Magnus. The time is about 1990, and the first act is laid in the Royal Palace. This act, which occupies over an hour, is totally devoid of action and is occupied in a discussion between the King
Above: George MacQuarrie, Corinne Ross, Donald from "Rebound." Hope Williams, a talented
(played suavely by Tom Powers) and his Cab- inet Ministers, dressed in grotesque (to us) costumes of that period, as to whether or not he should give up the right of veto and other small privileges.
The second act is a scene between King Magnus and his mistress (played by Violet Kemble Cooper with vivacity) in which the lady tries her best to seduce Magnus, with the result that they both roll around the floor struggling and laughing like big kids.
The third act is laid on the terrace of the Palace, where the King is going to give his ultimatum to the Cabinet, or, rather, where he will receive theirs — sign on the dotted line or a revolution. The King offers to abdicate in favor of the Prince of Wales, but the Prime Minister (played in a fiery manner by Claude Rains) will have none of that. The King wins; but before he wins the American Ambas- sador (played strenuously and laboriously by Frederick Truesdale) bursts in and says we Americans have torn up the Declaration of Independence and have voted to go back into the British Empire. The King says no to this, also.
The play ends with the King and Queen (played naturally by Marjorie Marquis) in one another's arms, with both the Cabinet and the American Ambassador beaten. Ernest Cossart, Helen Westley and others of the Guild players appear in this play.
"Dishonored Lady"
It was not a play that I saw called "Dishonored Lady," by Margaret Ayres Barnes and Edward Sheldon, which Gilbert Miller and Guthrie McClintic produced at the Empire Theatre. What I saw was the gorgeous and exotic Katherine Cornell.
It is La Cornell that will fill your eye, fill your ear,
May 2 9 3 0
97
/';/ ^VIEW
Ogden Stewart and Hope Williams in a scene and beautiful young woman, is the whole show.
fill your brain, tickle your nerves, move your blood and fill you with a strange and heady intoxicant and a perfume blown to you from a South Sea island not on any map.
Katherine Cornell has every requisite for the making of a great actress: voice, movement, facial flexibility, in- telligence and tragic beauty. She is both antique and modern, classic and romantic, Aeschylean and Ibsenish — above all, the eternal Serpent of Sin.
The play is melodramatic rubbish, about as old a piece of hack-and-saw work as ever got catapulted out of its pre-McKinly tomb. In fife woids I tell it you : a girl kills her lover who is about to expose her on the eve of her marriage to a. British millionaire socialist. She is acquitted because all her friends commit perjury. You will see it, hear it and smell it later on.
But forget the play. Go to see Katherine Cornell if you like fine acting by a fascinat- ing woman.
"Rebound"
''Rebound" is a play on a brand-new theme, the sex-relation in marriage and the ensuing triangle. You would think after seeing these interminable discussions on the stage of modern sex-piggery and libido- swinery that they were something that had just been discovered by the author. But there is never anything new in them. Same old speeches, same old situations, same old lounge embraces and the same old "By God, Madeline, I'm not blind!"
Donald Ogden Stewart hath done this
By Benjamin De Casseres
latest piece of fancy, high-toned brie- a 'brae in which two couples go through the usual hunting the It troubles accompanied by a run of Winchellings and nifties when the 'plot1 gets thin and the 'theme' gets choked with static.
But there is Hope! — I mean Hope Williams, who is the whole show. This talented young woman can put over the most enormous cynicisms with an air of an old lady reading the Bible. Her swag- ger is a form of act- ing— and conveys an earful.
In "Rebound" she plays a kind of de- serted wife who gets her sap back at last; but no matter about this — Hope Williams is an artist, odd, curious, with a head like some beautiful strange bird. (If I can no longer enjoy the plays, I can at least rave over our actresses.)
"June Moon"
When I heard that the hardest-boiled dramatic critics in New York had laughed from (Continued on page 110)
Maurice Muscovitch, a newcomer to the Ameriacn stage, plays "Josef Suss" with eloquence and dignity.
Helen Westley, George Graham, Rex O'Malley, Tom Powers, Thomas A. Braidon and William H. Sams in George Bernard Shaw's latest play, "The Apple Cart."
9S
S GREENLAND
No, this is not a circus or any part of it. It's Dorothy Sebastian walk- ing a tight rope over Hollywood to see what she can see and hear what she can hear.
All the News from the West Coast Studios
A n executive wanted Jim Tully to write the
/ \ dialogue for a picture. A member of
/ \ his staff was doubtful; "Jim's pretty
caustic, you know," he replied. "I
don't care what it costs — get him anyway!"
snapped the executive.
* * *
Warner Brothers gave the Calvin Coolidges a decent break on the day they 'did' Hollywood. They let the newspapers get what they wanted and then turned everyone out so the distin- guished guests might have an opportunity to see how pictures were made just as anyone on the set every day is accustomed to see them. They remained for about two hours escorted by Will Hays and Mary Pickford also was with them all day.
After the Coolidges had met Alexander Gray and Vivienne Segal who were playing in the scene from "Viennese Nights" that they had been watching, they were introduced to Jean Hersholt, Bert Roach, Dick Winslow and Norwood Pen- Zer, the last two being children. Then they asked to meet Louise Fasenda whose work they both admire, and fortunately she happened to be working on the lot.
At United Artists they were entertained by Mary Pickford and Douglas Fairbanks, having luncheon in Mary's bungalow dressing-room. They were treated as friends, not celebrities. No photographs were taken and the ex-president and his wife were allowed to get what enjoy- ment the lot afforded without being molested. It was extraordinary how many people having
entree to the studio had business there that day! But they behaved themselves. After a ride through Fox Hills the party wound up at Metro-Goldwyn-Mayer where a number of photographs were taken and where a crowd followed them about from place to place.
ril bet they were ready for bed that night because they had been guests of the Breakfast Club and that ham and egg breakfast is served at eight sharp. Mme. Schumann- Heink sang two songs and when she arose Mrs. Coolidge also arose, went over to the smiling, white-haired singer and kissed her. The Duncan Sisters did their burlesque of "Rigoletto," George Olsen's Band offering the accom' paniment.
On their way from home that morning the girls had made up a new verse fitting the occasion to the tune of their own Rememh'ring. It ran:
Dear Mr. Coolidge, we like to do our parts,
We'll cherish this early morning, forever in our hearts;
Remember Calvin Coolidge, the long ages through,
We'd get up every morning to eat ham and eggs with you!
Corinne Griffith has three ambitions. One is to own a chateau within five hours of Paris; the second is to play the Empress Josephine, and the third is to win a set of tennis!
Gary Cooper is learning to play the banjo and Lupe Velc^ is brushing up on the art. An instructor, a native of Mexico who can speak no English, comes to Lupe's house three evenings a week to give them both lessons. On one of these evenings' Gary arrived dead tired from the studio and said he had almost gone home and not appeared at all. "You lie down, darling," Lupe said, "and get a little nap before you take your lesson." And after dinner
for May 19 30
Dorothy Sebastian with the movie world at her feet makes the most of this grand vantage point to ob- serve what's going on and toss us the most important news.
HoHvwooc
Latest Gossip about Plays and Players
Gary stretched out On the sofa while the musician played on the banjo and Lupe with two or three guests played bridge. The first thing any of them knew it was twelve o'clock. Gary was still asleep; the poor musician was
still playing! Everyone decided it was time to call it a day.
^ % *
Hollywood isn't what it was, my dear. Here's Richard Dix and Lois Wilson just finished playing together in "I Love You," and not one buzz about linking them up with the title.
* * *
Porter Emerson Browne and J. Warner Bellah have been signed by Doug Fairbanks to work on his next pic- ture in collaboration with Lotta Woods who has adapted every Fairbanks story, with the exception of "Taming of the Shrew," since "The Mark of Zorro." Doug's next, according to present plans, will be a talking version of "The Mark of Zorro," but by the time those four have finished with it you won't know the old yarn. The ability of Porter Browne in the way of dialogue and dramatic situation is an old story to the New York stage. "A Fool There Was" is an early effort and "The Bad Man," his last, has been sold to Warner Brothers for enough to keep its author in luxury for the rest of his life. J. War- ner Bellah has been plastered all over The Saturday Eve- ning Post for several years. And as for Mr. Fairbanks — well, this is how they work.
Porter and Jay have taken a 'single' in one of Holly- wood's smart apartment hotels where they get service and everything included in the rent. One wakes up, oh, along about six in the morning and says to the other, "Hey, out of it!"
"What's on your mind?" yawns the other. "How's this — ?" and he elucidates.
"Rotten," says the other. "But that gives me an idea — how's this?" "Terrible!"
"Oh, is that so? Well, what about this?"
And they're off. For breakfast they go to a
little ham and egg joint around the corner.
Their 'phone is shut off to all the world except
the Fairbanks Studio. Doug will call: "How
would it be if — ?" starts Doug. "Well, come on
over and let's talk this out." Doug has a whale
of an idea, Jay told us. The hokum is to be
practically eliminated, which is good news. The
comedy is to be honest comedy, not forced. ^ ❖ *
Dolores Del Rio thought she was all through with "The Bad One'" and was dating herself up for a few informal dinners. What was her sur- prise and embarrassment to have a messenger arrive from the studio just as she was seating her guests, with a note from her director, George Fitzmaurice. "Dear Chequita," it read: "Please be a good girl, stay at home this evening and learn the enclosed few lines. Be at the studio at the usual time in the morning for this retake." The 'enclosed few lines' covered seven double spaced type-written pages.
"What could I do?" asked Dolores. "We had planned to have a picture shown afterwards in my living room. I had to excuse myself — it was a funny thing to do but you must expect any- thing in pictures."
Joseph Cawthorne, famous stage comedian, en- tertained John Barrymore at dinner and gave
100
SCREENLAND
him a drink! And what's more it was served
in a bucket! Yes sir, and the bucket was dipped
from a well of — oh, darn it all! What's the
use? This story started out so swell, and why
is it all good stories have to be hampered just
because conscience steps up and demands that
you out with the truth. Well, here it is. It
was an old oaken bucket Jack drank from, and
the draught it held was pure spring water
dipped from a well on the Cawthorne estate. * * *
Estelle Taylor is back from her jaunt around the country on a vaudeville tour, and in spite of the success she had in her new medium of singing, her head is as squarely set on her shoulders as it always has been. She had been in town only a day or two when she was offered the lead in Cecil De Mille's forthcoming musi-
Mrs. Smith and her little boy, Stanley. He may be the hottest juvenile lead in Hollywood but he's only 'Stan to her!
•cal play "Madame Satan" and asked to go to the studio for a voice test. Estelle didn't like the idea of it. "I need more seasoning. My voice is much too new," she protested but did promise to make an audition. What was her consternation to find instead of just people concerned in making the test, there was Mr. De Mille and all of his staff, about thirty-five people. For a minute, Estelle thought she would fall through the floor. Then she began to search her memory for something that would give her courage. She recalled an incident on the road when a little dog was trying to wriggle into a stage dressing-room. She could just see it out of the corner of her eye and figured it would be her luck to have some one shut the door on him before she got through. Sure enough, just as she started a crescendo the door shut on the pup's tail and his howl blended with her top note!
"I thought surely the house would burst into a roar of laughter, and if they had I should have died right then and there. Instead of that, not a soul moved. If anyone noticed the duet they never let on and when it was over they fairly cheered. So I thought to myself in this moment of need — well, if I could hold twenty-five hundred people
Ruth Chatterton, (left), as she appears in "Paramount on Parade" with Victor Schertsinger director, and Elsie Janis who supervised this all-star frolic.
over the howling of a dog I should worry about Cecil B. De Mille!"
Afterwards, Mr. De Mille complimented her very highly and gave her the part to read. That night she turned it over in her mind. "My first talking picture. My first singing part. The first time I have used a French accent. All these new things at once and my voice is new, too. No matter how many times I add it up I can't seem to get the right answer." The part had rather a peculiar situation. She was
Ex-President Coolidge and Mrs. Coolidge witness the filming of a scene from "Viennese Nights." With them are Alan Crosland, Jack Warner, Mary Pickford, and Mrs. T. G. Winter.
for May 19 3 0
101
Two A merican queens, Mary Pickford and Norma Talmadge, greet Allister MacDonald, the son of Britain's prime minister, on his visit to Hollywood.
supposed to go to a party masked, and her hus- band doesn't know her. Mr. De Mille thought this might not be easy to make convincing be- cause Estelle has such a short upper lip. He asked her if she could hold it down a little. Estelle thought to herself, "Along with my French accent, my new voice and my first talking picture I am to hold my hp down." She reached for the script and handed it to Mr. De Mille. "Here, take it back. Life is too short," said Estelle.
Kay Johnson was finally cast in the part and we have a hand for Kay any old time she wants to speak a piece, but 111 wager that Estelle Taylor is just about the only girl in Hollywood who would tell such a story on herself.
Cliff 'Ukulele Ike' Edwards was sitting on
the stone wall outside the M.G.M. commissary
with a disgusted look on his face and a letter
in his hand. When asked what had caused
this disgruntled state Cliff replied, "I just got
one of those chain letters from Doug Fairbanks,
darn it all." Suddenly he seemed to make up
his mind on some point. "Em going to send
it to my horse!" he declared.
* * %
Fifi Dorsay and Greta Garbo have struck up a great friendship. They are seen about together
John McCormack, Charles Farrell and Victor McLaglen hold a conference of the Mutual Admiration Society on the lot. John's a good actor, too.
Barney Fagan, world's oldest dancer, demonstrates his favorite steps on his eightieth birthday to Sammy Lee and a bevy of Sammy Lee girls.
a lot and it is amusing because Greta is shy and hates to mix and mingle, and Fifi is the most con- vivial soul imaginable.
* * *
There is a young chap on the First National lot who is quite a man of business. He is nine years old and his name is Larry Hickenlooper. His regu- lar business is selling papers but once in awhile he bursts into celluloid; he played the powder monkey in "The Divine Lady!" He gets toys and clothes from almost every star on the lot. Corinne Griffith gave him a toy airplane which Larry will tell you is 'slick. I can make her loop now!'
Larry has saved up $270 toward a real airplane and not all the accidents in the United States can turn him from his purpose, " 'Cause I'm going to be a good pilot, and I'm going to take good care of my plane — like Lindy," he stoutly avers.
* * * Irving Asher tells this one on Lupe Veles.
Fitzmaurice, who always called Lupe 'Madame Mex1 was the director and Irving was his assistant. In those early days of her advent to the States Lupe got everything twisted up. She rarely said what she meant: it was always backwards.
102
SCREENLAND
So when Lupe told Irving that she had lost the dressing room for her key, Irving immediately insti- gated a search for the key to Lupe's dressing' room. None could be found. "Never mind, Lupe," said Irving, "I'll send for the pass key."
"Pass key," stormed the little tamale, "what for' I want pass key for, so and so and so and so! Here is key. Lupe has lost dressing-room that fits it!" And she meant just that. There were so many long halls and twists and turns
she couldn't find her way. * * *
Here is Jetta Goudal right back on the job in the French production of "The Unholy Night" and on the lot where all the row went on between La Goudal and Mr. De Mille! And Pauline Garon, whom everyone had marked for the shelf, just waved a couple of French sentences in front of the producers and they grabbed right and left. A girl who knows picture technique and who also knows French is welcome in these parts. Lionel Belmore, the only member of the English speaking cast retained for the French version because he can speak French too, heaves a sigh of relief after each scene and says, "Well, I got through that one all right." It's puzzling when you have learned lines in English to say them in French.
The dashing Andre Luguet, famous star of the Comedie Francaise, was brought to Hollywood especially for the Jead in this picture and Jetta plays opposite him.
One of Billy Sevan's hid- den charms was his infec- tious laughter until the talkies broke his silence. Now he can laugh out loud.
An amusing thing happened of Corinne Griffith's "Back Pay." The script required furniture which would be a throwback to the Victorian period. Walter Morosco explained what was wanted and a few days afterwards the property man said to him, "Now, we've got the fur- niture, the phonograph, lace curtains and all for that set, but we can't find that 'throw' you were talking about, and we fig- ured that if it was one of those early American towns a silk crazy quilt might do just as well." * * *
We were lunching with Frank Albertson whom
during the filming
Fox declares to be the find of the season and who has won the much talked of role of the son in Will Rogers' next, "They Had to See Lon- don," now in production at Fox Hills.
There was someone in the restaurant laughing very boisterously and at- tracting a lot of attention. Frank ground his teeth and made all the motions of one person strangling another. "Gee! I hate to hear anyone go on like that in a public place," he said. "A pal and my- self were at the Grove one evening during the stock market excitement. Some man began blowing about how much he had made and how easy it was. We stood it as long as we could and then I bellowed forth, 'Well, I'm in the picture business and I — so on and so on.' He got it, too. Shut up like a lamb."
We asked Frank whether this was his first season in pictures, and
were surprised to find that he had been in them off and on since he was thirteen years old. Just bits and atmos- phere when he could manage it with school. "Oh, yes," he laughed, "I've been in pictures quite a but pictures didn't know it!"
Frank Albertson gets the only kind of air Hollywood will give him since he be- came a favorite screen juvenile.
long time —
Richard Dix and Lois Wilson are reunited. No, not really. Just for Richard's new picture, called "I Love You."
We have been told that the two cannibals who were brought over from Africa by Director W. S. Van Dyke to finish scenes in "Trader Horn" and who can not speak a word of English were asked by an interpreter what they thought of Greta Garbo. They dismissed the Swedish siren with a shrug and the words, "Stomach too flat."
And now we have an assistant director, the first of her sex to attempt this harassing job. Her name is Winifred Laurance. Her mother was a Rus- sian, her father an Eng- lishman, and she has had altogether a very exciting career and inter- esting background. She was script girl for Ernst Lubitsch, Ludwig Berger and other foreign direc- tors and now she has taken this last strenuous task upon her slim young shoulders. She is assisting Fred Zelnik who will di- rect the foreign versions of "Rio Rita" and "The Case of Sergeant Grischa."
for May 19 30
103
Both at Home and in tneif Studio Dressing Rooms
9 out of 10 Screen Stars use Lux Toilet Soap
Hollywood — then Broadway — and now the European Capitals acclaim it
NO MATTER how perfect a girl's features, she lacks the power to attract romance if she hasn't charming smooth skin.
"Lovely skin is absolutely es- sential for that attractiveness which touches hearts." This is the conclusion drawn by 45 leading Hollywood directors. For the close- up, with its revealing blaze of light, a smooth ski n is essential, they say.
And so, of the 521 important actresses in Hollywood, including all stars, 511 care for their skin with Lux Toilet Soap. They use this white, daintily fragrant soap not only at home, in their own luxurious bathrooms, but in their dressing rooms on location, as well.
All the^ great film studios have made Lux Toilet Soap official for their dressing rooms. So essential is it that every girl in motion pic- tures shall have the very smooth- est skin!
The Broadway stage stars, too, have long been using Lux Toilet Soap. And now the continental screen stars — in France, in Eng- land, in Germany — are just as enthusiastic about it as are the American stars.
You will love its caressing lather, always so very generous even in the hardest water. And the deli- cate care it gives your skin! Order several cakes — today.
Photo by Bachracb
Bebe Daniels, fascinating Radio Pictures' star, in the luxurious bathroom especially designed and built in Holly- wood for her dark beauty. She says: "LuxToilet Soap is a great help in keeping the skin smooth and lovely."
Photo by C. S. Bail
Left — Bessie Love, lovely Metro- Goldwyn-Mayer star, says of Lux Toilet Soap: "It leaves my skin as softly smooth as the most ex- pensive French toilet soaps."
Photo by C. S. Bull
Abo.e — Anita Page, young Metro -Golden- Mayer star, has the softest, smoothest skin im- aginable. She keeps it at its best with Lux Toilet Soap, and says: "I always use Lux Toilet Soap! It keeps my skin so wonderfully smooth."
LUX Toilet Soap
Luxury such as you have found only in Jine trench soaps at $0$ and $1.00 the cake . . NOW
10
104
SCREENLAND
o4SK
(Me
An Answer Depart- ment of Information about Screen Plays and Players
By Mm Vee Dee
Bunny S. of Medfield, Mass. What a breezy letter you do write. You wish heaven would send a wild wind storm and blow all the stars you don't like out of Holly- wood. My dear, what a suggestion; but I'll not breathe it to a soul! Thelma Todd, Neil Hamilton, Robert Frazer, Danny O'Shea and Cornelius Keefe all came from your state. Charles Farrell was born Aug. 9, 1902, at Onset Bay, Mass. Leatrice Joy was born in New Orleans, La. in 1897. Her real name is Leatrice Joy Zeidler. She has black hair, dark brown eyes, is 5 feet 2 inches tall and weighs 12? pounds. She appears in "A Most Immoral Lady."
Lois B. from 7^[ew Tor\. Take your time; stop crowding. There's plenty of time for discussing, 'why is a mustache?" I'll appoint a committee of three "Ask Me" departments of which I'm all of them, to ask the male stars just why they have to adorn their otherwise good-looking faces with that bit of fuzz. Here is where you'll help me start something good. Conrad Nagel is the first on the list. Now that the campaign is well launched, we're off. Conrad was born March 16, 1897, at Keokuk, Iowa. His wife is Ruth Helms and they have a daughter, Ruth Margaret.
Dorothy of the Bronx. Would I ad- vise the 18-day Hollywood diet? I'm not knocking the pineapple and lamb chop growers association but I don't follow it myself. I'm just a sylph. You can reach Mary Brian and Nancy Carroll at Para- mount Studios, 5451 Marathon St., Holly- wood, Cal. Lupe Velez at United Artists, 1041 No. Formosa Ave., Hollywood, Cal. Johnny Walker is a free-lance player and I have no permanent address for him, but you might try sending your letter to him addressed just Hollywood, Cal., as he is very well known there.
A Blonde from Racine, Wi.s. How do you get that way? Never mind, don't tell me. How do I pronounce Marie Prevost's last name? Drop the last two letters, make the o long, then snap into and accent the Pre and you have the